- Henry Lawson, ‘The Babies in the Bush’, A Camp-Fire Yarn, Lansdowne, Sydney, 1988, p. 774.
- Graeme Davison, ‘Sydney and the Bush: An Urban Context for the Australian Legend’, Historical Studies, October 1978, reprinted in John Carroll (ed.), Intruders in the Bush—The Australian Quest for Identity, Oxford University Press, Melbourne, 1986, pp. 109–130.
- Richard White s Inventing Australia (1981) drove this point home. White attributed the bush myth to the emerging community of professional writers and artists who espoused a masculine bohemian lifestyle, combining radical politics with a sense of estrangement from the experience of modernisation. These ‘boyish’ male intellectuals were cognisant of and influenced by European and American literary and artistic movements, responding to intellectual and political trends, while enjoying the high-spirited lifestyle of ‘bohemian’ bachelorhood. (Richard White Inventing Australia—Images and Identity 1688–1980, Allen and Unwin, Sydney, 1981.)
- Ian Burn, ‘Beating About the Bush: The Landscapes of the Heidelberg School’, in Anthony Bradley and Terry Smith (eds), Australian Art and Architecture: Essays Presented to Bernard Smith, Oxford University Press, Melbourne, 1980, pp. 83–98.
- For further accounts of the different perspectives, values and social positions of writers and artists, see John Barnes, ‘The Mechanic and the Artist—Joseph Furphy and John Longstaff as Fellow-Townsmen’, Journal of Australian Studies, no. 26, May 1990, pp. 66–77; and Leigh Astbury, ‘Cash Buyers Welcome: Australian Artists and Bohemianism in the 1890s’ Journal of Australian Studies, no. 20, May 1987, pp. 23–37.
- Ian Burn, op cit., p. 89.
- ibid., p. 96.
- ibid., p. 95.
- Jury M. Lotman, ‘The Origin of Plot in the Light of Typology’, Poetics Today, vol. 1, no. 1-2, 1979, p. 167.
- Tom Roberts, reported in Sydney Morning Herald, 21 October 1895, p. 3; cited in Jane Clark and Bridget Whitelaw, Golden Summers: Heidelberg and Beyond, exhibition catalogue, International Cultural Corporation of Australia, 1985, p. 129.
- Henry Lawson, ‘If I Could Paint’, A Camp-Fire Yarn, op. at., p. 576.
- Helen Topliss, The Artists’ Camps: ‘Plein Air’ Painting in Australia, Hedley, Melbourne, 1992, p. 66.
- Ian Burn, op. cit., p. 96.
- Leigh Astbury, ‘Certainty and Ambivalence in the Art of Frederick McCubbin’, in Bridget Whitelaw (ed.), The Art of Frederick McCubbin, National Gallery of Victoria, Melbourne, 1991, p. 14.
- Age (29 March 1890), cited in Jane Clark and Bridget Whitelaw, Golden Summers: Heidelberg and Beyond, op. at., p 135.
- Table Talk (14 March 1890), cited ibid., p. 135.
- Sidney Dickinson, letter to Argus (24 April 1890), cited ibid.
- Table Talk (14 March 1890), cited ibid.
- Sue Rowley, ‘Inside the Deserted Hut: The Representation of Motherhood in Bush Mythology’, Westerly, vol. 34, no. 4, December 1989, pp. 76–96.
- Elizabeth Deeds Ermarth, Realism and, Consciousness in the English Novel, Princeton University Press, Princeton, 1983, p. 40.
- Kathleen Mangan, Daisy Chains, War, Then Jazz, Hutchinson, 1984, pp. 15–16; cited in Bridget Whitelaw (ed.), The Art of Frederick McCubbin, op. cit., p. 90.
- Bridget Whitelaw (ed.), The Art of Frederick McCubbin, op. at., p. 90.
- Helen Topliss, op. at., p. 112.
- Homi K Bhabha, ‘DissemiNation: Time, Narrative, and the Margins of the Modern Nation’, in Homi K. Bhabha (ed.), Nation and Narration, Routledge, London and New York, 1990, p. 297.
- See Graeme Turner, National Fictions—Literature, Film and the Construction of the Australian Narrative, Allen and Unwin, Sydney, 1986, p. 36: ‘The contradictions of urban existence are displaced and resolved in the myth of the ideal, organic, non-contradictor)’ existence in the land.’
- Leigh Astbury, ‘Certainty and Ambivalence in the Art of Frederick McCubbin’, op. cit., p. 9.
- Hans Ulrich Gumbrecht, Making Sense in Life and Literature (trans. Glen Burns), Theory and History of Literature, vol. 79, 1992, p. 101.
- See Susan Magarey, Sue Rowley & Susan Sheridan, Debutante Nation—Feminism Contests the 1890s, Allen & Unwin, Sydney, 1993.
- Marilyn Lake, ‘The Politics of Respectability: Identifying the Masculinist Context’, Australian Historical Studies, vol. 22, no. 86, 1986, pp. 116–131, re-published in Susan Magarey, Sue Rowley and Susan Sheridan (eds), Debutante Nation, op. cit. See also the ensuing debate: Chris McConville, ‘Rough Women, Respectable Men and Social Reform: A Response to Lake's Masculinism’, Historical Studies, vol. 22, no. 88, April 1987, pp. 432–440; Judith Allen, ‘Mundane Men: Historians, Masculinity and Masculinism’, Historical Studies, vol. 22, no. 89, October 1987, pp. 617–628. John Docker pursued the debate in a number of publications, arguing that ‘the feminists’ are creating their own legend of the 1890s; see for example, John Docker, ‘The Feminist Legend: A New Historicism?’ in Susan Magarey, Sue Rowley and Susan Sheridan (eds), op. cit.
- Marilyn Lake, ‘Women, Gender and History’, Australian Feminist Studies, nos 7 & 8, Summer 1988, p. 5; Susan Sheridan, ‘Louisa Lawson, Miles Franklin and Feminist Writing, 1888–1901’, Australian Feminist Studies, nos 7 & 8, Summer 1988, pp. 30–1.
- Michael Bommes and Patrick Wright, ‘Charms of Residence. The Public and the Past’, in R. Johnson et al (eds), Making Histories: Studies in History-writing and Politics, Hutchinson, London, 1982, pp. 253–302.
- Sandra A. Zagarell, ‘Narrative of Community: The Identification'of a Genre’, Signs, vol. 13, no. 3,1988, p. 503.
- Nancy Cott, The Bonds of Womanhood: ‘Woman's sphere’ in New England 1780–1835, Yale University Press, New Haven, 1977.
- See Elizabeth Wilson, The Sphinx in the City Urban Life—The Control of Disorder and Women, Virago, London, 1991; Doreen Massey, ‘A Place Called Home’, New Formations—The Question of ‘Home’, no. 17, Summer 1992, pp. 3–15.
- Leigh Astbury, ‘Certainty and Ambivalence in the Art of Frederick McCubbin’, op. cit., p. 9.
Australian Journal of Art
Volume 12, 1994 - Issue 1: In Memoriam: Ian Burn