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1
Buchanan, David. „Contextual thesis Part I & Part II : Book of poems, "Looking off the Southern Edge" ; Stage play (full-length): Ecstasis“. Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2001. https://ro.ecu.edu.au/theses/1015.
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This thesis, which accompanies my book of poems Looking Off the Southern Edge and my full-length stage play Ecstasis, is submitted in two parts: Part-I and Part-II. Part-l contextualises the writing practice of the above poems in considering the epistemological, autobiographical and landscape contexts of my poetry. Part-I then discusses how the poetry is involved in the process of decentring subjectivity within the southern India/Pacific arena. It should be pointed out that Part-I was submitted and marked last year, as the first year component of the Master of Arts (Writing) course. It is included this year because much of its thesis informs Part-II (and indeed is referred to and referenced by Part-II), especially in terms of my general theoretical approach to writing poems, plays, as well as the relevance of my music, painting and stained glass practices. Part II mostly addresses the writing of the play Ecstasis. I have however, discussed why I have re-edited, augmented and re-submitted my book of poems. I have then contextualised the writing of the play, by addressing the areas of Apophasis and the Aporia of 'the story', An Ecstatic Dramaturgy and the Undecidable Subject, and Ecstasis and an Endemic Specificity. This play was written, workshopped and enjoyed a partially moved reading (as late as the 11th, November) in the course of this year. While the writing of the piece is addressed under the previous headings, the workshopping and reading process is discussed in Workshopping the 'Spectacle Text' in the Co-operative Medium of 'Theatre. I have also included Appendix (i) in support of this process, in particular, the changes inspired by the reading. The conclusion discusses some of the boundaries for my writing of A Poetry and The Spectacle Text for theatre, and hints at the context required for any writing of experimentation in the southern Indian/Pacific arena.
2
Waldmann, Anna. „Desiderius Orban: an Australian romantic“. Thesis, The University of Sydney, 1987. https://hdl.handle.net/2123/26267.
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Desiderius Orban (1884-1986) was born in Hungary. He had been a successful painter and teacher in his country of origin and came to Australia in 1939 as a mature and formed artist. He gained recognition in the Sydney art circles relatively soon after his arrival, had a large number of exhibitions, took part in numerous competitions, became a member of various art groups. Orban published three books and ran an art school from 1941 until his death in October 1986. In an unpublished autobiography written in 1965, Orban commented about his artistic career:
I always had doubt of my achievements. From nature I am sceptical towards my ability. I feel that my progress was a slow but a steady one. From the beginning my intellect played more important part than my emotions. On the other hand nearly all of my paintings have a romantic hint. This contradiction puzzled me a lot. I tried to fight against this romanticism without any success. Apparently my subconscious and my conscious mind disagree.
In his teaching and writings Orban pursued the idea that a creative mind is a mind free of prejudice. In his paintings however, he was unable to flee from the restrictions of conventionalism until the 1960s Orban's desire to translate his creed into artistic terms was hindered by technical limitations. In Orban, the distinction between aesthetic thought and method of expression had produced a constant struggle that resulted in decades of influential romantic teaching and accomplished rather than distinguished middle-of-the-road painting. The denouement of this struggle was achieved in the latter part of his lit when Orban abandoned his semi-illusionist methods. Orban's threefold career as a painter, writer and teacher, was intertwined and has to be viewed in the context of Hungarian and Australian art and thinking, as well as politics and perceptions.
3
Gleeson, Damian John School of History UNSW. „The professionalisation of Australian catholic social welfare, 1920-1985“. Awarded by:University of New South Wales. School of History, 2006. http://handle.unsw.edu.au/1959.4/26952.
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This thesis explores the neglected history of Australian Catholic social welfare, focusing on the period, 1920-85. Central to this study is a comparative analysis of diocesan welfare bureaux (Centacare), especially the Sydney, Melbourne and Adelaide agencies. Starting with the origins of professional welfare at local levels, this thesis shows the growth in Catholic welfare services across Australia. The significant transition from voluntary to professional Catholic welfare in Australia is a key theme. Lay trained women inspired the transformation in the church???s welfare services. Prepared predominantly by their American training, these women devoted their lives to fostering social work in the Church and within the broader community. The women demonstrated vision and tenacity in introducing new policies and practices across the disparate and unco-ordinated Australian Catholic welfare sector. Their determination challenged the status quo, especially the church???s preference for institutionalisation of children, though they packaged their reforms with compassion and pragmatism. Trained social workers offered specialised guidance though such efforts were often not appreciated before the 1960s. New approaches to welfare and the co-ordination of services attracted varying degrees of resistance and opposition from traditional Catholic charity providers: religious orders and the voluntary-based St Vincent de Paul Society (SVdP). For much of the period under review diocesan bureaux experienced close scrutiny from their ordinaries (bishops), regular financial difficulties, and competition from other church-based charities for status and funding. Following the lead of lay women, clerics such as Bishop Algy Thomas, Monsignor Frank McCosker and Fr Peter Phibbs (Sydney); Bishop Eric Perkins (Melbourne), Frs Terry Holland and Luke Roberts (Adelaide), consolidated Catholic social welfare. For four decades an unprecedented Sydney-Melbourne partnership between McCosker and Perkins had a major impact on Catholic social policy, through peak bodies such as the National Catholic Welfare Committee and its successor the Australian Catholic Social Welfare Commission. The intersection between church and state is examined in terms of welfare policies and state aid for service delivery. Peak bodies secured state aid for the church???s welfare agencies, which, given insufficient church funding proved crucial by the mid 1980s.
4
Wang, Labao. „Australian short fiction in the 1980s : continuity and change“. Thesis, The University of Sydney, 1999. https://hdl.handle.net/2123/27583.
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This thesis offers a critical survey and a comprehensive bibliography of the
Australian short story in the 1980s. Conceived partly as an continuation of Stephen
Torre’s study of Australian short fiction of the 1940-1980 period, it starts where
Torre’s thesis stopped, focusing on Australian short story writing published in the
ten years between 1981 and 1990. Torre has summed up the 1940-1980 period as
‘a time of development and innovation’ in the history of Australian short fiction. In
comparison, the 1980s is probably best described as a decade of unprecedented
expansion and diversification. During that time, Australian short fiction broke away
from its earlier domination by monolithic traditions and became a much more
eclectic and pluralistic form. Contributing to this eclecticism and plurality were five
different streams of story writing created by five separate groups of writers. Due to
constraints of space, the critical text of the thesis examines only four of them.
5
Browne, Vicky Kay. „Images of sound and the sound of images“. Thesis, The University of Sydney, 2010. https://hdl.handle.net/2123/24589.
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'The line between art and life should be kept as fluid, and perhaps indistinct, as possible'
Allan Kaprow1
Shortly before beginning this paper I moved into a new house, under the house was my office a
humble room to write in. For over ten years I had been stock piling articles and papers these
were placed in boxes on the floor ready to be unpacked and incorporated into my paper. Away
we went on holiday so I could return, refreshed to start writing. While we were away everything
flooded. I returned to a floating soup of Derrida and Deleuze, a sodden mash of Virilio and
Baudrillard. Floating down the drain was ten years of collected French theory and art writings. It
was like my brain had gone soggy along with my office and all its contents. However, as
everything began to dry out so too did my methodology and writing plan. Sometimes it takes a
flood to reveal the old and come up with the new.
I began to ask why was I doing a masters degree and what kind of paper would my practice
benefit from. I decided that trawling though academic theories in art and using artists as
illustrations for these theories was not going to inform my practice. After considerable thought I
concluded the main things that influenced my work was the stuff of life, the theories and ideas
floating around my brain. Walking the dog, living in the mountains, the radio station I listen to,
are the things that have influenced and moulded both my work and therefore the choice material
and the method of writing this paper. Along the way it is hoped that I can contextualise my work,
where it sits in the art world, what the materials I use mean, and the wider environmental and
political comments I am trying to make.
