Dissertations / Theses on the topic 'Art Australia History'
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1
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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Souliere, Rolande. "Towards an Indigenous History: Indigenous Art Practices from Contemporary Australia and Canada." Phd thesis, University of Sydney, 2019. http://hdl.handle.net/2123/21193.
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The debate of Indigenous art as contemporary art in Western art discourse has been ongoing since the acceptance of Indigenous art as contemporary art in the early 1990s. This has resulted in a collision of four diverse fields; Western art history, Western art criticism, anthropology and Indigenous cultural material. The debate stems from the problematised way the term contemporary is defined by globalised Euro-Western art and its institutions. This thesis considers the value of applying the concept of the contemporary to Indigenous art practices and art, in particular as a mode for cultural self-determination in order to avoid the historical domination of Western art history, history and its discursive power arrangements. The term, concept or theory of the contemporary remains elusive, indefinable and widespread in Western art discourse. Various definitions exist and are based on notions of openness, newness or plurality. Criticism of the contemporary’s openness has led to speculation of the contemporary as a valid concept or theory and or as a field of art practice, particularly its claim to social or political engagement and its inability to historicise current art. This thesis contends that the openness of the contemporary concept provides a gateway in which to situate it in a much broader cultural analysis that embraces different historiographies and worldviews. Thereby directly contributing to the ongoing critical discourse of Indigenous art as contemporary art debate. This thesis contributes to addressing this debate by proposing a definition of the contemporary that bridges history, art history and contemporary art and explores the potential for administering a contemporary art practice within this view. It highlights the historical analysis of the journey of Indigenous art from the ethnographic to the contemporary art museum by examining Indigenous rupture and transformation through Western history and art history. The thesis examines Terry Smith’s recent contextualisation of contemporary theory, as Smith is the only art historian to include Indigenous art in the discussion on contemporary theory.[1] Richard Meyer’s theory on the contemporary is also examined as Meyer is unique in approaching contemporary theory from an artistic practice that embraces co-temporalities, art production and modes of trans-historicity. In ‘rendering the past as newly present’, this thesis proposes methods of contemporary art analysis in the examination of contemporary Indigenous artworks in the context that the socio-political and cultural use of contemporary art as a form of history production. Description of Creative Work An exhibition of one large installation took place at Sydney College of the Arts Galleries, Sydney in September 2016. Media included two- and three-dimensional artworks that were hung on the walls and placed on the floor. The installation used Indigenous forms, designs, processes and social, political, and cultural content as a result of the thesis research and demonstrated Indigenous artists are creating their Indigenous histories within the context of contemporary art. Photographic documentation is available in Appendix 3. [1] Terry Smith, What is Contemporary Art? (Chicago: University of Chicago Press, 2009), 133.
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Berryman, James (Jim) Thomas. "From field to fieldwork : the exhibition catalogue and art history in Australia." Phd thesis, Canberra, ACT : The Australian National University, 2005. http://hdl.handle.net/1885/9528.
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This thesis examines the transformation of the exhibition catalogue in Australia, from modest exhibition documentation to autonomous publication. This discussion is largely confined to exhibition catalogues produced by Australia's public galleries between approximately1965-2002. The thesis considers why the exhibition catalogue experienced such a dramatic change in such a relatively short period. The thesis reveals how catalogues are shaped by the internal tensions and external pressures experienced by art institutions as their roles and responsibilities change over time. During the period in question, catalogues have kept track of developments in art history by experimenting with changing curatorial fashions and critical approaches. Viewed as a time series, the exhibition catalogue reveals subtle and significant clues about art in its changing institutional setting. The thesis explores the professionalisation of the public gallery network, the nexus between academic art history and the museum, and pressures affecting the management of exhibitions in Australia. Each of these factors has influenced the development of the exhibition catalogue. It is shown how catalogues possess a multiplicity of values, which are often contradictory, and how these values determine the catalogue's practical, commemorative and informative functions. To better understand the relationship between the art museum and the contexts and discourses within which art is produced and disseminated for critical appraisal, this thesis will draw upon a body of theoretical literature broadly known as the sociology of art. The work of Pierre Bourdieu provides a general theoretical framework. Methodologically, the thesis is qualitative. The massive proliferation of exhibition catalogues in Australia since the mid-1970s has meant that the samples examined are broadly representative. In this respect, the thesis has followed the examples of earlier, though less comprehensive, studies from abroad.
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Denholm, Michael. "Art magazines in Australia, 1963-1990 : a study of values, influence and patronage." Thesis, Canberra, ACT : The Australian National University, 1994. http://hdl.handle.net/1885/139448.
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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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Paris, Lisa. "Visual arts history and visual arts criticism : Applications in middle schooling." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 1999. https://ro.ecu.edu.au/theses/1240.
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Visual arts history and criticism occupy central positions in visual arts curriculum statements in Western Australia. This status is sustained by the belief that the study of visual arts history and criticism actively contributes to the education of the student as a "whole person". In reality however, rather than attending to the holistic education of students, the application of visual arts history and criticism in Western Australian schools tends to be pragmatic and instrumental - visual arts teachers often use visual art works as "learning aids" because they don't have time, interest or experience in dealing with visual arts works in any other way. While visual arts history and criticism offer the student a valuable life-skill worth acquiring for the contribution they could make to the student's autonomy and personal welfare, this understanding often seems a foreign concept for many classroom teachers. The difference between theorists' and teachers' understandings of the place and purpose of visual arts history and criticism provides an important area of inquiry requiring urgent attention. This research makes a foray into this domain with the purpose of shedding light on the content and methods used by middle school visual arts teachers and their students' perceptions of the content and methods. A qualitative descriptive study was selected for the research taking the form of semi-structured interviews with six teachers. An interview guide was used and transcripts deriving from this methodology were coded by way of reference to the original research questions and classifications which emanated from emergent themes. The teacher interviews were complemented by a questionnaire administered to one class of students from each of the six schools. Participating teachers were selected through a stratified sampling technique. Analysis of data was undertaken from a qualitative stance in the case of interview participants. Narrative-style reporting of interview content was employed to facilitate accurate representation of the teachers' perceptions of visual arts history and criticism at the middle school level. A quantitative analysis of students' questionnaires provided triangulation of methodology, ensuring greater levels of validity than would be afforded by qualitative methods alone. With pressure being applied by the impending implementation of the Curriculum Framework for Kindergarten to Year 12 Education in Western Australian Schools (1998) for the formal inclusion of Arts Responses (aesthetics, art criticism) and Arts in Society (art history), a pressing need exists for clear information about current professional practice. Findings indicated that a misalignment appears to exist between theoretical assumptions embedded in documentation supporting the implementation of the Framework and actual classroom teaching practice. The implications of such misalignment, albeit illustrated on a small scale, are that the initiatives of the Framework may not be sustainable in the longer term, precisely because they are built upon invalid assumptions about what teachers actually do. Whilst the size of the sample and scope of the research limits the generalisability of findings, this first foray may provide impetus for a more comprehensive and evaluative study at a later date.
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Hoene, Katherine Anne. "Tracing the Romantic impulse in 19th-century landscape painting in the United States, Australia, and Canada." Thesis, The University of Arizona, 2000. http://hdl.handle.net/10150/278748.
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The purpose of this thesis is to identify essential characteristics of the first generation of Romantic landscape painters and painting movements in a given English-speaking country which followed the generation of Turner, Constable and Martin in England, and then trace how the second generation of Romantic-realist painters represents a different paradigm. For a paradigmatic construct of the first generation, the focus is on the lives and major works of the American arch-Romantic landscape painter Thomas Cole (1801--1848) and the Australian Romantic landscape painter Conrad Martens (1801--1878). The second generation model features the American Frederic Edwin Church (1826--1900), the Australian William Charles Piguenit (1836--1914), and the British Canadian Lucius Richard O'Brien (1832--1899). Cole and Martens, closer to their predecessors in England, created dynamic paradigm shifts in their new countries. Following them, the second generation of Romantic-realists produced a synthesis of romanticism, scientific naturalism, and nationalistic symbolism.
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Whetter, Elise. "Applied aspirations : design and applied art at the Ballarat Technical Art School during the early twentieth century." Thesis, Federation University Australia, 2021. http://researchonline.federation.edu.au/vital/access/HandleResolver/1959.17/177503.
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Applied art and design schools operate at the nexus of art, industry, and education. During the early decades of the twentieth century, the regionally located Ballarat Technical Art School (BTAS) was the leading institution of its kind in Victoria, Australia, amid shifting economic, cultural, and pedagogical conditions. Emerging from a 1907 amalgamation of institutions, and subsequently administrated by the School of Mines Ballarat (SMB), BTAS was equipped with the assets, experience, and historic reputation necessary to surpass its provincial and metropolitan rivals. This micro-historical case-study employs qualitative analysis of primary sources to investigate the aims, outputs, and importance of BTAS, contextualised by the expectations and influences it operated under during the inaugural principalship of artist and educator, Herbert Henry Smith. Smith oversaw the training of designers, craftspeople, artists, and teachers from 1907 until his retirement in early 1940—a period of tumultuous events, fiscal obstacles, and social and cultural debate. The institution was accountable to diverse stakeholders and arbiters of taste, and successive cohorts learned in a contested space between tradition, origination, and modernisation. Pierre Bourdieu’s cultural theory serves to navigate this web of hierarchies, assumptions, and tensions, while secondary sources help contextualise findings. This thesis also discusses the suite of drawing, design and material-based disciplines delivered at BTAS as single subjects, full courses, and supplementary art-trade training. Throughout, featured students provide examples of regionally trained, Australian designer-maker and artist-teacher experiences. BTAS students learned from ambitious and skilled men and women, benefited from strong professional networks, and fostered a notable esprit-de-corps. The school was significant for its contribution to female technical training. The school’s pre-eminent position was modified during the late 1920s, when much art and art-teacher training was re-centred in Melbourne. Yet, the valuable, compelling, and widespread influence of Ballarat Technical Art School graduates resonated for decades.Doctor of Philosophy
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Gibson, Lisanne. "Art and Citizenship- Governmental Intersections." Thesis, Griffith University, 1999. http://hdl.handle.net/10072/367010.
