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Relevant bibliographies by topics / Australian aboriginal Mythology / Journal articles

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Journal articles on the topic 'Australian aboriginal Mythology'

Author: Grafiati

Published: 4 June 2021

Last updated: 27 July 2025

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1

Norris, Ray P. "Australian Aboriginal Astronomy in the International Year of Astronomy 2009." Communicating Astronomy with the Public 4, no. 2 (2010): 5–9. https://doi.org/10.5281/zenodo.14880960.

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Each of the 400 different Aboriginal cultures in Australia has a distinct mythology, and its own ceremonies and art forms, some of which have a strong astronomical component. Sadly, the Australian media tend to focus on negative aspects of contemporary Aboriginal culture, and very few non-Aboriginal people in the wider Australian community are aware of the intellectual depth of traditional Aboriginal cultures. The International Year of Astronomy 2009 seemed an excellent opportunity to tell the wider public about Aboriginal astronomy, so that they might understand something of the depth and com

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2

Fallon, Breann. "“I am Mother to my Plants”." Fieldwork in Religion 13, no. 2 (2018): 169–82. http://dx.doi.org/10.1558/firn.36021.

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The tree stands as a sacred symbol in many faith traditions. Unsurprisingly, nature-based new religious movements are no exception. This article considers the manifestation of sacred trees in a number of religious traditions, including Australian Aboriginal and Torres Strait Islander spirituality, Abrahamic traditions, Ancient Egyptian religion, Buddhism, Hinduism, Norse mythology, the Shinto faith, and nature-based new religious movements. After this initial section, I present the findings of a fieldwork project undertaken in 2016. Using the survey as a tool, this project enquired into the us

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3

Cockburn, Sylvia, and Alethea Beetson. "(Re)Presenting Indigenous Histories of the First World War: Case Studies for Museums." Memoirs of the Queensland Museum - Culture 11 (2020): 93–106. http://dx.doi.org/10.17082/j.2205-3239.11.1.2020.2020-07.

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Over 1000 Aboriginal and Torres Strait Islander soldiers fought in WW1, at a time when they had few rights on home soil. While on active duty many of these soldiers received the same conditions and respect as their non-Indigenous counterparts. Yet when they returned it was back to a life of discrimination, and their stories were silenced. In the decades after the war, Indigenous voices were rarely present in the memorialising of the ANZAC legend. For museums trying to commemorate the centenary of WWI the absence of tangible collections relating to Indigenous soldiers presents a challenge. How

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4

Tempone-Wiltshire, Julien. "Sand Talk: Process Philosophy and Indigenous Knowledges." Process Studies 53, no. 1 (2024): 42–68. http://dx.doi.org/10.5406/21543682.53.1.02.

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Abstract Through a close study of T. Yunkaporta's 2019’s Sand Talk, this article explores fractal thinking and the pattern of creation in Indigenous cosmology; the role of custodianship in respectful interaction between living systems; alternative Indigenous understandings of nonlinearity, time, and transience; the process-panpsychism and animism present in Indigenous perceptions of cosmos as living Country, illustrated in the Dreaming and Turnaround creation event; the role of embodied cognition and haptic and situated knowledge in Indigenous science; Indigenous holistic reasoning and the min

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5

González Zarandona, José Antonio. "Towards a Theory of Landscape Iconoclasm." Cambridge Archaeological Journal 25, no. 2 (2015): 461–75. http://dx.doi.org/10.1017/s0959774314001024.

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‘Landscape: the land escapes (1) when we try to seize it with our maps, satellites, geographic information systems and Street Views, land is what evades our surveillance (2) land is the terrain of escape.’ (Cubitt 2012)‘Since the middle of the twentieth century, the claim that something is art does not imply what it might have meant at the end of the nineteenth century, when it was made out to be a hallmark of European high and bourgeois society.’ (Heyd 2012, 287)The destruction of Indigenous rock art sites in the Pilbara district in Western Australia has become a natural sight within the mini

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6

Siewierski, Radosław. "The Relationship between Humans and Animals in the Aboriginal Mythology through the Prism of Animal Studies." Journal of Education Culture and Society 13, no. 2 (2022): 601–12. http://dx.doi.org/10.15503/jecs2022.2.601.612.

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Aim. The aim of this article is to analyse Aboriginal myths and discover the relationship between animals and humans in the beliefs of the indigenous Australians. The article attempts to explain how animals are described when compared to people and vice. Furthermore, the author endeavours to establish what the relationship looks like and how it is presented. Methods. As Aboriginal myths and mythologies have been evolving for hundreds and thousands of years, it is not possible to analyse every single myth. Hence, in order to narrow them down, only the myths presented by Alexander Wyclif Reed wi

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7

Clarke, Philip A. "The Aboriginal ethnobotany of the South East of South Australia region. Part 3: mythology and language." Transactions of the Royal Society of South Australia 139, no. 2 (2015): 273–305. http://dx.doi.org/10.1080/03721426.2015.1074340.

