Dissertations / Theses on the topic 'Art and society Australia'
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Mah, D. B., University of Western Sydney, and of Performance Fine Arts and Design Faculty. "Australian landscape : its relationship to culture and identity." THESIS_FPFAD_Mah_D.xml, 1997. http://handle.uws.edu.au:8081/1959.7/257.
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This paper is an examination of the relationship of Australian landscape imagery to culture and identity. Visual and historical ideas in the Heidelberg School and more contemporary landscape work is assessed in relation to social history in the work of Ian Burn et al and the social history in the work of Anne Maree Willis. These two types of history are compared and conclusions are made about their similarities and differences in the articulation of identity and culture. It will be concluded that identity and culture are ideas and values which are recycled and relocated with the passage of time and that certain central themes reoccur in the construction of identity and cultureMaster of Visual Arts (Hons)
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Whitehouse, Denise Mary 1947. "The Contemporary Art Society of NSW and the theory and production of contemporary abstraction in Australia, 1947-1961." Monash University, Dept. of Visual Arts, 1999. http://arrow.monash.edu.au/hdl/1959.1/8387.
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Maher, Simon. "The 'citizens' and 'citizenship' debates 'vernacular citizenship' and contemporary Australian politics and society /." Access electronically, 2006. http://www.library.uow.edu.au/adt-NWU/public/adt-NWU20070821.160030/index.html.
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West, Sharon Ann, and sharon west@rmit edu au. "A pictorial historical narrative of colonial Australian society: examining settler and indigenous culture." RMIT University. Education, 2009. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20091104.102857.
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This exegesis covers a period of research and art practice spanning from 2004 to 2007. I have combined visual arts with theoretical research practice that considers the notion of Australian colonialism via a post colonial construct. I have questioned how visual arts can convey various conditions relationships between settler and Indigenous cultures and in doing so have drawn on both personal art practice and the works of Australian artists of the 19th and 20th centuries. These references demonstrate an ongoing examination of black and white relations portrayed in art, ranging from the drawings of convict artist, Joseph Lycett, through to the post federation stance of Margaret Preston, whose works expressed a renewal of interest in Indigenous culture. In applying a research approach, I have utilised a Narrative Enquiry methodology with a comparative paradigm within a Creative Research framework, which allows for various interpretations of my themes through both text and visuals. These applications also express a personal view that has been formed from family and workplace experiences. These include cultural influences from my settler family history and settler historical events in general juxtaposed with an accumulated knowledge base that has evolved from my personal and professional experience within Indigenous arts and education. I have also cited examples from Australian colonial and postcolonial art and literature that have influenced the development of my visual language. These include applying stylistic approaches that incorporate various artistic aspects of figuration and the Picturesque and literal thematic mode based on satire and social commentary. Overall, my research work also expresses an ongoing and evolving process that has been guided and influenced by current Indigenous and non-Indigenous Australian postcolonial critical thinking and arts criticism, assisting within the development of my personal views and philosophies .This process has supported the formation of a belief system that I believe has matured throughout my research and art practices, providing a personal confidence to assert my own analytical stance on colonial history.
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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.
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au, tsummerf@law uwa edu, and Tracey Lee Summerfield. "Families of Meaning: Dismantling the Boundaries Between Law and Society." Murdoch University, 2004. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20050810.115925.
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Legal positivism insists upon a distinction between the inside and outside of law. The common law and statutory rules of interpretation assist in maintaining this distinction, establishing the myth that legal decision-making is a purely objective and rational process, giving rise to internal truths. While critical theorists have illustrated the ways in which the lines between the inside and outside are always blurred, there remains a perceived distinction, in law, between the interpretation of concepts that occurs in the law and that which occurs outside the law. Only the former have legal legitimacy. The idea of the legal family is a case in point, where the law defines family according to its own prescriptions irrespective of how family is constituted by non-legal communities. In this thesis, I consider the meanings of family in different spheres to show how the lines between the social, the political and the legal consistently overlap. I then develop a mechanism by which the law can acknowledge and affirm that which is outside. This requires, firstly, a conception of law as communication and of legal interpretation as a constructive process. Secondly, the task demands that jurists engage with the semiotic processes of the everyday and that legal concepts, at least those that exist independently of the law (family for example) be framed with an open indexicality. This might enable such concepts to be interpreted according to a range of contexts, other than (or in addition to) the legal one. Finally, using the family as an example, I illustrate how a semiotic approach can assist legal interpretation, reform and analysis.
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Sunderland, Sophie Monica May. "Representations of the secular : neutrality, spirituality and mourning in Australia and Canadian cultural politics." University of Western Australia. English and Cultural Studies Discipline Group, 2009. http://theses.library.uwa.edu.au/adt-WU2009.0177.
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[Truncated abstract] This thesis explores the ways in which 'the secular' is represented in contemporary Australian participatory art, screen, and print cultures. Secularisms are currently the subject of analysis in a broad range of disciplines within the humanities, and this thesis intervenes upon the field by focusing on the cultural politics of representations of embodied, spatialized secularisms. The secular is commonly defined in opposition to the 'religious,' and can also be extrapolated to the division of public and private spaces. Thus, by considering the occlusions and violences inherent in the ways bodies negotiate and are constructed through space, this thesis argues for the fluidity and porosity of these oppositions. By drawing from Janet Jakobsen and Ann Pellegrini's notion of secularisms, understood as specific, situated narratives of the secular, as well as Talal Asad's and William E. Connolly's conceptions of the secular, this thesis identifies 'neutrality' and 'spirituality' as two key narratives of the secular around which questions of language, embodiment, affect, and subjectivity are set in motion. Here, a regime of representation that constructs 'religious' subjects as outsiders to an imagined Australian national identity is critiqued and reconsidered in terms of anxieties about remembering and living with difference and loss. Rather than defining 'the secular,' this thesis seeks to maintain focus on the context and contingencies of enunciation. Thus, firstly the conflation of secularism with 'neutrality' and 'objectivity' is explored through a discussion of 'defining' secularisms, alongside critique of representations of the Oxford English Dictionary (OED). By identifying the ways in which this 'everyday' text signals exclusions through the privileging of British Protestant Christianity in its contents, colonial history and usage, I consider how 'neutrality' is made contextually and contingently. ... . Here, secular mourning is a suggestive concept that foregrounds 'affective economies' of loss, grief, and mourning alongside openness to the ways in which identity is made and lived relationally, and differently. Given that the representations of Australian secularisms I identify are made by locating 'the religious' elsewhere, this thesis reflects upon this process by including a contingent comparative study of representations of Canadian secularisms. Participatory art including the Secular Confession Booth (2007) in Toronto and The Booth (2008) in Perth, news media debates about secularism in Ontario and
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Donald, Colin University of Ballarat. "Quoting landscape : an investigative journey across the landscape of the Westen district of Victoria." University of Ballarat, 2004. http://archimedes.ballarat.edu.au:8080/vital/access/HandleResolver/1959.17/12759.
