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1
Hattam, Katherine, and 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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Millward, William H., University of Western Sydney, and 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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Setti, Godfrey. "An analysis of the contribution of four painters to the development of contemporary Zambian painting from 1950-1997." Thesis, Rhodes University, 2001. http://hdl.handle.net/10962/d1002218.
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This study presents an analysis of the contribution of four painters to the development of contemporary Zambian painting, from 1950 to 1997. This is preceded by a brief history of Zambian painting, including Bushmen rock painting and early Bantu art, which is followed by an account of the way western influence, introduced by the white man, started changing the style of painting in the country as it began to affect indigenous artists. In the work of artists who began painting from about 1900 to 1950, both western and traditional stylistic influences can be seen. While the painters whose work is analysed in this thesis had some knowledge of Zambian art before 1950, they were mainly influenced by western ideas of painting. From a list of more than ten painters ofthis period from 1950 to 1997, I selected: Gabriel Ellison, Cynthia Zukas, Hemy Tayali and Stephen Kappata because I know them personally and therefore had access to them and their work, which facilitated my analysis of their work and its contribution to Zambian painting. This analysis takes the form of four chapters, one for each artist, in which relevant biographical and educational background is outlined, followed by an analysis of examples of\vork. Finally, ways in which each painter, through exposure to the Zambian public and artistic community, contributed to further development in Zambian painting, are emphasised.
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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.
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Park, Sungsil. "East Asian and Western perception of nature in 20th century painting." Thesis, University of Brighton, 2009. https://research.brighton.ac.uk/en/studentTheses/e1cdcb78-5148-4de7-9d84-4c701af7ad29.
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The introduction aims to investigate both my painting and exhibition practice, and the historical and theoretical issues raised by them. It also examines different views on nature by comparing and contrasting 20th Century Western ideas with those of traditional Asian art and philosophies. There are two sections to this thesis; Section A contains an historical overview of Eastern and Western philosophy and art, Section B presents observations on my studio and exhibition practice. Section A is divided into two chapters. Chapter 1 examines concepts of nature in the East and West before the eariy 20th Century. It discusses examples of different approaches to nature and cross-cultural perceptions, especially Taoism and Buddhism, which emphasize harmony within nature and the principle of universal truth. It also gives pertinent and relevant examples of attitudes to nature in the Korean. Chinese and Japanese art of the 20th Century. Chapter 2 discusses new and changing attitudes to ecology, post 20th Century, and the environmental art movements of the East and West. Their ideas have a great deal in common with traditional Eastern views on nature and the mind, so have the potential t change both our identity and our relationship with nature. Section B draws together this material to establish the main argument of the thesis, concerning a connection between modem ecological approaches and traditional Zen Buddhist ideas which emphasize the interconnection of all natural forms. The section consists mainly of observations on studio practice divided into 3 chapters and a conclusion.
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Lee, Sai-chong Jack, and 李世莊. "Painting in western media in early twentieth century Hong Kong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1996. http://hub.hku.hk/bib/B31214344.
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蕭芬琪 and Fun-kee Siu. "The case of Wang Yiting (1867-1938): a uniquefigure in early twentieth century Chinese art history." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B31223357.
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Law, Suk-mun Sophia, and 羅淑敏. "Zhang Daqian's (1899-1983) place in the history of Chinese painting." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B31245808.
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Siu, Fun-kee, and 蕭芬琪. "The conventional and the individual in Fu Baoshi's (1904-1965) painting." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B31245912.
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Deng, Weixiong, and 鄧偉雄. "Scholarship, creativity and Jao Tsung-i's works and theories of painting." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2010. http://hub.hku.hk/bib/B45961803.
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蘇碧懿 and Pik-yee Kotewall. "Huang Binhong (1865-1955) and his redefinition of the Chinese paintingtradition in the twentieth century." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B31238701.
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Hennig, Sybille. "The machine and painting: an investigation into the interrelationship(s) between technology and painting since 1945." Thesis, Rhodes University, 1986. http://hdl.handle.net/10962/d1009435.
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Introduction: We, i.e. contemporary Western man, live in a society which has increasingly embraced Science and Technology as the ultimum bonum. The Machine, i.e. Science and Technology, has come to be seen as an impersonal force, a New God - omniscient, omnipotent: to be worshipped and, alas, also to be feared. This mythologem has come to pervade almost every sphere of our lives in a paradigmatic way to the extent where it is hardly ever recognized for what it is and hence fails to arouse the concern it merits. While some of the more perceptive minds - such as Erich Fromm, Rufino Tamayo, Carl Gustav Jung, Konrad Lorenz and Arthur Koestler, to mention but a few - have started ringing the alarm bells, the vast majority of our species seem to plunge ahead with their blinkers firmly in place (more or less contented as long as they can persude themselves that these blinkers were manufactured according to latest technological and scientific specifications). Man’s uniquely human powers - his creative intuition, his feelings, his moral and ethical potential, have become sadly neglected and mistrusted. Homo sapiens – “homo maniacus” as Koestler suggests? - is now at a crossroads: he has reached a point where the next step could be the last step and result in the annihilation of man as a species. Alternately, avoiding that, there is the outwardly less drastic but essentially equally alarming possibility of men becoming robots, while a third alternative has yet to be found. While it does appear as if a lot of young people, noticeably among students, have started reacting against the over mechanization of life, these reactions often tend to follow the swing-of-the-pendulum principle and veer towards the other extreme, throwing out the baby with the bathwater and falling prey to freak-out cults in a kind of mass-irrationalism, rejecting science and technology altogether. Artists who by their very nature perhaps are particularly sensitive - in a kind of seismographic way - to the currents and undercurrents of their age, have become aware of the effects of science and technology on our way of living, and many of them have in one way or another taken a stand in relation to the position of man in our highly technological world. Looking at the art produced over the last four decades, it is truly astonishing to what extent our changed world reflects in our art - a world and a Weltbild very different from that of our ancestors even just a few generations ago. The purpose of the present study is to survey some of the observations and commentaries that painters and certain kindred spirits from the sciences over the last few decades have offered, in the hope of, if not answering, at least defining and posing anew some of the questions that confront us with ever-increasing urgency.
