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                  <text>Medievalism on the Page</text>
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                  <text>This Collection examines literary medievalism from the mid-nineteenth century to the present day. It traces an arc from the populist literary medievalism of the nineteenth century, through the more rarefied modernist turn of the mid-twentieth century, to the re-emergence of popular forms such as childrenâ€™s literature and fantasy since the 1980s. In this Collection you will find items relating to printed medievalist works and also to medievalism operating in print, for example in references to medieval events, people, and literature in nineteenth- and twentieth-century texts and dramatic works.</text>
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              <text>&lt;a href="http://www.adm.monash.edu.au/records-archives/archives/cgi-alias/monpix?IMAGE_NUMBER=4398"&gt;http://www.adm.monash.edu.au/records-archives/archives/cgi-alias/monpix?IMAGE_NUMBER=4398&lt;/a&gt;</text>
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                <text>"Rumpelstiltskin" Pan Pow Productions stage performance at Monash University, 1974</text>
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                <text>Alexander Theatre, child, fairytale, gold, Grimm Brothers, king, knights, medieval costume, medieval dress, Monash University, Monash, university, Pan Pow Productions, performers, play, queen, Rumpelstiltskin, spinning wheel, straw, theatre, theatre group, theatrical production, Victoria</text>
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                <text>A Photograph of Act 1, Scene 4 from a 1974 stage performance of "Rumpelstiltskin" at the Alexander Theatre, Monash University, featuring Beverley Gardiner as Gretchen and Penelope Richards and Paul Kennedy as the two knights.&#13;
&#13;
â€œRumpelstiltskinâ€ is a childrenâ€™s fairytale by Jacob and Wilhelm Grimm. It was first written in 1812 and expanded in 1857. It tells the story of a Millerâ€™s daughter who is forced to spin straw into gold on threat of her life for three successive nights. A little man appears and offers to spin the straw for reward. On the first night she gives him her necklace, on the second her ring but on the third she has nothing to give and promises him her first born child. Years later, after she has married the king and has her first child, the man appears and gives the queen three days to guess his name or he will take her child. After two days of guessing to no avail, the queenâ€™s messenger (according to the 1857 version) stumbles upon the man dancing and singing in a house in the forest. The song he sings mentions his name, which the queen correctly reveals the following day. Although no date is given in the tale, the characters - involving a king, a queen and royal knights - and the importance of the spinning wheel are often assumed to indicate a medieval setting.</text>
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            <description>An entity primarily responsible for making the resource</description>
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                <text>Anon.</text>
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            <name>Source</name>
            <description>A related resource from which the described resource is derived</description>
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                <text>Monash University Archives</text>
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                <text>Monash University</text>
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                <text>1974</text>
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            <description>Information about rights held in and over the resource</description>
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                <text>Monash University</text>
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        <name>performers</name>
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        <name>queen</name>
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        <name>Rumpelstiltskin</name>
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        <name>spinning wheel</name>
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        <name>straw</name>
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        <name>theatre</name>
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        <name>university</name>
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        <name>Victoria</name>
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              <name>Title</name>
              <description>A name given to the resource</description>
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                  <text>Medievalism on the Page</text>
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                  <text>This Collection examines literary medievalism from the mid-nineteenth century to the present day. It traces an arc from the populist literary medievalism of the nineteenth century, through the more rarefied modernist turn of the mid-twentieth century, to the re-emergence of popular forms such as childrenâ€™s literature and fantasy since the 1980s. In this Collection you will find items relating to printed medievalist works and also to medievalism operating in print, for example in references to medieval events, people, and literature in nineteenth- and twentieth-century texts and dramatic works.</text>
