Fiona Nicolls chapter Gender, desire and the digger from her book Diggers to Drag Queens deals with issues surround Australian national identity through gendered terms with her main venture being that of the ANZAC or digger legend. Nicoll examines designs, ideologies, misconceptions, connotations and other analyses surround Australia and its involution in different conflicts over time. Nicoll examines the different imagery surrounding women and war, how women are represented in different spheres of Australian life, semipolitical realms, memory and popular history. Nicoll studies media and the representations of women as the loyal, emotionally wrought, patient, homely womanhood waiting for her husband to return from the front line. Then at that place is the woman p fine finesseicipating in what would be considered a traditionally male image on the frontline, postal code indicative of womanhood, designedly making reference to the fact this soldier is female and this is unu sual. Nicoll uses the examples of art and war art, either females in the art albeit not in art, females as war artists and the challenges some women gear up they encountered to get acknowledgment for their work. Nicoll found that women for years have been omitted from representation in war art or they are treat as something displaced from the traditional, traffic pattern or socially value and are not collective into the mainstream. Nicoll studied the connotations of women in the build up forces in art and how it is commonly allegories, usually historical or mythological allegories attributed to the feminine that is utilise to present women in the Australian war narrative. Nicoll analysed ideas of femininity and masculinity surrounding the ANZAC legend and how femininity is regarded as a failing and that shell shocked soldiers were considered to be lacking in male attributes and acting in a manner that was atypically ruling of as being feminine. other approach Nicoll.. . If ! you want to get a full essay, mark it on our website: OrderCustomPaper.com
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