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Franz, Kyle Randolph, and University of Lethbridge Faculty of Arts and Science. "Painting the town red : the "Communist" administration at Blairmore, Alberta, 1933-1936." Thesis, Lethbridge, Alta. : University of Lethbridge, Faculty of Arts and Science, 2007, 2006. http://hdl.handle.net/10133/530.
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On 14 February 1933, the citizens of Blairmore, Alberta, elected a Communist
town council; this so-called Red administration remained in power until 1936. Best
known for their seemingly outrageous actions, the council exists within current
historiography as either the result of protracted depression or an example of the success
experienced by the Communist Party of Canada during this period. This thesis will
challenge both arguments, demonstrating that a series of social, economic, and political
experiences resulted in the election of known Communists being socially permissible by
1933. It will be demonstrated that the agenda of council was not strictly Communist,
rather it represented a balance between radical and populist programs, thus enabling
council to challenge capitalist society while providing a practical response to the local
effects of the Depression. The deterioration of this balance by 1936, coupled with a series of scandals, was resultant in the councils electoral downfall.vii, 161 leaves ; 29 cm.
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Sprague, Abbie Noel. "The craftsman painters of the arts and crafts movement." Thesis, University of Cambridge, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.609045.
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Arthur, Brid Caitrin. "Envisioning Lhasa: 17-20th century paintings of Tibet's sacred city." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1437525195.
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Loayza-Lauffs, Mariana. "The art of Guillermo Kuitca." Thesis, Hong Kong : University of Hong Kong, 1999. http://sunzi.lib.hku.hk/hkuto/record.jsp?B21021508.
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Mason, Anthony, and 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.
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Burke, Janine, and 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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Humphreys, Charlotte M. "Cubo-Futurism in Russia, 1912-1922 : the transformation of a painterly style." Thesis, University of St Andrews, 1989. http://hdl.handle.net/10023/2946.
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Cubo-Futurlsm is defined both in terms of the development of Cubist and Futurist styles of painting by the Russian avant-garde artists Liubov Popova, Nadezhda Udaltsova, Olga Rozanova and Ivan Puni between 1912 and 1915, and in terms of the reworking and transformation of' these two movements against the unique Russian cultural background into a new non-objective art after 1915. The Russian artistic and cultural context, including Ouspensky and the fourth dimension and the linguistic theories of the Futurist poets Alexei Kruchenykh and Vellmlr Khlebnikov concerning a transratlona]. language (zaum), played a vital role for a number of artists in their move into non-objective painting and construction. Zaum influenced the reworking of Cubist collage by Malevich, Puni and Rozanova, and the abstract collages and reliefs of Rozanova and Puni are defined as visual equivalents to the new logic "broader than sense" envisaged by zaum. As part of the Russian cultural context, indigenous art forms also acted as possible stimuli for the development of a non-objective painterly style. The abstract potential which artists saw in the icon was exploited by Puni in his non-objective reliefs of 1915-c1919, and the principles of decoration in Islamic Architecture may be seen as an important source for Popova's painterly architectonics of 19 16-18. After 1916, the principles of non-objective painting, established fran an examination of Cubism and Futurism, were applied to tasks of design and the theatre. Puni, Rozanova and Udaitsova designed household and fashion items, and Alexandra Exter and Alexandr Vesnin completed set and costume designs for several productions in the Moscow Kamerny Theatre between 1916 and 1922. In their attempt to articulate a dynamic spatial environment, the principles for these designs derived from earlier Cubo-Futurist experiments in painting.
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Heuschele, Margaret, and 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.
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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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Archer, Carol, University of Western Sydney, of Performance Fine Arts and Design Faculty, and School of Design. "Skin to work : shifting materialities, ambiguous boundaries." THESIS_FPFAD_SD_Archer_C.xml, 1998. http://handle.uws.edu.au:8081/1959.7/380.