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          <name>Original Format</name>
          <description>If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data</description>
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              <text>&lt;a href="http://recordsearch.naa.gov.au/scripts/PhotoSearchItemDetail.asp?M=0&amp;amp;B=11751878&amp;amp;SE=1"&gt;http://recordsearch.naa.gov.au/scripts/PhotoSearchItemDetail.asp?M=0&amp;amp;B=11751878&amp;amp;SE=1&lt;/a&gt;</text>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Murder Scene, 'Murder in the Cathedral', Bonython Hall, Adelaide.</text>
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                <text>actor, actors, Adelaide, archbishop, Archbishop of Canterbury, Australian Elizabethan Trust, Bonython Hall, Canterbury Cathedral, cathedral, Hugh de Morville, knight, murder, â€˜Murder in the Cathedralâ€™, medieval crime, play, Reginald Fitzurse, Richard le Bret, Robert Speaight, South Australia, T. S. Eliot, Thomas aâ€™Becket, Thomas Becket, verse drama, William de Tracy</text>
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                <text>British actor, Robert Speaight (as Thomas a'Becket) in the murder scene from 'Murder in the Cathedral', performed in Bonython Hall, Adelaide, with 4 knights (L to R: Ron Haddrick, Ken Broadbent, Eric Reiman and Ron Graham, members of the Australian Elizabethan Theatre).&#13;
&#13;
â€˜Murder in the Cathedralâ€™ is a verse drama written by T. S. Eliot and first performed in 1935. The plot recreates the murder of Archbishop Thomas Becket by four knights at Canterbury Cathedral on 29 December 1170. The knights - Reginald Fitzurse, Hugh de Morville, William de Tracy and Richard le Bret - had overhead Henry II complaining about Becket and interpreted it as an order to kill him.</text>
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            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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                <text>Anon.</text>
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            <name>Source</name>
            <description>A related resource from which the described resource is derived</description>
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              <elementText elementTextId="12967">
                <text>National Archives of Australia, Image number L34653</text>
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            <name>Publisher</name>
            <description>An entity responsible for making the resource available</description>
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                <text>Australian News and Information Bureau, Canberra</text>
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            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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              <elementText elementTextId="12969">
                <text>1960</text>
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            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
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              <elementText elementTextId="12970">
                <text>Australian News and Information Bureau </text>
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            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
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                <text>Hyperlink</text>
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        <name>â€˜Murder in the Cathedralâ€™</name>
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        <name>actor</name>
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        <name>Adelaide</name>
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        <name>Bonython Hall</name>
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        <name>Canterbury Cathedral</name>
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        <name>Cathedral</name>
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        <name>Hugh de Morville</name>
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        <name>knight</name>
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        <name>medieval crime</name>
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        <name>murder</name>
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        <name>Reginald Fitzurse</name>
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        <name>Richard le Bret</name>
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        <name>Thomas aâ€™Becket</name>
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        <name>Thomas Becket</name>
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              <name>Title</name>
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                  <text>Medievalism at the Foundations</text>
