Home' InDaily : September 8th 2011 Contents “It seems to me that if you want to address
problems like integrity or to address problems
of morality or ethics, then the place to start is
the virtues,” Dr Gibbons said.
“The moral person is one who grows up and
develops a character and has the ability to
juggle justice with compassion, with
temperance, with prudence and so on,” he said.
This notion of exercising judgement, of balance,
is critical for anybody crossing the boundaries
between historical fiction and non-fiction.
Dr Sutherland cites the portrayal of Thomas
More by Hilary Mantel in her Booker Prize-
winning Wolf Hall as one example of where
the historical evidence suggests more balance
“I felt Mantel took the worst aspects of Thomas
More and emphasised those. But one can only
judge people’s actions in the light of the period
in which they lived,” she said.
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Virtues to guide approach to historical fiction
Should creative artists be concerned with
historical accuracy or dramatic effect? And
what do their choices say about the integrity of
their work, their profession and themselves?
These are questions posed in a new book,
Integrity and Historical Research, edited by
and with contributions from Dr Tony Gibbons
and Dr Emily Sutherland, Research Fellows in
the School of Humanities.
“Integrity is a term that is bandied about and
while we probably all think we know exactly
what we mean by it, do we all mean the same
thing?” Dr Sutherland said. Dr Gibbons agrees.
“There is a fair amount written about the
concept of integrity but there are competing
theories at the moment. The time seems ripe
for some work on it,” he said.
A general consensus emerges between the
11 chapter authors, acknowledged thinkers
and practitioners in the area from around
the globe, that integrity is a negotiation
between competing virtues.
“The challenge is to decide whether you
want to be fair to the person you are
portraying or only to write a rattling good
Integrity and Historical Research, which
includes a chapter by Associate Professor
Rick Hosking, is published by Routledge.
Landscape exhibition captures spirit in the land
The Australian landscape – an enduring
subject in the history of Australian art and
one that is vital to the ongoing formation of
images of a national identity – is the focus of
a national touring exhibition, now showing at
Flinders University’s City Gallery.
Spirit in the Land explores the connection
between 10 Australian artists and their
special appreciation and engagement to the
spiritual ethos and power of the land.
The exhibition brings together key paintings
and sculptures by some of Australia’s most
influential artists: John Davis, Russell Drysdale,
Rosalie Cascoigne, Emily Kame Kngwarreye,
Dorothy Napangardi, Sidney Nolan, John Olsen,
Lin Onus, Rover Thomas and Fred Williams.
Drawn from private, state and public gallery
collections throughout Australia, the more
than 40 works unearth shared themes and
cultural exchanges of these artists whose
work spans historical and contemporary,
Indigenous and non-Indigenous art.
Director of Flinders University Art Museum,
Fiona Salmon said the Museum was
privileged to bring to
Adelaide one of the most
exhibitions to tour
nationally in recent years.
“We are grateful, as a
museum with particular
interests in making
Indigenous and non-
Indigenous art practice,
that we were presented
with the opportunity to
do so,” Ms Salmon said.
“In bringing the show
Robert Lindsay and Penny
Teale have done a superb
job: each work is without
a doubt a masterpiece in
its own right,” she said.
Spirit in the Land is jointly
curated by McClelland Gallery Sculpture
Park’s Director, Robert Lindsay and Senior
John Olsen: Nothing is as beautiful as spring, 2005, oil on canvas.
Private collection, Melbourne
Dr Tony Gibbons and Dr Emily Sutherland
Curator, Penny Teale. It is on show at Flinders
University City Gallery until October 23.
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