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"This research project aims to provide a contemporary visualisation of "specific sites." The visualisation of these selected landscapes will draw upon and add to existing traditions of representation of this region, embedding my experiences within this dialogue."Master of Arts (Visual Arts)
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Donald, Colin. "Quoting landscape : an investigative journey across the landscape of the Westen district of Victoria." Thesis, University of Ballarat, 2004. http://researchonline.federation.edu.au/vital/access/HandleResolver/1959.17/37534.
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"This research project aims to provide a contemporary visualisation of "specific sites." The visualisation of these selected landscapes will draw upon and add to existing traditions of representation of this region, embedding my experiences within this dialogue."Master of Arts (Visual Arts)
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Donald, Colin. "Quoting landscape : an investigative journey across the landscape of the Westen district of Victoria." University of Ballarat, 2004. http://archimedes.ballarat.edu.au:8080/vital/access/HandleResolver/1959.17/14594.
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"This research project aims to provide a contemporary visualisation of "specific sites." The visualisation of these selected landscapes will draw upon and add to existing traditions of representation of this region, embedding my experiences within this dialogue."Master of Arts (Visual Arts)
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Blakeley-Carroll, Grace. "Illuminating the spiritual : the symbolic art of Christian Waller." Phd thesis, Canberra, ACT : The Australian National University, 2017. http://hdl.handle.net/1885/146396.
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Australian artist Christian Waller nee Yandell (1894-1954) created artworks that unified her aesthetic and spiritual values. The technical and expressive brilliance of her work across a range of art media - drawing, painting, illustration, printmaking, stained glass and mosaic - makes it worthy of focused scholarly attention. Important influences on her practice included Pre-Raphaelitism, Art Deco and the Celtic Revival. Her spirituality was informed by a range of orthodox and alternative systems of belief, including: Christianity, Theosophy, the Hermetic Order of the Golden Dawn and the international Peace Mission Movement. Acting as an emissary, she included personal symbols - especially the sun, the moon, stars and flowers - in her artworks to encourage spiritual contemplation. In this thesis, I argue that Waller harnessed the decorative and expressive potential of these movements - along with a commitment to Arts and Crafts values - to develop a personal set of symbols that expressed her sense of the spiritual. This encompassed the harmony of word, image and message, which underscored her work. It is for this reason that I locate Waller within the international discourse of spiritual art. Despite her remarkable talents across media and the distinctive quality of her art, Waller has always occupied a peripheral position within Australian art and art history. Even when she is included in significant books and exhibitions, most often it is in relation to her hand-printed book 'The Great Breath: A Book of Seven Designs' (1932) and her relationship with her husband, fellow artist Napier Waller. Key aims of this thesis are to highlight the breadth and depth of Waller's art practice and to demonstrate that she made important contributions to Australian art and to art that addresses the sacred.This thesis introduces a number of Waller's artworks, stories and personal ephemera into scholarship, making a comprehensive study of the artist possible for the first time. It makes a major contribution to scholarship on the artist, especially in relation to the spiritual values that underpinned her practice, as expressed in the key symbols that are identified. By extension, it contributes a more nuanced understanding of art produced between the First and Second World Wars to Australian art history and to scholarship on art that addresses the sacred.
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Mountain, Vivienne, and res cand@acu edu au. "Investigating the Meaning and Function of Prayer for Children in Selected Primary Schools in Melbourne Australia." Australian Catholic University. School of Religious Education, 2004. http://dlibrary.acu.edu.au/digitaltheses/public/adt-acuvp51.29082005.
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Prayer is a central element of all religions (Coleman, 1999; Engebretson, 1999). Alongside the sense of the theological importance of prayer there has been increased recognition of the psychological function and personal benefit of prayer for adults (Pargament, 1997). This thesis reports on research that investigated the theological and psychological perceptions of prayer held by children, shown through their understanding of the meaning and function of prayer. This thesis contributes to the research field of children’s spirituality. As there is little existing research literature on children and prayer, the findings of this study provide valuable new understanding and propose new aspects of theory with implication for professionals involved in the education and the welfare of children. The research reported in this thesis represents the first Australian research on children’s perception of the meaning and function of prayer. The choice of participants reflects the diverse philosophical and religious traditions found in the Australian, multifaith society. Semi-structured interviews were video-recorded with 60 participants from primary school Year Five (10-12 years). Five male and five female participants were selected from each of six different schools in the Melbourne metropolitan area. These were: the Catholic, Independent (Christian), Christian (Parent-Controlled or Community School), Jewish, Islamic and the Government schools. Students completed a drawing exercise and a written sentence completion exercise as part of the interview, and the three sources of data were analysed qualitatively using the method of Grounded Theory. The data was interpreted in the light of a detailed literature review on the nature and function of prayer as part of children’s spirituality. The review also examined relevant sections of the literature of religious education and literature on contemporary Australian life. This study has provided Australian data on the meaning and function of prayer for children as part of children’s spirituality. Considerable agreement has been observed through the data, between children educated in a variety of school systems which embraced different philosophical and faith traditions. In the multicultural Australian community said to be secularized, prayer for these children has been shown as a valued aspect of life. The personal experiences of prayer for many were seen to be associated with the community of faith to which the participants belonged, and for others, prayer was learnt eclectically and practised in a private individualistic manner. All participants indicated that they had prayed and all contributed ideas about prayer through the interviews. All participants perceived prayer to function as an aid in life. Prayer was used by participants at significant moments in their life, and the words or thoughts in prayer helped to clarify and articulate deep feelings. Eight elements of theory (in accord with the literature on Grounded Theory ) have been generated through this research which are presented as recommendations for professionals engaged in religious education and student welfare.
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Moor, Merryl, and n/a. "Silent Violence: Australia's White Stolen Children." Griffith University. School of Arts, Media and Culture, 2006. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20070111.172012.
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This thesis makes a significant contribution to the existing knowledge on 'unmarried mothers'. Much of the literature on 'unmarried mothers' has been written by white, male, middle-class professionals who assume that unwed mothers are happy to place their babies for adoption so that they can be free to pursue other interests, meet other men and make a new life. However, after interviewing many of the mothers who gave up their babies in the 1950s, 1960s and early 1970s in Australia, I found this was not the case. Many of the mothers had wanted to keep their babies but were forced to relinquish them by their families and the wider society who seemed more intent on upholding nuclear family values than making available the resources needed to keep natural mothers and their babies together. My argument throughout this thesis is that given a choice - a viable economic and socially supported choice - many of the unmarried mothers, typified by those whom I interviewed, would not have parted with their babies. Most mothers interviewed, and presumably many of those in the community at large, have experienced much pain and grief as a result of the separation - a grief which is profound and lasts forever. Using Marxist feminist theories of the state and post-structural theories, my thesis highlights the perceptions and memories of birthmothers about the birthing experience and adoption as experience, process and life consequence. I also argue that the removal of white, working-class babies from their mothers compares in some small way with the removal of the indigenous 'stolen children' in the same period. The removal of Aboriginal children from their homes and cultures has been referred to by some scholars and activists as a form of cultural genocide. While the removal of babies from white, working-class, unwed mothers was different in that it had few racial implications, I argue that the system in place at the time was patriarchal and class-based and as such left the young, unwed women with no options but adoption. The thesis makes a very important and socially significant contribution to our understanding of unmarried mothers in that it presents a largely unwritten history of women. Rich in the voices of unmarried mothers, there are important conceptual, empirical and practical policy implications flowing from the research findings.