Full textAbstract:
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.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Film, Media and Cultural Studies
Arts, Education and Law
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Rossi, Alana. "An archaeological re-investigation of the Mulka's Cave Aboriginal rock art site, near Hyden, Southwestern Australia." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2010. https://ro.ecu.edu.au/theses/1884.
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Mulka's Cave is a profusely decorated hollow boulder at The Humps, a large granite dome near Hyden, a small town 350 km southeast of Perth. The importance of the artwork has been recognised for 50 years. Test excavations in the cave in 1988 yielded 210 mainly quartz artefacts assignable to the Australian Small Tool phase and a radiocarbon date of 420 ± 50 BP from just below the lowest artefact found. The artwork was recorded in detail in 2004. The recorder considered the radiocarbon date to be 'anomalously young' because most of the artwork is in poor condition, suggesting that it was made 3000-2000 years ago. Other dated rock art sites in Southwestern Australia came into use 4000-3000 BP. The excavators argued that the site was fairly insignificant, while the rock art researcher thought the profusion of motifs (452) made it a site of some significance, particularly in Southwestern Australia. The main aim of this study was to investigate these conflicting claims by re-investigating how Mulka's Cave had been used by Aboriginal people in the archaeological past.
This research became possible because local tourist organisations obtained federal funding to install an elevated walkway outside the cave in 2006. Under Section 18 of the Aboriginal Heritage Act (1972) 12 of the 34 postholes required were excavated and artefacts were collected from all the ground surfaces to be impacted. Subsequently, under Section 16 of the AHA, four, small, 0.5 x 0.5 m, testpits were excavated around the site: outside the cave entrance, on The Humps and in the Camping Area; a sheltered spot where the Traditional Owners had camped as children, with their grandparents. Organic material was scarce, so analysis focused on the numbers and types of stone artefacts recovered. The artefacts excavated in 1988 were also re-analysed. Five radiocarbon dates were obtained, which suggested that people began visiting the Camping Area (and using ochre) about 6500 BP, making Mulka's Cave one of the oldest radiometrically dated rock art sites in southern Western Australia.
The artefact data from Mulka's Cave were compared to those from these sites. The low artefact discard rate and high proportion of retouched/formal tools found at Mulka's Cave may indicate that the site was used differently from the other sites, but the data are problematic. Most (70%) of the handstencils in Mulka's Cave can be attributed to adolescents, possibly boys, which may also suggest that the site had ceremonial significance; perhaps as a focus for male initiation rituals. The artefact data do not support this hypothesis, however. There is no evidence of spatial patterning in artefact type or frequency across the site, which would be expected if the cave had had a ritual function. Instead, the Camping Area, Walkway Area and Mulka's Cave itself seem to have been used similarly.
It was concluded that, given the scarcity of free-standing potable water in the surrounding region and the presence at The Humps of two capacious gnammas (rockholes), that people probably visited the site when the gnammas were full. A wide variety of plant and animal foods would also have been available before the country was cleared for agriculture. When at Mulka's Cave, they may well have added to the corpus of rock art and carried out other ceremonial business, but there is no archaeological evidence for the latter.
It was also concluded that much more research needs to be undertaken in this neglected part of the semi-arid zone before the significance of Mulka's Cave can be properly assessed and its place in the archaeological record of Southwestern Australia determined.
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Ren, Wei. "The Writer's Art: Tao Yuanqing and the Formation of Modern Chinese Design (1900-1930)." Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:17465116.
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The dissertation examines the history of modern design in early 20th-century China. The emergent field of design looked to replace the specific cultural and historical references of visual art with an international language of geometry and abstraction. However, design practices also, encouraged extracting culturally unique visual forms by looking inward at a nation’s constructed past. The challenge of uniting these dual, and seemingly contradictory, goals was met in a collaborative book cover design project between Lu Xun (1881-1936), China’s most influential modern writer, and Tao Yuanqing (1893-1929), a painter who transformed ancient motifs into a transnational vocabulary of modern design.
As the title suggests, the dissertation provides a history of modern Chinese design in four chapters, with the Lu Xun-Tao Yuanqing collaboration at its core. The investigation begins with the moment of culmination, wherein Lu Xun and Tao Yuanqing’s intersubjective dynamic allowed for evocative yet inscrutable book cover designs to be created. In the new medium of design, the writer’s anxiety regarding the inadequacy of language converged with the artist’s desire for ambiguity in art. The critical analysis then moves back to earlier instances of design and examines how the history of design in China was inflected by the World Exposition, Japan, art education, and commercial art. The inquiry finally moves forward to the discussion of Tao Yuanqing’s art and design’s relationship with a range of discursive fields in aesthetics and literary criticism, including modern notions of beauty, childlikeness, empathy, the native soil movement, cosmopolitanism, symbolism, and ambiguity in art. This part reveals how Tao Yuanqing’s innovations ironically endorsed while simultaneously subverting contemporary interpretive efforts.History of Art and Architecture
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Westwood, Jill. "Hybrid creatures : mapping the emerging shape of art therapy education in Australia." Thesis, Goldsmiths College (University of London), 2010. http://research.gold.ac.uk/6318/.
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This PhD provides the first organized view of art therapy education in Australia. It focuses on the theories that are used in this specialized teaching and learning process. It evolved from the authors’ immersion in the field as a migrant art therapy educator to Australia from the UK and a desire to be reflexive on this experience. The research questions aimed to discover the field of art therapy education in Australia: to find out what theories and practices were taught; and where the theoretical influences were coming from, in order to develop understanding of this emerging field. Positioned as a piece of qualitative research a bricolage of methods were used to gather and analyse information from several sources (literature, institutional sources, and key participants, including the author) on the theories and practices of art therapy training programs in Australia. This also included investigating other places in the world shown to be influential (USA and UK). The bricolage approach (McLeod, 2006) included: phenomenology; hermeneutics; semi-structured interviews; practical evaluation (Patton, 1982, 1990/2002); autoethnography (Ellis & Bochner, 2000); heuristic (Moustakas, 1990); and visual methodologies (Kapitan, 2010). These were used to develop a body of knowledge in the form of institution/program profiles, educator profiles, country profiles and an autoethnographic contribution using visual processes. Epistemologically, the project is located in a paradigm of personal knowledge and subjectivity which emphasizes the importance of personal experience and interpretation. The findings contribute knowledge to support the development of art therapy education and the profession in Australia, towards the benefit, health and wellbeing of people in society. The findings show a diverse and multi-layered field of hybrid views and innovative approaches held within seven programs in the public university and private sectors. It was found that theories and practices are closely linked and that theoretical views have evolved from the people who teach the programs, location, professional contexts (health, arts, education, social, community) and the prevailing views within these contexts, which are driven by greater economic, socio-political forces and neo-liberal agendas. The university programs generally teach a range of the major theories of psychotherapy underpinned with a psychodynamic or humanistic perspective. Movement towards a more integrative and eclectic approach was found. This was linked to being part of more general masters programs and economic forces. The private sector programs are more distinctly grounded in a particular theoretical perspective or philosophical view. Key words distilled from the profiles included: conflict, transpersonal, survival through art, pedagogy, epistemology, theory driven by context and mental health. Important issues for art therapy education were identified as: the position and emphasis on art; working with the therapy/education tension; the gender imbalance in the profession; Indigenous perspectives; intercultural issues and difference. The horizons of the field revealed the importance of developing the profile of the profession, reconciling differences towards a more inclusive view and the growth of research. A trend towards opportunities in the social, education and community areas was found, driven by the increasing presence of discourses on arts and wellness.
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Bell, Pamela. "Art that never was : representations of the artist in twentieth-century Australian fiction." Thesis, The University of Sydney, 2003. http://hdl.handle.net/2123/7310.
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This thesis traces the development of the artist figure as a leading character in twentieth-century Australian novels. In Australia there have always been complex interconnections between the worlds of art and literature, perhaps the most obvious being the cluster of artists and writers centred on the journal Vision, co-edited by Norman Lindsay’s son Jack with Kenneth Slessor, who was heavily influenced by Lindsay. Slessor’s poem “Five Bells”, an elegy for his artist friend Joe Lynch, later became the subject of a mural painted for Sydney Opera House by John Olsen. Although this and other connections between poetry and art are of interest, this thesis concentrates on fiction only.
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Dunham, Amy. "Towards Collaboration: Partnership Between Indigenous and Non-Indigenous Australians in Art from 1970 to the Present." University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1306498911.
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Carroll, Rachel Art College of Fine Arts UNSW. "What kind of relationship with nature does art provide?" Awarded by:University of New South Wales. Art, 2007. http://handle.unsw.edu.au/1959.4/43308.
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The relationship with nature through art has been explored as a two fold bond. The first considers a relationship with nature via art and science, where the history and contemporary application of scientific illustration in art is explored; while the second explores past and present connections with nature via art and the landscape, particularly the panoramic tradition. Historically these relationships have predominately been about dominating nature, mans dominion over the land. Science was seen as the only authority, while our relationships with the land in art, positioned the viewer at a commanding distance above and over the land, as seen in the post colonial panoramic tradition. In contrast, -The Coorong Series- explores a lived history with nature rather than the historical role of dominance. -The Coorong Series" explores a relationship of knowledge, understanding, and the experience of nature; through two parts. The first combines art and science in -The Coorong Specimen Series', to explore the facts and knowledge that science has provided about certain plants, birds and marine life from the Coorong. Inspiration has been derived from 19thC scientific illustrations and the lyrical prints of the Coorong by Australian Artist John Olsen. Part two explores the immersive experience of the iconic landscape in ???The Coorong Landscape Series" providing a relationship that seeks to understand the functionality of the location and to celebrate the unique beauty of this diverse region. Inspiration has been gained from the landscapes by l8th and 19th C artists John Constable and Claude Monet, along with landscapes by contemporary artists, John Walker and Mandy Martin. Through aesthetic notions such as scientific illustration, panoramic landscape, immersive scale, the collection of work, an expressionistic use of paint, and labeling of each piece like a museum display. -The Coorong landscape series" provides an exploration of a region that immerses the viewer in an experience of the location. The series portrays a relationship with nature through art that educates the viewer about The Coorong region. Connections are made between the land, birds, plants, fish, and human interaction; which results in an ecological consideration of the Coorong. Ultimately it is the educational experience that art provides allowing the viewer to explore a plethora of relationships within nature, and to explore how these relationships have changed or continue to exist within this era.