The paper floats much like the articles in the flood; there is no hypothesis, no monumental
conclusion; no light bulb moment. This mirrors my work, where meaning is often open ended
and contradictory, scale is out of whack, technique is shonky and materials are used in an ad
hoc way. There exists a kind of philosophical approach to the position of art and life, a blurring.
It is this blurring that is the catalyst for this paper. I do not dismiss art theory or theorists, indeed
the paper references Virilio, Bachelard and Deleuze to name a few, but they are not the driving
force behind the paper. The forces that drive the paper are the tangents, the intersections, the
trains of thought that occur when out walking or taking a shower. These are the trails that are
played out, investigated and recorded in this paper.
Chapter one by way of introduction looks at sound devices and music culture ('pop' culture) that
informs my work. It also considers how I use these devices and the wider meanings and
implications arising from this use. I additionally investigate different techniques and influences in my practice such as humour, theatrics and songs. These materials, techniques and influences
give the work meaning which is grounded in the realm of domestic life and social structures.
Chapter two discusses my practice in relation to the wider art world. It is a meditation both on art
movements that have influenced my work and on one way of reading those art movements;
namely Virilio's theories regarding trauma and the catastrophe. The chapter traces some
modernist movements from the futurists to 1960's video and sound artists through to presentday
installations, via Virilio's writings on trauma; it considers the trauma of war and the impact
on art at the time. Then the chapter considers possible traumas existing in the 1960's and the
present day and their impact on art. The chapter concludes with an examination of the impact of
perceived traumas and catastrophes in contemporary society and how they manifest
themselves in my practice.
The remainder of the paper looks at specific things that have informed my practice; namely;
iPods, housing, radio, scale and craft. I try to contextualise these things within my practice and
also give them a wider context via an investigation into their inherent meanings and politics.
The things I have chosen to consider are by no means the only things that inform my work, nor
are they finite. The things that inform my practice today may easily be rejected tomorrow; rather
it is the meditations and considerations behind writing about iPods or radios that are important.
It is the construction of a framework, the casting out of a wider net. I am hoping to capture
meaning and information that works towards contextualising, informing and clarifying my
practice, yet in a method which does not pin it down or estrange it from other possibilities and
directions. In a way this paper could work like a recording of my practice, the Dictaphone could
record another story and lay-down another track but right now, you have this one to read...........
6
Burke, Andrew. „Two collections of poetry, Whispering gallery [and] Flight log: Selected Poems 1967-2001: Plus an Essay: The Roots of My Writing“. Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2001. https://ro.ecu.edu.au/theses/291.
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This presentation includes two collections of poetry and one essay. There are two collections of poetry because one of them, Flight Log, is a 'Selected Poems' which necessarily includes much work not written during the course of my MA. However, I contend that the process of constructing a 'selected' collection is as creative as the editing process one knows through writing poetry, and that respect for one former creativity is a vital part of the artist's continuing productivity. The new manuscript, Whispering Gallery, is the text of my fifth book, published by Sunline Press in November 2001. Originally it was envisaged as a collection of contemporary haibun in a form predominantly created by John Tranter, but creating to a set form became a chore rather than a creative delight, so I returned to a fundamental lyric form for many of the later poems. Hopefully it now has a wide range of tones and moods yet is cohesive through form and content.
7
Gruner, Billy. „Painting the object : recent formal Australian painting“. Phd thesis, Sydney College of the Arts, 2003. http://hdl.handle.net/2123/4992.
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8
Williams, Kerry. „Fleshing the facade : the manual“. Thesis, The University of Sydney, 1989. https://hdl.handle.net/2123/27858.
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Anyone moderately familiar with the rigours of composition will not need to be told the story in detail; how he wrote and it seemed good; read and it seemed vile; corrected and tore up; cut out; put in; was in ecstasy; in despair; had his good nights and bad mornings; snatched at ideas and lost them; saw his book plain before him and it vanished; acted his people's parts as he ate; mouthed them as he walked; now cried; now laughed; vacillated between this style and that; now preferred the heroic and pompous; next the plain and simple ... [Virginia Woolf. 1977. Orlando. London: Grafton Books, p. 51)
And in the creation of this documentation there has been a question of style. How to write and present the written documentation so that it is complementary to and in harmony with the visual representation, both in terms of content and tone?
The answer has been to use the game as a metaphor and to cut the deck three ways:
First is the theoretical framework covering the broad perspective of the social environment, the women's movement and the art arena. It is the objective section, but it is written to reflect a "life's experiences"
approach rather than a purely academic interest in the subject matter.
Set in a games framework, with fictional titles, it provides the more "all knowing" element in the discussion.
Second are the autobiographical details presented under the guise of Alice. These stories have been written in a more childlike, innocent fashion reflecting the often unwitting involvement of players in the matrix of social games.
Third are the visual images of the artwork. The artwork itself is not directly discussed but rather included where appropriate throughout the text, drawing from the theoretical and/or the personal.
9
Bell, Pamela. „Art that never was : representations of the artist in twentieth-century Australian fiction“. Thesis, The University of Sydney, 2003. http://hdl.handle.net/2123/7310.
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This thesis traces the development of the artist figure as a leading character in twentieth-century Australian novels. In Australia there have always been complex interconnections between the worlds of art and literature, perhaps the most obvious being the cluster of artists and writers centred on the journal Vision, co-edited by Norman Lindsay’s son Jack with Kenneth Slessor, who was heavily influenced by Lindsay. Slessor’s poem “Five Bells”, an elegy for his artist friend Joe Lynch, later became the subject of a mural painted for Sydney Opera House by John Olsen. Although this and other connections between poetry and art are of interest, this thesis concentrates on fiction only.
10
Armanno, Venero. „The volcano“. Thesis, Queensland University of Technology, 1998.
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The problems associated with marketing in China have been raised in several studies in the last 10 years. However, these prior studies focused on the four elements of
marketing mix for China and not on strategic marketing for the market in China, nor did they emphasise the implications of culture and marketing systems in China for developing strategic marketing plans.
This thesis has focused on building a general framework that could help Western firms, particularly Hong Kong-based, to develop strategic marketing plans that deal with
Chinese cultures and marketing systems in China. Therefore this thesis addresses the
research problem:How do wholly-owned Western firms in Hong Kong develop strategic marketing plans to do business in China? This research reviewed the available literature relating to cultures and marketing
systems in the West and China. By comparing and contrasting these differences, eleven research questions were formulated and shown as follow. In developing strategic marketing plans for the market in China: RQJ: how is market research as important a foundation for strategic marketing effectiveness as it is in the West?
RQ2: how is planning longer-term than in the West?
RQ3: how is the approach evolutionary rather than revolutionary, compared to the
West?
RQ4: how does strategy emphasise long-term relationships with and among consumers
(for example, by offering sales service) more than in the West?
RQ5: how does target marketing emphasise the group rather than the individual?
RQ6: how are product line strategies different.from those in the West?
RQ7: how do marketing strategies allow for less flexibility in price than in the West?
RQB: how will promotion strategies which Western firms can exercise within
distribution channels in China be similar to those used in the West?
RQ9: how are the choice of institutions and levels of channels in China different from
those in the West?
RQI Oa: how is market segmentation of consumers in China more difficult than in the
West?
RQllb: how can cultural differences between West and China be used as a basis for market segmentation?
As discussed in chapter 3, data were collected by using the case study methodology,with one pilot case study conducted in Brisbane to refine the research protocol and
procedure. In the major stage of data collection, six wholly-owned Western firms from different industries were interviewed and examined in Hong Kong. As discussed in chapter 4, data was analysed by using case descriptions, cross-case analysis and explanation building methods. Triangulation was carried out in order to ensure the findings and conclusion were convincing and generalisable.
The results of the research indicate that most of the methods for developing strategic marketing plans for the market in China (for example, market research, segmentation and targeting) are derived from the Western conventional marketing principles. However, the methods are relatively rudimentary and the approach tends to
evolutionary and emphasises relationships. Indeed, there are only a few similarities between strategic marketing planning in China and the West, with the differences being attributable in the main to cultural factors and marketing systems. The major contribution of the research was to provide far more detailed descriptions and
sometimes explanations of strategic marketing planning processes than those provided in the extant literature.