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Reid, Patricia Mary, and n/a. "Whiteness as Goodness: White Women in PNG & Australia, 1960's to the Present." Griffith University. School of Arts, Media and Culture, 2005. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20070130.140518.
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In this thesis I examine the contemporary nexus between White women and the raced and classed institution of White womanhood. More specifically, I focus on White Australian women who are middle class, rich in cultural capital, and generally consider themselves to be progressive; that is race privileged women but women who are not usually associated with overt racism. My analysis unfolds White Australian women in the discursive context of the ideologies of feminism and feminist-influenced anti-racist politics, as well as the ideologies of femininity. The thesis shows how this nexus is enacted through a vision of White women as Good as expressed in the political commitments, mentalities, relationships, narratives and corporeality of such women. The research problem that I identified and worked through in the thesis is as follows: for middle class White women, (who can be seen and see themselves as generic 'women'), Whiteness has been seen and played out as Goodness. Further, in the playing out of this Goodness White women accumulate and defend the prestige and privileges of Whiteness. Specifically, I argue that Whiteness is reproduced in some of the discourses and practices of White feminism, by the progressive White women involved in anti-racist politics, and in the femininity industry and the ways it is taken up. The nub of the problem I identify is that White women's involvement in the structures and narratives that support Whiteness is often grounded in the very qualities of character and conduct that emerge from the colonial and class-constructed ideal of White womanhood and which have historically distinguished them from denigrated others. These qualities- notably virtue, innocence and self-restraint- whilst differently nuanced in other contexts are an ongoing expression of the uses made of White womanhood as the visible sign of race and class superiority. The work examines four key periods: the Australian colony of PNG during the decolonising 1960's and 1970's; the high years of 1970's and 1980's feminism; the race debates of the 1990's; and the bodily practices of present day White women gripped by fears of fat and aging. I explore the ways in which White women's Whiteness is played out in benevolent Black/White relationships, the over-reach of difference feminism, particular kinds of anti-racist identities and activism, and body-improvement practices. In all these cultural sites, White women's Whiteness is often represented as a kind of moral being and deployed as moral authority in ways that are consonant with the raced and classed construction of White women as moral texts. My research approach was determined by the research problem I identified. Given my argument that White women mis-recognise Whiteness as Goodness in a race-structured society, then the collecting of data through interviews or surveys would have yielded material subject to this blindness. Instead, I explored sites and material where moral claims were being pressed, and case studies where 'women' were enacting themselves or being represented or interpellated as moral texts. My selection of primary source material ranges from feminist newsletters, women's and other magazines, literature, film, event programs and flyers, radio and television broadcasts, newspapers and websites, as well as reflections on my own experiences. Secondary source material includes feminist theoretical texts as well as texts drawn from a range of other disciplines, and other historical background materials. I lay out and support my arguments using a technique not dissimilar to collage, aiming to construct a picture that is compelling in its detail as well as coherent in its overall effect. This thesis is a contribution to the de-naturalisation of Whiteness. Navigating a course between the opposing hazards of essentialising Whiteness and understating its effects in contemporary Australian society, I have brought into clearer view some of the strategies which maintain the authority of Whiteness.
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Broinowski, Alison Elizabeth, and alison broinowski@anu edu au. "About face : Asian representations of Australia." The Australian National University. Faculty of Asian Studies, 2002. http://thesis.anu.edu.au./public/adt-ANU20030404.135751.
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This thesis considers the ways in which Australia has been publicly represented in ten Asian societies in the twentieth century. It shows how these representations are at odds with Australian opinion leaders assertions about being a multicultural society, with their claims about engagement with Asia, and with their understanding of what is typically Australian. It reviews the emergence and development of Asian regionalism in the twentieth century, and considers how Occidentalist strategies have come to be used to exclude and marginalise Australia. A historical survey outlines the origins of representations of Australia in each of the ten Asian countries, detecting the enduring influence both of past perceptions and of the interests of each countrys opinion leaders. Three test cases evaluate these findings in the light of events in the late twentieth century: the first considers the response in the region to the One Nation party, the second compares that with opinion leaders reaction to the crisis in East Timor; and the third presents a synthesis of recent Asian Australian fiction and what it reveals about Asian representations of Australia from inside Australian society. The thesis concludes that Australian policies and practices enable opinion leaders in the ten countries to construct representations of Australia in accordance with their own priorities and concerns, and in response to their agendas of Occidentalism, racism, and regionalism.
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Sedgwick, Enid. "Kulturelle Beziehungen : German-Australian literary links in Catherine Martin's An Australian girl and Henry Handel Richardson's Maurice Guest." University of Western Australia. European Languages and Studies Discipline Group. German Studies, 2009. http://theses.library.uwa.edu.au/adt-WU2009.0140.
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This thesis demonstrates the close links between Australian literature and German thought and culture in Catherine Martin's An Australian Girl (1890) and Henry Handel Richardson's Maurice Guest (1908), and thereby provides a fuller understanding of the sophisticated literary and intellectual purposes of these two works. In examining the German elements in each novel, and the contexts from which much of that material is drawn, this study seeks to supplement the scholarly explanations provided in the two Academy Editions of these works. While Maurice Guest has received serious scholarly attention, An Australian Girl has been accorded relatively little. Despite generally favourable reviews on publication, both appear to have been undervalued over time. The study begins with a brief historical survey of German migration to Australia and the contribution German migrants made to the intellectual life and culture of the evolving nation. The examination of Catherine Martin's work includes: biographical details, particularly concerning her contact with German culture; an analysis of the form of the novel and a comparison of An Australian Girl with Goethe's Bildungsroman Wilhelm Meister with regard to form, theme and characterisation; an analysis of German philosophical elements in the novel; and Martin's presentation of social conditions in Germany in 1888-90, and their role in the novel as a whole. The examination of Henry Handel Richardson's work encompasses: biographical details; the genesis of Maurice Guest; differences between the reception of the novel in England and Germany; the genre to which the novel belongs and parallels with Künstlerromane; an analysis of Richardson's description of the physical, historical and intellectual milieu of Leipzig, and its role in the novel; and finally her integration of German social customs and the German language into the text. Use has been made of five primary sources which have not been used before in any detail with regard to these aspects of either author: additional material from the Mount Gambier Border Watch; The Hatbox Letters, the family history of the Martin and Clarke families; the German translation of Maurice Guest; German reviews of Maurice Guest; and the correspondence between Richardson and her French translator Paul Solanges. The key argument of this thesis is that the German influence on both form and content, in the case of An Australian Girl, and on style and content, in the case of Maurice Guest, is deep and various, and that these German elements have proved to be an impediment to a full understanding and appreciation of these novels for many Anglo-Saxon readers and reviewers. In the two novels Martin and Richardson provide pointers to Australia's earlier interaction with the wider world and display a level of sophistication which makes these works worthy of greater recognition than they currently enjoy.