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Wicks, Keren. ""Teaching the art of living" : the development of special education services in South Australia, 1915-1975 /." Title page, table of contents and abstract only, 2000. http://web4.library.adelaide.edu.au/theses/09PH/09phw6367.pdf.
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Westwood, Jill. "Hybrid creatures : mapping the emerging shape of art therapy education in Australia." Thesis, Goldsmiths College (University of London), 2010. http://handle.uws.edu.au:8081/1959.7/506680.
Full textAbstract:
This PhD provides the first organized view of art therapy education in Australia. It focuses on the theories that are used in this specialized teaching and learning process. It evolved from the authors’ immersion in the field as a migrant art therapy educator to Australia from the UK and a desire to be reflexive on this experience. The research questions aimed to discover the field of art therapy education in Australia: to find out what theories and practices were taught; and where the theoretical influences were coming from, in order to develop understanding of this emerging field. Positioned as a piece of qualitative research a bricolage of methods were used to gather and analyse information from several sources (literature, institutional sources, and key participants, including the author) on the theories and practices of art therapy training programs in Australia. This also included investigating other places in the world shown to be influential (USA and UK). The bricolage approach (McLeod, 2006) included: phenomenology; hermeneutics; semi-structured interviews; practical evaluation (Patton, 1982, 1990/2002); autoethnography (Ellis and Bochner, 2000); heuristic (Moustakas, 1990); and visual methodologies (Kapitan, 2010). These were used to develop a body of knowledge in the form of institution/program profiles, educator profiles, country profiles and an autoethnographic contribution using visual processes. Epistemologically, the project is located in a paradigm of personal knowledge and subjectivity which emphasizes the importance of personal experience and interpretation. The findings contribute knowledge to support the development of art therapy education and the profession in Australia, towards the benefit, health and wellbeing of people in society. The findings show a diverse and multi-layered field of hybrid views and innovative approaches held within seven programs in the public university and private sectors. It was found that theories and practices are closely linked and that theoretical views have evolved from the people who teach the programs, location, professional contexts (health, arts, education, social, community) and the prevailing views within these contexts, which are driven by greater economic, socio-political forces and neo-liberal agendas. The university programs generally teach a range of the major theories of psychotherapy underpinned with a psychodynamic or humanistic perspective. Movement towards a more integrative and eclectic approach was found. This was linked to being part of more general masters programs and economic forces. The private sector programs are more distinctly grounded in a particular theoretical perspective or philosophical view. Key words distilled from the profiles included: conflict, transpersonal, survival through art, pedagogy, epistemology, theory driven by context and mental health. Important issues for art therapy education were identified as: the position and emphasis on art; working with the therapy/education tension; the gender imbalance in the profession; Indigenous perspectives; intercultural issues and difference. The horizons of the field revealed the importance of developing the profile of the profession, reconciling differences towards a more inclusive view and the growth of research. A trend towards opportunities in the social, education and community areas was found, driven by the increasing presence of discourses on arts and wellness.
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Souliman, Victoria. "“The remoteness that pains us” : National identity, expatriatism and women’s agency in the artistic exchanges between Australia and Britain in the 1920s and 1930s." Thesis, Sorbonne Paris Cité, 2019. http://www.theses.fr/2019USPCC097.
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Cette thèse explore l’influence artistique et culturelle de la Grande-Bretagne en Australie, ou les caractéristiques britanniques de l’identité australienne, depuis les années suivant la fin de la Première Guerre Mondiale jusqu’à 1941. La culture australienne de cette période a souvent été décrite comme isolée, voire même « en quarantaine », caractérisée par son acceptation tardive du modernisme. Bien qu’à cette époque la Grande-Bretagne accorde davantage d’indépendance et d’autonomie à ses dominions, l’Australie cherche à maintenir des liens culturels et impériaux en s’identifiant exclusivement à la Grande-Bretagne. Ainsi, pendant cette période, la majorité des Australiens considèrent toujours l’Angleterre comme mère patrie et Londres attire de nombreux artistes australiens expatriés. Pour reprendre les termes de Daniel Thomas, historien de l’art australien, l’Australie développe une identité culturelle dite « bi-hémisphérique Anglo-australienne », imprégnée de nationalisme, de conservatisme et de valeurs patriarcales. Cette thèse examine les échanges artistiques entre l’Australie et la Grande-Bretagne pendant les années 1920 et 1930 et met en lumière les complexités de l’identification culturelle. Elle considère tout particulièrement le fait que l’historiographie nationaliste de l’art australien a passé sous silence le rôle joué par les femmes dans la construction de l’identité nationale et dans la définition d’un art australien. A travers l’analyse des collections nationales d’art britannique et les mécanismes de circulation de l’art moderne britannique en Australie, cette thèse met en avant la dualité de l’identité culturelle australienne et la marginalisation des femmes, non seulement en tant qu’artistes mais aussi en tant que défenseuses culturelles. En mettant l’accent sur l’expérience d’expatriés australiens en Angleterre et comment ceux-ci cherchent à s’intégrer à la scène artistique britannique, cette thèse rend compte de l’importance de l’expatriation en tant que concept contribuant aux historiographies de l’art en Grande-Bretagne et en Australie. Enfin, cette thèse conceptualise le travail de deux Australiennes expatriées, Edith May Fry et Clarice Zander, qui, en tant qu’organisatrices d’expositions, ont considérablement contribué à la dissémination du modernisme en Australie et à la définition de l’identité culturelle australienne pendant l’entre-deux-guerres. L’enjeu de cette thèse est de démontrer les mécanismes qui ont permis à l’Australie de représenter sa propre identité à travers l’art tout en continuant à s’identifier à la Grande-BretagneThis thesis explores the cultural and artistic influence of Britain in Australia, or the Britishness of the Australian character, from the years directly following the end of World War I until 1941. Australia during this period was often described as an isolated, or a “quarantined”, culture characterised by its delay in accepting modernism. Despite Britain ceding more independence and autonomy to its dominions at the time, Australia sought to maintain its cultural and imperial bond, identifying exclusively with Britain in a number of ways. For instance, many Australians still considered Britain to be “Home”, while London continued to attract expatriate artists from Australia. In the words of Australian art historian Daniel Thomas, Australia developed a “bi-hemispheric Anglo-Australian cultural identity”, which was marked by nationalism, conservatism and masculinism. This thesis examines the artistic exchanges between Australia and Britain in the 1920s and 1930s, shedding light on the complexities of cultural identification. It considers in particular the fact that such nationalistic historiography of Australian art has denied women’s agency in defining Australian art and identity. The national collections of British art, as well as the mechanisms of the circulation of modern British art in Australia, are closely examined to demonstrate the dualism of Australian cultural identity and the marginalisation of women within this history, not only as artists but also as art patrons. This thesis discusses the experience of Australian expatriates in England, considering how they sought to integrate into the British art scene. In doing so, it brings to the fore the significance of expatriatism as a concept that shaped both Australian and British art historiographies. Finally, it conceptualises the achievements of two Australian expatriate women, Edith May Fry and Clarice Zander, who, as exhibition curators, played a crucial role in disseminating modernism in Australia and defining Australia’s cultural identity during the interwar period. The aim of this thesis is thus to demonstrate the mechanisms through which Australia sought to represent its national character in art, as it strove to maintain its identification with Britain
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James, Pamela J., University of Western Sydney, of Arts Education and Social Sciences College, and School of Humanities. "The lion in the frame : the art practices of the national art galleries of New South Wales and New Zealand, 1918-1939." THESIS_CAESS_HUM_James_P.xml, 2003. http://handle.uws.edu.au:8081/1959.7/567.
Full textAbstract:
This study examines the art practices and management of the National Art Galleries of Australia and New Zealand in the period between the wars, 1918-1939.It does so in part to account for the pervading conservatism and narrow corridors of aesthetic acceptability evident in their acquisitions and in many of their dealings. It aims to explore the role of Britishness, through an examination of the influence of the London Royal Academy of Art, within theses emerging official art institutions. This study argues that the dominant artistic ideology illustrated in these National Gallery collections was determined by a social elite, which was, at its heart, British. Its collective taste was predicated on models established in Great Britain and on traditions and on connoisseurship. This visual instruction in the British ideal of culture, as seen through the Academy, was regarded as a worthy aspiration, one that was at once both highly nationalistic and also a tool of Empire unity. This ideal was nationalistic in the sense that it marked the desire of these Boards to claim for the nation membership of the world's civil society, whilst also acknowleging that the vehicle to do so was through an enhanced alliance with British art and culture. The ramifications of an Empire-first aesthetic model were tremendous. The model severely constrained taste in domestic art, limited the participation of indigenous peoples and shaped the reception of modernism.Doctor of Philosophy (PhD)
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Wilkie, Kate. "Mimesis index symbiosis." Thesis, The University of Sydney, 2011. https://hdl.handle.net/2123/29281.
Full textAbstract:
This investigation will pose the question: What are the functions of the shadows in key moments in the history of pictorialism? And how these moments, cited, are drawn together to provide an historical and theoretical context, which informs my practice.
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Jeffries, Peta. "Becoming "Brave and Gallant" : Decolonising the myths of Burke and Wills; Cross-cultural exchanges and the co-production of knowledge during the Victorian Exploring Expedition and the subsequent Relief Expeditions." Thesis, Federation University Australia, 2015. http://researchonline.federation.edu.au/vital/access/HandleResolver/1959.17/103008.