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This thesis challenges existing readings of paintings by Alberto Burri which discuss the work in relation to matter or the body or the psyche. The reading of Burri's Ferro, Sacco, Combustione Legno and Grande Legno G59 demonstrates how the work effects a dynamic quality of alternation between the skin and 'brute' matter. The signification of the work shifts between two types of materiality - that of sheet metal, hessian, plastic and plywood and that of the wounded human skin and psyche.It is argued that the ambiguity of the materiality of Burri's paintings effects a dynamic reciprocity between subject and object. The author argues that Burri's painting alerts the viewer to the reciprocities between industrial materials, corporeal surfaces and subjectivities, to the continuities and ambiguities with and between the skin and workMaster of Arts (Hons) (Visual Arts)
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Gill, Laura Fox. "Peripheral vision : the Miltonic in Victorian painting, poetry, and prose, 1825-1901." Thesis, University of Sussex, 2017. http://sro.sussex.ac.uk/id/eprint/72673/.
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This thesis explores the influence of John Milton on the edges of Victorian culture, addressing temporal, geographical, bodily, and sexual thresholds in Victorian poetry, painting, and prose. Where previous studies of Milton's Victorian influence have focused on the poetic legacy of Paradise Lost, this project identifies traces of Miltonic concepts across aesthetic borders, analysing an interdisciplinary cultural sample in order to state anew Milton's significance in the period between British Romanticism and early twentieth-century critical debates about the value of Paradise Lost. The project is divided into four chapters. The first explores apocalyptic images and texts from the 1820s-Mary Shelley's The Last Man (1826) and the paintings of John Martin-in relation to Miltonic aetiology and eschatology. These texts offer a complex re-thinking of the relation between personal loss and universal catastrophe, which draws on and positions itself against prophecy and apocalypse in Paradise Lost. In the second chapter I address conceptual connections that cross boundaries of medium and nationality, identifying the presence of a Miltonic notion of powerful passivity in the writing and marginalia of Herman Melville and the paintings and anecdotal appendages of J. M. W. Turner. In the third chapter I consider Milton's importance for A. C. Swinburne's poetic presentation of peripheral sexualities, identifying in Milton's poetry a pervasive metaphysics of bodily 'melting' or 'cleaving' which is essential to Swinburne's poetic project. The final chapter analyses the presence of the Miltonic in the fiction of Thomas Hardy, whose repeated readings of Milton contributed to both establishing his poetic vocabulary, and prompting a career-long engagement with Miltonic ideas. The thesis refocuses attention on peripheral elements of the work of these writers and artists to re-articulate Milton's importance for the Victorians, whilst bringing together models of influence which show the Victorian Milton to be at once liminal and galvanising.
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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.
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Archer, Carol. "Frames, flows, feminist aesthetics: paintingsby Judy Watson, Cai Jin and Marlene Dumas." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2006. http://hub.hku.hk/bib/B3690787X.
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Jhaveri, Shanay. "The journey in my head : cosmopolitanism and Indian male self-portraiture in 20th century India : Umrao Singh Sher-Gil, Bhupen Khakhar, Ragubhir Singh." Thesis, Royal College of Art, 2016. http://researchonline.rca.ac.uk/1808/.
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Between 1890 and 1948, Umrao Singh Sher-Gil (1870–1954) a philosopher, Sanskritist, Persianist and father of India’s greatest modernist painter Amrita Sher-Gil, produced a remarkable body of photographic self-portraits. The photographs, usually very small were always of himself in aristocratic-bourgeois settings, which ranged from Paris, Budapest, Simla and Lahore. These images prove to be the starting point for my own research into self-portraiture and a re-appraisal of the term ‘cosmopolitanism’. Central to my re-figuring of ‘cosmopolitanism’ is a refutation of the Kantian ideal of the self-identical, self-sufficient, immune and transcendental subject. I intend to map out how the term has been re-claimed and recalibrated by myriad postcolonial academics and scholars in contemporary critical and cultural theory. My own participation in the on-going re-evaluation of ‘cosmopolitanism’ is done through the detailed study of the lives and works of my three case studies: Sher-Gil, the painter Bhupen Khakhar (1934- 2003), and photographer Raghubir Singh (1942–1999). In my discussion of their respective oeuvres, place and location are foregrounded, taking into account physical movement, but more crucially modes of affiliation and belonging. In my research, a rethinking of ‘cosmopolitanism’ rests on the assertion that a ‘cosmopolitan self’ evolves from correspondences between disparate parties and places. Community, friendship, networks of affiliation and interpersonal exchange are critical to study and acknowledge. The other fundamental concern of this thesis is an emphasis on emotion, and emotional connections to spaces. Geography can and should be read as being populated by emotions, and the narratives of lives can be told through the emotional connections to certain places and spaces. With this research I do not wish to establish a definition or a model of a South Asian cosmopolitan or cosmopolitanism, which is a dangerous and limiting gesture. With the aid of Sher-Gil, Khakhar and Singh I hope to make apparent that for a cosmopolitan sensibility to be formed, physical travel, affluence, and privilege are not necessities. Neither is relinquishing an attachment to place or, inversely, claiming multiple attachments to places, but rather advocating for a recognition of the connection between space and emotion, and how the affects produced from these lived conditions and experiences are manifested, materialised and should be appreciated. Another aspect of this research project is an engagement with a mode of heuristic inquiry, where there is an emphasis on the researcher’s internal frame of reference, the researchers present. Thus, the temporal frame of the thesis produced by my selection of case studies, spans from India’s transition as a colony to an independent nation, but continuing on consciously to my own locatedness, at a moment when it is emerging as a global capitalist power led by a Hindu nationalist government. All of which prompts a continued consideration of the tension between nationalism and cosmopolitanism. It begs the question, how has and can one continue to arbitrate between local attachments and the world at large?