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Gates, Jillian Marie. "Aesthetics for Visual Arts in Hospitals." Thesis, The University of Sydney, 2009. http://hdl.handle.net/2123/7354.
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The impetus for Aesthetics for Art in Hospitals emerged from my first waiting experiences in hospitals whilst being well, from my first pregnancy check ups ten years ago, accompanying my children to our doctor’s surgery, and later, sitting with my mother in palliative care; I was acutely aware of the lack of thought and organisation behind the display of visual imagery and signage in hospital waiting rooms. As an artist, I wondered who decides what images will be displayed in waiting areas of health clinics and hospitals. This idea gradually developed from 2005 when I attended the Arts Health and Humanities Conference in Newcastle, and realised that patient’s perspectives regarding aesthetics appeared to be overlooked. It was from this point that this inquiry became a research project that led me to the University of Sydney and in particular to The Sydney College of the Arts and the Medical Humanities Unit. This thesis is the outcome of this original inquiry and examines the questions, how can visual arts be received in hospitals? and how does western society represent illness and death? These questions explores how patients, their family members, and carers respond to art in hospitals, while acknowledging their discomfort experienced in hospital settings. This inquiry took the form of a comparative case study between Balmain and Wyong Hospitals, NSW, Australia. The aim of the study was to produce a reflective and empathetic response to elderly patients in waiting rooms as a mode to investigate the potential of evidence based art for hospitals. The intention was to produce a series of digital photographs that reflected the art preference of elderly patients. The outcomes of the study uncovered the patients waiting experience and recorded their levels of discomfort. It established the potential and significance of landscape photography in hospital waiting rooms to create a less threatening environment. The participants selected landscapes as their preferred subject matter for visual arts in hospitals. The study contributes to Australian arts health research by comparing Australian arts health projects to international examples. These comparisons indicate that further research is required to comprehensively understand the hospital waiting experience of Australian patients, and their family members in order to create visual arts that they can appreciate and respond to.
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Rups-Eyland, Annette Maie. "Centre of the storm : in search of an Australian feminist spirituality through performance-ritual /." View thesis View thesis, 2002. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20031222.160235/index.html.
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Thesis (Ph.D.) -- University of Western Sydney, 2002.A thesis submitted in full requirements for the degree of Doctor of Philosophy, School of Social Ecology and Lifelong Learning, University of Western Sydney, May 2002. Bibliography : p. [369]- 395.
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Rups-Eyland, Annette Maie. "Centre of the storm : in search of an Australian feminist spirituality through performance-ritual." Thesis, View thesis View thesis, 2002. http://handle.uws.edu.au:8081/1959.7/771.
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The outward form of the text in which the spiritual search is housed is 'performance-ritual', that is, performed 'ritual'. This genre has its 'performance' roots in the dance pioneers and its 'ritual' roots in the Christian church. The contents of this performed text is influenced by an emerging ecofeminist consciousness. In this way, the thesis has a grassroots inspiration as well as crossing academic areas of performance studies, ritual studies, and feminist spirituality. The project begins by an examination of 20th Century feminist and ecofeminist writing on spirituality, which evokes the subjective, embodied and historically contextualised, with particular focus on body and nature. Additional concepts of place, holding and letting go are introduced. Particular performance-rituals are introduced under the overall heading 'the spiralling journey of exorcism and ecstacy'. They include earlier work, as well as work performed specifically for this thesis, Centre of the Storm. The study re-situates 'ritual' as a subjective, embodied and contextualised performed event. It challenges ritual discourse to incorporate 'spirit', and feminist spirituality to incorporate the material world, through 'place', 'family', and the ritual actions of 'holding' and 'letting go'.
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Davis, George Frederick, and n/a. "Anzac Day meanings and memories : New Zealand, Australian and Turkish perspectives on a day of commemoration in the twentieth century." University of Otago. Department of History, 2009. http://adt.otago.ac.nz./public/adt-NZDU20090519.163222.
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This study examines the changing perceptions of Anzac Day in New Zealand, Australia and Turkey in the twentieth century. Changing interpretations of Anzac Day reflect social and political changes in the nations over that time.
Anzac Day is an annual commemoration which has profound significance in the Australian and New Zealand social landscape. It has undergone significant changes of meaning since it began, and may be regarded as being an example of the changeable script of memory. The thesis argues that memory and landscape intersect to influence the way commemorative gestures are interpreted. Personal and community memories are fluid, influenced by the current historical landscape. This means that each successive Anzac Day can have different connotations. The public perception of these connotations is traced for each of New Zealand, Australia and Turkey.
Anzac Day reflects the forces at work in the current historical landscape. Within that landscape it has different meanings and also functions as an arena for individual and community agency. On Anzac Day there are parades and services which constitute a public theatre where communities validate military service. Individual and communal feats are held high and an ethic or myth is placed as a model within the social fabric. Anzac Day is contested and reflects tides of opinion about war and society and the role of women. It is also the locale of quiet, personal contemplation, where central family attachments to the loved and lost and the debt owed by civilian communities to the military are expressed. Generational change has redefined its meanings and functions.
Anzac Day was shaped in a contemporary historical landscape. It reflected multi-national perspectives within British Empire and Commonwealth countries and Turkey. For Turkey the day represented a developing friendship with former foes and was couched within Onsekiz Mart Zaferi, a celebration of the Çanakkale Savaşlari 1915 victory in the Dardanelles campaign. As Anzac Day evolved, Turkey, the host country for New Zealand and Australian pilgrims, became the focus of world attention on the day. Gallipoli is now universally recognised as the international shrine for Anzac Day.
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Shearer, Helen Dianne, and n/a. "Intercultural Personhood: A 'Mainstream' Australian Biographical Case Study." Griffith University. School of Curriculum, Teaching and Learning, 2004. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20040921.082235.
