Dobbing: Australia’s favourite emergency pastime

2021 ◽  
pp. 1037969X2110622
Author(s):  
Catherine Bond

While ‘dobbing’ is arguably viewed negatively, this behaviour has been on the rise during the COVID-19 pandemic. Drawing on examples from the First World War and the pandemic, this article argues that this increased activity is typical of the Australian community during emergencies, facilitated by extensive legal frameworks that encourage this type of reporting.

1977 ◽  
Vol 11 (3) ◽  
pp. 334-349 ◽  
Author(s):  
P. George Hummasti

The situation produced by the First World War greatly influenced communities of European immigrants in America, like the settlement of Finns at Astoria, Oregon. The war changed the relationships of Finns there among themselves, with their old homeland, and with the American population of the town. These changes, the last in particular, were felt most acutely by a large group of Finnish socialists. The war encouraged them to increased activity and brought to the Americans a heightened awareness of them both as foreigners and as radicals. This led to attempts by the Americans to suppress radicalism among the Finns.


Author(s):  
Gerhard Fischer

During the First World War, the German Australian community, the largest non-Anglo-Celtic group, became the target of a relentless campaign of persecution, internment and deportation that resulted in its dismemberment and the destruction of its socio-cultural infrastructure. Under the country’s belligerent Prime Minister, W.M. Hughes, the machinery of government was used to suspend basic civil rights and the rule of law, while Australian civilians were called upon to participate in the “homefront war” against an imagined internal enemy. The government’s aim was to serve the cause of Im- perial Britain and its commercial supremacy, and to secure the future of White Australia as the home of an imaginary, exclusive “British race.”


2000 ◽  
pp. 67-75
Author(s):  
R. Soloviy

In the history of religious organizations of Western Ukraine in the 20-30th years of the XX century. The activity of such an early protestant denominational formation as the Ukrainian Evangelical-Reformed Church occupies a prominent position. Among UCRC researchers there are several approaches to the preconditions for the birth of the Ukrainian Calvinistic movement in Western Ukraine. In particular, O. Dombrovsky, studying the historical preconditions for the formation of the UREC in Western Ukraine, expressed the view that the formation of the Calvinist cell should be considered in the broad context of the Ukrainian national revival of the 19th and 20th centuries, a new assessment of the religious factor in public life proposed by the Ukrainian radical activists ( M. Drahomanov, I. Franko, M. Pavlik), and significant socio-political, national-cultural and spiritual shifts caused by the events of the First World War. Other researchers of Ukrainian Calvinism, who based their analysis on the confessional-polemical approach (I.Vlasovsky, M.Stepanovich), interpreted Protestantism in Ukraine as a product of Western cultural and religious influences, alien to Ukrainian spirituality and culture.


2020 ◽  
pp. 65-80
Author(s):  
Magdalena Strąk

The work aims to show a peculiar perspective of looking at photographs taken on the eve of the broadly understood disaster, which is specified in a slightly different way in each of the literary texts (Stefan Chwin’s autobiographical novel Krótka historia pewnego żartu [The brief history of a certain joke], a poem by Ryszard Kapuściński Na wystawie „Fotografia chłopów polskich do 1944 r.” [At an exhibition “The Polish peasants in photographs to 1944”] and Wisława Szymborska’s Fotografia z 11 września [Photograph from September 11]) – as death in a concentration camp, a general concept of the First World War or a terrorist attack. Upcoming tragic events – of which the photographed people are not yet aware – become for the subsequent recipient an inseparable element of reality contained in the frame. For the later observers, privileged with time perspective, the characters captured in the photograph are already victims of the catastrophe, which in reality was not yet recorded by the camera. It is a work about coexistence of the past and future in the field of photography.


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