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Miller, Jennifer Anne. "The Politics of Nazi Art: The Portrayal of Women in Nazi Painting." PDXScholar, 1996. https://pdxscholar.library.pdx.edu/open_access_etds/5157.
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The study of Nazi art as an historical document provided an effective measure of Nazi political platform and social policy. Because the ideology of the Third Reich is represented within Nazi art itself, it is useful to have a good understanding of the politics and ideology, surrounding the German art world at the time. Women were used in this study as an exemplification of Nazi art. This study uses the subject of women in Nazi painting, to show how the ideology is represented within the art work itself. It was first necessary to understand the fervorent "cleansing" of the German art world initiated by the Nazis. The Nazis too effectively stamped out all forms of professional art criticism, and virtually changed the function of the art critic to art editor. The nazification of the German artist was "necessary" in order for the Nazis to enjoy total control over the creation of German art. With these three steps taken in the "cleansing" of the German art world, the Nazis made sure that the creation of a "true" Germanic art would go forth completely unhindered. In order to comprehend the subject of Nazi art regarding women, the inherent ideology must be studied. The "new" German woman under National Socialism, was to be the mother, the model of Aryan characteristics, healthy and lean. Nazi political doctrine stated that women were inherently connected with the blood and soil of the nation, as well as nature itself. Women were to be innocent and pure, the bearers of the future Volk and the sustenance of that Volk. Once this political ideology is understood, the depiction of the German woman as mother, as nature, as sexual object, can be placed within Nazi historical context. Political art provided the Nazi state, the historical legitimization the government needed. It provided the means by which the state could be visually validated, politically, and historically.
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Draguet, Michel. "Genèse et naissance de l'abstraction de Kandinsky à Malevitch: essai de définition de la notion de Permière abstraction, 1911-1918." Doctoral thesis, Universite Libre de Bruxelles, 1990. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/213179.
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Robins, Amanda School of Arts UNSW. "Slow art : meditative process in painting and drawing." Awarded by:University of New South Wales. School of Arts, 2006. http://handle.unsw.edu.au/1959.4/31214.
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This exegesis is an exploration of meditative process in painting and drawing and accompanies an exhibition of paintings and large drawings called What Lies Beneath. The text contains several passages, called "meditations," which accompany the themes approached in the chapters and give insight into the thoughts and practices of the artist. The methodology involves the examination of the evidence of the work produced by selected artists, looking at the words of artists in notebooks, diaries and interviews and surveying a small number of local contemporary artists. The text opens up the possibilities of drapery and garments and of still life as paths to meditative practice in painting and drawing. The qualities that characterize meditative process/practice, derived from my observations, are categorized. Some of the strengths of these processes are revealed through the examination of the work of artists, both contemporary and historical. The work of Vermeer, Sanchez Cotan, Francisco Zurbaran and contemporary artists Anne Judell, Simon Cooper, Jude Rae, Alison Watt and Eva Hesse highlight different aspects of the meditative process in painting and drawing. The art works in the exhibition are documented and bring out the meditative processes that have contributed to their creation, including the use and meaning of the subject (drapery and the garment as a form of still life).
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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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Martini, Fátima Regina Sans. "O 'Grupo Tapir'e a pintura de casarios (1960-1980) /." São Paulo, 2004. http://hdl.handle.net/11449/86996.
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Orientador: José Leonardo do Nascimento.Resumo: Nos anos 1960 a 1980, alguns artistas seguiram na contramão da chamada arte de vanguarda ou da arte dos "ismos", pintando principalmente casarios - seqüências de casas geminadas, freqüente no estilo arquitetônico colonial brasileiro - um assunto empregado em determinadas pinturas de paisagens urbanas. O tema foi amplamente consumido, ainda que possa ter sido considerado ultrapassado no período. Os artistas viveram de sua arte e participavam ativamente das exposições promovidas pelas principais galerias e mostras oficiais, assim como dos leilões de arte fomentados pelos mais importantes leiloeiros. Até o pesente, a pintura referente à atmosfera colonial é mencionada nos cursos de arte, prossegue comercialmente viável e é explorada nas grandes mostras. A nossa investigação partiu da proposta de valorização e do resgate do tema, observando a produção de alguns artistas paulistas, os quais constituíram o 'Grupo Tapir'. Através do cenário artístico paulista, inserimos os nomes dos mestres responsáveis pela formação do grupo. Esboçamos uma biografia dos cinco integrantes do 'Grupo Tapir' e a respectiva análise de suas obras a partir dos preceitos de iconografia de Erwin Panofsky (1892-1968), em "Significado das Artes Visuais". Buscamos assim definir os valores perceptivos simbólicos, expressivos e emocionais dos casarios, como obra de arte no contexto da pintura de paisagens, relecionando os devaneios e sonhos relativos aos significado das casas, segundo as obras filosóficas de Gaston Bachelard (1884-1962)
Abstract: From 1960 to 1980 some artists followed the wrong way in the called vanguard art or the art of the 'ismos', painting mainly casarios - sequence of houses, constantly old a topic used in cetain urban landscape's paintings. The theme was throughly consumed, however it can be considered outdated in the period. The artists lived their art and participated actively of the exhibitions promoted by the main galleries and official shows, as well as the auctions fomented by the most important auctioneers. Until now, the painting regarding the colonial atmosphere is reference in the art courses, it continues commercially viable and it is explored in the great displays. Our investigation began with the proposal of valorization and rescue of the theme, observing some artist's production fom São Paulo production, who constitued the "Group Tapir". Through the paulista artists scenery we insert the responsible masters name for the formation of gourp.Sketched a biography about the five members of "Group Tapir" and athe respective analysis of their works starting from the iconography deductions of Erwin Panofsky(1892-1968), in Meaning in the Visual Arts. With this, we intend to define the perceptive, symbolic, expressive and emotional values of the casarios, as work of art in the context of the landscape's painting relating the dream and the relative dreams to the meaning of the houses, according to the philosophical works of Gaston Bachelard (1884-1962)
Mestre
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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
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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.