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This thesis explores the question of intercultural personhood in two 'mainstream' Australian cases within interpersonal, intercultural relations in Australian contexts in the second half of the twentieth century. The problem is viewed through three disciplinary lenses: those of communication, psychology and sociology. A qualitative, interdisciplinary approach integrates these through an inductive biographical research design. Within cross-cultural communication studies, a host culture such as that of the Anglo-Australian majority is seen in a monolithic and static way to which Australians of other cultural backgrounds are seen to adapt. These studies give no place to the changes which members of the majority undergo. 'Intercultural personhood', a term coined by Kim (1988, 2001), describes the kinds of 'ethnic' individuals who through negotiating their identities within personal, social and mass communication contexts, both host and ethnic, move beyond the bounds of their own cultural heritage to embrace both their former cultural identity and the new 'host' (viz Australian) identity. In this thesis, the elements of cross-cultural adaptation theory and of 'intercultural personhood' are applied to the intercultural experience of 'mainstream' Australians. From preliminary memory work workshops and focus groups, the cases of two mainstream individuals who show some evidence of 'intercultural personhood' and make identity claims comparable with 'ethnic' adapters are then developed through biographical method. Their life accounts are drawn on for the exploration of issues of identity and personhood within interpersonal, intercultural relations. Major focus is given to the social psychology of Harre (1983, 1993, 1998), whose work provided both a conceptualisation and a methodological tool for the problem. In Harre's work, three dimensions of personhood, namely consciousness, agency and biography are identified together with the psycho-social processes through which an individual's identity and orientation to their culture is appropriated, transformed and publicised. This publication is then rejected or incorporated into the culture through processes of conventionalisation. These four psycho-social processes are explored in my study through an adaptation of assisted biography method (De Waele & Harre, 1979). The strength of the psycho-social approach of Harre lies in its ability to get below the surface behaviours to an analysis of the theory of self which individuals, as 'singular' beings, bring into play in their interactions within themselves and with one another. While this approach draws on social contexts to support the transformations, it is not designed to explicate to a sufficient degree the conditions under which such theories of self are activated and within which changes in identity occur and are maintained. For this reason it is essential to incorporate a sociological framework to understand the influence of the conditions within which such experiences are played out. Bourdieu's (1984, 1987) cultural, relational sociology is coupled with Harre's (1983, 1993, 1998) theory of personal and social being in that it brings together the individual and the society in a way which proves fruitful for ongoing analysis of the biographical data collected within the communication and psycho-social framework of the earlier research. Bourdieu's critique of a methodology based on biography points to the 'illusion' that is created through a biographical interview process. Taking this critique of biography into the study of interpersonal, intercultural relations meant a shift from the communication interactions and psycho-social analysis undertaken to an analysis of the various social constructions evident within the elements of the life account and a search for the cognitive imprint of social structures as durable dispositions within the persons. These dispositions are evident from within a social trajectory of the life and they are applied to the intercultural encounters recounted by the participants in their autobiographies. The addition of Bourdieu's (1984, 1987) sociology strengthens the ability to view the individual and the society through a single lens and to position the individual life course as secondary within a broader and primary analysis of social structure and social structuring as a means of interpreting lives. Its weakness lies in the degree of 'voluntariness' brought into effect as individuals both chart their course through life and are pushed and pulled by the various social forces at work within their trajectories. Within the scope of this thesis, these two approaches, that is, a psychological and a sociological one, are illustrated and incorporated into an interdisciplinary model for the study of interpersonal, intercultural relations. Further rigorous research to validate the components and the relationships of the model and to investigate these strengths and weaknesses more thoroughly is foreshadowed. This interdisciplinary model of interpersonal, intercultural relations is the major contribution of this work to the field of intercultural communication. Advances which are achieved through use of psychology, sociology and biographical research method as a tool through this study are also identified. The thesis concludes with a review of the contributions of the thesis and a discussion of the implications for future research on interpersonal, intercultural relations.
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Maslen, Phil. "Aboriginal fathers / fathers roles: Are they recognised in Australia's contemporary society?" Thesis, Yooroang Garang: School of Indigenous Health Studies, 2009. http://hdl.handle.net/2123/5336.
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This thesis is focused on fathers, in particular Indigenous fathers, in general with a view to establishing what literature currently identifies and recognises the role fathers play in Australian society today. This project will mainly be a literature review of this research. This literature review provides a comprehensive and credible body of evidence into the status of current Aboriginal fathers' roles and an overview of what it means to be and perform as a father. The review contrasts and compares past and present ideologies of fatherhood. After the presentation of this literature, the discussion will summarise the literature findings. This discussion will clarify the current state of Indigenous fatherhood, how their roles are perceived socially and what benefits fatherhood brings to the wellbeing of the family and society as a whole. It also provides some possible holistic solutions to current social dilemmas facing fathers so that they can be the best fathers they desire to be.
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Maslen, Phil. "Aboriginal fathers / fathers' roles: Are they recognised in Australia's contemporary society?" Thesis, Indigenous Heath Studies, 2005. http://hdl.handle.net/2123/5690.
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This thesis is focused on fathers, in particular Indigenous fathers, in general with a view to establishing what literature currently identifies and recognises the role fathers play in Australian society today. This project will mainly be a literature review of this research. This literature review provides a comprehensive and credible body of evidence into the status of current Aboriginal fathers' roles and an overview of what it means to be and perform as a father. The review contrasts and compares past and present ideologies of fatherhood. After the presentation of this literature, the discussion will summarize the literature findings. This discussion will clarify the current state of Indigenous fatherhood, how their roles are perceived socially and what benefits fatherhood brings to the wellbeing of the family and society as a whole. It also provides some possible holistic solutions to current social dilemmas facing fathers so that they can be the best fathers they desire to be.
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Enders, Michael Leonard. "Gettin' acquainted : film, ethnicity and Australian society." Thesis, Queensland University of Technology, 1996. https://eprints.qut.edu.au/36279/1/36279_Enders_1996.pdf.
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This thesis uses a cultural studies- based social- cultural- historical methodology to
compare changes in depictions of ethnicity in selected Australian feature films
produced from 1930 to 1995 to changes in Australian immigration policy over the
same period. The aim is to identify the relationship between feature film
depictions and the societies which produced them. The study will show that
depictions of ethnicity in Australian feature films have progressed through three
phases in line with the changes in Australian immigration policy from 'white
Australia' (1930-1946) to assimilation (194 7 -1971) to multiculturalism (1972-
present) .
The study also proposes a model of 'cultural absorption' as better alternative than
'reflection' to explain the means by which social-cultural beliefs and values are
transferred from society to feature films. The results of this study confirm that
the myths and social cultural beliefs and values of a society can be identified by
analysing the cultural artefacts, such as feature films, produced by that society.
This means that it is possible to identify the myths, beliefs and values of past
moments in Australian social history by analysing feature films produced by that
society. Identifying changes in society and culture and the mechanisms which
brought them about provides a means of better understanding contemporary
society and culture and how future changes may affect social and cultural
evolution.
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Gibson, Lisanne, and L. Gibson@mailbox gu edu au. "Art and Citizenship- Governmental Intersections." Griffith University. School of Film, Media and Cultural Studies, 1999. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20030226.085219.
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The thesis argues that the relations between culture and government are best viewed through an analysis of the programmatic and institutional contexts for the use of culture as an interface in the relations between citizenship and government. Discussion takes place through an analysis of the history of art programmes which, in seeking to target a 'general' population, have attempted to equip this population with various particular capacities. We aim to provide a history of rationalities of art administration. This will provide us with an approach through which we might understand some of the seemingly irreconcilable policy discourses which characterise contemporary discussion of government arts funding. Research for this thesis aims to make a contribution to historical research on arts institutions in Australia and provide a base from which to think about the role of government in culture in contemporary Australia. In order to reflect on the relations between government and culture the thesis discusses the key rationales for the conjunction of art, citizenship and government in post-World War Two (WWII) Australia to the present day. Thus, the thesis aims to contribute an overview of the discursive origins of the main contemporary rationales framing arts subvention in post-WWII Australia. The relations involved in the government of culture in late eighteenth-century France, nineteenth-century Britain, America in the 1930s and Britain during WWII are examined by way of arguing that the discursive influences on government cultural policy in Australia have been diverse. It is suggested in relation to present day Australian cultural policy that more effective terms of engagement with policy imperatives might be found in a history of the funding of culture which emphasises the plurality of relations between governmental programmes and the self-shaping activities of citizens. During this century there has been a shift in the political rationality which organises government in modern Western liberal democracies. The historical case studies which form section two of the thesis enable us to argue that, since WWII, cultural programmes have been increasingly deployed on the basis of a governmental rationality that can be described as advanced or neo-liberal. This is both in relation to the forms these programmes have taken and in relation to the character of the forms of conduct such programmes have sought to shape in the populations they act upon. Mechanisms characteristic of such neo-liberal forms of government are those associated with the welfare state and include cultural programmes. Analysis of governmental programmes using such conceptual tools allows us to interpret problems of modern social democratic government less in terms of oppositions between structure and agency and more in terms of the strategies and techniques of government which shape the activities of citizens. Thus, the thesis will approach the field of cultural management not as a field of monolithic decision making but as a domain in which there are a multiplicity of power effects, knowledges, and tactics, which react to, or are based upon, the management of the population through culture. The thesis consists of two sections. Section one serves primarily to establish a set of historical and theoretical co-ordinates on which the more detailed historical work of the thesis in section two will be based. We conclude by emphasising the necessity for the continuation of a mix of policy frameworks in the construction of the relations between art, government and citizenship which will encompass a focus on diverse and sometimes competing policy goals.
