Arthur Roberts was a schoolmaster in country NSW (1861 to 1894) and it was education and the changing educational system that shaped his life. Born in the hop-growing region of Kent, England, his life and prospects were transformed by a wave of educational reform that carried him far from family, class and country. Roberts found himself on the frontier of attempts to establish a national school system in Australia. With a swiftly growing family - one with a severe disability - he was moved from one struggling district to another, fighting insolvency, ignorance, natural disaster and bitter sectarian divides. His letters requesting schoolroom furniture, upgrades to buildings and teaching assistants give some insight into his plight. Photographs and family folklore reveal a taciturn, deeply flawed man while the evidence of writings (as Scone correspondent for The Maitland Mercury) suggests a fiery intelligence and defiant pride. This is amplified by a portrait of Roberts in Havelock Ellis's autobiographical novel, Kanga Creek. The schoolmaster, Mr Williams, is portrayed as an educated and passionate agnostic who uses the pen name Anti-Humbug when writing letters to The Stockwhip, a journal possibly modeled on publications like The Bulletin. This narrative presents these contradictions and hopefully gives the reader some sense of this teacher's journey.
Thanks for entering into this adventure in coloring. I am looking forward to sharing my love and passion for artistic coloring with you. I created all of the 30 images in this book by hand using my own personal collection of photos taken by myself as inspiration. I then used various symmetry software tools to complete the overall designs you see here. Although the images are copyrighted, as the buyer of this book, please feel free to copy them for your personal use. If you choose to do so, this will keep the book new and ready for use. Some folks prefer to color on a heavier paper so that the color from marker pens will not bleed through the paper. I'll often color on 80lb paper. Each image is on only one side of the page, the reverse side being left blank. If you'd rather color right inside the book, I'd recommend using blotter paper or a thin piece of cardboard behind your page, just to protect the next image from any color bleeding through to the next page, especially if you plan to use marker pens for coloring. This will keep all your images clean for you to work on. It is also fine for you to use regular crayons or colored pencils. The designs are suitable from beginning to advanced students. The important thing is . . HAVE FUN! Don't forget to check out my other books in the HEARTS AND FLORALS series. I am dedicated to producing these designs for you. - Marie Kaye"
Utilizing biographical, demographic, political, social, and cultural approaches, the nine essays in this book provide a probing look at the South's diversity and its important place in the national past. The authors explore the tension between the South's well-worn mythic images and the diversity that bred such influential leaders as Philip Mazzei, Henry Clay, A. B. Happy Chandler, and John Sherman Cooper. The chapters illustrate the South's complexity in assessing the region's plain folk, slave panics, military strategy, racial reform, and temperance movement. The book untangles the South's mythology and offers fresh and penetrating insights into the ongoing reassessment of the region.
Written by leading experts on the South's rich past, this book provides nine essays on the history of the South. Utilizing biographical, demographic, political, social, and cultural approaches, the essays provide a probing look at the South's diversity and its important place in the national past. The authors explore the tension between the South's well-worn images and the diversity that bred such influential leaders as Philip Mazzei, Henry Clay, A. B. Happy Chandler, and John Sherman Cooper.
The South has always been a land of complexity and change. "A Mythic Land Apart" illustrates this in assessing the region's plain folk, slave panics, military strategy, racial reform, and temperance movement. Whether captured in fiction, film, or historical literature, the South's history remains intertwined with its mythic self. The essays in this book untangle the South's mythololgy and offer fresh and penetrating insights into the ongoing reassessment of the region.
Since the 1990s, artists and art writers around the world have increasingly undermined the essentialism associated with notions of "critical practice." We can see this manifesting in the renewed relevance of what were previously considered "outsider" art practices, the emphasis on first-person accounts of identity over critical theory, and the proliferation of exhibitions that refuse to distinguish between art and the productions of culture more generally. How Folklore Shaped Modern Art: A Post-Critical History of Aesthetics underscores how the cultural traditions, belief systems and performed exchanges that were once integral to the folklore discipline are now central to contemporary art's "post-critical turn." This shift is considered here as less a direct confrontation of critical procedures than a symptom of art's inclusive ideals, overturning the historical separation of fine art from those "uncritical" forms located in material and commercial culture. In a global context, aesthetics is now just one of numerous traditions informing our encounters with visual culture today, symptomatic of the pull towards an impossibly pluralistic image of art that reflects the irreducible conditions of identity.
Arguing in favour of renewed critical attention to the 'nation' as a category in art history, this study examines the intertwining of art theory, national identity and art production in Britain from the early eighteenth century to the present day. The book provides the first sustained account of artwriting in the British context over the full extent of its development and includes new analyses of such central figures as Hogarth, Reynolds, Gilpin, Ruskin, Roger Fry, Herbert Read, Art & Language, Peter Fuller and Rasheed Araeen. Mark A. Cheetham also explores how the 'Englishing' of art theoryÃ¢"which came about despite the longstanding occlusion of the intellectual and theoretical in British cultureÃ¢"did not take place or have effects exclusively in Britain. Theory has always travelled with art and vice versa. Using the frequently resurgent discourse of cosmopolitanism as a frame for his discourse, Cheetham asks whether English traditions of artwriting have been judged inappropriately according to imported criteria of what theory is and does. This book demonstrates that artwriting in the English tradition has not been sufficiently studied, and that 'English Art Theory' is not an oxymoron. Such concerns resonate today beyond academe and the art world in the many heated discussions of resurgent Englishness.
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