On the basis of these research findings, a model (refer table 5.2 and figure 5.1) has been built to help Western firms to develop strategic marketing plans that deal with
Chinese cultures and marketing systems.
11
Kneen, Kris. „Head on“. Thesis, Queensland University of Technology, 1998. https://eprints.qut.edu.au/35902/1/35902_Kneen_1998.pdf.
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Mason, Anthony, und n/a. „Australian coverage of the Fiji coups of 1987 and 2000: sources, practice and representation“. University of Canberra. Communication, 2009. http://erl.canberra.edu.au./public/adt-AUC20090826.144012.
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For many Australians, Fiji is a place of holidays, coups and rugby. The extent to which we
think about this near-neighbour of ours is governed, for most, by what we learn about Fiji
through the media. In normal circumstances, there is not a lot to learn as Fiji rarely appears
in our media. At times of crisis, such as during the 1987 and 2000 coups in Fiji, there is
saturation coverage. At these times, the potential for generating understanding is great. The
reporting of a crisis can encapsulate all the social, political and economic issues which are a
cause or outcome of an event like a coup, elucidating for media consumers the culture, the
history and the social forces involved. In particular, the kinds of sources used and the kinds
of organisations these sources represent, the kinds of themes presented in the reporting, and
the way the journalists go about their work, can have a significant bearing on how an event
like a coup is represented. The reporting of the Fiji coups presented the opportunity to
examine these factors. As such, the aim of this thesis is to understand the role of the media
in building relationships between developed and developing post-colonial nations like
Australia and Fiji.
A content analysis of 419 articles published in three leading broadsheet newspapers, The
Sydney Morning Herald, The Australian and The Canberra Times, examined the basic
characteristics of the articles, with a particular focus on the sources used in these articles.
This analysis revealed that the reports were dominated by elite sources, particularly
representatives of governments, with a high proportion of Australian sources who provided
information from Australia. While alternative sources did appear, they were limited in
number. Women, Indian Fijians and representatives of non-government organisations were
rarely used as sources. There were some variations between the articles from 1987 and those
from 2000, primarily an increase in Indian Fijian sources, but overall the profile of the
sources were similar.
A thematic analysis of the same articles identified and examined the three most prevalent
themes in the coverage. These indicated important aspects of the way the coups were
represented: the way Fiji was represented, the way Australia's responses were represented,
and the way the coup leaders were represented. This analysis found that the way in which
the coups were represented reflected the nature of the relationship between Australia and
Fiji. In 1987, the unexpected nature of the coup meant there was a struggle to re-define how
Fiji should be understood. In 2000, Australia's increased focus on Fiji and the Pacific region
was demonstrated by reports which represented the situation as more complex and uncertain,
demanding more varied responses.
A series of interviews with journalists who travelled to Fiji to cover the coups revealed that
the working conditions for Australian media varied greatly between 1987 and 2000. The
situational factors, particularly those which limited their work, had an impact on the
journalists' ability to access specific kinds of sources and, ultimately, the kinds of themes
which appeared in the stories. The variation between 1987 and 2000 demonstrated that
under different conditions, journalists were able to access a more diverse range of sources
and present more sophisticated perspectives of the coup.
In a cross-cultural situation such as this, the impact of reporting dominated by elite sources
is felt not just in the country being covered, but also in the country where the reporting
appears. It presents a limited representation, which marginalises and downplays the often
complex social, cultural and historical factors which contribute to an event like a coup.
Debate and alternative ways of understanding are limited and the chance to engage more
deeply with a place like Fiji is, by and large, lost.
13
Williams, Court. „Sensitive skin“. Thesis, The University of Sydney, 2008. https://hdl.handle.net/2123/28932.
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The work being considered for examination will be my gallery installation Affliction.
Consisting of approximately six hundred digitally printed and hand constructed three
dimensional models, it will be installed on the gallery floor as a part of the Postgraduate
Degree show at Sydney College of the Arts (Tuesday December 9th through to Wednesday
December 17th).
My masters project explores the isolation and dislocation experienced in the urban
environment and situates un-commissioned street art as a construct that potentially
generates modes of plurality through immediate encounter, collaboration and intervention.
My work explores the inter-activity of street art. This is done through a reading of Nicolas
Bourriaud’s Relational Aesthetics - a theory of art that takes as its theoretical horizon
the realm of human inter-actions in social spaces. 1 demonstrate the inter-activity of street
art through a discussion of my work as well as the work of three other street artists.
In doing so, 1 also draw attention to the virtual characteristics of the anonymous urban
environment by locating street art as a virtual representation of the art world, the street
artist as an avatar and the city surface as an online blog.
14
Singley, William Blake. „Recipes for a nation : cookbooks and Australian culture to 1939“. Phd thesis, 2013, 2013. http://hdl.handle.net/1885/109392.
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Cookbooks were ubiquitous texts found in almost every Australian home. They played an influential role that extended far beyond their original intended use in the kitchen. They codified culinary and domestic practices thereby also codifying wider cultural practices and were linked to transformations occurring in society at large. This thesis illuminates the many ways in which cookbooks reflected and influenced developments in Australian culture and society from the early colonial period until 1939. Whilst concentrating on culinary texts, this thesis does not primarily focus on food; instead it explores the many different ways that cookbooks can be read to further understand Australian culture in the nineteenth and early twentieth century. Through cookbooks we can chart the attitudes and responses to many of the changes that were occurring in Australian life and society. During a period of dramatic social change cookbooks were a constant and reassuring presence in the home. It was within the home that the foundations of Australian culture were laid. Cookbooks provide a unique perspective on issues such as gender, class, race, education, technology, and most importantly they hold a mirror up to Australia and show us what we thought of ourselves.
15
Burke, Janine, und mikewood@deakin edu au. „A Portrait of Albert Tucker, 1914-1960“. Deakin University. School of Contemporary Arts, 2001. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20050915.161937.
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Riddler, Eric. „Sublime souls & symphonies : Australian phototexts, 1926-1966“. Master's thesis, University of Sydney, 1993. http://hdl.handle.net/2123/14449.
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Heuschele, Margaret, und n/a. „The Construction of Youth in Australian Young Adult Literature 1980-2000“. University of Canberra. Creative Communication, 2007. http://erl.canberra.edu.au./public/adt-AUC20081029.171132.
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Adolescence is an incredibly complex period of life. During this time young people are searching for and wanting to create their own unique identity, however being confronted with a plethora of roles and directions is challenging and confusing. These challenges are reflected in the vast array of young adult literature being presented to young people today. As a result young adult literature has the potential to function as scaffolding to assist teenagers in the struggles of adolescence by serving as an important source of information about the world and the people in it. Teenage novels also give young people the opportunity to try on different identities and vicariously experience consequences of actions while developing their own distinctive personality and character.
As this study reveals, the Australian young adult novel has undergone considerable developments, with 1989 serving as a milestone year in which writers and publishers turned in new directions. In general, Australian young adult novels have changed from books set predominately in rural areas, incorporating major themes of child abuse, death, friendship and survival with introverted characters aged between twelve and sixteen in the early 1980s to novels with urban settings, a large increase in books about crime, dating, drugs and mental health and sexually active, extroverted characters aged between fourteen and eighteen in the late 1990s.
To chart the progression of these changes and gain an understanding of the messages young adults receive from adolescent novels an evaluative framework was developed. The framework consists of two main sections. The first part applies to the work as a whole,
obtaining data about the novel such as plot, style, setting, temporal context, use of humour,
issues within the text and ending, while the second part collects information about character demographics including gender, age, occupational status, family type, sexual orientation, relationships with family and authority figures, personality traits and outlook for character. To qualitatively and quantitatively assess the construction of youth in Australian young adult literature a random selection of 20 per cent of Australian young adult books published in each year from 1980 to 2000 were analysed using the evaluative framework, with 186 novels being studied altogether.