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Balic, Iva. "Always Painting the Future: Utopian Desire and the Women's Movement in Selected Works by United States Female Writers at the Turn of the Twentieth Century." Thesis, University of North Texas, 2009. https://digital.library.unt.edu/ark:/67531/metadc11060/.
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This study explores six utopias by female authors written at the turn of the twentieth century: Mary Bradley Lane's Mizora (1881), Alice Ilgenfritz Jones and Ella Merchant's Unveiling Parallel (1893), Eloise O. Richberg's Reinstern (1900), Lena J. Fry's Other Worlds (1905), Charlotte Perkins Gilman's Herland (1915), and Martha Bensley Bruère's Mildred Carver, USA (1919). While the right to vote had become the central, most important point of the movement, women were concerned with many other issues affecting their lives. Positioned within the context of the late nineteenth century women's rights movement, this study examines these "sideline" concerns of the movement such as home and gender-determined spheres, motherhood, work, marriage, independence, and self-sufficiency and relates them to the transforming character of female identity at the time. The study focuses primarily on analyzing the expression of female historical desire through utopian genre and on explicating the contradictory nature of utopian production.
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Rampin, Dantas Neves. "A musica de Morton Feldman sob a otica de sua compreensão da pintura do expressionismo abstrato." [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284696.
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Orientador: Denise Hortencia Lopes GarciaDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Esta pesquisa reflete a relação entre a música do compositor norte americano Morton Feldman e o grupo de pintores do Expressionismo Abstrato The New York School of Visual Arts - partindo da ótica do próprio compositor. Abordamos a maneira como Feldman trabalhou concepções advindas da pintura na composição técnica e estética em sua música. Para discorrer sobre este tema, a dissertação apresenta uma breve contextualização histórica da década de 50, do século passado, momento do encontro de Feldman com os pintores. Em seguida, apresentamos as concepções desenvolvidas por Feldman em sua música derivadas da pintura. Para tanto, apresentaremos análises que nos permitam compreender como estas concepções se concretizam musicalmente através da história notacional do compositor. Do ponto de vista metodológico a pesquisa se vale das declarações do próprio compositor, de pesquisas que abordam o trabalho composicional de Morton Feldman e da análise de obras. Priorizamos a análise da peça Crippled Symmetry, já que ela apresenta uma das notações mais originais produzidas por Feldman, o que nos inspirou a composição de Sombras Sobre o Encoberto 11, peça que apresentamos neste trabalho como resultado composicional desta pesquisa. Nas considerações finais, além do resultado de Sombras Sobre o Encoberto 11, discutimos como as concepções utilizadas por Feldman a partir da pintura pode ser amplamente explorada como base composicional singular.
Abstract: This research is about the relation between the music of the American composer Morton Feldman and the group of painters of Abstract Expressionism The New York School of Visual Arts - from the point of view of himself. It will focus the way Feldman developed concepts drawn from painting in the technique and aesthetics of his music. Thus the dissertation presents a historical account of the 1950s, when Feldman and the painters met. Then we present concepts Feldman drew from painting and developed in his music. We provide analyses which allow us to understand how such concepts work musically throughout Feldman's notational history. The method of this research is based on Feldman's statements, researches about his compositional work and the analysis of pieces. Crippled symmetry, whose notation is among the most original devised by Feldman, undergoes extensive analysis. It has also been the inspiration for the composition of our work Sombras sobre o Encoberto II, We present this piece as the compositional outcome of this research. In addition to this piece, the conclusion shows how the concepts Feldman drew from painting can be vastly explored as a unique basis for the composition of music.
Mestrado
Mestre em Música
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Kennedy, Shane Michael. "Expressionist Art and Drama Before, During, and After the Weimar Republic." PDXScholar, 2015. https://pdxscholar.library.pdx.edu/open_access_etds/2508.