Full textAbstract:
The history of the Victorian Exploring Expedition (VEE), also known as ‘Burke and Wills’, has commonly been told as a story of ‘brave and gallant men’ who ventured into an unfamiliar landscape and became victims of the ‘ghastly blank’ interior of Australia. Visual artists and historians have memorialised these men as solo-hero explorers who sacrificed their youth and life potential for the sake of Australian nation. The myth of Burke and Wills is a constructed narrative and symbol of glory and achievement that denies the involvement of significant others in exploration and geographical knowledge creation. The path the VEE created through the centre of Australia opened up the broader continent for rapid colonisation and imperial expansion. The tragic legacy of the deaths of Burke and Wills is part of the Australian identity, however, some major aspects of the VEE successes and failures have been sidelined, silenced and even completely ignored in many historical accounts. The historical and visual art accounts that contributed to the memorialisation of Burke and Wills often denied the involvement of other exploration team members, the relief expeditions who went in search of the missing explorers, various intermediaries, guides, go-betweens and significantly Aboriginal peoples’ close involvement and or resistance to interior exploration. Yandruwandha people have been remembered as a friendly and accommodating community who assisted the explorers in their last days and who cared for John King. Within the archives and social memories are examples of agency, power, resistance, and varied perspectives of Burke and Wills. This ethnographic history asks why relations between the explorers, Aboriginal peoples and landscape have been told the way they have and provides examples of encounter and exchange, mutual adaptation and the co-production of knowledge as a way to decolonise the myths of Burke and Wills.Doctor of Philosophy
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James, Pamela J. "The lion in the frame : the art practices of the national art galleries of New South Wales and New Zealand, 1918-1939." Thesis, View thesis, 2003. http://handle.uws.edu.au:8081/1959.7/567.
Full textAbstract:
This study examines the art practices and management of the National Art Galleries of Australia and New Zealand in the period between the wars, 1918-1939.It does so in part to account for the pervading conservatism and narrow corridors of aesthetic acceptability evident in their acquisitions and in many of their dealings. It aims to explore the role of Britishness, through an examination of the influence of the London Royal Academy of Art, within theses emerging official art institutions. This study argues that the dominant artistic ideology illustrated in these National Gallery collections was determined by a social elite, which was, at its heart, British. Its collective taste was predicated on models established in Great Britain and on traditions and on connoisseurship. This visual instruction in the British ideal of culture, as seen through the Academy, was regarded as a worthy aspiration, one that was at once both highly nationalistic and also a tool of Empire unity. This ideal was nationalistic in the sense that it marked the desire of these Boards to claim for the nation membership of the world's civil society, whilst also acknowleging that the vehicle to do so was through an enhanced alliance with British art and culture. The ramifications of an Empire-first aesthetic model were tremendous. The model severely constrained taste in domestic art, limited the participation of indigenous peoples and shaped the reception of modernism.
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Jordanov, Iliana H. "Decorator or narrator: A contextualisation of Slavic and Australian pattern making and its relationship to my painting practice." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2004. https://ro.ecu.edu.au/theses/844.
Full textAbstract:
In this thesis, I will examine pattern making in art practice from two cultural perceptions, Slavic and Australian. Existing differences between the two cultural backgrounds will be used to debate how pattern is understood by the viewer or practiced by an artist in a particular chosen environment. The central argument focuses on pattern as a decorator and/or a narrator. I will examine the outcomes and changes in narrative pattern according to cultural context and exchange. By introducing Slavic pattern into contemporary (Australian) art practice, I examine how traditional cultural values and functions change. In discussing the processes of changes that occur in intercultural exchange, I will draw my opinions and observations from writers, critics and artists such as William Morris, Lucien Henry, Stuart Hall, Jean-Francois Lyotard, Grace Cohrane, Nicolas Pevsner, Faith Ringgold, Joan Snyder, Miriam Schapiro and Cynthia Carlson. My final conclusion will be drawn from my personal visual practice that uses pattern
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Jordan, Noel. "'Controversial art' : investigating the work of director Rosemary Myers." Connect to thesis, 2001. http://repository.unimelb.edu.au/10187/1160.
Full textAbstract:
Arena Theatre Company’s Eat Your Young is examined as an intrinsic case study. The aim is to investigate the role of a director in the creation of an original multi-media theatre production designed for young people. The study explores the current social, political and cultural position of young people and argues that they are viewed and portrayed as a marginalised “other”. The history of Arena Theatre Company is documented in relation to the development of Theatre in Education from its British roots to the Company’s current emphasis on contemporary artists exploring the possibilities of multi-art form technology. The development of multi-media usage in theatre over the past century is outlined in order to gain an understanding of Arena’s place within this technological experimentation. Utilising ethnographic methodology, including participant observation, “unstructured” interactive interviews and the construction of participant monologues, the creative rehearsal and planning process of Eat Your Young is chartered over a five month period. The outcomes of the study confirm the literature relating to the qualities of a good director: they are leadership, vision and the ability to collaborate. The metaphor chief architect is coined to describe the central figure of the director, Rosemary Myers. The case study discusses the development of a Company culture where artists work in an intensive social and interactive environment and it identifies the unique pressures and individual responsibility of the role of director.
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Baguley, Margaret Mary. "The deconstruction of domestic space." Thesis, Queensland University of Technology, 1998. https://eprints.qut.edu.au/35896/1/35896_Baguley_1998.pdf.
Full textAbstract:
Introduction:
I find myself in the pantry, cleaning shelves, in the laundry, water slopping around my elbows, at the washing line, pegging clothes. I watch myself clean shelves, wash, peg clothes. These are the rhythms
that comfort. That postpone. (The Painted Woman, Sue Woolfe, p. 170)
As a marginalised group in Australian art history and society, women artists possess a valuable and vital craft tradition which inevitably influences all aspects of their arts practice. Installation art, which has its origins in the craft tradition, has only been
acknowledged in the art mainstream this decade; yet evolved in the home of the 1950s. The social policies of this era are well documented for their insistence on
women remaining in the home in order to achieve personal success in their lives. This cultural oppressiveness paradoxically resulted in a revolution in women's art in the environment to which they were confined. Women's creative energies were diverted and sublimated into the home, resulting in aesthetic statements of individuality in home decoration. As an art movement, women's installation art in the home provided the similar structures to formally recognised art schools in the mainstream, and include: informal networks and training (schools); matriarchs within the community
who were knowledgable in craft traditions and techniques and shared these with younger women (mentorships); visiting other homes and providing constructive
advice (critiques); and women's magazines and glory boxes (art journals and sketch books). A re-examination of this vital period in women's art history will reveal the
social policies and cultural influences which insidiously undermined women's art, which was based on craft traditions.
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Fozard, Roxanne. "Ghostcards of WA: An exhibition of oil paintings on linen – and – Repositioning the Denkbild: A painting investigation into deaths in custody in 21st century Western Australia: An exegesis." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2017. https://ro.ecu.edu.au/theses/2155.
Full textAbstract:
Having a personal connection through several family members to the life and work of Ngaanyatjarra Elder Mr Ward, I found his death in custody in outback Western Australia unsettling and incomprehensible. As the circumstances of his death were revealed, I became aware of glaring omissions in the telling of his story and the circumstances that led to his death. Through my engagement with the subsequent media reporting, official documents and personal conversations, I recognised a profound lack of understanding of difference and otherness within a shared history and space in Western Australia. The initial aim of my project was to investigate the incomprehensible through the lens of Ngaanyatjarra Elder Mr Ward’s death; however, ethically, this proved a difficult path to negotiate. Through my research, I came to understand that the continued use of the dominant language of the coloniser, which is embedded in social practices and academic discourse is, in part, continuing to perpetuate white privilege. The ethical problems raised inspired me to develop an approach, which although oblique, would nevertheless enable fresh insight into otherness and difference in a multi-cultural society. The particular concern of this practice-led research project is not to exploit the trauma of others but to raise awareness of this social space through my work, giving rise to new understandings and possible relations.
This research gathered key texts from Walter Benjamin and Theodor Adorno, to facilitate the transfer of the written form of Denkbild, a literary device manipulating the codes of language to visualise the process of thought, into a painting practice. The Denkbild (thought-image) is a Euro-centric genre of exploratory philosophical writing, crafted in response to a society witnessing tremendous change as a result of the devastating impact of WWI and WWII. Through this creative project, the challenge was to re-activate the Denkbild through painting and accompanying text to investigate deaths in custody and interrogate the connected issues of ethics, politics and inequality, which is written into the shared spaces of Western Australia. The Denkbild is then developed further with the addition of Henri Lefebvre’s threedimensional spatial application of dialectical thinking and the creative practice of selected Australian artists. Through this addition, the binary dialectical framework of the Denkbild is expanded to reflect contemporary thinking on the concept of space as a social product. This perspective emerges to enable fresh insight into Aboriginal understandings of space as representing an ‘eternal now’, such that a mutual understanding of space is manifested. My painting practice reflects and informs this transition, as I moved from the painting studio to selected locations to record information and experiences that developed my research position.
To achieve the project’s aims, I engaged in reflexivity and praxis as the methodological tools to guide my research. Through painting, my research extended across interdisciplinary fields including visual arts practices, philosophical history and literature, to interrogate a spatial dynamic, revealing marginalised insights and connecting interrelationships between sites. For the purpose of this research, the paintings, exhibitions and exegesis function on two levels: as an avenue into mediation of Western Australian culture and as a methodological approach to visual art practice. My research culminated in the exhibition, Ghostcards of WA 2017 at the Spectrum Project Space, ECU, Mount Lawley. This project is significant as it renews the Denkbild to further the unique relationship between conceptual and representational categories that binds together experience, object and practice to form an interrogative tool for critical inquiry. In the application of this method to a Western Australian context, new thinking is encouraged through the inclusive reading of space and the collapsing of misunderstandings perpetuated in historicism through a shared recognition of the inherent value of space/sites which— far from being incomprehensible, reactive, nostalgic and solipsistic—are comprehensible, active, prescient, abundant and social.
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Edwards, Deborah Lenore. "LUMINAL–KINETICS AUSTRALIAN MODERNISM: ARTIFICIAL LIGHT IN AUSTRALIAN ART an interpretive history." Thesis, University of Sydney, 2020. https://hdl.handle.net/2123/23537.