During the 1990s in particular, Australian young adult literature was heavily criticised for being too bleak, too dark, presenting a picture of life that was all gloom and doom. This research resoundingly dismisses this argument by showing that rather than being a negative influence on the lives of young people, Australian books for young people present a comprehensive portrayal of youth. They probe the entire gamut of teenage experiences, both the good and the bad, providing a wide range of scenarios, roles, relationships and characters for young people to explore. Therefore Australian young adult literature provides an important source of information and support for the psycho-social development of young people during the formative years of adolescence.
This research is significant because it gives hard evidence to support the promotion of a representative selection of Australian young adult novels both in the classroom and in home, school and public libraries. By establishing the available range of contemporary Australian young adult literature through this study, young adult readers, teachers and librarians can be confident in the knowledge that appropriate titles are accessible which meet the needs and interests of young people. Consequently, the substantial amount of data gathered from this
study will considerably add to the knowledge and understanding ofAustralian young adult novels to date and provide an excellent starting point for further research in the future.
18
Millward, William H., University of Western Sydney und of Performance Fine Arts and Design Faculty. „Beneath the surface : the role of intuition in the creative process“. THESIS_FPFAD_XXX_Millward_W.xml, 1998. http://handle.uws.edu.au:8081/1959.7/308.
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One question raised when creating, evaluating and appraising art work is 'How do we know what we know?' This exegesis attempts to answer this by establishing the important role intuitive knowledge plays in decision making in general, and within the author's own art practice specifically. The study reviews some of the literature on intuition from philosophical and psychological perspective in order to validate intuitive knowledge and intuitive decision making within contemporary art practice. However, just because intuition may drive the process, it does not mean that the product of intuitive practice is necessarily good or has any value. Consequently, the importance of aesthetics, and the values of integrity, honesty and truth are explored from a philosophical perspective. These are discussed in relation to the art practice of other artists from this century as well as that of the writer. Having constructed a philosophical framework to work within and be guided by, the final part of this study documents the development of the practical work and how this framework influences the art practice and the outcomes of that practice. It is hoped that the results of the study will reassert the validity and relevance of this form of art practice and philosophy within contemporary art practice.Master of Arts (Hons) (Visual Art)
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Behin, Bahram. „Aspects of the role of language in creating the literary effect : implications for the reading of Australian prose fiction /“. Title page, contents and abstract only, 1997. http://web4.library.adelaide.edu.au/theses/09PH/09phb419.pdf.
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O’Neill, Patrick Nathaniel. „Paul Solanges : soldier, industrialist, translator : a biographical study and critical edition of his correspondence with Antonio Fogazzaro and Henry Handel Richardson“. Monash University. Faculty of Arts. School of Languages, Cultures and Linguistics, 2007. http://arrow.monash.edu.au/hdl/1959.1/53105.
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Paul Solanges was one of the most prolific (in correspondence) and enthusiastic fans of Australian author Henry Handel Richardson (HHR). What was it about him that made HHR invest so much time in his translation of her novel, and to what extent can credence be given to the self-portrait in his letters? This thesis reveals his illegitimate royal background, considers his early career as a cavalry officer in North Africa and in the Franco-Prussian War, and describes his long career as manager of the gasworks in Milan. It also portrays in detail his other life as a translator of songs, short stories and operas from Italian to French. Finally, it compares his relationship with Italian novelist Antonio Fogazzaro to his relationship with HHR. A critical edition of Solanges’s correspondence with Fogazzaro and HHR offers the reader a privileged insight into the life and character of this Franco-Italian littérateur.
21
Perkins, Catherine. „The Shelf Life of Zora Cross“. Thesis, The University of Sydney, 2016. http://hdl.handle.net/2123/15882.
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Zora Cross (1890–1964) is considered a minor literary figure, but 100 years ago she was one of Australia’s best-known authors. Her book of poetry Songs of Love and Life (1917) sold thousands of copies during the First World War and met with rapturous reviews. She was one of the few writers of her time to take on subjects like sex and childbirth, and is still recognised for her poem Elegy on an Australian Schoolboy (1921), written after her brother was killed in the war. Zora Cross wrote an early history of Australian literature in 1921 and profiled women authors for the Australian Woman’s Mirror in the late 1920s and early 1930s. She corresponded with prominent literary figures such as Ethel Turner, Mary Gilmore and Eleanor Dark and drew vitriol from Norman Lindsay. This thesis presents new ways of understanding Zora Cross beyond a purely literary assessment, and argues that she made a significant contribution to Australian juvenilia, publishing history, war history, and literary history.
22
Anderson, Zoe Melantha Helen. „At the borders of belonging : representing cultural citizenship in Australia, 1973-1984“. University of Western Australia. History Discipline Group, 2009. http://theses.library.uwa.edu.au/adt-WU2009.0176.
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[Truncated abstract] This thesis offers a re-contextualisation of multiculturalism and immigration in Australia in the 1970s and 80s in relation to crucial and progressive shifts in gender and sexuality. It provides new ways of examining issues of belonging and cultural citizenship in this field of inquiry, within an Australian context. The thesis explores the role sexuality played in creating a framework through which anxieties about immigration and multiculturalism manifested. It considers how debates about gender and sexuality provided fuel to concerns about ethnic diversity and breaches of the 'cultural' borders of Australia. I have chosen three significant historical moments in which anxieties around events relating to immigration/multiculturalism were most heightened: these are the beginning of the 'official' policy of multiculturalism in Australia in 1973; the arrival of large numbers of Vietnamese refugees as a consequence of the Vietnam War in 1979; and 1984, a year in which the furore over the alleged 'Asianisation' of Australia reached a peak. In these years, multiple and recurring representations served to recreate norms as applicable to the white heterosexual family, not only as a commentary and prescriptive device for migrants, but as a means of reinforcing 'Australianness' itself. A focus on the body as a border/site of belonging and in turn, crucially, its relationship to the heterosexual nuclear family as a marker of 'cultural citizenship', lies at the heart of this exploration. Normative ideas of gender and sexuality, I demonstrate, were integral in informing the ambivalence about multiculturalism and ethnic diversity in Australia. Indeed, for each of these years I examine how the discourses of gender and sexuality, evident for example in parliamentary debates such as that relating to the Sex Discrimination Act 1984, were intricately tied to ongoing concerns regarding growing non-white ethnicity in Australia, and indeed, enabled it. ... In pursuing this contribution, the work draws critically upon recent innovative interdisciplinary scholarship in the field of sexuality and immigration, and draws upon a broad range of sources to inform a comprehensive and complex examination of these issues. Sources employed include the major newspapers and periodicals of the time, Parliamentary debates from the Commonwealth House of Representatives, Parliamentary Committee findings and publications, speeches and polemics, and relevant legislation. This inquiry is an interrogation of a key methodological question: can sexuality, in its workings through ethnicity and 'race', be used as a primary tool of analysis in discussing how whiteness and 'Australianness' reconfigured itself through normative heteropatriarchy in an era that claimed to champion and celebrate difference? How and why did ambiguities concerning 'Australianness' prevail, concurrent with progressive and generally politically benign periods of Australian multiculturalism? The thesis argues that sexuality through the construction of the 'good white hetero-patriarchal family' both informed, and enabled, the endurance of anxieties around non-white ethnicity in Australia.
23
Hattam, Katherine, und katherine hattam@deakin edu au. „Art and Oedipus“. Deakin University. School of Communication and Creative Arts, 2003. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20070816.121927.
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McLaren, Greg 1967. „Translations under the trees : Australian poets' integration of Buddhist ideas and images“. Phd thesis, Department of English, 2005. http://hdl.handle.net/2123/6830.
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Vidal, Anne. „Representing Australian identity in the years 2000-2001 : the Sydney Olympic Games and the Centenary of Federation (selling Australia to the world or commemorating a flawless past?)“. Thesis, The University of Sydney, 2004. https://hdl.handle.net/2123/27914.
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In his book, Inventing Australia: Images and Identity 1688-1980,
Richard White argues that:
There is no 'real' Australia waiting to be uncovered. A national
identity is an invention [. ..]. When we look at ideas about national
identity, we need to ask, not whether they are true or false, but
what their function is, whose creation they are, and what interests
they serve.