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                  <text>This Collection illustrates how medievalism has always existed â€˜in plain viewâ€™ in Australian public life, as a conspicuous cultural memory ghosting Australiaâ€™s modernity. It focuses on discourses about, debates over, and changing interpretations of i) Australiaâ€™s medievalist political and religious institutions and rituals, ii) its architecture, and iii) its civic environment. In this Collection are items relating to all three of these key areas. Firstly, you will find items that point to the medieval influences and inflections that still permeate and influence our political, legal and religious institutions and traditions. Secondly, you will find numerous examples of neo-gothic and neo-romanesque architecture, and some cases where architectural features are known to have been modelled on specific medieval buildings. Thirdly, you will find items relating to the ways in which medievalism is incorporated into our civic environments and expressed through statues, monuments and war memorials.</text>
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              <text>Photograph (wood, paint)</text>
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              <text>&lt;a href="http://cas.awm.gov.au/item/REL39642"&gt;http://cas.awm.gov.au/item/REL39642&lt;/a&gt;</text>
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                <text>C. E. W. Bean Oxford University heraldic shield 2nd</text>
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            <description>The topic of the resource</description>
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                <text>Charles Edwin Woodrow Bean, Victoria Barracks, Collaroy, plaque, heraldry, education, historians, official war histories, First World War, WW1, journalism, Sydney Morning Herald, Gallipoli, Western Front, Australian War Memorial, Commonwealth Archives, Sir William Throsby Bridges and Sir Cyril Brudnell Bingham White, Tuggeranong,  Oxford University, shield</text>
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            <description>An account of the resource</description>
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                <text>&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Entry on Australian War Memorial website:&lt;br /&gt; &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;Flat wooden shield designed as a wall plaque, painted with the heraldic crest of Oxford University. The crest features an open book bearing the motto 'Dominus illuminatio mea' , with two crowns above the book and one below. The top of the shield, which is cut from a single piece of wood, includes an inverted 'V' ending in a voided ring which allows it to be displayed on a wall. &lt;/span&gt;&lt;br /&gt; &lt;span&gt;&lt;span&gt;&lt;cite&gt;&lt;strong&gt;Permalink:&lt;/strong&gt; &lt;/cite&gt;&lt;/span&gt;&lt;span&gt;&lt;a href="http://cas.awm.gov.au/item/REL39640" target="_blank"&gt;http://cas.awm.gov.au/item/REL39642&lt;/a&gt;&lt;br /&gt; &lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;br /&gt; &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;</text>
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            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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                <text>Anon.</text>
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                <text>Australian War Memorial</text>
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            <name>Date</name>
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                <text>ca 1898 - 1902</text>
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            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
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              <elementText elementTextId="12979">
                <text>Australian War Memorial&#13;
REL39642</text>
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            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
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        <name>Australian War Memorial</name>
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        <name>Charles Edwin Woodrow Bean</name>
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        <name>Collaroy</name>
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        <name>education</name>
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        <name>First World War</name>
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        <name>historians</name>
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        <name>journalism</name>
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                <text>&lt;span&gt;Signet ring made from 18 carat gold. The face of the ring is impressed with a lion rampant holding a compass. In a scroll below is the latin motto 'MARTE ET ARTE' [By war and arts]. These words are impressed in the reverse to enable the ring to be used as a seal. The inner band of the ring is stamped with a maker's mark and the carat. &lt;/span&gt;&lt;br /&gt; &lt;span&gt;&lt;span&gt;&lt;br /&gt; John Monash GCMG, KCB (1865-1931) was born in West Melbourne and died in&lt;span&gt; 1931 in Melbourne.&lt;br /&gt; &lt;/span&gt; Of Prussian Jewish heritage, he participated in the landing at Anzac Cover Gallipoli and assumed command of the Australian Corps in May 1918. He was a key strategist in the campaigns in France and served and commanded troops in Gallipoli.