Full textAbstract:
The work of Australian artists who have incorporated artificial light into their works, (in ‘luminal-kinetics’), is the subject of this thesis. The term does not refer to the ‘technological spaces’ of light, as elaborated in photography or electronic screen devices, but to artists who have dealt with ‘embodied light’ by incorporating artificial light (and in one instance, natural light), into artworks, under the belief that illumination and motion are central themes of modern life. And in the twenty-first century, Indigenous artist Jonathan Jones has claimed the territories of (Western) modernism and light under an Indigenous politic to re-present bi-cultural encounters and histories. This constitutes a radically under-analysed area of Australian artistic practice, with thematics that both traverse expansive terrains, and include commonalities - such as a concern with utopian ideals, with synaesthesia, and with interdisciplinarity. Nonetheless the thesis does not mount an argument for luminal-kinetics as constituting a movement, style, or credo within Australian art. The claim it does make however, is that the medium of light, as a material, energy and a concept, has been a generative agent for the artists studied: that in light they recognised intrinsic qualities or some affective agency which enabled them to move into larger artistic arenas. I will argue that this phenomenon rests on the particular capacity of light to ‘seep’ between categories, media, artforms, and between cultural and social formations. This capacity, along with light’s symbolic potency, has amplified artistic practices, and enabled Jonathan Jones to position light as a central element in his de-colonising and Indigenising of Western visualisations, in order to re-configure the relationship which has existed between modernism and colonialism. The thesis argues that luminal-kinetics is an artistic form in which concepts concerning the material and immaterial, technological and metaphysical, and static and kinetic, take precedence over modernism’s traditional binaries, and thus it calls for alternative frameworks through which to analyse and theorise Australian modernism.
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Mengler, Sarah Elizabeth. "Collecting indigenous Australian art, 1863-1922 : rethinking art historical approaches." Thesis, University of Cambridge, 2015. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.709014.
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Roby, Ruth. "Imprint of a landscape a Yarrawa Brush story /." Access electronically, 2007. http://ro.uow.edu.au/theses/15.
Full text
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Chan, Kenneth, and n/a. "Chinese history books and other stories." University of Canberra. Creative Communication, 2005. http://erl.canberra.edu.au./public/adt-AUC20061020.144139.
Full textAbstract:
My thesis is a creative writing doctorate which focuses on one Chinese family's
adaptation to living in Australia in the mid-twentieth century. The thesis is in two
parts. Part I is an examination of Chineseness and identity within the context of the
short stories that make up Part I1 of the thesis.
In Part I, I have looked at the place of the Chinese within the larger, dominant cultures
of America and Australia. In particular, I have discussed the way in which the
discourses of the dominant culture have framed Chineseness; and also what it might
mean to describe authentic and essential qualities in Chineseness. The question I ask
is whether the concept of Chineseness shifts according to time, location, history, and
intercultural encounters. This leads me to try to "place" my family and myself. I
provide some background on my family and on specific incidents that have served as
springboards for the fiction. Part I also discusses some aspects of narrative theory in
relation to the stories and considers the stories within the context of other Chinese-
Australian fiction and performance.
Ln Part 11, I have written a collection of nine short stories about the lives of a fictitious
family called the Tangs. The stories can be described as a cycle that is unified and
linked by characters who are protagonists in one story but appear in a minor or
supporting role in other stories. Composing a linked cycle of stories has given me the
opportunity to extend the short story form, especially by giving me scope to expand
the lives of the characters beyond a single story. The lives of the characters can take
on greater complexity since they confront challenges at different stages of their lives
from different perspectives.
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Wang, Kang Ning. "Sino‐Australian Nomads: Identity Politics And The Art Of Migrants." Thesis, The University of Sydney, 2014. http://hdl.handle.net/2123/15088.
Full textAbstract:
Description of my artwork My MFA creative work consists of a body of work of 14 pieces of various sized abstract paintings that will be exhibited at one of the galleries in the February Postgraduate Examination Exhibition at the Sydney College of the Arts. The entire project consists of works on paper using the medium of ink, gouache, acrylics, pencil and digital data. Entitled ‘Forms from the Twilight Zone ’ this body of work is largely an experimentation aimed at using mixed medium to project globalised features of identity arts such as oriental style painting meeting western styles; resulting in a combined style influenced by my personal circumstances. Abstract of research paper My research paper is designed to explore the issues of identity. Artists and their works mostly have their genesis in and are influenced by their cultural identities with global politics playing an additional crucial role affecting these arts. My research led to the discovery that Chinese cultural identity artists create art that, due to its political characteristics, has become known and popular in the West, and that these characteristics generate identity issues to both these Chinese artists and to the West. In the research process, theories involving modern arts form a trajectory to my approach of the art world of the 21st century while an ongoing investigation of the situation of visual arts, in both international and domestic dimensions, provides facts for synthesis of these theories. The conclusion of my research is based on the fact that a combination of styles is part of art history. The nature of this combination depends on the ideas and the beliefs that an artist is subjected to in the approach to his or her own art.
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McGlashan, Dugald James, and piscador@hotmail com. "Consequences of Dispersal, Stream Structure and Earth History on Patterns of Allozyme and Mitochondrial DNA Variation of Three Species of Australian Freshwater Fish." Griffith University. Australian School of Environmental Studies, 2000. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20030226.152217.
Full textAbstract:
Freshwater systems offer important opportunities to investigate the consequences of intrinsic biological and extrinsic environmental factors on the distribution of genetic variation, and hence population genetic structure. Drainages serve to isolate populations and so preserve historical imprints of population processes. Nevertheless, dispersal between and within drainages is important if the biology of the species confers a good dispersal capability. Knowledge of the population genetic structure or phylogeographic patterns of Australia's freshwater fish fauna is generally depauperate, and the present study aimed to increase this knowledge by investigating patterns of genetic diversity in three Australian species of freshwater fish. I was interested in the relative importance of dispersal capability, the hierarchical nature of stream structure and the consequences of earth history events on patterns of genetic diversity among populations. I examined three species from three families of Australian freshwater fish, Pseudomugil signifer (Pseudomugilidae), Craterocephalus stercusmuscarum (Atherinidae) and Hypseleotris compressa (Gobiidae). These species are abundant, have wide overlapping distributions and qualitatively different dispersal capabilities. I was interested in attempting to unravel how the biological, environmental and historical factors had served to influence the patterns and extent of genetic diversity within each species, thereby inferring some of the important evolutionary processes which have affected Australia's freshwater fauna. I used allozyme and 500-650bp sequences from the ATPase6 mitochondrial DNA (mtDNA) gene to quantify the patterns of genetic variation at several hierarchical levels: within populations, among populations within drainages and among drainages. I collected fish at several spatial scales, from species wide to multiple samples within drainages; samples were collected from the Northern Territory, Queensland and New South Wales. The species with the highest potential for dispersal, H. compressa, exhibited the lowest levels of genetic differentiation as measured at several allozyme loci (H. compressa: FST=0.014; P. signifer FST=0.58; C. stercusmuscarum FST=0.74). Populations of H. compressa also had low levels of mtDNA differentiation, with many recently derived haplotypes which were widespread along the coast of Queensland. This suggested either considerable gene flow occurs or recent demographic change in the populations sampled. As there was no relationship between geographic distance and genetic differentiation, the populations appeared to be out of genetic drift - gene flow equilibrium, assuming the two-dimensional stepping stone model of gene flow. Estimating contemporary gene flow was thus difficult. It was apparent that there has been a recent population expansion and / or contraction of H. compressa populations. It was concluded that there has been considerably more connectivity among populations of H. compressa in the recent past than either of the other study species. Populations of P. signifer showed considerable genetic subdivision at different hierarchical levels throughout the sampled range, indicating gene flow was restricted, especially between separate drainages. Two widely divergent regional groups which had high ATPase6 sequence divergence and approximately concordant patterns at allozyme loci were identified. Interestingly, the groups mirrored previous taxonomic designations. There was also significant subdivision among drainages within regional groups. For example, the adjacent Mulgrave-Russell and Johnstone drainages had individuals with haplotypes that were reciprocally monophyletic and had large allozyme frequency differences. This allowed me to examine the patterns of genetic differentiation among populations within drainages of two essentially independent, but geographically close systems. There was as much allozyme differentiation among populations within subcatchments as there was between subcatchments within drainages, and significant isolation by distance among all populations sampled within a drainage. This suggested that the estuarine confluence between subcatchments was not a barrier to P. signifer, but that distance was an important component in the determination of the distribution of genetic diversity within drainages in P. signifer. There were three main areas of investigation for C. stercusmuscarum: comparing upland and lowland streams of the drainages in north Queensland, investigating the consequences of eustasy on coastal margin populations and examining the intriguing distribution of the two putative sub species, C. s. stercusmuscarum and C. s. fulvus in south east Queensland. First, as populations in upland areas of east coast flowing rivers are above large discontinuities in the river profile, their occurrence is presumably the result of gene flow to and / or from lowland areas, or the result of invasions via the diversion of western flowing rivers. Concordant patterns at both genetic markers revealed that the latter possibility was the most likely, with fixed allozyme differences between upland and lowland populations, and large mtDNA sequence divergence. Indeed, it appeared that there may have been two independent invasions into the upland areas of rivers in North Queensland. Second, lowland east coast populations also had large, although not as pronounced, levels of population subdivision. Lack of isolation by distance, but with a concomitant high level of genetic differentiation among many comparisons, was consistent with a scenario of many small, isolated subpopulations over the range. Interestingly, widespread populations in central Queensland coastal populations (drainages which receive the lowest rainfall) were relatively genetically similar. This was consistent with the widest part of the continental shelf which at periods of lower sea level apparently formed a large interconnected drainage, illustrating the effect of eustatic changes on populations inhabiting a continental margin. Third, putative C. s. fulvus in lowland coastal Queensland drainages were genetically more similar to a population of C. s. fulvus collected from a tributary of the Murray-Darling (western flowing) than they were to adjacent putative C. s. stercusmuscarum. This implied that populations in south east Queensland, north to approximately the Burnett River, appeared to be derived from western flowing streams, and not via dispersal from other lowland east coast populations. Determining the relative importance of intrinsic and extrinsic factors to the development of population genetic structure is a difficult task. The present study demonstrated that the species with the highest dispersal potential had the lowest levels of genetic differentiation, waterfalls can limit gene flow, eustasy acts to join and separate populations leading to complex genetic patterns and that drainage rearrangements are important in determining the distribution of genetic diversity of populations now inhabiting isolated drainages. A difficulty with generalising about population genetic structure in obligate freshwater animals is the unique history of not only each drainage, but also the streams within that drainage and the idiosyncratic biological dynamics of the populations inhabiting those drainages.
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O'Donnell, David O'Donnell, and n/a. "Re-staging history : historiographic drama from New Zealand and Australia." University of Otago. Department of English, 1999. http://adt.otago.ac.nz./public/adt-NZDU20070523.151011.