White's argument is a useful starting point when considering the
“obsession” Australian intellectuals have always felt to uncover their
national identity, which goes back to the very birth of Australia as a settler-colony.
Australia’s beginning as a colony not only implied a complete
dependence in terms of economy, defence and culture towards Great
Britain but also the dispossession of the indigenous population under the
legal doctrine of Terra Nullius. All settler-colonies in search for a national
identity follow the same initiatory path. The settlers at first feel isolated and
in exile, far away from any familiar landmark and find it difficult to
measure up with the mother country. After having, not without difficulty,
defined itself through the invention and the appropriation of myths
originating from the dominant Anglo Celtic society, Australia now seems to
suffer from a national identity crisis. The last three decades saw the
challenging and eroding of the mainstream white Australia identity by
minority groups such as women, non Anglo-Celtic migrants and indigenous
Australians. While those groups have made their voices heard throughout
the last thirty years, we can easily identify a dominant decade for each
group. Women saw most of their claims settled in the 1970s,
multiculturalism became a reality in the 1980s while indigenous
Australians stamped on the 1990s with native title laws, the reconciliation
movement and the growing acceptance and adoption of Aboriginality as a
desirable component of the Australian national identity.
26
Thoday, Heather Frances. „Lived spaces of representation : thirdspace and Janette Turner Hospital's political praxis of postmodernism /“. Title page, abstract and table of contents only, 2004. http://web4.library.adelaide.edu.au/theses/09PH/09pht449.pdf.
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Stephen, Ann. „Looking through conceptual art : a dialogue between Ian Burn and his collaborators“. Thesis, Queensland University of Technology, 2003.
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A monograph on Ian Burn poses major problems and opportunities for art historical inquiry. A central dilemma concerns the challenge that his Conceptual art raises for biography. How is it possible to turn a conversational practice into a monograph?
In Looking Through Conceptual Art Bum's dialogical art is engaged in a series of imaginary and actual encounters with the work of other artists. The ten chapters mark out the passage of a life through a series of exchanges. Each chapter begins at a specific historical moment however its internal dynamic pursues a conversational rather than a temporal logic. Their breadth-from regional landscape with Albert Namatjira, self-portraiture with Bum's Australian masters, appropriation with Sidney Nolan, abstraction with Piet Mondrian,
collaboration with Mel Ramsden, Conceptual art with Art & Language, provincialism with Jackson Pollock, the political legacy of Conceptual art with Fernand Leger and the readymade with 'Em Malley'-represents the challenge that Bum poses for Conceptual art. The structure loosens the diachronic inevitability of biography and traces instead a non-linear surface that articulates and frames the spacing between different cultures, practices and collaborations.
Three fundamental questions inform all the conversations and are at the heart of Bum's practice: How is it possible to make art from a different (marginal) place? What role can
painting and perception play in Conceptual art ? And what are the political implications of Conceptual art?
28
Ross, Frances Pamella. „The gift : a novel“. Thesis, Queensland University of Technology, 2000.
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The gift is a research-based novel set in Cambodia in 1993,
during the United Nations - sponsored elections. The central
character is a Brisbane woman who travels to Cambodia to
help run the elections.
29
Sun, Christine Yunn-Yu. „The construction of "Chinese" cultural identity : English-language writing by Australian and other authors with Chinese ancestry“. Monash University, School of Languages, Cultures and Linguistics, 2004. http://arrow.monash.edu.au/hdl/1959.1/5438.
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30
Penazzi, Leonardo. „The fellow (novel) ; and Australian historical fiction, debating the perceived past (dissertation)“. University of Western Australia. School of Social and Cultural Studies, 2008. http://theses.library.uwa.edu.au/adt-WU2008.0070.
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Novel The Fellow What is knowledge? Who should own it? Why is it used? Who can use it? Is knowledge power, or is it an illusion? These are some of the questions addressed in The Fellow. At the time of Australian federation, the year 1901, while a nation is being drawn into unity, one of its primary educational institutions is being drawn into disunity when an outsider challenges the secure world of The University of Melbourne. Arriving in Melbourne after spending much of his life travelling around Australia, an old Jack-of-all-trades bushman finds his way into the inner sanctum of The University of Melbourne. Not only a man of considerable and varied skill, he is also a man who is widely read and self-educated. However, he applies his knowledge in practical ways, based on what he has experienced in the
31
Matters, Emily Helene. „AENEAS IN THE ANTIPODES The teaching of Virgil in New South Wales schools from 1900 to the start of the 21st century“. University of Sydney. Classics and Ancient History, 2005. http://hdl.handle.net/2123/716.
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Aeneas in the Antipodes offers an Australian perspective on the teaching of Virgil�s poetry in the secondary school. The study examines practices in the State of New South Wales from 1900 to the early years of the twenty-first century. The changing role of Latin in the curriculum is traced through a historical account showing the factors which caused a decline in the status and popularity of the subject from the beginning of the century to the 1970s. This decline, not confined to Australia, stimulated the introduction of new teaching methods with different emphases which were, to some extent, successful in preserving Latin from extinction in schools. Against this background of change, Virgil remained the Latin author most frequently studied in the final year of school. Because this poetry was so consistently prescribed for public examinations, a detailed investigation is made of the questions set and of the examiners� comments on candidates� performance, as evidence of changes in expectations and hence, in teaching methods. The influence of trends in Virgilian scholarship is assessed by means of a review of all the officially recommended commentaries and secondary works. The growth of literary criticism from the 1960s is shown to have had a marked effect on syllabuses and examinations, and consequently on the approach taken in the classroom. The role of local professional organizations in supporting the teaching of Virgil has been documented, showing how the disappearance of official support for Latin teaching was to some extent counterbalanced by an increase in voluntary effort. The resources and methods used to introduce Virgil to comparative beginners are classified and reviewed. An assessment is also offered of approaches made to teaching Virgil in English at both junior and senior secondary levels. The final chapter reviews the changes brought about since 2000. Current teaching practices are documented through classroom observations and teacher surveys, substantiating the impression that while most students at the beginning of the twenty-first century are less prepared than their predecessors to translate Virgil independently, they are expected to attempt a far more sophisticated analysis of the literary features Note: For appendix 3-10 please see hardcopy edition.
32
Gathercole, Michael University of Ballarat. „Progress in Australia over the 20th century : the ups, downs and reversals that occurred in Australian human wellbeing over the 20th century“. 2005. http://archimedes.ballarat.edu.au:8080/vital/access/HandleResolver/1959.17/12756.
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"This study is an investigation of progress in Australia over the 20th century. Progress is defined here as the enhancement of human wellbeing. For the purposes of this study, human wellbeing will be characterised by five main components: knowledge, environment, economy, individual and social. Enhancement refers to positive directional change in terms of these components. The study firstly develops a framework to conceptualise progress. It then collects and uses statistical data in a descriptive study of what happened in Australia, over those 100 years, in terms of progress in general and in terms of its components. The study also develops a typology of relationships for models of progress, which best explain the Australian data. This study finally explores some of the relationships between the elements that make up the components of progress and looks at ways to best explain what has happened..." --p.1.Doctor of Philosophy
33
Gathercole, Michael. „Progress in Australia over the 20th century : the ups, downs and reversals that occurred in Australian human wellbeing over the 20th century“. Thesis, 2005. http://researchonline.federation.edu.au/vital/access/HandleResolver/1959.17/37349.
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"This study is an investigation of progress in Australia over the 20th century. Progress is defined here as the enhancement of human wellbeing. For the purposes of this study, human wellbeing will be characterised by five main components: knowledge, environment, economy, individual and social. Enhancement refers to positive directional change in terms of these components. The study firstly develops a framework to conceptualise progress. It then collects and uses statistical data in a descriptive study of what happened in Australia, over those 100 years, in terms of progress in general and in terms of its components. The study also develops a typology of relationships for models of progress, which best explain the Australian data. This study finally explores some of the relationships between the elements that make up the components of progress and looks at ways to best explain what has happened..." --p.1.Doctor of Philosophy
34
Gathercole, Michael. „Progress in Australia over the 20th century : the ups, downs and reversals that occurred in Australian human wellbeing over the 20th century“. 2005. http://archimedes.ballarat.edu.au:8080/vital/access/HandleResolver/1959.17/14593.