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Expressionism was the major literary and art form in Germany beginning in the early 20th century. It flourished before and during World War I and continued to be the dominant art for of the Early Weimar Republic. By 1924, Neue Sachlichkeit replaced Expressionism as the dominant art form in Germany. Many Expressionists claimed they were never truly apart of Expressionism. However, in the periodization and canonization many of these young artists are labeled as Expressionist.
This thesis examines the periodization and canonization of Expression in art, drama, and film and proves that Expressionism began much earlier than scholars believe and ended much later than 1924. This thesis examines the conflicts in Germany that led to Expressionism and which authors and artists influenced Expressionists. It will also show that after Expressionism ceased to be the dominant art form in Germany, many former Expressionists continued to use expressionistic form in their works but ceased to use expressionistic content. This thesis argues that both the periodization and canonization of Expressionism should be expanded to include all works that may be classified as having expressionistic form.
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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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Mulley, Elizabeth. "Women and children in context : Laura Muntz and representation of maternity." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=36781.
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This thesis is concerned with several aspects of the life and work of the Canadian painter Laura Muntz (1860--1930). It examines in particular Muntz's images of women and children both within the cultural themes and ideologies of the period and from the perspective of contemporary twentieth-century theories of gender. The introduction and literature review outline the broad issues surrounding the artist in her time and present a summary of her critical fortunes in Canadian art historical literature. Chapter one provides a discussion of Muntz's life and artistic production between 1860 and 1898, the year in which she returned to Toronto after a decade of study and work in Europe. The following two chapters are conceived as case studies of single paintings, observed in the context of various discourses that surround them. Chapter two analyses Muntz's Madonna and Child in terms of hereditarian theories, eugenics, maternal feminism and the Canadian social purity movement and considers the broader, psychological implications of gender, specifically in the fin-de-siecle associations of femininity and death. Chapter three examines the imagery in Muntz's Protection with reference to North American Symbolist painters and their relationship to the constructs of the feminine ideal. As a whole, the thesis elucidates the complex layers of meaning that Muntz's images of women and children contributed to the popular conceptions of femininity and motherhood current in her time.
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Hoffman-Stonebraker, Jennifer C. "The history and use of stained glass windows in ecclesiastical buildings in Indianapolis, Indiana, 1865-1915." Virtual Press, 2001. http://liblink.bsu.edu/uhtbin/catkey/1214382.
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This thesis examines stained glass windows in Indianapolis churches built between 1865 and 1915. It studies the trends in Indianapolis stained glass windows and compares them with the national trends in stained glass design. The evidence contained within this thesis indicates that a wide variety of styles popular at the time are represented in Indianapolis churches. The evidence also suggests that some national trends in stained glass did influence the design of the windows in Indianapolis. However, most of the windows in the surviving Indianapolis churches from the period are not typical of the high style trends in church stained glass found elsewhere in the United States.Department of Architecture
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Weeda-Zuidersma, Jeannette. "Keeping mum : representations of motherhood in contemporary Australian literature - a fictocritical exploration." University of Western Australia. School of Social and Cultural Studies, 2007. http://theses.library.uwa.edu.au/adt-WU2007.0054.
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[Truncated abstract] This thesis argues that the non-representation and under-representation of mothering in contemporary Australian literature reflects a much wider cultural practice of silencing the mother-as-subject position and female experiences as a whole. The thesis encourages women writers to pay more attention to the subjective experiences of mothering, so that women’s writing, in particular writing on those aspects of women’s lives that are silenced, of which motherhood is one, can begin to refigure motherhood discourses. This thesis examines mother-as-subject from three perspectives: mothering as a corporeal experience, mothering as a psychological experience, and the articulations and silences of mothering-as-subject. It engages with feminist, postmodern and fictocritical theories in its discussion of motherhood as a discourse through these perspectives. In particular, the thesis employs the theoretical works of postmodern feminists Hélène Cixous, Luce Irigaray and Julia Kristeva in this discussion . . . A fictional narrative also runs through the critical discussion on motherhood. This narrative, Catherine’s Story, gives a personal and immediate voice to the mother-as-subject perspective. In keeping with the nature of fictocriticism, strict textual boundaries between criticism and fiction are blurred. The two modes of writing interact and in the process inform and critique each other.
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Banks, Bryan John. "The metamorphosis of painting : an examination of the changes in the use of oil paint in the 19th century and its replacement in the 20th century by non-art materials and three-dimensional objects." Thesis, University of Liverpool, 2006. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.433773.
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Mol, Elias Perigolo 1980. "Amilcar de Castro : confronto com a matéria." [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/279114.
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Orientador: Nelson Alfredo AguilarDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
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Resumo: Este estudo analisa a obra do artista mineiro Amilcar de Castro (1920-2002) e busca as relações existentes entre as suas diferentes produções: o desenho, a pintura, a gravura, sua atuação à frente da reforma gráfica no Jornal do Brasil e o restante de sua produção escultórica
Abstract: This study examines the work of artist Amilcar de Castro (1920-2002). It investigates the relationships between his various activities: drawing, painting, printmaking, his role leading the redesign of Jornal do Brasil as well as his sculpture production
Mestrado
Historia da Arte
Mestre em História
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Taylor, John J. "Joseph John Talbot Hobbs (1864-1938) : and his Australian-English architecture." University of Western Australia. Faculty of Architecture, Landscape and Visual Arts, 2010. http://theses.library.uwa.edu.au/adt-WU2010.0100.