Full textAbstract:
Since the 1980s, there has been an increasing emphasis on drama, in live theatre and on film, which re-addresses the ways in which the post-colonial histories of Australia and New Zealand have been written. Why is there such a focus on �historical� drama in these countries at the end of the twentieth century and what does this drama contribute to wider debates about post-colonial history? This thesis aims both to explore the connections between drama and history, and to analyse the interface between live and recorded drama.
In order to discuss these issues, I have used the work of theatre and film critics and historians, supplemented by reference to writers working in the field of post-colonial and performance theory. In particular, I have utilised the methods of Helen Gilbert and Joanne Tompkins in Post-Colonial Drama: Theory, Practice, Politics, beginning with their claim that in the post-colonial situation history has been seen to determine reality itself. I have also drawn on theorists such as Michel Foucault, Linda Hutcheon and Guy Debord who question the �truth� value of official history-writing and emphasize the role of representation in determining popular perceptions of the past. This discussion is developed through reference to contemporary performance theory, particularly the work of Richard Schechner and Marvin Carlson, in order to suggest that there is no clear separation between performance and reality, and that access to history is only possible through re-enactments of it, whether in written or performative forms.
Chapter One is a survey of the development of �historical� drama in theatre and film from New Zealand and Australia. This includes discussion of the diverse cultural and performative traditions which influence this drama, and establishment of the critical methodologies to be used in the thesis. Chapter Two examines four plays which are intercultural re-writings of canonical texts from the European dramatic tradition. In this chapter I analyse the formal and thematic strategies in each of these plays in relation to the source texts, and ask to what extent they function as canonical counter-discourse by offering a critique of the assumptions of the earlier play from a post-colonial perspective. The potential of dramatic representation in forming perceptions of reality has made it an attractive forum for Maori and Aboriginal artists, who are creating theatre which has both a political and a pedagogical function. This discussion demonstrates that much of the impetus towards historiographic drama in both countries has come from Maori and Aboriginal writers and directors working in collaboration with white practitioners. Such collaborations not only advance the project of historiographic drama, but also may form the basis of future theatre practice which departs from the Western tradition and is unique to each of New Zealand and Australia. In Chapter Three I explore the interface between live and recorded performance by comparing plays and films which dramatise similar historical material. I consider the relative effectiveness of theatre and film as media for historiographic critique. I suggest that although film often has a greater cultural impact than theatre, to date live theatre has been a more accessible form of expression for Maori and Aboriginal writers and directors. Furthermore, following theorists such as Brecht and Brook, I argue that such aspects as the presence of the live performer and the design of the physical space shared by actors and audience give theatre considerable potential for creating an immediate engagement with historiographic themes. In Chapter Four, I discuss two contrasting examples of recorded drama in order to highlight the potential of film and television as media for historiographic critique. I question the divisions between the documentary and dramatic genres, and use Derrida�s notion of play to suggest that there is a constant slippage between the dramatic and the real, between the past and the present. In Chapter Five, I summarize the arguments advanced in previous chapters, using the example of the national museum of New Zealand, Te Papa Tongarewa, to illustrate that the �performance� of history has become part of popular culture. Like the interactive displays at Te Papa, the texts studied in this thesis demonstrate that dramatic representation has the potential to re-define perceptions of historical �reality�. With its superior capacity for creating illusion, film is a dynamic medium for exploring the imaginative process of history is that in the live performance the spectator symbolically comes into the presence of the past.
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Cirino, Gina. "American Misconceptions about Australian Aboriginal Art." Kent State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=kent1435275397.
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Brown, Sarah. "Imagining 'environment' in Australian suburbia : an environmental history of the suburban landscapes of Canberra and Perth, 1946-1996." University of Western Australia. School of Humanities, 2009. http://theses.library.uwa.edu.au/adt-WU2009.0094.
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Australia is a suburban nation. Today, with increasing concern regarding the sustainability of cities, an appreciation of the complexities of Australian suburbia is critical to the debate about urban futures. As a built environment and a cultural phenomenon, the Australian suburbs have inspired considerable scholarly literature. Yet to date, such scholarly work has largely overlooked the changing environmental values and visions of those shaping and residing within suburban landscapes, and the practices through which such values and visions are materialised in the processes of suburban development. Focusing on the post-war suburban landscapes of Canberra and Perth, this thesis centralises the environmental, political and economic forces that have shaped human action to construct suburban spaces, paying particular attention to the extent to which individual understandings and visions of 'environment' have determined the shape and nature of suburban development. Specifically, it examines how those operating within Australias suburbs, including planners, developers, builders, landscape designers and residents have imagined the 'environment', and how such imaginaries have shifted in response to varying spatial, temporal and ideological contexts. Tracing the shifting nature of environmental concern throughout the mid-to-late twentieth century, it argues that despite the somewhat unsustainable nature of Australia's suburban landscapes, the planning and development of such landscapes has long been influenced by and has responded to differing understandings of 'environment', which themselves are the product of changing social, political and economic concerns. In doing so, this thesis challenges a number of perceptions concerning Australian suburbs, environmental awareness and sustainability. In particular, it contests the assumption that environmental concern for Australia's suburban development emerged with the urban consolidation debates of the 1980s and 1990s, and analyses a range of environmental sensibilities not often acknowledged in current histories of Australian environmentalism. By examining, for example, how the deterministic and economic concerns of differing planning bodies, along with the aesthetic and ecological concerns of various planners, are intertwined with the housing and domestic lifestyle preferences of suburban homeowners, this history brings to the fore the often conflicting environmental ideas and practices that arise in the course of suburban development, and provides a more nuanced history of the diversity of environmental sensibilities. In sum, this thesis enhances our understandings of the changing nature of environmental concern and illuminates the complex, still largely misunderstood, environmental ideas and practices that arise in the processes of suburban development.
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Protopopov, Michael Alex, and res cand@acu edu au. "The Russian Orthodox Presence In Australia: The History of a Church told from recently opened archives and previously unpublished sources." Australian Catholic University. School of Philosophy and Theology, 2005. http://dlibrary.acu.edu.au/digitaltheses/public/adt-acuvp87.09042006.
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The Russian Orthodox community is a relatively small and little known group in Australian society, however, the history of the Russian presence in Australia goes back to 1809. As the Russian community includes a number of groups, both Christian and non-Christian, it would not be feasible to undertake a complete review of all aspects of the community and consequently, this work limits itself in scope to the Russian Orthodox community. The thesis broadly chronicles the development of the Russian community as it struggles to become a viable partner in Australia’s multicultural society. Many never before published documents have been researched and hitherto closed archives in Russia have been accessed. To facilitate this research the author travelled to Russia, the United States and a number of European centres to study the archives of pre-Soviet Russian communities. Furthermore, the archives and publications of the Australian and New Zealand Diocese of the Russian Orthodox Church have been used extensively. The thesis notes the development of Australian-Russian relations as contacts with Imperial Russian naval and scientific ships visiting the colonies increase during the 1800’s and traces this relationship into the twentieth century. With the appearance of a Russian community in the nineteenth century, attempts were made to establish the Russian Orthodox Church on Australian soil. However, this did not eventuate until the arrival of a number of groups of Russian refugees after the Revolution of 1917 and the Civil War (1918-1922). As a consequence of Australia’s “Populate or Perish” policy following the Second World War, the numbers of Russian and other Orthodox Slavic displaced persons arriving in this country grew to such an extent that the Russian Church was able to establish a diocese in Australia, and later in New Zealand. The thesis then divides the history of the Russian Orthodox presence into chapters dealing with the administrative epochs of each of the ruling bishops. This has proven to be a suitable matrix for study as each period has its own distinct personalities and issues. The successes, tribulations and challengers of the Church in Australia are chronicled up to the end of the twentieth century. However, a further chapter deals with the issue of the Church’s prospects in Australia and its relevance to future generations of Russian Orthodox people. As the history of the Russians in this country has received little attention in the past, this work gives a broad spectrum of the issues, people and events associated with the Russian community and society at large, whilst opening up new opportunities for further research.
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Castleman, Beverley Dawn, and mikewood@deakin edu au. "Changes in the Australian Commonwealth departmental machinery of government: 1928-1982." Deakin University, 1992. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20050815.095625.
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The Commonwealth departmental machinery of government is changed by using Orders in Council to create, abolish or change the name of departments. Since 1906 governments have utilised a particular form of Order in Council, the Administrative Arrangements Order (AAO), as the means to reallocate functions between departments for administration. After 1928 successive governments from Scullin to Fraser gradually streamlined and increasingly used the formal processes for the executive to change departmental arrangements and the practical role of Parliament, in the process of change, virtually disappeared.
From 1929 to 1982, 105 separate departments were brought into being, as new departments or through merger, and 91 were abolished, following the merger of their functions in one way or another with other departments. These figures exclude 6 situations where the change was simply that of name alone. Several hundred less substantial transfers of responsibilities were also made between departments.
This dissertation describes, documents and analyses all these changes. The above changes can be distilled down to 79 events termed primary decisions. Measures of the magnitude of change arising from the decisions are developed with 157.25 units of change identified as occurring during the period, most being in the Whitlam and Fraser periods.
The reasons for the changes were assessed and classified as occurring for reasons of policy, administrative logic or cabinet comfort. 47.2% of the units of change were attributed to policy, 34.9% to administrative logic, 17% to cabinet comfort. Further conclusions are drawn from more detailed analysis of the change and the reasons for the changes.
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Jebb, Mary Anne. "'No more head stockman, he's a chairman now' : the making and breaking of the pastoral system in the Kimberley Ranges, 1903-1972." Murdoch University, 1998. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20071116.140713.
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This thesis examines Aboriginal pastoral workers' life stories in the context of the two mass movements in Kimberley history: the move toward pastoral stations in the 'early days' of this century and away from them in the 1960s and 1970s. In the northern ranges region of the Kimberley pastoral settlement began in 1903, with a second phase of intense settlement from 1920. The recency of settlement in this region meant that in the late 1980s people were alive who had experienced both 'first contact' and the arrival of 'Welfare'. This study places Aboriginal life story narratives in a wider historical context, drawn from written archives and a range of oral testimonies about the origins and development of the pastoral system in the north and central Kimberley. The broader economic and political context which affected the process of incorporating northern ranges people into the Australian nation is examined through individual contacts and biographies to develop the patterns of alliances with 'Bosses' and the impact of Welfare on those relationships.
