Kate Grenville Controversy

The history wars of Australia is an area of great controversial debate. Throughout the course of Australian history, the public has been mainly subjected to one perspective that focused on the glorifying moments of European settlement and its progress such as its involvement in world wars and the transition of the nation into a globalised continent. As a result, there is a rigid dichotomy between the perceptions of white Australians and the indigenous population on subjects such as the colonisation or invasion of Australia. History told from the perspective of Aboriginal people greatly contrasts what is written in the history books and also what is exposed or encouraged towards the public. It focuses on the dispossession of indigenous people, the massacres and the attempted eradication of culture. This view of Australian history has been labeled as 'black armband history', which was first used during an interview by a historian, Geoffrey Blainey.

Celebrating the launch of the "International of the World's Indigenous People" in 1992, Keating addresses the "White-Australians" failure in recognising the injustices embedded within Australia's colonial past. Keating highlights the plight of Indigenous Australians through the use of highly evocative alliteration "devastation and demoralisation" to expose White-Australian's "failure". This reflects his condemnation of the "Great Australia Silence" proposed by Professor Stanner 1968, underpinning the prevailing social inequity that has been subdued and unrecognised by many Australians, compelling his intended and the future audience to revalue their preconceived understanding of Australia's colonial past. Furthermore, He skilfully employs logos to reinforce his argument in "the Report of the Royal Commission into Aboriginal Deaths in Custody showed… past lives on inequality, racism and injustice", emphasising the social disadvantage faced by the ATSI community. Through the use of cumulative listing, "inequality, racism and injustice", Keating accentuates the importance of learning and recognising our past injustice to catalyse social progression towards reconciliation, constructing a sense of pathos that emotionally prompts the audience to sympathise with Aboriginal

Respect for Aboriginal culture and traditions which is part of the Aboriginal reconciliation and integration movement in Australia is highlighted many times throughout Crow Country and illustrates the best and worst of Australians. The way different characters show respect towards aboriginal culture and feelings contrasts two different attitudes. Today, opinions about aboriginal life and culture are shared through politics, social media and protests. Kate Constable’s book portrays extreme behaviour with racism and provides the reader with a perspective on just how cruel people can be. We have a very superficial understanding about aboriginal culture and this novel encourages readers to explore aboriginal culture and beliefs.

The discourse of whiteness began at Colonisation when Indigenous Peoples were dehumanised. To legitimise the colonisation Moreton Robinson (2004) and Phillips (2005) state the traditional owners of the land needed to be ‘othered’, thus lacking innately human characteristics and, therefore, of unequal civil status. Othering of Indigenous Peoples enabled Australia to be defined as ‘Terra Nullius’, and according to McGrath (1995) and Crowley (1980), the myth of Terra Nullius is central to the discourse of whiteness and the white epistemology of Australia. The invasion and subsequent Colonisation

The play the dreamers is about the impact on modern Aboriginals since the settlement of the “white” community it focuses on the

The notion of the contemporary indigenous identity and the impact of these notions are both explored in texts that have been studied. Ivan Sen’s 2002 film ‘Beneath Clouds’ focuses on the stereotypical behaviours of Indigenous Australians highlighting Lina and Vaughn’s journey. This also signifies the status and place of the Australian identity today. Through the use of visual techniques and stereotypes the ideas that the Indigenous are uneducated, involved in crime and the stereotypical portrayal of white people are all explored. Similarly the notion of urban and rural life is represented in Kennith Slessor’s ‘William Street’ and ‘Country Towns’.

Oftentimes authors will use symbolism through the characters in order to represent a larger encompassing theme. William Golding’s book Lord of the Flies is no exception to this pattern—as various characters in the book have such allegorical meanings. In the case of Jack, he could be said to represent the evilness in humanity, proven by three established concepts in the story: the true nature of his hunting tendencies, the progression of events that happen in his dancing rituals, and his interactions towards other symbolic figures. These three reasons, furthered by evidence shown throughout the novel, fit Jack into a role of symbolic evilness (add something here).

