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Full-Text Articles in Social and Behavioral Sciences
Antipodean Wanderer In The Mediterranean, Melissa Boyde
Antipodean Wanderer In The Mediterranean, Melissa Boyde
Melissa Boyde
The opening image of the writer as a young girl in Australia putting together jigsaw pieces to form an image of antiquity is a metaphor for what happens in Diana Wood Conroy’s book The Fabric of the Ancient Theatre. Midday. The car drove off and I was left alone at the site of old Paphos. The place seemed oddly familiar – perhaps the light reminded me of the jigsaw puzzle of the Mediterranean coast that I had so obsessively put together as a child, and then scattered to be reassembled again. The book gathers together a range of experience, reading, …
The Poet And The Ghosts Are Walking The Streets: Hope Mirrlees – Life And Poetry, Melissa Boyde
The Poet And The Ghosts Are Walking The Streets: Hope Mirrlees – Life And Poetry, Melissa Boyde
Melissa Boyde
Hope Mirrlees (1887-1978), a British writer, was until recently perhaps best known for her fantasy novel Lud-in-the-Mist (1926) which attracted a cult following after its republication in the 1970s. She achieved a measure of celebrity as a result, attested to by the photograph of her, taken with her dog, published in a 1973 Travel and Leisure magazine with the caption: ‘A frequent guest over two decades, poet and novelist Hope Mirrlees and her pug, Fred, are very much at home in the foyer of the Basil’, a Knightsbridge hotel. Mirrlees also wrote two other novels, a biography, several translations and …
Art And Advocacy: Mary Alice Evatt In The 1930s And '40s, Melissa Boyde
Art And Advocacy: Mary Alice Evatt In The 1930s And '40s, Melissa Boyde
Melissa Boyde
On her return to Australia from Europe in 1939, Mary Alice Evatt remarked in an interview for the Australian Women s Weekly that paintings devoted to gum trees, sheep, koalas and misty seascapes were the only Australian works selected to hang in World Fair Art Exhibitions. In addition she derided the decision makers who overlooked Australia's modernist, experimental artists, many of whom were women: 'if only those in authority were to select the paintings of Australian artists who prefer creation to photography, and were less overawed by official selection bodies, Australia might find a worthy place on the art map …
Art And Politics: Mas Evatt And The Evatt Collection, Melissa Boyde
Art And Politics: Mas Evatt And The Evatt Collection, Melissa Boyde
Melissa Boyde
Mary Alice Evatt hung her large collection of paintings in every room of her Canberra house, including the kitchen. "And why not?" she said to a journalist in the 1960s, "It's the room in which a woman probably spends most of her time." It was in her daughter's kitchen in Leura, more than thirty years later, that I first admired a painting hanging on the wall above the workbench; it was Mary Alice's Woman in red. Mary Alice was born at Ottumwa, Iowa, USA in 1898 to Samuel and Alice Maud ('Nene') Sheffer. In the same year they moved to …
The Modernist Roman À Clef And Cultural Secrets, Or I Know That You Know That I Know That You Know, Melissa Boyde
The Modernist Roman À Clef And Cultural Secrets, Or I Know That You Know That I Know That You Know, Melissa Boyde
Melissa Boyde
Roman à clef, a French term meaning ‘novel with a key’, refers to fictional works in which actual people or events can be identified by a knowing reader, typically a member of a coterie. Seventeenth century writer and salonnière Madeleine de Scudéry (1607–1701) is attributed as the innovator of the genre creating it to disguise from the general reader the public figures whose political actions and ideas formed the basis of her fictional narratives. In taking up the genre a number of modernist women writers, including Djuna Barnes and Hope Mirrlees, reflected and reinterpreted this era in the early twentieth …
Making It Accessible: Mary Alice Evatt And Australian Modernist Art, Melissa Boyde
Making It Accessible: Mary Alice Evatt And Australian Modernist Art, Melissa Boyde
Melissa Boyde
In his autobiography art historian Bernard Smith recounts how, as a young art teacher posted to a school at Murraguldrie in country New South Wales (NSW) in the mid 1930s, he tried unsuccessfully to borrow books on modern art from the country lending service of the State Public Library. On a visit to Sydney he made an appointment to see the NSW Chief Librarian W. H. Ifould, “a man of considerable power and influence in New South Wales” who was also a trustee of the National Art Gallery of New South Wales (AGNSW). Smith took to the meeting the small …