In 1971, small reserves on the outskirts of Kimberley towns which catered for 20 to 40 people in the 1950s, held up to 300 residents who were previously living on pastoral stations. The overcrowded and unserviced fringe camps were thought to contain people displaced from station employment by the decision to enforce equal wages for Aborigines in the pastoral industry. It is one of the contentions of this thesis that the social and economic foundations of the old rationing system on most of the stations in the northern Kimberley were crumbling before the award wages decision and its application to the Kimberley in 1969. The 'eviction after award wages' theme underestimates Aboriginal agency in the migration process, fails to take account of their changing social and economic requirements and the pull of Welfare support, glorifies the period of 'settlement' on stations and reinforces the 'myth of the lazy native' which underpinned public debate and Arbitration Commission discussions in the 1960s about the inclusion of Aboriginal workers within the Pastoral Industry Award.
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McCarthy, Dayton. "The once and future army an organizational, political, and social history of the Citizen Military Forces, 1947-1974/." Connect to this title online, 1997. http://www.library.unsw.edu.au/~thesis/adt-ADFA/public/adt-ADFA20020722.120746/.
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Lowish, Susan Kathleen 1969. "Writing on "Aboriginal art" 1802-1929 : a critical and cultural analysis of the construction of a category." Monash University, Centre for Comparative Literature and Cultural Studies, 2004. http://arrow.monash.edu.au/hdl/1959.1/5493.
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Scheib, Michael. "Painting Anzac: a history of Australia’s official war art scheme of the First World War." Thesis, The University of Sydney, 2015. http://hdl.handle.net/2123/13139.
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This history of Australia’s official war art scheme of the First World War examines the processes by which its part in the conflict was given pictorial form as part of an official and publicly funded project of nation-building – the project of the official representation of Anzac – which involved representing Anzac in a written history, pictures, photographs, trophies, relics, models and sculptures, and as a national war museum. Conceived during the war by Charles Bean, Australia’s official war correspondent and historian, the object of this project was to construct a story of Australia’s part in the war – the Anzac story – to be told for posterity in a national war museum erected in the nation’s capital as a monument to the AIF, ultimately the Australian War Memorial. The story he constructed told of the arrival on the world stage of a young nation through its supreme military performance and of the forging of a military tradition known as Anzac. While Bean’s involvement in creating the Anzac legend is universally acknowledged, his role in constructing the official version of it has not been recognised. This history fills that gap in knowledge. Revering Britain’s military tradition and inculcated in the forms in which it was represented, Bean resolved to represent the Anzac story identically. Its tradition was represented pictorially by battle pictures, military scenes and portraits. The official war art scheme produced pictures made at the front, large historical pictures which illustrated the Anzac story, and portraits of its principal actors. This history shows how Bean exercised control over the scheme to create an image of Anzac that reflected his conception of it; to ensure that the Anzac story was illustrated as he wished it told for posterity; to promote the idea that Anzac was a military tradition which stood alongside the great traditions of other nations; and to promote the idea that Australia’s future nationality should be defined by that tradition.
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Burke, Peter, and peter burke@rmit edu au. "A social history of Australian workplace football, 1860-1939." RMIT University. Global Studies, Social Science and Planning, 2009. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20100311.144947.
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This thesis is a social history of workplace Australian football between the years 1860 and 1939, charting in detail the evolution of this form of the game as a popular phenomenon, as well as the beginning of its eventual demise with changes in the nature and composition of the workforce. Though it is presented in a largely chronological format, the thesis utilises an approach to history best epitomised in the work of the progenitors of social history, E.P. Thompson and Eric Hobsbawm, and their successors. It embraces and contributes to both labour and sport history-two sub-groups of social history that are not often considered together. A number of themes, such as social control and the links between class and culture, are employed to throw light on this form of football; in turn, the analysis of the game presented here illuminates patterns of development in the culture of working people in Victoria and beyond. The thesis also provides new insights into under-re searched fields such as industrial recreation and the role of sport in shaping employer-employee relations. In enhancing knowledge of the history of grass roots Australian football and demonstrating the workplace game's links with the growth of unionism and expansion of industry, the thesis therefore highlights the complexity and interconnectedness of economic development, class relations and popular culture in constructing social history.
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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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Henderson, Peter Charles. "A history of the Australian extreme right since 1950 /." View thesis, 2002. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030924.134813/index.html.
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Thesis (Ph.D.) -- University of Western Sydney, 2002."A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy, December 2002, School of Humanities, University of Western Sydney" Bibliography : p. [419]-451.
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Robertson, Kate. "The siren song: Identity, belonging and Australian artists abroad, 1890-1914." Thesis, The University of Sydney, 2013. http://hdl.handle.net/2123/10447.
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This thesis is concerned with the siren-call that lured Australian artists abroad between 1890 and 1914, and the considerations of both identity and belonging that this travel allowed, instigated and perhaps demanded. This moment in British-Australian historiography is especially significant in covering the years that were immediately pre- and post-federation, with this timespan inevitably informing the movement of artists between Australia and Europe and their understandings of their place in the world. Those artists who ventured abroad followed a general pattern, going first to Paris to complete their studies before moving to London seeking to establish a career. They formed communities based on a common connection to Australia whilst also interacting with the broader creative community, notably through participating in clubs and societies. Such intersections proved significant in my examination of the negotiation and fashioning of identity, with Australian artists assuming various guises, for instance: professional and bohemian, spouse and painter, local and traveller. The contribution of this thesis to current literature lies in my efforts to rethink and redefine the fixedness of the identity of Australians, revealing how through living in Paris – the centre of art – and London – the heart of the Empire – artists contemplated, manipulated and invented their very selves. It was not my intention to simply compile biographical data, though I have researched the lives of the artists who will be addressed, but rather to explore the connections between them as part of a broader juncture in British-Australian history. The thesis traverses the broad thematic concerns of bohemia, communities, Empire, imagination, place, and travel, focussing ultimately on the multifaceted conception of authenticity, belonging and identity for those artists who heeded the overwhelming urge to engage with and participate in the Old World.
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Page, Timothy J., and n/a. "An Evolutionary History of the Freshwater Shrimp Family Atyidae in Australia." Griffith University. Australian School of Environmental Studies, 2007. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20070725.120145.
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The aim of this thesis is to use phylogenetic analyses of mitochondrial DNA to investigate the biogeography and evolutionary relationships within the freshwater shrimp family Atyidae in Australia at a nested series of scales, both geographic and systematic. At the largest scale, the relationships between Australian and Indo-West Pacific species were inferred using the two most common atyid genera in Australia, Caridina and Paratya. Most atyids are hypothesised to have colonised Australia from Southeast Asia, but Paratya may be a Gondwanan relict given its distribution. Australian Paratya all form a strong clade, with a sister relationship to species from Tasman Sea islands. Molecular clock estimates place all of the splits within Paratya after the break-up of Gondwana, with Australia being colonised once 3½-8½ million years ago. This transoceanic dispersal is conjectured to have taken place through oceanic currents because of the amphidromous life cycle of some taxa of Paratya. Caridina has a very different biogeographic history in Australia, as numerous Australian species have close evolutionary relationships with non-Australian taxa from locations throughout the region. This implies many colonisations to or from Australia over a long period, and thus highlights the surprising adeptness of freshwater shrimp in dispersal across ocean barriers and the unity of much of the region's freshwater biota. A number of potential species radiations within Australia were also identified. This agrees with patterns detected for a large number of Australian freshwater taxa, and implies a vicariant explanation due to the development of colder, dryer climates. The systematic relationships of the remaining two Australian surface genera (Caridinides, Australatya) and two subterranean genera (Parisia, Pycnisia) were also investigated. Australatya forms a strong clade with Pacific 'Atya-like' genera, and Caridinides falls within a clade containing Australian Caridina. The hypogean genera, Parisia and Pycnisia, form a strong clade in all analyses, implying an Australian subterranean speciation. The possibility of a relationship between Parisia/Pycnisia and some Australian Caridina species may have implications for the monophyly of the highly disjunct genus Parisia, as it may descend from local Caridina species and represent convergent morphologies. The common and speciose genus Caridina was used as a model taxon for analyses within Australia. At the medium scale, molecular taxonomic techniques were used to uncover cryptic species within a problematic east Australian species complex. At least five species were detected. Phylogeographic and population genetic analyses were carried out on each of these five cryptic species, which diverged from each other in the late Miocene/Pliocene. There were very large differences between the species in the scales of overall geographic distribution, intraspecific divergence and population structure. These were characterised as either: 1) species with large ranges, low intraspecific divergence, limited phylogeographic structuring (Caridina sp. D); 2) species with large ranges, high intraspecific divergence, a high level of phylogeographic structuring (sp. B); 3) species with a limited range, low intraspecific divergence, no phylogeographic structuring (sp. E); or 4) species with limited ranges, high intraspecific divergences, a high level of phylogeographic structuring (sp. A & C). These patterns reflect a combination of large-scale factors, such as landscape structure and climate change, and small-scale factors, such as species-specific tolerances to local conditions and differing dispersal capabilities. Life history variation (egg size) between species may be correlated with different dispersal abilities. Species with the smallest eggs have the least intraspecific divergence and largest distribution, while those with the biggest eggs have the most divergence and smallest distribution, with medium-sized egg species in between. At the smallest phylogeographic scale, C. sp. C from the sand dune islands of Moreton Bay in southeastern Queensland was further analysed. Two different lineages (C1, C2) were found which diverged from each other during the late Miocene/Pliocene and so are older than the current landscape in which they are found. Small-scale phylogeographic analyses within C1, C2 and a sympatric fish identified divergences dating to the Pleistocene (about 100-300 thousand years ago). This implies that ice age sea-level changes may have structured these populations, although there is little observable influence of the last glacial maximum (about 18 thousand years ago). This study has highlighted a number of taxonomic anomalies within the Atyidae. The detection of many cryptic species implies that biodiversity within freshwater invertebrates is higher than currently appreciated. The evolutionary and biogeographic relationships of Australian atyids have proved complex, with many taxa having their own individual histories. At the large Indo-Pacific scale, dispersal is most evident, but within Australia, both vicariance and dispersal have been responsible for structuring all taxa at every scale.