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Tingvall, Josefin. "Soft Society." Thesis, Konstfack, Textil, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-5853.
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Illustrated exam paper for Josefin Tingvalls project Soft Society. Which is about investigating through cloth and textile our urban surrounding. The core question ; if I go out in an urban area and use textile as a recordmaterial, what traces and stories will I bring back? By looking at textileas a matter, craft and as a philosophical starting point in urban areas, what can it tell about our surrounding and our society? In the three mainchapters of the paper, Tingvall reflects upon important themes such as wandering and spectating, also exhibiting of process based craft, textilein urban areas and matter-based dyes and their relation to us.Soft society
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Armfield, Maris Margaret Doris. "Art and society in Ulm 1377-1530." Thesis, University of Glasgow, 2012. http://theses.gla.ac.uk/3669/.
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The imperial city of Ulm in southwest Germany was one of the largest in the country during the Middle Ages, and one of four important centres in the Swabian region. In the fourteenth and fifteenth centuries the region was characterised by a large number of towns and cities, especially imperial cities, most of which lay south of the Swabian Alps, in Upper Swabia. For their protection the towns formed into the Swabian League of which Ulm had leadership until the latter part of the fifteenth century. The League restrained the ambitions of emperor and the princes, and effectively maintained relatively peaceful conditions in the region for most of the fifteenth century. The cities relied largely on trade, shipping iron, salt, meat and grain from eastern areas into the southwest for distribution. There was also a vast textile industry, producing woollen cloths and fustian, or barchent, with a mixture of cotton and linen. Wool and flax were produced locally, while cotton was brought from Venice, and finished cloth distributed throughout Europe. This led to the rise of family merchant companies that handled import, export, distribution, and in some cases production. Familial networks were key. Such networks were also fundamental for craft communities throughout the region and artisans frequently moved to train or work. As a large centre, Ulm produced much sculpture and painting with production peaking during the second half of the fifteenth century, resulting in an extensive export market. As with all imperial cities, Ulm relied on its relationship with the empire for its ability to function, politically and economically. Largely because of its wealth, it gained a high level of autonomy, which it used to acquire an extensive territorial area, and to secure authority over the parish, its church, and local foundations. Of fundamental importance was the parish church of Our Lady, which was relocated into the heart of the commercial area of the city and rebuilt on a massive scale signalling the might of the town. The renewed importance of Our Lady encouraged endowments and gifts, and helped secure the authority of the patriciate, especially the Krafft family. In the face of guild uprisings during the fourteenth century, the patriciate of Ulm was a particularly closed type and social demarcation was rigorously practised. Inter-marriage with a select group of traders, however, resulted in a ruling body that effectively developed into an oligarchy, despite substantial guild representation on the civic council. A small group held power over many years and most aspects of everyday living were closely regulated and policed. Artistic styles and developments reflected this stable, yet rather restricted climate. Change was adopted with caution. But, arguably, styles also reflected wider regional trends that, to an extent, might be classed as traditionally Swabian. The characteristic regional style might also have been linked to mysticism and pious practices amongst female religious that had filtered into civic life. As vibrant commercial centres, the cities were conscious of a communal responsibility. Ultimately, this somewhat conservative attitude led to a shift in artistic production during the last decade of the fifteenth and into the sixteenth century. Ulm was unable to keep pace with wider political and commercial developments, and in certain ways Ulm did not provide artists with the conditions necessary to fully exploit their talents.
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Andrews, Alfred. "Catholics in a Protestant society : South Australia, 1900-1926 /." Title page, contents and introduction only, 1996. http://web4.library.adelaide.edu.au/theses/09AR/09ara565.pdf.
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Guidas, Karen A. "Image power the role of art in society /." Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only. Instructions for remote access, 2004. http://www.kutztown.edu/library/services/remote_access.asp.
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Thesis (M. Ed. )--Kutztown University of Pennsylvania, 2004.Source: Masters Abstracts International, Volume: 45-06, page: 2748. Typescript. Abstract precedes thesis as 1 preliminary leaf (iii ). Includes bibliographical references ( leaves 73-76 ).
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Schilo, Ann. "Folk art in Australia: A discursive analysis." Thesis, Schilo, Ann (1993) Folk art in Australia: A discursive analysis. PhD thesis, Murdoch University, 1993. https://researchrepository.murdoch.edu.au/id/eprint/52760/.
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Informed by the writings of Michel Foucault, this thesis investigates the discourse on folk art in Australia. Emphasis is placed on exploring the recent emergence of a body of statements that contribute to its Australian specificity.
This thesis considers the various discursive strategies that construct the domain of folk art in this country, including the contribution played by overseas folkloric studies in establishing the field. By using a framework operating under the principle of distance and immediacy, the processes of production and dissemination of cultural goods are examined to reveal how material folk culture is located as a peripheral artistic practice. In this regard, the systems of exclusion that operate within high art discourses to define and marginalise women's artistic practice are surveyed as a concomitant discursive domain.
A study of makeshift furniture is undertaken to elucidate how these strategies combined with processes of connoisseurship are involved in constructing the domain of Australian folk art and the appraisal of its cultural value. In the final analysis, attention is given to the subject of aesthetics and the appreciation of folk art.
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Vernon, Kay. "Searching for the surreal in Australian modernism." Thesis, The University of Sydney, 1999. https://hdl.handle.net/2123/28545.
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[Surrealism] changed the face of art. Everything has changed. (James Gleeson)
A pervasive modern sensibility
This study adopts several approaches to surrealist practices in Australia. The
first is an historiographical one, in which I map surrealism's (re)presentafion
in Australian art historical texts. Second, I identify the emergence of
surrealism in modernist discourses in Australia, including mass media and
popular culture. I then contextualise surrealism in an epistemology of
privileged subjectivity in Australia, in which an understanding of Freud,
Jung, theosophy and Bergson are seen to inflect the apprehension of
surrealism. As psychoanalysis in particular is so crucial to an understanding
of surrealism, I have attempted to identify those ideas of Freud active in its
construction. In addition, I have included reference to Jacques Lacan, whose
ideas were constituted in the psychoanalysis of Freud and initiated in the
surrealist milieu. I have also drawn on the discourses of rhetoric to unpack
the surreal in Australian landscape practices in the 19405. And as surrealism
developed in Melbourne, particularly, against a background of various
claims on the left, I have situated it also in marxist discourses.