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"This study is an investigation of progress in Australia over the 20th century. Progress is defined here as the enhancement of human wellbeing. For the purposes of this study, human wellbeing will be characterised by five main components: knowledge, environment, economy, individual and social. Enhancement refers to positive directional change in terms of these components. The study firstly develops a framework to conceptualise progress. It then collects and uses statistical data in a descriptive study of what happened in Australia, over those 100 years, in terms of progress in general and in terms of its components. The study also develops a typology of relationships for models of progress, which best explain the Australian data. This study finally explores some of the relationships between the elements that make up the components of progress and looks at ways to best explain what has happened..." --p.1.Doctor of Philosophy
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Gunn, Anthea Caroline. „Imitation realism and Australian art“. Phd thesis, 2010. http://hdl.handle.net/1885/109407.
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The work of the Imitation Realists has rightly been seen as marking the start of the
widespread use of assemblage and popular culture by Australian artists during the
1960s. Viewed within the context of their training and the debates of the Australian
art world in the 1950s, it can be seen that the impetus for their work was to find an
alternative form of 'Australian' art. The stated objective of this thesis is to
demonstrate how the work of the Imitation Realists adapted and contributed to
changes to art in Australia. This is achieved by considering the work of Mike
Brown, Ross Crothall and Colin Lanceley in the context of the debates that shaped
the reception and production of art in Australia, including changing ideas concerning
materials, exhibition display and the national identity. Their art, exhibitions and
statements are closely analysed to show how the group formed, worked together and
why they later disbanded.
It is argued in this thesis that Imitation Realism arose as a response to what the
artists saw as the inadequacy of local art practice. This was a result of a
disconnection that they saw between contemporary art and daily life in Australia.
The Imitation Realists found that both abstract and figurative painters were at a
remove from modern urban life as they experienced it. They tried to form an
authentic mode of art that connected with the materiality of the everyday.
Assemblage enabled the artists to break through the impasse they perceived in
contemporary art. Their work was one instance of a widespread interest in the
'primitive' and assemblage shared by artists in Europe and the United States. As
virtually no precedent existed for their art in Australia, it is contextualised
internationally in this thesis. This identifies that the Imitation Realists shared the
practice of using deliberately naive techniques and styles to create work that sought
to capture creativity at its most basic level. The Imitation Realists used assemblage
to respond to modern life as a whole, not just to modernism within the visual arts.
36
Hoy, DM. „Double happiness : bicultural men - identity and learning : a study of Australian-Chinese men born in the 20th century“. Thesis, 2013. http://hdl.handle.net/10453/23545.
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University of Technology, Sydney. Faculty of Arts and Social Sciences.Chinese were early settlers in Australia but little has been written of Australian-Chinese men now living in the twenty-first century, some of whom can trace their lineage, in the Australian context, across centuries. The focus here on this demographic was because of personal involvement with the lives and culture of Australian-Chinese people domiciled or linked to the Sydney region. The question was how has a cross-cultural context effected the patterns of life long learning and the identities of Australian-Chinese men born between 1915 and 1945? All forty-three participants were retired Australian-Chinese men, who were either born in Australia or immigrated here, mainly as young people. The research explored their learning, formal education, adaptation to another culture, and identity development. A mixed methodology was used to ascertain that a change had been definitely effected, and that the difference was not a momentary transformation. The study involved the collection of biographical data using three instruments: the data collection process included a video-taped interview with each participant, usually in their own home, to discuss their opinions and lives: secondly, they answered an information-gathering questionnaire: and they completed a psychological self-assessment instrument, the Cross-Cultural Adaptability Inventory (CCAI). This investigation also noted their work histories, community involvement, and what they thought they had achieved during their lifetime. It was anticipated that the combination of all these factors would yield more than sufficient qualitative and quantitative data for assessment, so as to explore the learning, identity formation, and transcultural adaptation of each man in the study. Two well-tested theories were referenced in this process. The first by La Fromboise et al. (1993) basically examined biculturalism, and the second by Levinson et al. (1978), considered the seasons of a man’s life, and each theory added strength to the deliberations that sought to answer the research question. This research enlarged understanding of twentieth century Australian-Chinese men, their learning paradigms, identity influences, cross-cultural adaptation, and perceptions of their achievements. It provided insights to the field of adult learning, education and sociology, history and biography. It expanded the image of Australian-Chinese men and contributed to the participant’s and their family’s identity and historical record.
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„History in Australian popular culture : 1972-1995“. Thesis, University of Technology, Sydney. Department of Writing & Contemporary Cultures, 1996. http://hdl.handle.net/10453/20231.
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As cultural studies has consolidated its claim to constitute a distinct field of study in recent years, debate has intensified about its characteristic objects, concepts and methods, if any, and, therefore, its relationship to traditional disciplines in the Humanities and Social Sciences.
In History in Australian Popular Culture 1972-1995, I focus on an intersection of cultural studies with history. However, I do not debate the competing claims of 'history' and 'cultural studies' as academic projects. Rather, I examine the role played by historical discourse in popular cultural practices, and how those practices contest and modify public debate about history; I take 'historical discourse' to
include argument about as well as representation of the past, and so to involve a rhetorical dimension of desire and suasive force that varies according to social contexts of usage. Therefore, in this thesis I do cultural studies empirically by asking what people say and do in the name of history in everyday contexts of work and leisure, and what is at stake in public as well as academic 'theoretical' discussion of the meaning and value of history for Australians today.
Taking tourism and television ('public culture') as my major research fields, I argue that far from abolishing historical consciousness -- as the 'mass' dimension of popular culture is so often said to do -- these distinct but globally interlocking cultural industries have emerged in Australian conditions as major sites of historical contestation and pedagogy.
Tourism and television are, of course, trans-national industries which impact on the living-space (and time) of local communities and blur the national boundaries so often taken to define the coherence of both 'history' and 'culture' in the modern period. I argue, however, that the historical import of these industries includes the use of the social and cultural spaces they make available by people seeking to publicise their own arguments with the past, their criticisms of the present, and their projects for the future; this usage is what I call 'popular culture', and it can include properly historical criticism of the power of tourism and television to disrupt or destroy a particular community's sense of its past.
From this it follows that in this thesis I defend cultural studies as a practice which, far from participating in a 'death' or 'killing' of history, is capable of accounting in specific ways for the liveliness of historical debate in Australia today.
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„History in Australian popular culture : 1972-1995“. University of Technology, Sydney. Department of Writing & Contemporary Cultures, 1996. http://hdl.handle.net/2100/310.
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As cultural studies has consolidated its claim to constitute a distinct field of study in recent years, debate has intensified about its characteristic objects, concepts and methods, if any, and, therefore, its relationship to traditional disciplines in the Humanities and Social Sciences. In History in Australian Popular Culture 1972-1995, I focus on an intersection of cultural studies with history. However, I do not debate the competing claims of 'history' and 'cultural studies' as academic projects. Rather, I examine the role played by historical discourse in popular cultural practices, and how those practices contest and modify public debate about history; I take 'historical discourse' to include argument about as well as representation of the past, and so to involve a rhetorical dimension of desire and suasive force that varies according to social contexts of usage. Therefore, in this thesis I do cultural studies empirically by asking what people say and do in the name of history in everyday contexts of work and leisure, and what is at stake in public as well as academic 'theoretical' discussion of the meaning and value of history for Australians today. Taking tourism and television ('public culture') as my major research fields, I argue that far from abolishing historical consciousness -- as the 'mass' dimension of popular culture is so often said to do -- these distinct but globally interlocking cultural industries have emerged in Australian conditions as major sites of historical contestation and pedagogy. Tourism and television are, of course, trans-national industries which impact on the living-space (and time) of local communities and blur the national boundaries so often taken to define the coherence of both 'history' and 'culture' in the modern period. I argue, however, that the historical import of these industries includes the use of the social and cultural spaces they make available by people seeking to publicise their own arguments with the past, their criticisms of the present, and their projects for the future; this usage is what I call 'popular culture', and it can include properly historical criticism of the power of tourism and television to disrupt or destroy a particular community's sense of its past. From this it follows that in this thesis I defend cultural studies as a practice which, far from participating in a 'death' or 'killing' of history, is capable of accounting in specific ways for the liveliness of historical debate in Australia today.