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au, marnev@cygnus uwa edu, and Neville James Green. "Access, equality and opportunity? : the education of Aboriginal children in Western Australia 1840-1978." Murdoch University, 2004. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20071218.141027.
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This thesis is a history of schooling for Indigenous children in Western Australia between
the commencement of the first Aboriginal school in Perth in 1840 and 1978. The thesis
represents the view that, for most of this period, and regardless of policy, education for
Indigenous children was directed towards changing their beliefs and behaviours from
being distinctly Aboriginal to recognizably European. Four major policies for Aborigines
provide the framework for the thesis, these being amalgamation (1840-1852),
protection (1886-1951), assimilation (1951-1972) and self-determination (1973- ).
The amalgamation of the Indigenous popuIation with the small colonial society in
Western Australia was a short-lived policy adopted by the British Colonial Office.
Protection, a policy formalised by Western Australian legislation in 1886, 1905 and
1936, dominated Aboriginal affairs for the first half of the 2ofh century. Under this policy
the Indigenous population was regarded as two distinct groups - a diminishing traditional
population to be segregated and protected and an increasing part-Aboriginal population
that was to be trained and made 'useful'. In 1951 Western Australia accepted a policy of
assimilation, coordinated by the Commonwealth government, which anticipated that all
people of Aboriginal descent would eventually be assimilated into the mainstream
Australian society. This policy was replaced in 1973 by one of Aboriginal community
self-determination, an initiative of the Commonwealth government and adopted
throughout Australia.
The attempts at directed cultural change were evident in the 'Native' schools that opened
in Perth, Fremantle and Guildford in the 1840s where it was assumed that the separation
of children from their families and a Christian education would achieve the transition
from a 'savage to civilized' state. For another century the education of Indigenous
children on missions and in government settlements was founded upon similar
assumptions. The thesis acknowledges that the principal change agents, such as the Chief
Protectors of Aborigines, mission administrators and the teachers in direct contact with
the children, seriously underestimated both the enduring nature of Indigenous culture and
the prejudice in Australian society.
Between 1912 and 1941 a few government schools in the southern districts of Western
Australia refused to admit Aboriginal children. The exclusion of these children is
examined against a background of impoverished living conditions, restrictive legislation
and mounting public pressure on the State and Commonwealth governments for a change
in policy. The change did not begin to occur until 1951 when the Commonwealth and
States agreed to a policy of assimilation. In Western Australia this policy extended
education to all Aboriginal children. The thesis explores the provision of government
teachers to Aboriginal schools in remote areas of Western Australia between 1951 and
1978. The final chapter examines Indigenous perceptions of independent community
schools within the fust five years of the policy of self-determination and contrasts the
objectives and management of two schools, Strelley in the Pilbara and Oombulguni in
the Kimberley.
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Banks, Catherine, and n/a. "Lost in Translation: A History of Moral Rights in Australian Law." Griffith University. Griffith Law School, 2005. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20061006.114720.
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This thesis is a history of moral rights in Australian law. It traces the historical discourse about moral rights in Australian law and demonstrates how that discourse has shaped the meaning moral rights have come to assume in their current form under the current regime contained in the Copyright Amendment (Moral Rijghts) Act 2000. This history examines the reception and later production of a moral rights discourse in Australian law, and reveals that the historical discourse about Australian moral rights was dominated by the three themes; foreignness, international obligation and economic impact. I contend these three themes fundamentally shaped moral rights as they now appear in the moral rights regime. As the history unfolds, it will become clear that the moral rights regime was organised around a specific repertoire of arguments and imaginings, and it is this discourse that informs this thesis. My argument is pursued in three stages. Section One of the thesis provides the historical detail of the moral rights trajectory in Australian jurisprudence, and reveals, within that history, the emergence of three dominant themes, which are pursued in subsequent detail. In addition to the history, this section also provides detailed discussion of the legislative provisions in order to illustrate moral rights as a product of the history, and it highlights some of the shortcomings of the regime and provides some background for the case study in Section Two. Section Two of the thesis interrogates the structure of the moral rights regime by applying the Act's provisions to the case study of indigenous creators, thus providing a contemporary example of how these rights may work in practice, as the result of the historical discourse. Thus this section sets the scene for final part of the thesis, which delves further into the historical discourse. Section Part Three follows the themes of the moral rights debate as they emerged historically. Reconceptualizing the moral rights discourse in this way helps to explain why the debates about moral rights took a particular course and produced the outcomes it did. The starting point for these discussions is a detailed examination of the themes of foreignness, international obligation and economic impact, and follows these themes as they evolved chronologically. In particular, the discussion reveals that the debates about moral rights effectively fall into two eras. The first era (1928-1988) centred around the question of whether Australia should introduce moral rights and the debates about the appropriateness of the reception. At the commencement of the second era (1988-2000) the question shifted to what form moral rights should take. This then provides a backdrop with which to understand why specific discussions about moral rights were sidelined during the years of debates leading up to the legislation; in particular, the subject and the object; which form the fulcrum of a moral rights action. This is an essential part of the history because it explains why the subject and the object came to be imagined and constructed in such a narrow and limited way and clarifies why the moral rights provisions appear manifestly ineffective, particularly for indigenous creators and their communities. This thesis contributes to legal history in three important ways. First, it provides a detailed account of a discourse about moral rights in Australian law, and in doing so challenges the long held assumptions about their reception and production. Second, it highlights the importance of history to legal discourse. Just as regulatory regimes, institutions, and rules are integral to the law, so too are the informal practices, discourses and contexts on which they were based. Third, it reminds the reader that history is a signpost, and this history of moral rights demonstrates that the way this law was derived, imagined and constructed has significance for the social, cultural and legal context in which that process takes place.
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Banks, Catherine. "Lost in Translation: A History of Moral Rights in Australian Law." Thesis, Griffith University, 2005. http://hdl.handle.net/10072/365849.
Full textAbstract:
This thesis is a history of moral rights in Australian law. It traces the historical discourse about moral rights in Australian law and demonstrates how that discourse has shaped the meaning moral rights have come to assume in their current form under the current regime contained in the Copyright Amendment (Moral Rijghts) Act 2000. This history examines the reception and Inter production of a moral rights discourse in Australian law, and reveals that the historical discourse about Australian moral tights was dominated by the three themes; foreignness, international obligation and economic impact. I contend these three themes fundamentally shaped moral rights as they now appear in the moral rights regime. As the history unfolds, it will become clear that the moral rights regime was organised around a specific repertoire of arguments and imaginings, and it is this discourse that informs this thesis. My argument is pursued in three stages. Section One of the thesis provides the historical detail of the moral rights trajectory in Australian jurisprudence, and reveals, within that history, the emergence of three dominant themes, which are pursued in subsequent detail. In addition to the history, this section also provides detailed discussion of the legislative provisions in order to illustrate moral rights as a product of the history, and it highlights some of the shortcomings of the regime and provides some background for the case study in Section Two. Section Two of the thesis interrogates the structure of the moral rights regime by applying the Act's provisions to the case study of indigenous creators, thus providing a contemporary example of how these rights may work in practice, as the result of the historical discourse. Thus this section sets the scene for final part of the thesis, which delves further into the historical discourse. Section Part Three follows the themes of the moral rights debate as they emerged historically. Reconceptualizing the moral tights discourse in this way helps to explain why the debates about moral rights took a particular course and produced the outcomes it did. The starting point for these discussions is a detailed examination of the themes of foreignness, international obligation and economic impact, and follows these themes as they evolved chronologically. In particular, the discussion reveals that the debates about moral rights effectively fall into two eras. The first era (1928-1988) centred around the question of whether Australia should introduce moral rights and the debates about the appropriateness of the reception. At the commencement of the second era (1988-2000) the question shifted to what form moral rights should take. This then provides a backdrop with which to understand why specific discussions about moral rights were sidelined during the years of debates leading up to the legislation; in particular, the subject and the object; which form the fulcrum of a moral rights action. This is an essential part of the history because it explains why the subject and the object came to be imagined and constructed in such a narrow and limited way and clarifies why the moral rights provisions appear manifestly ineffective, particularly for indigenous creators and their communities. This thesis contributes to legal history in three important ways. First, it provides a detailed account of a discourse about moral rights in Australian law, and in doing so challenges the long held assumptions about their reception and production. Second, it highlights the importance of history to legal discourse. Just as regulatory regimes, institutions, and rules are integral to the law, so too are the informal practices, discourses and contexts on which they were based. Third, it reminds the reader that history is a signpost, and this history of moral rights demonstrates that the way this law was derived, imagined and constructed has significance for the social, cultural and legal context in which that process takes place.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Griffith Law School
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Hart, Susan. "Widowhood and remarriage in colonial Australia." University of Western Australia. School of Humanities, 2009. http://theses.library.uwa.edu.au/adt-WU2010.0023.
Full textAbstract:
Widowhood and remarriage affected a majority of people in colonial Australia, yet historians have given them scant attention. Today, widowhood primarily concerns the elderly, but in the mid-nineteenth century a considerable proportion of deaths were amongst young adults. Thus many widows and widowers had children to care for, who were also affected by the loss of a parent and the possible remarriage of their surviving parent. Extended families might be called on for support, while communities, at the local and government level, were confronted with the need to provide welfare for the widowed and orphaned, including the older widowed. This thesis considers how widowhood impacted on men and women at all levels of society in the nineteenth-century Australian colonies, especially Western Australia and Victoria, taking into account the effects of age, class and numbers of children of the widowed. When men were the chief family earners and women were dependent child bearers the effects of widowhood could be disastrous, and widows had to employ a range of strategies to support themselves and their families. Men too were affected by widowhood, for the loss of a wifes housekeeping skills could cause serious financial consequences. One response to widowhood was remarriage, and the thesis discusses the advantages and disadvantages of remarriage for men and women. Historians have regarded remarriage as the best option for the widowed, especially for women. Research into remarriage, especially in Britain and Europe, has focussed on demography. Assuming that all widowed wished to remarry, demographers have compared remarriage rates for men and women, within the context of the relative numbers of marriageable men and women in a given community.