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Architect and soldier Sir J.J. Talbot Hobbs was born on 24 August 1864 in London. After migrating from England to Western Australia in the late 1880s, Hobbs designed many buildings that were constructed in Perth, Fremantle, and regional areas of the State. Although Talbot Hobbs has previously been recognised as a significant and influential contributor to architecture in Australia, his development as an architect has not been documented, nor has his design output undergone critical analysis. A number of problems confront attempts to interpret Hobbs' contribution to architecture. One is that a number of his most prominent building designs have been demolished. Another is that national recognition for his achievements as a First World War Army General have overshadowed his extraordinarily productive pre and post-war career as an architect. Military service was intrinsic to his character, and thus is woven in to this architectural biography. The thesis examines Hobbs' life and work, filling the gap in documented evidence of his contributions, and fitting it within the context of Australian architectural and social history. The main proposition to be tested is whether Hobbs' Australian architecture, of English derivation, combined with vast community service, warrants his recognition as an architect and citizen of national significance. Completely new important issues, information, discussion and facts that have resulted from the research for this thesis are: 1. Biographical knowledge about Hobbs' life including his upbringing, education and training in England, and his fifty years of comprehensive work and community service in and for Australia; 2. The elucidation of the late nineteenth and early twentieth century architectural issues that were relevant to Hobbs and other architects in Western Australia; 3. Examination of the important works of Hobbs' architect predecessors and contemporaries in Perth, and the setting of his own work within this context; 4. Revelation of his primary and pivotal role in war memorial design and organisational work for the far-flung theatres of Australian Army conflicts and selected personal design works within Australia itself during 1919-38; and 5. A chronology and summary of Hobbs' life, with thorough documentation of his output as a sole practitioner in the period 1887-1904 by development of a detailed web-based database - an extremely valuable tool for future researchers.
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Huang, Michelle Ying Ling. "The reception of Chinese painting in Britain, circa 1880-1920 : with special reference to Laurence Binyon." Thesis, University of St Andrews, 2010. http://hdl.handle.net/10023/1020.
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The British understanding of Chinese painting owed much to Laurence Binyon (1869-1943) who enriched the British Museum’s collections of Oriental painting, and for almost forty years, published widely and delivered lectures in Britain and abroad. Binyon’s legacy is to be found in several archival resources scattered in Britain, America, Japan and China. This dissertation is a study of the reception of Chinese painting in early twentieth century Britain, and examines Binyon’s contribution to its appreciation and criticism in the West. By examining the William Anderson collection of Japanese and Chinese paintings (1881), I illuminate Anderson’s way of seeing Chinese pictorial art and his influence on Binyon’s early study of Oriental painting. I argue that the early scroll, The Admonitions of the Court Instructress, which Binyon encountered in 1903, ignited his interest in the study of traditional Chinese painting, yet his conception of Chinese pictorial art was influenced by Japanese and Western expertise. To reveal the British taste and growing interest in Chinese painting around 1910, Binyon’s involvements in major acquisitions and exhibitions of Chinese paintings at the British Museum, including the Sir Aurel Stein collection (1909) and the Frau Olga-Julia Wegener collection (1910), as well as his visits to Western collections of Chinese art in America and Germany, will be investigated. In order to understand the relevance and values of Chinese painting for the development of early twentieth-century British art, I also scrutinize how the principle of “rhythmic vitality” or qiyun shengdong, as well as the Daoist-and Zen-inspired aesthetic ideas were assiduously promoted in Binyon’s writings on Chinese painting, and how Chinese art and thought kindled British modernists to fuse art with life in order to re-vitalize the spirit of modern European art with non-scientific conceptions.
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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.
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Nour, A. I. "Developing African art : innovation and tradition seen through the work of two artists; Lamidi Fakeye and Ahmed Shibrain." Thesis, University of St Andrews, 2006. http://hdl.handle.net/10023/2620.
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The dissertation explores the work of two African artists: Lamidi O. Fakeye a Yoruba wood carver, and Ahmed M. Shibrain a Sudanese painter, as an exemplary development within African art during the second half of the 20th century. It examines their works through the sense of "tradition" as it is seen within the context of their cultures and their histories. It considers their works to be a reflection of their time, a hybrid art and a new tradition emerging within their respective cultures as a result of change in their societies. It argues against the notion that separates their art from their traditions and their histories based on the artificial barriers of "authenticity" in the literature on African art and the various categories that are related to it. It ponders on the contradictions and complexity that this situation has created and demonstrated that these categories negate historical realities. The dissertation is in two parts. The first part describes and analyses some of Lamidi's Christian and secular carvings. His work is placed in its appropriate historical perspective by revealing its close relationship to the carvings of his predecessors in terms of themes, design, content and clients. Innovation and change in his work through time and space is revealed. In the second part, the dissertation defines the connectivity of Shibrain's work to his tradition and its history, and that of his fellow artists who contributed to the development of a new trend in Sudanese art. It discusses their work on the basis of the 'idea' of art in Islam, their training and their heritage of decorative art and Arabic calligraphy. It argues that innovation, influence, borrowing and adaptation, are part of progress in art through the ages.