This political perspective is undertaken by Johannes Bjelke-Petersen (JBP) and John Howard (JH). The text is set in North Queensland which JBP represented as a political power. JBP represented himself as the spokesman for the average Queenslander, its farmers, pastoralists and older generation of Australians. The text presents the shared perspective these groups as the past should be left in the past. In relation to the Aboriginals, this means that in the eyes of such people that the Aboriginals have no special claim to land and furthermore, the Aboriginals have done nothing to deserve as such. JBP is quoted by a newspaper in the text when he shares his perspective on the matter. “The Aborigines were the ‘most lucky lucky people in the world’ because ‘we [the white Australians] fought and died for this country, not them’.” (pg. 171) This quote is an example of the shared political perspective of a specific group of people presented in the text. JH is of a similar view when Henry Reynolds (R) says, “In an article in the Sunday Telegraph with the headline ‘Teacher “Thuggery” Distorts History’, [PM John Howard] accused the [Teachers] Federation of attempting to distort history to make a contemporary political point’.” (pg. 160) This is another example of

The representation of Indigenous Australians in fiction and nonfiction texts are influenced by a range of factors. In the contemporary world of multicultural Australia, there has been a variety of ways groups of people are represented in texts. The Indigenous population is often portrayed in ways that strengthen harmful stereotypes. However, there are also a variety of positive outlooks and portrayals expressing their strength and achievements. In texts studied in year 8 English, the representation of Indigenous Australians in Crow country are characterized as outcasts and reflect cultural distinction. Newspaper articles regarding “Adam Goodes” demonstrates how preconceived thoughts from many Australians destroys sporting stars outlook upon

Rudd employs an array of literary devices to illustrate reparation and reconciliation between indigenous and non-indigenous Australians. His use of anaphora in “we reflect” and “a future” embeds the need for the Australian political system and also individuals of the Australian public to amend their views and values regarding Aboriginal society and disseminate empathy for the injustices of the past. In contrast to the Crucible, where fear and paranoia complement power and authority and are used as a means of marginalisation, Rudd’s uses his position of authority in order to unite and transform the values of Australian society.

The ‘colonisation' of Australia by Europeans has caused a lot of problem for the local Aborigines. It drastically reduced their population, damaged ancient family ties, and removed thousands of Aboriginal people from the land they had lived on for centuries. In many cases, the loss of land can mean more than just physical displacement. Because land is so much connected to history and spirituality, the loss of it can lead to a loss of identity. This paper will examine the works of Tim Rowse and Jeremy Beckett as well as other symbols of identity that are available to modern Aborigines in post colonial Australia.

Noel Pearson’s speech ‘an Australian history for us all’ discusses his approach to trying to solve some of the most systemic problems facing Australian Aboriginals today. The speakers are successful in understanding the ideas and values of the speech. Through the uses of various language techniques and context, Pearson’s speech details the struggles of the relationship between the first European settlers and Aboriginal Australians.

The construction of Aboriginality in Australia has been achieved through a variety of processes, in various places and at various levels of society, giving rise to a complex interaction between the constructions. At the local level, the most striking line of tension may seem to lie between what Aboriginal people say about themselves and what others say about them. But crosscutting this is another field of tension between the ideas of Aboriginality (and non-Aboriginality) that people of all kinds construct and reproduce for themselves, and the constructions produced at the national level by the state in its various manifestations, the mass media, science, the arts and so on (Beckett, 1988).

Throughout the story, Jack was promised many things only to discover that the promise was not sincere. One example, is when Jack is told he will be able to shoot at the Chinook Turkey Shoot. When he arrives Dwight, the person who said he could shoot, informed him that it was adults only; Jack is understandably disappointed (p. 71). This relates to the meaning of the novel, because Jack soon starts to learn that he should not lean on others. The farther we get in the story, the more we see him try not to depend on others. This results in him trying to take his future into his own hands. Taking all of this, it is safe to believe the meaning of the novel is to depend only on yourself as others are quick to disappoint. This detail fit the best

At the beginning of this novel Jack is introduced as the leader of a group of choir boys, and after they decide to put someone in charge other than Jack, Jack and the choir boys become Hunters. In this novel, Jack represents the embodiment of the Devil. Jack’s need for power, as displayed when he was first introduced, “‘I ought to be chief,” said Jack with simple ignorance, “because I’m chapter chorister and head boy. I can sing C sharp.’” This also foreshadows the fact that Jack is not capable of being under the leadership of others. He craves power in a way that will ultimately lead to violence. He represents the fall of man, just like in the Garden of Eden. When more biguns join Jack, they begin painting themselves, concealing their identities