Over the past two decades in art historical texts, surrealism has been
recuperated as crucial to the construction of a legitimate Australian
modernism. These arguments have been rehearsed thoroughly in the review
of the literature in Chapter I. The explanation for this resurgence can be
attributed partly to the emergence in art history, as in other academic
disciplines, of theoretical concerns active also in surrealism, particularly
psychoanalysis and marxism. But there are still gaps in this recuperative
project which this study will attempt to address. First, with few exceptions
in the texts I draw on in the review of the literature in Chapter 1, surrealism
is represented as having emerged in Australian visual art practices at the end
of the 19305 and continuing into 1940s. But as this study will show
surrealism, like the latent signifier in the 'return of the repressed', insisted in
signifying practices in Australia during the 19303, particularly through mass
media and popular discourses. Surrealism as a contemporary European style
or tendency became available initially through imported reproductions and
in publications, such as Minotaure and Herbert Read's Art Now and in local
magazines such as Stream and Manuscripts. As the decade progressed
surrealist imagery was appropriated increasingly as the latest modern style
for photographs and advertisements in such popular Australian magazines
as The Home and Man and also Art in Australia.
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KLAASSEN, Anne, and anne klaassen@det wa edu au. "A LEARNING COMMUNITY APPROACH TO SCHOOLING : TWO AUSTRALIAN CASE STUDIES." Edith Cowan University. Education And Arts: School Of Education, 2006. http://adt.ecu.edu.au/adt-public/adt-ECU2006.0045.html.
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This research project investigates the implementation of a learning community approach in two rural Australian communities with a particular focus on the initiatives of a primary school in each community. Case study research describes and analyses the developments in each community and a cross case analysis examines similarities and differences in approach and outcomes.
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Leung, Mei-yin. "The Chinese Women's Calligraphy and Painting Society the first women's art society in modern China /." Click to view the E-thesis via HKUTO, 2004. http://sunzi.lib.hku.hk/HKUTO/record/B38628697.
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Goodwin, R. "Food, art, and society in Early Modern Spain." Thesis, University of London, 2001. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.540098.
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Bosch, Susanne. "Learning for civil society through participatory public art." Thesis, Ulster University, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.591052.
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In this PhD by Publication I argue that my art practice serves as a useful contributor towards shaping elements for the activation of civil society. Through consideration of three interrelated examples from my art practice from 1998-2011, which emerged from my Restpfennigaktion (Left-over Penny Campaign) an artistic methodology has emerged that shows links between the artwork as process and product in relation to notions of transformation. Lynn Froggett writes, "The transformative potential is realised when it generates a cultural form for experience that needs the visual or performative register for its fullest expression." I unpick and position the role of my practice using theoretical frameworks of participatory art as life, such as art and social sculpture (Beuys) in relation to the discourse used by theorists such as Claire Bishop, who aligned a socially engaged public art practice with ideas of civil society and democracy. I also use critical pedagogy and conflict resolution to position my work in this realm. Equally important is the role of a selected number of examples of participatory art works by others, such as MA, Park Fiction and Schlingensief, as well as Suzanne Lacy. Innovative strategies in my work are the implementation and cross-sector uses of that knowledge through artistic practice. The three projects under consideration were time-based interventions, which sought to engage people in penny-giving, wish-giving and wish realization in Germany (Left-over Penny Campaign), Italy (lnitizativa Centesimo Avanzato) and Spain (Hucha de Deseos). As a result of undertaking this research, a suite of questions revealed themselves from within the practice. The questioning was specifically focused around the following three areas: the role of aesthetic form in my art practice, different conceptions of my role as artist, and how practitioners working in public or social space are affected by and respond to contexts. These questions arose during the processes of art-making and within the context of this research project. They emerged in response to a broadening of my ideas of participation, and participatory decision-making. It became clear that I was evolving new skills, in order to find appropriate and satisfying responses to these questions. I found myself by necessity seeking answers for the advancement of my art making by moving beyond traditional artistic strategies and into areas of knowledge, such as formalised conflict resolution, pedagogy, gift economy, leadership, self organisation, creative solutions in community development and undertaking a PhD. 1 Froggett, Lynn (ed), New Model Arts Institutions and Public Engagement, Research Study, Headline Findings, uclan, 2011, p. 10. [online] Available at Participatory public art refers to an art practice that features the transformation of individuals and societies for a common good. It aims to contribute to perceived demands for transition processes and is necessarily aware of and responsive to conditions that characterise a democratic civil society, which hopes for non-violent and fruitful transformations. The current global socia-political, ecological and cultural climate, currently dominated by the economic taxonomies, demands transformational processes if future life on earth is to be secured. Hence my art projects highlighted money, its meaning and ways of transformation, through focusing on gift economy more than on exchange economy. My three projects highlighted on the one hand the limits of our existing man-made systems, on the other, they demonstrated how participatory public art can be a mode of transformation.
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Bemrose, Anna. "A servant of art : Robert Helpmann in Australia /." St. Lucia, Qld, 2003. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe17332.pdf.
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Lymer, Kenneth J. "Animals, art and society : rock art and material culture in ancient Central Asia." Thesis, University of Southampton, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.400540.
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Driskel, Michael Paul. "Representing belief : religion, art, and society in nineteenth-century France /." University Park (Pa.) : Pennsylvania State university press, 1992. http://catalogue.bnf.fr/ark:/12148/cb35716402q.
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Jacono, Dianne. "The quest and the woman artist in contemporary society." Thesis, Federation University Australia, 2002. http://researchonline.federation.edu.au/vital/access/HandleResolver/1959.17/165008.
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"The project concerns itself with the human condition and the search for meaning, specifically, from the perspective of a woman artist. This search for meaning is expressed as a journey. The journey of a fictional woman protagonist through landscape is the metaphor used to convey these ideas."Master of Education (Visual Arts)
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Shorter, Mark Travers. "Variety theatre, performance art and the carnivalesque." Phd thesis, Sydney College of the Arts, 2011. http://hdl.handle.net/2123/12477.
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Amath, Nora. "The Phenomenology of Community Activism: Muslim Civil Society Organisations in Australia." Thesis, Griffith University, 2014. http://hdl.handle.net/10072/367694.
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Muslim communities are among the least well understood in Australia. This thesis examines the emerging phenomenon of Muslim civil society organisations (MCSOs). In contrast to much publicised jihadist and radical groups, MCSOs are far more representative of Muslim communities and integral to the long-term position of Islam in Australia. Using descriptive phenomenology, this study presents the experiences of Australian Muslim civil society actors and the organisations they represent. Through 30 unstructured, in-depth interviews with 15 Australian MCSOs actors, their stories are told for the first time based on their lived experience and in their own words. In particular, this thesis explores how MCSOs have responded to the challenges of the Australian socio-political context, the perceived impact of these experiences, and how Islam is manifested within the contexts of these experiences.
