Master of Arts / Department of History / Andrew Orr / This thesis will examine the home front of Australia during the Gallipoli campaign of 1915 in order to better understand how Australians conceived of the battle. It argues that individuals within the office of the prime minister self-consciously interpreted the battle in an attempt to establish a uniform national identity that was separate from British imperialism. It also argues that the campaign reinforced prewar gender roles for men and women. Historians have largely ignored the Australian home front during World War I and the immediate postwar period, focusing instead on how Gallipoli has been memorialized over time or on traditional military aspects of the campaign. Analyzing such themes as gender, identity, and race brings questions of citizenship and male and female gender roles into a perspective not yet adequately explored in historical literature. Applying these perspectives to the subject of Australia and Gallipoli, helps us to understand that the campaign was far more than merely a military engagement. It was a social experience that enabled the executive powers of the Australian government the ability to formulate a national identity and restructure society into the image it desired.

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Thesis (Ph. D.)--University of Queensland, 2002. / Includes bibliographical references.

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In a time of rapid social change pilgrimages are resurfacing as significant and visible social phenomena. Australia has historically been noted as a very secular society but in recent years there has been some scholarly attention to forms of spirituality outside of the orthodox, Church religion. In matters of national identity and commitment to place it is argued that there could be an upsurge in spirituality, in contrast to the decline of those practising formal religion. In this dissertation it is argued that two journeys undertaken by contemporary Australians can be considered true pilgrimages with spiritual dimensions and are therefore part of a growing spirituality apart from formal Church. A survey of the theological and anthropological literature about pilgrimages allowed the development of an eight-point frame of criteria that could be used as a standard against which an assessment of contemporary journeys could be made. Pilgrimage is a non-local physical journey to a historically and or mythically significant site or shrine that embodies the centre of a person’s most valued ideals. These ideals may or may not be theistic but must be portrayed within the limits of the culture. The shrine casts an image of the culture and has an expert shrine custodian, but has the capacity to absorb a multiplicity of discourses. Pilgrims go to a shrine to experience the place of past events, take home spiritual traces and to model a changed or improved future. In order to apply this frame to two Australian journeys, field trips were made to the plaster image of Mary at Our Lady of Yankalilla Church in South Australia and to Gallipoli in Turkey around the Anzac Day commemorations in 2000. Participant observations and interviews with six key informants, when considered in association with the historical context and media reports, provided ‘thick description’ of the behaviour at the journey destinations and insight into participants’ experiences, motives and understandings. Both journeys, the sacred and ostensibly secular, satisfied the frame of criteria for a pilgrimage. Furthermore they may also exemplify some features that are distinctively Australian, in that in these pilgrimages spontaneity and egalitarianism jostled against bureaucratic structures and national hierarchies.

Peter Weir is one of Australia’s most critically acclaimed and commercially successful directors. Ever since Weirs feature film debut with The Cars that Ate Paris in 1974, his work has been explored for unifying themes. Scholars have analysed his films from many perspectives: the establishment of identification and identity especially through binary oppositions in the diegesis; the creation of an oneiric atmosphere as a way of exploiting the spectators dream experience; a clash of value systems; the ambiguous nature of narrative structure and character motivations leading to the creation of a sense of wonder; the experience of the protagonist placed in a foreign culture wherein conflict arises from social clashes and personal misunderstandings; and at the particular ways his films adapt generic codes in service of a discernible ideological agenda. . To the best of my knowledge there has been no study of the mystical element of Weirs work in relation to the construction of a cinematic mystical gaze or act of spectatorship. / Within a culture defined by its secularity and a national cinema marked by quirky comedies and social realism, almost all of Weirs films have been described as mystical, arcane or interested in metaphysics. Such an observation could warrant no further investigation if it is held that this critical commentary is but hyperbole in its attempt to grasp what constitutes a Peter Weir film. If, however, language constructs meaning, then the recurrence of references to Weirs mysticism needs to be taken seriously to see what effect this might have exerted on the nature and structure of the Weir text. I will argue that the major consequence of Weirs fascination with the mystical has been the construction of a mystical mode of spectatorship. Furthermore, because other directors and films have been described in similar ways this study opens up a discussion about whether these observations about the mystical qualities in the viewing experience hold importance for other filmmakers, and theories of the gaze in the cinema.

This study examines the changing perceptions of Anzac Day in New Zealand, Australia and Turkey in the twentieth century. Changing interpretations of Anzac Day reflect social and political changes in the nations over that time. Anzac Day is an annual commemoration which has profound significance in the Australian and New Zealand social landscape. It has undergone significant changes of meaning since it began, and may be regarded as being an example of the changeable script of memory. The thesis argues that memory and landscape intersect to influence the way commemorative gestures are interpreted. Personal and community memories are fluid, influenced by the current historical landscape. This means that each successive Anzac Day can have different connotations. The public perception of these connotations is traced for each of New Zealand, Australia and Turkey. Anzac Day reflects the forces at work in the current historical landscape. Within that landscape it has different meanings and also functions as an arena for individual and community agency. On Anzac Day there are parades and services which constitute a public theatre where communities validate military service. Individual and communal feats are held high and an ethic or myth is placed as a model within the social fabric. Anzac Day is contested and reflects tides of opinion about war and society and the role of women. It is also the locale of quiet, personal contemplation, where central family attachments to the loved and lost and the debt owed by civilian communities to the military are expressed. Generational change has redefined its meanings and functions. Anzac Day was shaped in a contemporary historical landscape. It reflected multi-national perspectives within British Empire and Commonwealth countries and Turkey. For Turkey the day represented a developing friendship with former foes and was couched within Onsekiz Mart Zaferi, a celebration of the Çanakkale Savaşlari 1915 victory in the Dardanelles campaign. As Anzac Day evolved, Turkey, the host country for New Zealand and Australian pilgrims, became the focus of world attention on the day. Gallipoli is now universally recognised as the international shrine for Anzac Day.

The purpose of this thesis is to investigate the interplay between the technology, tactics and organisation of the First AIF. Warfare in the twentieth warfare is characterised by the presence of certain technologies that give it a distinctive nature and which first appeared in the Great War. It was in the Great War that the highly dispersed form of tactics that we know today emerged. Thus, it is a natural starting point not only for the examination of warfare in the era of technology but for considering the nature of technological change itself. My Australian perspective enabled issues to be looked at to a depth that would not be possible in a work of this length with a broader view. I have argued that the Great War was characterised by the problem of trench warfare, and I have traced the progress of tactical, technological and organisational developments that ultimately supplied the solutions. I have also shown how the Great War was not only a war of technology in which new technologies were introduced and developed, but also one which saw the spread of new ways of thinking about military technology. In preparing this thesis, I have inspected the actual battlefields in France, Belgium and Turkey. I have drawn on a broad range of published material, but the thesis is largely based upon the primary documents found in the Australian War Memorial and Australian National Archives.

The First World War is remembered by many as a series of gigantic battles along a system of tranches in France. However, a number of other engagements, equally important, took place. One of the most prominent and fascinating of these engagements was the Dardanelles Campaign. Beginning in February 1915, the campaign lasted until the evacuation of the Cape Halles positions in January 1916. It originated as an attempt by the political leadership in London to seek a victory which would ease the Imperial situation, strengthen allied diplomacy with the neutrals, boost morale and achieve a victory without the expansive methods being advocated by the 'Westerners' in northern France. [...]