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8

Kolig, Erich. "Social causality, human agency and mythology: Some thoughts on history‐consciousness and mythical sense among Australian Aborigines." Anthropological Forum 10, no. 1 (2000): 9–30. http://dx.doi.org/10.1080/00664670050006730.

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9

Wallace, Anthony F. C. "Technology in Culture: The Meaning of Cultural Fit." Science in Context 8, no. 2 (1995): 293–324. http://dx.doi.org/10.1017/s0269889700002039.

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The ArgumentThe thesis of this paper is that there are three basic processes by which a technological innovation is fitted into an existing culture: (1) Rejection, in situations where all interested groups are satisfied with a traditional technology and reject apparently superior innovations because they would force unwanted changes in technology and ideology; (2) Acceptance, in situations where a new technology is embraced by all because it appears to serve the same social and ideological functions as an inferior, or inoperative, traditional technology; and (3) — most commonly in complex soci

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10

Starrs, Bruno. "Writing Indigenous Vampires: Aboriginal Gothic or Aboriginal Fantastic?" M/C Journal 17, no. 4 (2014). http://dx.doi.org/10.5204/mcj.834.

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The usual postmodern suspicions about diligently deciphering authorial intent or stridently seeking fixed meaning/s and/or binary distinctions in an artistic work aside, this self-indulgent essay pushes the boundaries regarding normative academic research, for it focusses on my own (minimally celebrated) published creative writing’s status as a literary innovation. Dedicated to illuminating some of the less common denominators at play in Australian horror, my paper recalls the creative writing process involved when I set upon the (arrogant?) goal of creating a new genre of creative writing: th

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11

Wolff, Mark. "In search of a Tropical Gothic in Australian visual arts." eTropic: electronic journal of studies in the tropics 18, no. 1 (2019). http://dx.doi.org/10.25120/etropic.18.1.2019.3691.

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The field of Gothic Studies concentrates almost exclusively on literature, cinema and popular culture. While Gothic themes in the visual arts of the Romantic period are well documented, and there is sporadic discussion about the re-emergence of the Gothic in contemporary visual arts, there is little to be found that addresses the Gothic in northern or tropical Australia. A broad review of largely European visual arts in tropical Australia reveals that Gothic themes and motifs tend to centre on aspects of the landscape. During Australia’s early colonial period, the northern landscape is portray

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12

Leaman, Trevor M., and Duane W. Hamacher. "A METHODOLOGY FOR TESTING HORIZON ASTRONOMY IN AUSTRALIAN ABORIGINAL CULTURAL SITES: A CASE STUDY." May 21, 2018. https://doi.org/10.5281/zenodo.1477044.

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Aboriginal people connect landscape to the positions of the Sun and Moon throughout the year for time reckoning, seasonal calendars, and mythology as a memory aide. This can include the rising or setting of the Sun, Moon, and stars over significant landscape features. A significant corpus of Wiradjuri (Wiradyuri) astronomical knowledge has been fragmented, lost, or damaged due to colonisation. To aid in reconstructing this knowledge, we develop a novel methodology to examine potential links between the landscape and celestial movements. Our methodology, which we call Significant Horizons, rank

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13

Emily, Pitek. "Aranda." Database of Religious History, June 27, 2024. https://doi.org/10.5281/zenodo.12572510.

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The Aranda are the aboriginal Australians who speak dialects of the same language group, and have lived in Australia for at least 20,000 years (Morton, 1996). This entry focuses on the Aranda living in the Alice Springs region of central Australia, ca. 1896, prior to extensive European and missionary influence. European contact began in the 1860s, but the effects of Christian missionaries were only marginal at the time and place this entry is concerned with. At this time, the religious group can be considered coterminous with the society at large, as religious beliefs and practices permeated m

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Emily, Pitek. "Tiwi." Database of Religious History, June 27, 2024. https://doi.org/10.5281/zenodo.12572330.

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The Tiwi are Aboriginal inhabitants of Australia's Melville and Bathurst islands. This entry focuses on the Tiwi living on Melville Island around 1929 (before substantial European influence). At this time, the primary social unit was autonomous clans with fluid leadership based upon prestige. The major components of the Tiwi religion consist of taboos (pukimani), beliefs and rituals related to death and burial, initiation ceremonies for boys, and mythology (Hart and Piling, 1960:87). Religion played a minimal role in daily life, aside from occasional ceremonies and the pukimani system. The puk

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15

Carver, Scott, Georgia L. Stannard, and Alynn M. Martin. "The Distinctive Biology and Characteristics of the Bare-Nosed Wombat (Vombatus ursinus)." Annual Review of Animal Biosciences 12, no. 1 (2023). http://dx.doi.org/10.1146/annurev-animal-021022-042133.