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Turnell, Sean. "Monetary reformers, amateur idealists and Keynesian crusaders Australian economists' international advocacy, 1925-1950 /." Phd thesis, Australia : Macquarie University, 1999. http://hdl.handle.net/1959.14/76590.
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Thesis (PhD)--Macquarie University, Division of Economic and Financial Studies, Dept. of Economics, 1999.Bibliography: p. 232-255.
Introduction -- Cheap money and Ottawa -- The World Economic Conference -- F.L. McDougall -- The beginnings of the 'employment approach' -- Coombs and consolidation -- Bretton Woods -- An international employment agreement -- The 'employment approach' reconsidered -- The Keynesian 'revolution' in Australia -- Conclusion.
Between 1925 and 1950, Australian economists embarked on a series of campaigns to influence international policy-making. The three distinct episodes of these campaigns were unified by the conviction that 'expansionary' economic policies by all countries could solve the world's economic problems. As well as being driven by self-interest (given Australia's dependence on commodity exports), the campaigns were motivated by the desire to promote economic and social reform on the world stage. They also demonstrated the theoretical skills of Australian economists during a period in which the conceptual instruments of economic analysis came under increasing pressure. -- The purpose of this study is to document these campaigns, to analyse their theoretical and policy implications, and to relate them to current issues. Beginning with the efforts of Australian economists to persuade creditor nations to enact 'cheap money' policies in the early 1930s, the study then explores the advocacy of F.L. McDougall to reconstruct agricultural trade on the basis of nutrition. Finally, it examines the efforts of Australian economists to promote an international agreement binding the major economic powers to the pursuit of full employment. -- The main theses advanced in the dissertation are as follows: Firstly, it is argued that these campaigns are important, neglected indicators of the theoretical positions of Australian economists in the period. Hitherto, the evolution of Australian economic thought has been interpreted almost entirely on the basis of domestic policy advocacy, which gave rise to the view that Australian economists before 1939 were predominantly orthodox in theoretical outlook and policy prescriptions. However, when their international policy advocacy is included, a quite different picture emerges. Their efforts to achieve an expansion in global demand were aimed at alleviating Australia's position as a small open economy with perennial external sector problems, but until such international policies were in place, they were forced by existing circumstances to confine their domestic policy advice to orthodox, deflationary measures. -- Secondly, the campaigns make much more explicable the arrival and dissemination of the Keynesian revolution in Australian economic thought. A predilection for expansionary and proto-Keynesian policies, present within the profession for some time, provided fertile ground for the Keynesian revolution when it finally arrived. Thirdly, by supplying evidence of expansionary international policies, the study provides a corrective to the view that Australia's economic interaction with the rest of the world has largely been one of excessive defensiveness. -- Originality is claimed for the study in several areas. It provides the first comprehensive study of all three campaigns and their unifying themes. It demonstrates the importance to an adequate account of the period of the large amount of unpublished material available in Australian archives. It advances ideas and policy initiatives that have hitherto been ignored, or only partially examined, in the existing literature. And it provides a new perspective on Australian economic thought and policy in the inter-war years.
Mode of access: World Wide Web.
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Dluzak, Catherine M. "An investigation into the influence of the Tiffany Studios in the ecclesiastical stained glass windows commissioned in Indianapolis, Indiana between 1880-1930." Virtual Press, 1999. http://liblink.bsu.edu/uhtbin/catkey/1118169.
Full textAbstract:
This thesis investigates the influence of the Tiffany Studios in ecclesiastical stained glass windows of Indianapolis, Indiana. The Tiffany Studios was a leading stained glass manufacturer at the turn of the century and popularized the use of opalescent glass in stained glass commissions. The following study will briefly look at the history of stained glass, discuss the life of Louis Comfort Tiffany, characterize the work of the Tiffany Studios, and evaluate the ecclesiastical stained glass windows located in Center Township commissioned between 1880-1930. The evidence contained within the stained glass summaries suggests that Tiffany Studios did influence the commission of stained glass windows in Indianapolis during the period under review.Department of Architecture
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Lyons, Sara J. "The sacrifice of honey (fiction) ; The depiction of the media in The shark net, Evil angels and The sacrifice of honey (thesis)." University of Western Australia. English, Communication and Cultural Studies Discipline Group, 2006. http://theses.library.uwa.edu.au/adt-WU2006.0055.
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Potter, Emily Claire. "Disconcerting ecologies : representations of non-indigenous belonging in contemporary Australian literature and cultural discourse." Title page, contents and abstract only, 2003. http://web4.library.adelaide.edu.au/theses/09PH/09php865.pdf.
Full textAbstract:
Includes bibliographical references (leaves 313-325) Specific concern is the poetic, as well as literal, significance given to the environment, and in particular to land, as a measure of belonging in Australia. Environment is explored in the context of ecologies, offered here as an alternative configuration of the nation, and in which the subject, through human and non-human environmental relations, can be culturally and spatially positioned. Argues that both environment and ecology are narrowly defined in dominant discourses that pursue an ideal, certain and authentic belonging for non-indigenous Australians.