The key themes which emerged from these interviews include: community building, social inclusion, the impact of 9/11 and the negotiation of identity. Importantly, based on these four major themes, the phenomenological analysis delineated that the universal essence of Australian MCSOs clearly revealed that Islam does not exist in Australia in isolation from the wider socio-political context. There is a constant, albeit under-recognised, process of negotiated exchange with Australian cultural norms, values, systems and institutions. Moreover, the findings also demonstrated that external events have brought Australian MCSOs full circle in their community building.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Humanities
Arts, Education and Law
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Leung, Mei-yin, and 梁美賢. "The Chinese Women's Calligraphy and Painting Society: the first women's art society in modern China." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B38628697.
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Jakubowicz, Rosa. "Art, the self, and society : the human possibilities in John Dewey's Art as experience." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ64160.pdf.
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Isager, Jacob Pliny. "Pliny on art and society : the Elder Plinyʼs chapters on the history of art /." London ; New York : Routledge, 1991. http://www.loc.gov/catdir/enhancements/fy0648/92194763-d.html.
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Smith, John Arthur. "An analytic sociology of art : art and society and the origins of modernist painting." Thesis, Goldsmiths College (University of London), 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.286130.
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Waelder, Laso Pau. "Selling and collecting art in the network society: Interactions among contemporary art new media and the art market." Doctoral thesis, Universitat Oberta de Catalunya, 2016. http://hdl.handle.net/10803/399029.
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Aquesta tesi explora i analitza les interaccions actuals entre art, nous mitjans i el mercat de l'art, i també les transformacions que es produeixen en el reconeixement de l'art digital, l'estructura del mercat de l'art i els rols de l'espectador i el col·leccionista. La tesi es divideix en tres parts. La primera part analitza les maneres en què l'art de nous mitjans s'ha definit ell mateix com un món de l'art específic, i les polèmiques que exemplifiquen la seva separació del món de l'art contemporani. La segona part analitza les motivacions i les expectatives dels artistes que treballen amb tecnologies emergents, per mitjà d'una enquesta feta per l'autor entre més de cinc-cents artistes de cinquanta països. La tercera part analitza les maneres en què l'art digital ha estat comercialitzat i els canvis recents en el mercat de l'art contemporani a internet.La presente tesis explora y analiza las interacciones actuales entre arte, nuevos medios y el mercado del arte, así como las transformaciones que se están produciendo en el reconocimiento del arte digital, la estructura del mercado del arte y los roles del espectador y el coleccionista. La tesis se divide en tres partes. La primera parte analiza las formas en que el arte de nuevos medios se ha definido a sí mismo como un mundo del arte específico, y las polémicas que ejemplifican su separación del mundo del arte contemporáneo. La segunda parte analiza las motivaciones y las expectativas de los artistas que trabajan con tecnologías emergentes, por medio de una encuesta realizada por el autor entre más de quinientos artistas de cincuenta países. La tercera parte analiza las maneras en que el arte digital ha sido comercializado y los cambios recientes en el mercado del arte contemporáneo en internet.
The present dissertation explores and analyzes the current interactions among art, new media and the art market, as well as the ongoing transformations in the recognition of digital art, the structure of the market, and the role of the viewer and collector. It is divided into three parts. The first part analyzes the ways in which new media art has defined itself as a distinct art world, as well as the controversies that exemplify its separation from the mainstream contemporary art world. The second part exposes the motivations and expectations of artists working with emerging technologies by means of a survey carried out by the author among more than 500 artists from 50 countries. The third part discusses the ways in which digital art has been commercialized as well as the recent developments in the online contemporary art market.
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Ravadrad, Azam. "The social determination of art : a theoretical and empirical investigation /." [Campbelltown, N.S.W. : The Author], 1996. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030701.140851/index.html.
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Tzavaras, Annette. "Transforming perceptions of Islamic culture in Australia through collaboration in contemporary art." Faculty of Creative Arts, 2008. http://ro.uow.edu.au/theses/120.
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My creative work investigates the negative space, the ‘in between space’ that leads to new knowledge about other artists and other cultures. The fundamental and distinctive elements of Islamic pattern in my paintings in the exhibition Dialogue in Diversity are based on my own experience of misinformation as well as rewarding collaboration within a culturally blended family.This research explores the continuity of the arabesque and polygon. I experiment with the hexagon and its geometric shapes, with its many repeat patterns and the interrelatedness of the negative space, or the void indicative of the space between layers of past and present civilizations that are significant fundamentals in my paintings.The thesis Transforming perceptions of Islamic culture in Australia through collaboration in contemporary art traces the visual history of Orientalist art, beginning with a key image of Arthur Streeton, Fatima Habiba, painted in 1897 and contrasts Streeton’s perception with that of important Islamic women artists working globally such as Emily Jacir who participated in the Zones of Contact 2006 Biennale of Sydney.A core element of my research is working with emerging artists from Islamic backgrounds in Western Sydney. The February 2007 exhibition Transforming Perceptions Via . . . at the University of Wollongong brought together artists from east and west.By adopting the Islamic pattern in my paintings, I hope to strengthen the interaction between the Christian and Muslim interface in Australian contemporary society. My work contemplates the human aspects of relationships and responsibilities within the cross cultural spectrum.
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Steele, Nancy Joanne. "Etched images of the human form in relation to society and environment." Virtual Press, 1995. http://liblink.bsu.edu/uhtbin/catkey/941715.
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The vitality of the human figure has been an unending source of curiosity for artists from the beginning to now. Although many artists have focused their creativity to searching for the perfect, in fact, beautiful, human form, others have striven to convey the human experience within the spirit of their own era. The latter is true of this creative project, which has addressed the following problem: hog: could large-scale intaglio printmaking be used to 02arify the negative impact our rigid contemporary notion of beauty can have on individual women? The project was inspired by the work of Kaethe Kollwitz, German artist of the early 20th century whc used her technical drawing skills to translate her knowledge of war and famine shattered women into forceful lithographs and etchings. The insight she Portrayed vividly combined her intensely personal vision the Vicious events of her times: social commentary at its finest.The significance of the project has been, first of all, its benefit to myself, the artist. The journey which I undertook through historical research on Kollwitz; conceptual investigation of women and rigid norms for beauty; and extension of my technical expertise as an etcher-has produced insights about creating art that are invaluable to the mature artist. The second significance involves the viewer, whom I hope reconsiders the images of women displayed in contemporary society.The project’s five large-scale etchings of the female figure portray in a series my ideas about roles women are expected to assume in contemporary American society. These ideas unfolded especially during the creation of the first and second etchings.The report of the project deals extensively with the drawing and etching techniques used for each print; a description of each of the works; the ideas which inspired the content of the works; how these ideas were transformed into visual images; and the technical competencies that I acquired while working through each plate.Department of Art
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Hood, David. "Conservatism and change : the RSL and Australian society, 1916-1932 /." Title page, contents and abstract only, 1994. http://web4.library.adelaide.edu.au/theses/09PH/09phh776.pdf.
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