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Barker, Heather Isabel. „A critical history of writing on Australian contemporary art, 1960-1988“. 2005. http://repository.unimelb.edu.au/10187/7134.
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This thesis examines art critical writing on contemporary Australian art published between 1960 and 1988 through the lens of its engagement with its location, looking at how it directly or indirectly engaged with the issues arising from Australia's so-called peripheral position in relation to the would-be hegemonic centre. I propose that Australian art criticism is marked by writers' acceptances of the apparent explanatory necessity of constructing appropriate nationalist discourses, evident in different and succeeding types of nationalist agendas, each with links to external, non-artistic agendas of nation and politics. I will argue that the nationalist parameters and trajectory of Australian art writing were set by Australian art historian, Bernard Smith, and his book Australian Painting, 1788-1960 (1962) and that the history of Australian art writing from the 1960s onwards was marked by a succession of nationalist rather than artistic agendas formed, in turn, by changing experiences of the Cold War. Through this, I will begin to provide a critical framework that has not effectively existed so far, due to the binary terror of regionalism versus internationalism.Chapter One focuses on Bernard Smith and the late 1950s and early 1960s Australian intellectual context in which Australian Painting 1788-1960 was published. I will argue that, although it can be claimed that Australia was a postcolonial society, the most powerful political and social influence during the 1950s and 1960s was the Cold War and that this can be identified in Australian art criticism and Australian art. Chapter Two discusses art theorist, Donald Brook. Brook is of particular interest because he kept his art writing separate from his theories of social and political issues, focussing on contemporary art and artists. I argue that Brook's failure to engage with questions of nation and Australian identity directly ensured that he remained a respected but marginal figure in the history of Australian art writing. Chapter Three returns to the centre/periphery issue and examines the art writing of Patrick McCaughey and Terry Smith. Each of these writers dealt with the issue of the marginality of Australian art but neither writer questioned the validity of the centre/periphery model.
Chapter Four examines six Australian art magazines that came into existence in the 1970s, a decade of high hopes and deep disillusionment. The chapter maps two shifts of emphasis in Australian art writing. First, the change from the previous preoccupation with provincialism to pluralist social issues such as feminism, and second, the resulting gravitation of individual writers into ideological alliances and/or administrative collectives that founded, ran and supported magazines that printed material that focused on (usually Australian) art in relation to specific social, cultural or political issues. Chapter Five concentrates on the Australian art magazine, Art & Text, and Paul Taylor, its founder and editor. Taylor and his magazine were at the centre of a new Australian attempt to solve the provincialism problem and thus break free of the centre/periphery model.
40
Hooton, Fiona Art History & Art Education College of Fine Arts UNSW. „The impact of the counterculture on Australian cinema in the mid to late 20th century“. 2007. http://handle.unsw.edu.au/1959.4/41008.
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This thesis discusses the impact of the counterculture on Australian cinema in the late 20thcentury through the work of the Sydney Underground Film group, Ubu. This group, active between 1965 -1970, was a significant part of an underground counter culture, to which many young Australians subscribed. As a group, Ubu was more than a rat bag assemblage of University students. It was an antipodean aspect of an ongoing artistic and political movement that began with the European avant-garde at the beginning of the 20th century and that radically transformed artistic conventions in theatre, painting, literature, photography and film. Three purposes underpin this thesis: firstly to track the art historical links between a European avant-garde heritage and Ubu. Experimental film is a genre that is informed by cross art form interrelations between theatre, painting, literature, photography and film and the major modernist aesthetic philosophies of the last century. Ubu's revolutionary aesthetic approaches included political resistance and the involvement of audiences in the production of art. Their creative wellspring drew from: Alfred Jarry, Dadaism, Surrealism, Futurism, Fluxus, Conceptual and Pop art. This cross fertilization between the arts is critical to understanding not only the Australian experimental movement but the history of contemporary image making. The second purpose is to fill a current void of research about early Australian Experimental film. This is a significant gap given it was a national movement with many international connections. The counterculture movement also contains many major figures in Australian art history. These individuals played their parts in the Sydney Push, Oz magazine and the activities of the Yellow House and have since become important multi arts practitioners and commentators. Thirdly, the thesis attempts to evaluate Ubu's political and social agenda for the democratization of film appreciation through their objectives of: production, exhibition, distribution and debate of experimental film both nationally and internationally. Ultimately the group would succeed in these objectives and in winning the war on repressive censorship laws. Their influence has informed the practice of many of Australia's current film heavy weights. Two key films have been selected for analysis, It Droppeth as the Gentle Rain (1963) and Newsfront (1978). The first looks forward to Ubu's contemporary practices and political agenda while the second demonstrates their longer term influences on mainstream cinema.
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Lahy, Waratah. „Painted objects : investigating the imagery of Australian iconic culture“. Phd thesis, 2007. http://hdl.handle.net/1885/149626.
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42
Topliss, Helen. „Australian female artists and modernism, 1900-1940“. Phd thesis, 1992. http://hdl.handle.net/1885/133859.
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The thesis provides a revaluation of the art of Australian women artists in the
period 1900-1940. In the first instance, this study attempts to answer the
question posed by a number of male historians: "Why were there so many
succesful Australian women artists in the period between the two world wars?"
My answer has involved the analysis of three major phenomena:
1. The women's emancipation movement which enfranchised women and
gave them the key to education and subsequently to the professions.
2. The women artists of the early twentieth century were the direct benefactors
of the women's movement, the confidence that the new woman acquired
enabled her to continue her studies abroad for the first time in significant
numbers.
3. Women artists became identified with modernism and also for their
contribution to the arts and crafts movement. Critics have noted that there was
a large proportion of women artists involved with various aspects of the
modernist movement. The question has not been examined before in
Australian art because there has not been any enquiry into their collective
artistic genealogies, nor has the interconnectedness of much of their art been
noticed before. When this is analysed, it becomes clear that women had a
special affinity with aspects of modernism because of their gendered artistic
education in the nineteenth century which rendered them particularly sensitive
to some aspects of modernism. This is clear in most of the case studies of the
women artists whose careers I examine here.
My study has been conducted from the point of view established by certain
feminist critics and art historians whose theories have provided an important
perspective on the art of this period. This perspective is a necessary one, it
hinges on the concepr of "difference" in women's artistic expression. This
theory of "difference" also provides a parallel to the sociological study of women's liberation at the beginning of this century (the data for which IS
provided in the Appendices at the end of the thesis). The theory of "difference"
can be seen to link up with an analysis of gendered art education and thus
facilitates an understanding of why it was that so many women readily
pursued the criteria for modernist art.
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Bloch, Barbara, University of Western Sydney, College of Arts und Centre for Cultural Research. „Unsettling Zionism : diasporic consciousness and Australian Jewish identities“. 2005. http://handle.uws.edu.au:8081/1959.7/20925.
