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Countries with no or few women in positions of government, for instance have maximum sexual assault cases. Studies indicate that there is a correlation between sexual assault and the lack of women in positions of authority.

Abstract The current anthropogenic climate crisis presents unique challenges to the higher education classroom. Pedagogy in the context of climate change must be attuned to complex and varied student experiences that can contend with feelings of anxiety, disconnection, distress and hopelessness. As educators and researchers, we collate our pedagogical approaches in the humanities and social sciences to progress ongoing discussions about climate pedagogy and highlight possibilities for action from Australia. Drawing on the inherent interconnectedness of our disciplines, we offer an interdisciplinary agenda for teaching in the climate crisis that is attuned to framing, positionality and reflexivity; multiple temporal and spatial scales; other ways of living and knowing; and creative action and activism to cultivate an affective classroom. [ABSTRACT FROM AUTHOR]

Xavier Herbert is one of Australia's outstanding novelists and one of the more controversial. In his time, he was also an outspoken public figure. Yet many young Australians today have not heard of the man or his novels. His key works Capricornia (1938) and Poor Fellow My Country (1975) won major awards and were judged as highly significant on publication, yet there has been relatively little analysis of their impact. Although providing much material for Baz Luhrmann's blockbuster film Australia (2008), his works are rarely recommended as texts in school curricula or in universities. Gough Whitlam took a particular interest in the final draft of Poor Fellow My Country, describing it as a work of 'national significance' and ensuring the manuscript was sponsored to final publication. In 1976 Randolph Stow described it as 'THE Australian classic'. Yet, a search of the Australian Literature database will show that it is one of the most under-read and least taught works in the Australian literary canon. In our view, an examination of his legacy is long overdue. This collection brings together new scholarship that explores the possible reasons for Herbert's eclipse within public recognition, from his exposure of unpalatable truths such as interracial intimacy, to his relationship with fame. This reevaluation gives new readings of the works of this important if not troublesome public intellectual and author. [ABSTRACT FROM AUTHOR]

National belonging for Xavier Herbert was intimately tied to interracial sexuality. 'Euraustralians' ('half-castes') were for Herbert a redemptive motif that could assuage the 'awful loneliness of the colonial born' by which he hinted at the land claim of settler-colonials as spurious. Herbert's exposure of the spectrum of interracial sex--from companionate marriage to casual prostitution to endemic sexual assault--in his novels Capricornia (1938) and Poor Fellow My Country (1975) was unprecedented and potentially game-changing in the administration of Aboriginal women's sexuality under the assimilation era. But his deeply fraught masculinity was expressed through a picaresque frontier manhood that expressed itself through this spectrum of relations with Aboriginal women. For all his radical assertions of a 'Euraustralian' or hybrid nation, Herbert was myopic and dismissive of the women attached to the 'lean loins' he hoped it would spring from. He was also vitriolic about the white women, including wives, who interfered with white men's access to Aboriginal women's bodies. In this article I examine how Herbert's utopian racial destinies depended on the unexamined sexual contract of monogamy and the asymmetrical pact to which it consigned white men and white women, and the class of sexually available Indigenous women, or 'black velvet', it rested on in colonial scenarios of sex. [ABSTRACT FROM AUTHOR]

Categorical analysis pervades scholarly research. Yet types, and the typologies that catalogue them, have been unexamined frameworks in cultural histories. Types certainly pervade studies as types, yet the typologies they are nested within, as overarching and conjoined descriptive orders, remain largely unexamined outside the social sciences or histories of ideas. As such social kinds are rarely historicized or theorized beyond documenting their meaning, presence and less often, their recurrence. While it is widely accepted that categories and standards pervade knowledge and language systems, from comparative anatomy to linguistic etymology, colloquial typecasting is yet to be considered as a discursive practice. Yet since the voyages of exploration the arrangement of new botanical specimens into networked zoological categories was accompanied by the designation of racial kinds through typecasting, and these popular types were often transcribed into print, and very often credited with the empiricity of natural history. The purpose of this collection is understanding the operation of types and typologies in colonial thought and inaugurating theories of types that can account for the transferral of categories across knowledge registers. The ideas canvassed seek to account for the material basis of types in print, and their valencies across epochs, and the ways they impact on one another and how they interact with invaded cosmologies. The intention of this collection is to account for the classificatory tendencies, or taxonomic fields, which colonial types can be situated within and query whether the cultural tendency for typologies was intensified within colonial perceptual relations. [ABSTRACT FROM PUBLISHER]

Reynell Eveleigh Johns held various posts in the public service in central and northeastern Victoria. From 1858 to 1903 Johns maintained five scrapbook volumes, amassing some sixty-five articles and engravings from newspaper cuttings on Aborigines. Concurrently European and ‘native’ bodies were partitioned and aggregated into raced and gendered identities through clothing and adornment. The shift in textile manufacture from workshop to factory, and spinning frames to water-powered mechanized looms, coincided with the development of the steam-driven cylinder press, typefounding, typesetting and paper-making machinery. This essay is concerned with patterns of meaning, created by the assemblage of component parts, as inscripting topographies of racialized literacy. It argues that surfaces, either raised or recessed, tenured understanding to the economies of print and textile within colonial perception. The industrialization of print and textile overlapped chronologically with the exploration, settlement and expansion of frontiers in Australia, from 1780 to 1840. These technologies created distinct impressions and provided various forms of coverage. Their facility for reproduction and reiteration entrenched the colonial social matrix from which racial identities and their divisions emerged. By reiterative marks across various surfaces, the moveable parts of press and loom assembled social categories that were aggregated and imprinted, or woven, into the colonial imagination. [ABSTRACT FROM PUBLISHER]