&lt;br /&gt; &lt;span&gt;&lt;br /&gt; Entry on Australian War Memorial website:&lt;br /&gt; &lt;/span&gt;&lt;span&gt;'&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;John Monash was born in Melbourne on 27 June 1865. He was dux of Scotch College and studied arts and engineering at Melbourne University, where he was also involved in debating and student politics. Outside of university he dabbled in acting. In 1884 he joined the university company of the 4th Battalion, Victorian Rifles. &lt;br /&gt; &lt;br /&gt; Monash worked on the construction of the Princes Bridge in Melbourne and in 1888 was placed in charge of constructing a new railway even though he had yet to complete his degree. Monash married Hannah Moss in April 1891. He finished his studies in 1895 and, having decided to combine engineering with a military career, was promoted to captain in the Garrison Artillery that year. In 1897 Monash was promoted to major in the North Melbourne Battery and served there for 11 years. &lt;br /&gt; &lt;br /&gt; Meanwhile, he and a friend had established a private engineering practice in 1894. The business grew steadily but a series of setbacks left him with large debts in 1902. Starting again, Monash recovered and became wealthy. He also gained promotion to lieutenant colonel in the Australian Intelligence Corps in 1908. Now prospering in business and the Army, in 1913 Colonel Monash took command of the 13th Infantry Brigade. &lt;br /&gt; &lt;br /&gt; After the outbreak of war, Monash took command of the AIF's 4th Infantry Brigade, landing at Gallipoli on 26 April 1915. In July he was promoted to brigadier. Monash took his brigade to France in June 1916. He became a major general in July and took command of the 3rd Division. The division's first major battle, Messines, was hailed as a great success. Further success followed and in May 1918, Monash was promoted to lieutenant general and given command of the Australian Corps. His first battle in this role, Hamel, came to be considered the 'perfect battle'. Monash remained in command through the victorious battles in the last months of the war. &lt;br /&gt; &lt;br /&gt; After spending eight months in London overseeing the repatriation of the AIF, Monash was welcomed home in Melbourne by an enthusiastic public on Boxing Day 1919. He returned to business and in 1920 became manager of Victoria's State Electricity Commission. An advocate for returned soldiers, Monash also held a range of high-level positions. His opinions were widely sought and he became a leading figure in Melbourne's Jewish community. &lt;br /&gt; &lt;br /&gt; Monash was promoted to general in November 1929. He died of heart disease in Melbourne on 8 October 1931 and was given a state funeral attended by some 250,000 mourners. '&lt;br /&gt; &lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&amp;nbsp;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&#13;
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                <text>&lt;p&gt;Australian infantrymen taking part in the Lord Mayor's Procession march past Buckingham Palace, where King George V was taking the salute. The Lord Mayor's Procession began in 1215, when the citizens of London were allowed to elect a mayor for the first time. The newly elected Mayor was required by the King's charter to make a journey from the City to Westminster to swear allegiance to the Crown. The procession still takes place today; known as the Lord May's Show. It brings together the defence forces, police, Londoners, businesses, charities and livery companies in celebration of London's past and present.&lt;/p&gt;&#13;
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                <text>Charles Edwin Woodrow Bean, Victoria Barracks, Collaroy, plaque, heraldry, education, historians, official war histories, First World War, World War I, journalism, Sydney Morning Herald, Gallipoli, Western Front, Australian War Memorial, Commonwealth Archives, Sir William Throsby Bridges and Sir Cyril Brudnell Bingham White, Tuggeranong, Oxford, university, Oxford University</text>
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                <text>&lt;span&gt;&lt;span&gt;&lt;span&gt;Entry on Australian War Memorial website:&lt;br /&gt; &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;Red painted curved metal shield designed as a wall plaque, with the heraldic crest of Hertford College, Oxford University, on the front in the form of a gold hart's head surmounted by a gold heraldic dagger, both of which are edged in black. The top of the shield has a semi-circular section soldered to it, to which is attached a red painted metal inverted 'V', folded over a metal ring, which allows it to be displayed on a wall. &lt;br /&gt; &lt;/span&gt;&lt;span&gt;&lt;cite&gt;&lt;strong&gt;Permalink:&lt;/strong&gt; &lt;a href="http://cas.awm.gov.au/item/REL39640" target="_blank"&gt;http://cas.awm.gov.au/item/REL39640&lt;/a&gt;&lt;/cite&gt; &lt;/span&gt;&lt;br /&gt; &lt;br /&gt; &lt;span&gt;Summary from Australian War Memorial website:&lt;br /&gt;This object was collected from Charles Bean's study at his home 'Clifton' in Collaroy, NSW. Bean is perhaps best remembered for the official histories of Australia in the First World War, of which he wrote six volumes and edited the remainder. Before this, however, he was Australia's official correspondent to the war. He was also the driving force behind the establishment of the Australian War Memorial. &lt;br /&gt; &lt;br /&gt; Charles Edwin Woodrow Bean was born on 18 November 1879 at Bathurst, New South Wales. His family moved to England when he was ten. He completed his education there, eventually studying classics and law at Oxford. Bean returned to Australia in 1904 and was admitted to the New South Wales