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The bare-nosed wombat is an iconic Australian fauna with remarkable biological characteristics and mythology. This solitary, muscular, fossorial, herbivorous marsupial from southeast Australia has continent and continental island subspeciation. Vombatiformes also contains hairy-nosed wombats ( Lasiorhinus spp.); koala ( Phascolarctos cinereus); and extinct megafauna, Phascolonus gigas (giant wombat), Diprotodon, and Thylacoleo (marsupial lion). Culturally important to Aboriginal people, bare-nosed wombats engineer ecosystems through digging, grazing, and defecation. Olfaction and cubic fecal a

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16

Warner, Kate. "Relationships with the Past: How Australian Television Dramas Talk about Indigenous History." M/C Journal 20, no. 5 (2017). http://dx.doi.org/10.5204/mcj.1302.

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In recent years a number of dramas focussing on Indigenous Australians and Australian history have appeared on the ABC, one of Australia's two public television channels. These dramas have different foci but all represent some aspects of Australian Indigenous history and how it interacts with 'mainstream' representations of Australian history. The four programs I will look at are Cleverman (Goalpost Pictures, 2016-ongoing), Glitch (Matchbox Films, 2015-ongoing), The Secret River (Ruby Entertainment, 2015) and Redfern Now (Blackfella Films, 2012), each of which engages with the past in a unique

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17

Benneworth, Paul. "The Machine as Mythology." M/C Journal 2, no. 6 (1999). http://dx.doi.org/10.5204/mcj.1784.

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Machinofacture, computer control and globalisation have created the appearance that in the relation between humanity and the machine the human possesses ever-deepening power. However, this is a very Whiggish view of the history of science and technology as a field of ever-expanding knowledge. History is littered with examples of technologies which have been abandoned as out-dated, then later attempts to revive them have failed because the expertise has been lost. Technology is not merely a reflection of human needs, but an embodiment of the human condition. Machines can be seen as products of

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18

Gallegos, Danielle, and Felicity Newman. "What about the Women?" M/C Journal 2, no. 7 (1999). http://dx.doi.org/10.5204/mcj.1798.

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Contemporary culinary discourse in Australia has been dominated by the notion that migration and the increased mobility of Australians is responsible for filling a culinary void, as though, because we have had no peasantry we have no affinity with either the land or its produce. This argument serves to alienate Australians of British descent and its validity is open to questioning. It's an argument in urgent need of debate because cuisine stands out as the signifier of a 'multicultural' nation. Despite all the political posturing, food has 'long been the acceptable face of multiculturalism' (G

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19

West, Patrick Leslie. "Towards a Politics and Art of the Land: Gothic Cinema of the Australian New Wave and Its Reception by American Film Critics." M/C Journal 17, no. 4 (2014). http://dx.doi.org/10.5204/mcj.847.

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Many films of the Australian New Wave (or Australian film renaissance) of the 1970s and 1980s can be defined as gothic, especially following Jonathan Rayner’s suggestion that “Instead of a genre, Australian Gothic represents a mode, a stance and an atmosphere, after the fashion of American Film Noir, with the appellation suggesting the inclusion of horrific and fantastic materials comparable to those of Gothic literature” (25). The American comparison is revealing. The 400 or so film productions of the Australian New Wave emerged, not in a vacuum, but in an increasingly connected and inter-mix

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20

Sulz, David. "News, Awards, and Announcements." Deakin Review of Children's Literature 4, no. 1 (2014). http://dx.doi.org/10.20361/g2x31f.

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Probably, you are enjoying the wonderful summer by reading books, books, and more books. We, too, are busy reading and enjoying summer so the news this time around is brief.In June, Barbro Lindgren was awarded the Astrid Lindgren Memorial award at the Stockholm Concert Hall. This award, founded in 2002 by the Swedish Arts Council, is the world’s largest award for children’s and young adult literature at 5 million SEK (about $700,000 CAD). If it sounds suspicious that a Swedish writer with the same surname as the Swedish award’s Swedish namesake has won, rest assured that it truly is open to th

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21

Piatti-Farnell, Lorna, and Lloyd Carpenter. "Intersections of History, Media, and Culture." M/C Journal 20, no. 5 (2017). http://dx.doi.org/10.5204/mcj.1323.

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For many, the very idea of ‘history’ calls into question narratives of the past, distant and disconnected from our contemporary moment, and out of tune with the media-centred world of our post-2000 popular culture. This approach to history, however, is based on profound misconceptions, and does not take into account the fact that the present is history: we experience our historical moment via multiple and multi-faceted media practices, from using social media to watching movies, from watching television to consuming food. The past is, in turn, never far removed from our contemporary and everyd

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22

Collins-Gearing, Brooke. "The Threads That Weave Me." M/C Journal 26, no. 6 (2023). http://dx.doi.org/10.5204/mcj.3016.

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Fig. 1: A Start. I could write or I could weave.I could write or I could weave…Write, weave. Weave.Then a colleague and friend says to me: why do you weave?I weave to put myself back together again.I weave the pieces of me that are shattered and broken.I weave because the rhythm, flow, feel, pattern and solidity comforts me.I weave because my body tells me to.I weave to breathe more slowly, more deeply.I weave because the threads that create the strands of my life need a language.… This article reflects on my relationship with weaving and what it offers to the remaining threads of my life. Wea

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