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The motivation for writing this thesis derives from the lengthy conflict between Israelis and Palestinians and its effects on Jews who have been engaged politically and intellectually in challenging a paradigm most prevalent among Australian and other diasporic Jewry since the establishment of the state of Israel in 1948. The paradigm asserts that Israelis’ right to live safely within secure borders must be of exclusive concern. To challenge this exclusively therefore, by speaking in support of Palestinian justice and needs for similar basic conditions of life which have not yet been met, is viewed by many Jews as disloyalty and even as antisemitism. Australian Jewry has become known as Zionism’s ‘last bastion’. What were the particular conditions in Australia that led to Zionism and identification with Israel becoming the key symbol of Jewish identity within the Jewish community? The Zionist project has been sustained by deeply held metaphors. These include the historically-based claims and lived experiences of victimisation and vulnerability as Jews, whether individual and collective. Through revealing and synthesising the complexities and contradictions that are inherent in Jewish-Zionist subjectivities today, the thesis hopes to illuminate more generally questions of identity formation, diaspora and community, power and victimisation, and the unifying force of discourse.Doctor of Philosophy (PhD)
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Bolton, Ken 1949. „At the flash & at the baci“. 2003. http://web4.library.adelaide.edu.au/theses/09PH/09phb6943.pdf.
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"August 2003." Includes bibliographical references (leaves 166-177) Pt. 1. At the flash & at the baci: contents, poems, notes to poems -- pt. 2. Exegetical essay: note on the text, essay: How I remember writing some of my poems - why, even Consists principally of poems. The collection does not pursue any particular theme. It is organized chronologically. An exegetical essay written as a poem forms the second part of the thesis. The essay does not explain the poem's 'meanings' to any great extent but considers the poems' relation to each other and to poems written in the past.
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Bolton, Ken 1949. „At the flash & at the baci / Ken Bolton“. Thesis, 2003. http://hdl.handle.net/2440/21996.
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"August 2003."Includes bibliographical references (leaves 166-177)
2 v. (131, 177 leaves) ; 30 cm.
Consists principally of poems. The collection does not pursue any particular theme. It is organized chronologically. An exegetical essay written as a poem forms the second part of the thesis. The essay does not explain the poem's 'meanings' to any great extent but considers the poems' relation to each other and to poems written in the past.
Thesis (Ph.D.)--University of Adelaide, Dept. of English, 2003
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Kamp, Alanna. „Invisible Australians : Chinese Australian women's experiences of belonging and exclusion in the White Australia Policy era, 1901-1973“. Thesis, 2014. http://hdl.handle.net/1959.7/uws:53060.
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This thesis moves beyond patriarchal accounts of Chinese Australian settlement and experience in the White Australia Policy era (1901-1973) by providing an analysis of the presence and lived experiences of Chinese Australian women in this historical period. Through a historical geography approach that is deeply rooted in postcolonial feminist epistomologies, this research aimed to understand the lived experiences of Chinese Australian women as remembered and told from their own perspectives, while also providing a revised account of their demographic characteristics as officially recorded in government records. Qualitative data for this research were collected through in-depth, semi-structured interviews with nineteen Chinese Australian women who lived throughout the White Australia Policy era, while quantitative demographic data were collected from historical census records for the period between 1911 and 1966.
This research makes substantive contributions to Chinese Australian research as well as feminist historical geography in Australia more broadly. By illustrating the presence of Chinese Australian women throughout the period, this research challenges androcentric accounts of the ‘bachelor society’ of Chinese Australian men, patriarchal understandings of Chinese migration, and ethnocentric understandings of national identity and belonging in the White Australia Policy era. By presenting an examination of Chinese Australian women’s lived experiences across a range of spaces and social contexts (e.g. home, school, work, and neighbourhood) and with acknowledgement of their various subject positions as gendered, classed, and racialised individuals, this research also brings to light the diversity and complexity of Chinese Australian women’s lives in regards to identity, maintenance of ‘traditional’ Chinese culture, and experiences of belonging and exclusion. The postcolonial feminist approach utilised therefore provides an alternative lens through which to examine Australia’s Chinese past and move towards a more inclusive understanding of Chinese Australian communities and experiences in White Australia. This research also highlights one way in which postcolonial and feminist research can be conducted when research ‘subjects’ lie outside the researcher’s own class, racial and privileged position.
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Batho, Susan Smith, University of Western Sydney und Faculty of Humanities and Social Sciences. „Family“. 1998. http://handle.uws.edu.au:8081/1959.7/24561.
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Family is a work of creative fiction concerning four women and their relationships with each other. It is threaded with scenes from their past lives which hint at their previous connections with each other. These images of the past start to intrude into and affect their present lives. The central character, and storyteller of the present,is Margaret, a married woman who is finding that the 'comfort' of stereotypical behaviour and a prescribed marital relationship is a fiction. For Margaret, the intrusions of these past memories reveal to her traits in her character, aiding an understanding of herself, and eventually gives her freedom from her present situation.Master of Arts (Hons) (Writing)
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Eastburn, Melanie. „The living specimen : Guan Wei : a Chinese-Australian artist“. Thesis, 1997. http://hdl.handle.net/1885/258500.
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This thesis focuses on the work and experience of Guan Wei. Guan Wei is a Chinese born artist now living and working in Australia. He is one of a number of mainland Chinese who came to live in Australia in the late 1989s and early 1990s. While there are certain commonalities between the experiences of these artists, I have concentrated on Guan Wei not merely as a case study for recent emigre Chinese artists in Australia, but because of his prominent place in Australian contemporary art.
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Kucharova, Sue, University of Western Sydney und School of Communication and Media. „The torch collector“. 1999. http://handle.uws.edu.au:8081/1959.7/30737.
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The Torch Collector is a Magical Realist novel set in Sydney. It is a story of non conformity, history, hope. The story moves between three recognisable but not clearly identifiable spheres. A past, a present and the non identified other, which could be called the unreal, magical, other-worldly or third-dimensional The genderless protagonist collects torches which enable him/her to transgress the boundaries between the spheres of existence. S/he moves freely across filling the gaps in her/his identity created by her/his cross-cultural background. The novel examines life on the fringe of contemporary Australian society. The Torch Collector's position appears to be voluntary, defined by his/her relationship to the torches. This vital relationship prevents the protagonist from fully engaging in conventional life. It is also a story of Sydney. A city which hides its cross-cultural spirituality underneath a highly urban and technological facade.Master of Arts (Writing)
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Murphy, Bernice. „Images, Institutions and Evolving Nation: Transformations in Australian art, museums, and the cultural imaginary in the 20th century“. Phd thesis, 2021. http://hdl.handle.net/1885/237447.
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Images, Institutions, and Evolving Nation:
Transformations in Australian art, museums, and cultural development in the 20th century
Abstract
The thesis adopts a cultural framework, with a special focus on museums and art institutions in national life, to analyse the impact of enduring fractures within Australia's evolving nationhood in the twentieth century. These faultlines are traced through a continuing British Imperial legacy of denied colonial conquest of Aboriginal peoples and lands as the foundation of material wealth, dominant polity, law, and the social imaginary of national community since Federation.
Analysing the deceptive self-image of a peaceful 'settler society', in control of a social and pastoral geography cleared of Aboriginal occupation or claims to alienated Country, the thesis identifies a deformed socius and disordered understanding of the nation's culture, society and history long into the 20th century - with effects continuing to the present. These effects are traced in their impacts across a range of institutional settings and practices, from museums, art-sites and galleries to curatorship, social sciences and art history.
Visual artworks are adduced throughout the analysis as providing crucial evidence of broader cultural ideas and embodied concepts of social and historical experience. It is argued that the records provided by artworks, their interpretation, and their continuing experience accessed through museums, galleries and pictorial libraries, as well as their study as projected by varied academic communities, form important resources in the representation - and reimagining - of an evolving nation.
At the beginning of the period of the thesis investigation, Indigenous art was not present in Australia's art museums, being institutionally confined by natural science and an emergent anthropology. By the end of the period studied, it had become a redefining presence in all museums, and a primary identifier of Australian museums' unique stance culturally in comparison with their peer institutions internationally. Throughout its inquiry and across all chapters the thesis is oriented to exploring and explicating the processes that variously inhibited or enabled such change in the 20th century.
Each stage of the analysis aims to highlight the transformative potential of events and underlying historical dynamics of cultural creativity and engagement with visual images; to delineate the affirmative impulses and cartography of a transformed future for Australian cultural and social expression; and to argue for a reimagined national community as conveyed through Indigenous art's increasing presence, agency and public impact today.