Bar. &lt;br /&gt; &lt;br /&gt; Having dabbled in journalism, Bean joined the Sydney Morning Herald as a junior reporter in January 1908. He published several books before being posted to London in 1910. In 1913 he returned to Sydney as the Herald's leader writer. When the First World War began, Bean won an Australian Journalists Association ballot and became official correspondent to the AIF. He accompanied the first convoy to Egypt, landed at Gallipoli on 25 April 1915 and began to make his name as a tireless, thorough and brave correspondent. He was wounded in August but remained on Gallipoli for most of the campaign, leaving just a few days before the last troops. &lt;br /&gt; &lt;br /&gt; He then reported on the Australians on the Western Front where his admiration of the AIF crystallised into a desire to create a permanent memorial to their sacrifice and achievements. In addition to his journalism, Bean filled hundreds of diaries and notebooks, all with a view to writing a history of the AIF when the war ended. In addition he organised the collection of battlefield relics from AIF soldiers on the Western Front through the formation of the Australian War Records Section. In early 1919 he led a historical mission to Gallipoli to collect relics for the Memorial, obtain Turkish accounts of the campaign and report on the condition of war graves. &lt;br /&gt; &lt;br /&gt; On his return to Australia Bean and his staff moved into Tuggeranong homestead, south of Canberra, to work on the official history. In 1921 he married Ethel (Effie) Young, a nursing sister at the Queanbeyan hospital whom he first met when she visited Tuggeranong to play tennis. They later moved to Sydney, where he continued to write at Victoria Barracks. When he began, Bean imagined that the history would take five years to write; in the event it took 23 years, and the final volume did not appear until 1942. &lt;br /&gt; &lt;br /&gt; Besides his written work, Bean worked tirelessly on creating the Australian War Memorial in Canberra. He was present when the building opened on 11 November 1941 and became Chairman of the Memorial's board in 1952. He maintained a close association with the institution for the rest of his life. &lt;br /&gt; &lt;br /&gt; During the Second World War, Bean liaised between the Chiefs of Staff and the press for the Department of Information. He became Chairman of the Commonwealth Archives Committee and was instrumental in creating the Commonwealth Archives. Between 1947 and 1958 he was Chairman of the Promotion Appeals Board of the Australian Broadcasting Commission. He also continued to write, producing a history of Australia's independent schools and finally a book on two senior AIF figures, Sir William Throsby Bridges and Sir Cyril Brudnell Bingham White. Bean received a number of honorary degrees and declined a knighthood. Bean, one of the most admired Australians of his generation, died after a long illness in Concord Repatriation Hospital in 1968. &lt;br /&gt; &lt;br /&gt; Much of the material from Bean's study was originally housed in his Tuggeranong Homestead office where he began writing the official histories. When the family moved it was transferred to his homes in Sydney. Effie continued to use the study after her husband's death. The study was dismantled after her death in July 1991 and transferred to the Australian War Memorial.&amp;nbsp;&lt;br /&gt; &lt;a href="http://cas.awm.gov.au/item/REL39640" target="_blank"&gt;http://cas.awm.gov.au/item/REL39640&lt;/a&gt;&lt;/span&gt;</text>
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                <text>&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Entry on Australian War Memorial website:&lt;br /&gt; &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;Black painted curved metal shield designed as a wall plaque, with the heraldic crest of Oxford University. The crest features an open book bearing the motto 'Dominus illuminatio mea' , with two crowns above the book and one below. The top of the shield has a semi-circular section soldered to it, to which is attached a black painted metal inverted 'V', folded over a metal ring, which allows it to be displayed on a wall. &lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;br /&gt; &lt;/span&gt;&lt;span&gt;&lt;cite&gt;&lt;strong&gt;Permalink:&lt;/strong&gt; &lt;a href="http://cas.awm.gov.au/item/REL39640" target="_blank"&gt;http://cas.awm.gov.au/item/REL39641&lt;/a&gt;&lt;/cite&gt; &lt;/span&gt;&lt;br /&gt; &lt;br /&gt; &lt;span&gt;Summary from Australian War Memorial website:&lt;br /&gt;This object was collected from Charles Bean's study at his home 'Clifton' in Collaroy, NSW. Bean is perhaps best remembered for the official histories of Australia in the First World War, of which he wrote six volumes and edited the remainder. Before this, however, he was Australia's official correspondent to the war. He was also the driving force behind the establishment of the Australian War Memorial. &lt;br /&gt; &lt;br /&gt; Charles Edwin Woodrow Bean was born on 18 November 1879 at Bathurst, New South Wales. His family moved to England when he was ten. He completed his education there, eventually studying classics and law at Oxford. Bean returned to Australia in 1904 and was admitted to the New South Wales Bar. &lt;br /&gt; &lt;br /&gt; Having dabbled in journalism, Bean joined the Sydney Morning Herald as a junior reporter in January 1908. He published several books before