This article investigates the emergence and circulation of the term ‘Lubra’ as a referent for aboriginal women in Australia. The article ranges across contemporary classificatory systems or the typologies that supported the use of ‘Lubra’, narratives of inter-racial encounter, early settler dictionaries of vernacular languages, nineteenth-century anthropology, journalism and visual tropes in advertising and print media. This wide-ranging survey provides the basis to assess the recurrence of racialised types in white imaginings and their role in understandings of human difference. [ABSTRACT FROM AUTHOR]

The dissemination of the Piccaninny type critically depended on the print media whose development coincided with, and underpinned, colonial modernity. Racialized child types such as the Piccaninny were put to work in the colonial imagination to set down very distinct claims to land ownership, inheritance, dispossession and eradication. While a number of such child types reflect ideas of inheritance in colonial discourse, such as the Bush Baby, Wild Child, Street Urchin, Drover's Boy, Half-caste and Lost Child, this paper concentrates on the Piccaninny type, tracing its recurrence and meanings in Australian cultural forms. It accounts for the recurrence of this figure of childhood as a racialized type, and examines the ways Australia put images of Indigenous children to work in producing a mythology of national identity and tenure. The Piccaninny type encapsulated an acquisitive impulse over colonized children that brought about their disinheritance—either through their removal from their families or through the dispossession of their homelands. Within this setting black child beauty as a commodity form for white consumption, in imagery, ceramics, fabrics and popular ephemera, acted as a fetish which disavowed the injury of these children's disinheritance and delimited their cultural presence to cute domestic and tourist bric-a-brac. The Piccaninny denoted racialized children and, this paper argues, was deployed in colonial discourse to outline the lineage of inheritance, particularly in land tenure. [ABSTRACT FROM AUTHOR]

Conventional use of the colonial visual archive as evidence and historical illustration is undergoing a significant shift, giving way to creative interventions by Indigenous Australians. The ferment surrounding the 'history wars' has led artists and scholars to rethink the colonial archive as a contested site productive of dynamic and archaic revisions. Departing from the memory ruts that have become entrenched in the national imaginary, these disruptions, reappraisals and refigurings importantly foreground Indigenous Australia's relationship with the colonial archive. [ABSTRACT FROM AUTHOR]

This paper theorises a discourse of settler homelands in which a dichotomy of lived interior and exterior was transferred to ideas of racial difference. Settlers depended on a range of perceptual relations, of looking, documenting and publishing, to convey a notion of racial asymmetry through the divide of built and 'undeveloped' surrounds. Settlers carefully observed the 'landmarks', or spatially-grounded signs of difference, often blind, or unable to assimilate the marks of Indigenous habitation to their systems of knowledge. These perceived differences of dominion were central to legitimating a discourse of settler homelands and to discrediting Indigenous tenure. [ABSTRACT FROM AUTHOR]

Xavier Herbert's classic Australian novels Poor Fellow My Country (1975) and Capricornia (1938) are acknowledged as directly influencing Baz Lurhmann's film Australia. Aboriginal children have a particular significance in white imaginings of a distinctly Australian race destiny. Moreover, the 'creamy' Aboriginal child has become a redemptive emblem of reconciliation in cultural imaginings. This article revisits Herbert's Aboriginal child character, Prindy, in Poor Fellow My Country, to assess Herbert's nationalist ambitions and how they were embodied by the mixed-descent child in his work. It situates this aspiration within an acquisitive impulse towards racialized children that characterized British colonialism, and that re-appears in Luhrmann's Australia. [ABSTRACT FROM AUTHOR]

Feminine beauty was implicated in colonial ways of seeing Indigenous peoples. The Australian 'Native Belle', as the feminine type of the noble savage, caught the European imagination at the time that European women such as Mary Wollstonecraft inaugurated a critique of feminine beauty as enslaving. Representations of the native belle were disseminated through new forms of communication and were implicated in prevailing discourses of Indigenous peoples such as ethnology. The native belle demonstrates a European longing for feminine beauty that was natural and unaffected. This type also demonstrates that ideas of visual identity as manifest in feminine beauty were important descriptors of racial difference. [ABSTRACT FROM AUTHOR]

The article reflects on papers regarding the future of feminist history. The author comments on Natasha Campo's research presented at the Lilith conference, Helen Masterman-Smith's view of feminist history as a political project, and Pei Yuxin's work on beautiful women writers. She also discusses the rise of Choi Phong to fame as researched by Petula Sik-ying Ho.

The author conveys her thoughts about the art of diplomacy, technology, and World War I from 1914 to 1918. Topics mentioned include the assassination of Austrian Archduke Franz Ferdinand and his wife, communication between heads of state through telegraph, and the thesis of author Stephen Kern in his magisterial 1983 history book "The Culture of Time and Space."