being posted to London in 1910. In 1913 he returned to Sydney as the Herald's leader writer. When the First World War began, Bean won an Australian Journalists Association ballot and became official correspondent to the AIF. He accompanied the first convoy to Egypt, landed at Gallipoli on 25 April 1915 and began to make his name as a tireless, thorough and brave correspondent. He was wounded in August but remained on Gallipoli for most of the campaign, leaving just a few days before the last troops. &lt;br /&gt; &lt;br /&gt; He then reported on the Australians on the Western Front where his admiration of the AIF crystallised into a desire to create a permanent memorial to their sacrifice and achievements. In addition to his journalism, Bean filled hundreds of diaries and notebooks, all with a view to writing a history of the AIF when the war ended. In addition he organised the collection of battlefield relics from AIF soldiers on the Western Front through the formation of the Australian War Records Section. In early 1919 he led a historical mission to Gallipoli to collect relics for the Memorial, obtain Turkish accounts of the campaign and report on the condition of war graves. &lt;br /&gt; &lt;br /&gt; On his return to Australia Bean and his staff moved into Tuggeranong homestead, south of Canberra, to work on the official history. In 1921 he married Ethel (Effie) Young, a nursing sister at the Queanbeyan hospital whom he first met when she visited Tuggeranong to play tennis. They later moved to Sydney, where he continued to write at Victoria Barracks. When he began, Bean imagined that the history would take five years to write; in the event it took 23 years, and the final volume did not appear until 1942. &lt;br /&gt; &lt;br /&gt; Besides his written work, Bean worked tirelessly on creating the Australian War Memorial in Canberra. He was present when the building opened on 11 November 1941 and became Chairman of the Memorial's board in 1952. He maintained a close association with the institution for the rest of his life. &lt;br /&gt; &lt;br /&gt; During the Second World War, Bean liaised between the Chiefs of Staff and the press for the Department of Information. He became Chairman of the Commonwealth Archives Committee and was instrumental in creating the Commonwealth Archives. Between 1947 and 1958 he was Chairman of the Promotion Appeals Board of the Australian Broadcasting Commission. He also continued to write, producing a history of Australia's independent schools and finally a book on two senior AIF figures, Sir William Throsby Bridges and Sir Cyril Brudnell Bingham White. Bean received a number of honorary degrees and declined a knighthood. Bean, one of the most admired Australians of his generation, died after a long illness in Concord Repatriation Hospital in 1968. &lt;br /&gt; &lt;br /&gt; Much of the material from Bean's study was originally housed in his Tuggeranong Homestead office where he began writing the official histories. When the family moved it was transferred to his homes in Sydney. Effie continued to use the study after her husband's death. The study was dismantled after her death in July 1991 and transferred to the Australian War Memorial.&amp;nbsp;&lt;br /&gt; &lt;a href="http://cas.awm.gov.au/item/REL39640" target="_blank"&gt;http://cas.awm.gov.au/item/REL39640&lt;/a&gt;&lt;/span&gt;&lt;/span&gt;</text>
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                <text>Interested parties plead their cause, which is to allow distillation of alcoholic drinks, to his Excellency, Lieut, Col. George Gawler, Knight of the Royal Hanoverian Guelphic Order, Governor and Commander-in-Chief of the Province of South Australia, and to the Legislative Assembly. Their main claims are that prohibition does not work, that they need employment, that agricultural productivity relies on distillation and that scaring people about the evils of 'drink' is counterproductive. A medieval English lexicon of complaint is found in the final addresses: 'on these grounds your petitioners respectfully pray', and 'your petitioners will ever pray, etc.' A tone of deferral to his 'Excellency' combines with rational argument against prohibition.</text>
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              </elementText>
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            <name>Language</name>
            <description>A language of the resource</description>
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              </elementText>
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      <tag tagId="1624">
        <name>Distilling</name>
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      <tag tagId="1622">
        <name>George Gawlor</name>
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      <tag tagId="1630">
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      <tag tagId="1626">
        <name>merchants</name>
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      <tag tagId="1625">
        <name>Petition</name>
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      <tag tagId="1623">
        <name>Prohibition</name>
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      <tag tagId="1621">
        <name>Royal Hanoverian Order of Guelphic Knights</name>
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      <tag tagId="1627">
        <name>Tradesmen</name>
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