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Farmer, Margaret Art College of Fine Arts UNSW. "Terra Alterius: land of another." Awarded by:University of New South Wales. School of Art, 2007. http://handle.unsw.edu.au/1959.4/29574.
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What would Australia be like if it had been recognised as terra alterius, ???land of another???, by the British, rather than claimed and treated as terra nullius, ???land of no-one???? This question was posed by the exhibition Terra Alterius: Land of Another, which comprised works by Gordon Bennett, Barbara Campbell-Allen, Julie Dowling, Shaun Gladwell + Michael Schiavello, Jonathan Jones, Joanne Searle, Esme Timbery, Freddie Timms, Lynette Wallworth, Guan Wei and Lena Yarinkura, created or nominated in response to the theme. This thesis describes the concept of terra alterius and the exhibition Terra Alterius: Land of Another. It considers the utility of the concept terra alterius, whether the exhibition achieved its ambition to explore the political and social terrain of a reconciled Australia, and, briefly, whether the concept of terra alterius might be useful to other ???terra nullius??? countries. It argues that the curatorial strategies ??? the ???What if???? re-imagination of Australia???s past, multiplicity of vision and active creation, grounding of the exhibition in affect (in response to Aboriginal painting), and working within Indigenous protocols ??? were effective, and that the exhibition was a useful means of exploring the relationships between Indigenous and non-Indigenous Australians. Comparisons with the exhibition Turn the Soil curated by Kevin Murray and the ???retrospective utopia??? W.H. Oliver argues has been created for New Zealand by the Waitangi Tribunal provide insight into the nature of the reconciled Australia presented in the exhibition and what might be achieved by a counterfactual exhibition. From these comparisons, it is argued, first, that the exhibition points to a disjuncture between Australia???s ongoing official, psychological and legal terra nullius and the approaches and relationships present in Australian society (characterised as a performance of Bloch???s utopian function); and secondly, that a counterfactual exhibition, because it is not bound to the factual, causal or narrative qualities traditionally attributed to history, is able to explore the future in a way that contains rather than denies the past. Although the concept of terra alterius is seen as having played a crucial role in the realisation of the exhibition, it is questioned whether the concept???s utility extends beyond Australia.
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Joern, Albert. "The repositioning of traditional martial arts in Republican China." Thesis, McGill University, 2013. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=114301.
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In this thesis, I discuss how practitioners of martial arts in the Republican era of China were engaged in a process of reinventing what embodied the field of martial arts during a time when physical culture was treated as an instrument of nation-building in response to colonial discourses and the process of modernization. Martial arts were repositioned from being a loosely associated field of practice for people who engaged with a set of combative skills that focused on weapons training that championed archery and spear fighting, towards being a recreational activity with a formalized body of knowledge, skills and practices imbued with a Chinese sense of identity suitable for the modern class of urban and educated Chinese citizens. It is my belief that these efforts were a very important factor in why the practice of martial arts today is so closely associated with concepts of self-cultivation. This repositioning of Chinese martial arts was driven by a schism between the traditionalists who defended the beliefs and practices from the imperial age of China, and the modernists who saw the complete adoption of Western technologies and concepts as the only course for the modernization of China. Due to the shifting politics around education, understandings of the body and its representation in society, the efforts to preserve traditional practices were complicated through the dynamics related to identity and state power. The field of martial arts was criticized by reformists and modernists such as those involved with the New Culture Movement, who argued that China needed to embrace scientific notions of the Western nations and abandon "feudal superstitions." Within this context, the field of traditional Chinese martial arts was stigmatized by associations with the failed Boxer Rebellion, the diversity of practices and the secrecy that existed between different schools of practice. In response to the modernity movements that criticized the traditional systems of belief that martial artists drew upon to substantiate their systems of practice as a recreational pursuit, associations such as the Jingwu Tiyu Hui and the Zhongyang Guoshuguan were formed according to Western institutional models as part of the effort to unify and "modernize" Chinese martial arts. The teachers and administrators involved with these institutions wanted to preserve the practice of martial arts, and to accomplish this they had to develop new ways to systemize the training methods, essentially reinventing them by promoting them to a new generation of students in a format that had never existed before.À travers cet essai, j'examine la façon dont les pratiquants d'arts martiaux dans l'ère républicaine de la Chine étaient impliqués dans le but de réinventer ce qu'incarnait le domaine des arts martiaux à une époque où la culture physique était traitée comme un instrument de construction de la nation en réponse au discours colonial et au processus de modernisation. Les arts martiaux ont été repositionnés à partir d'un ensemble de personnes indirectement associés qui se livraient à un ensemble de combats et qui concentraient leurs compétences sur des entraînements aux armes encourageant le tir à l'arc et le combat à la lance, afin de devenir une activité de loisir avec un corps formalisé de connaissances, de compétences et de pratiques imprégnées avec une identité chinoise adapté à la classe moderne urbaine et de citoyens chinois éduquée. Ceci est ma conviction que ces efforts ont été un facteur très important dans la raison pour laquelle la pratique des arts martiaux aujourd'hui est si étroitement associée aux concepts de la culture de soi.Ce repositionnement des arts martiaux chinois fut motivé par le schisme entre les traditionalistes qui défendaient leurs croyances et leurs pratiques de l'époque impériale de la Chine, et les modernistes qui, eux, ont vu l'adoption complète de technologies et de concepts occidentaux comme le seul mouvement bénéfique à la modernisation de la Chine. En raison de la politique à travers l'éducation, la compréhension du corps et de sa représentation dans la société, les efforts visant à préserver les pratiques traditionnelles ont été compliquées par la dynamique liée à l'identité et le pouvoir de l'état. Le domaine des arts martiaux a été critiqué par les réformistes et les modernistes incluant ceux qui furent impliqués dans le « New Culture movement», qui a fait valoir que la Chine devait embrasser des notions scientifiques des pays occidentaux et abandonner leurs «superstitions féodales. » Dans ce contexte, le domaine des arts martiaux traditionnels a été stigmatisé par des liens avec la révolte des Boxers, la diversité des pratiques et la discrétion qui existait entre les différentes écoles de pratique.En réponse aux mouvements de modernité qui ont critiqué les systèmes de croyances traditionnels dont les pratiquants d'arts martiaux ont fait appel à l'appui de leurs systèmes pour justifier leur pratique comme une forme de loisir, des associations telles que les Jingwu Tiyu Hui et le Zhongyang Guoshuguan ont été formés selon les modèles occidentaux institutionnels dans le but d'unifier et de , en quelque sorte , moderniser les arts martiaux chinois. Les enseignants et les administrateurs concernés par ces institutions voulaient préserver la pratique des arts martiaux, et pour ce faire ils ont dû développer des nouvelles façons de systématiser les méthodes de formation, les réinventer en les promouvant à une nouvelle génération d'étudiants sous une forme qui n'avaient jamais existé auparavant.
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Haveric, Dzavid. "History of the Bosnian Muslim Community in Australia: Settlement Experience in Victoria." full-text, 2009. http://eprints.vu.edu.au/2006/1/Dzavid_Haveric.pdf.
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This thesis examines the settlement experience of the Bosnian Muslims in Victoria. Overall this research exploration takes places against background of the history of the immigration to Australia. The study covers migration patterns of Bosnian Muslims from post World War 2 periods to more recent settlement. The thesis provides contemporary insights on Bosnian Muslims living in a Western society such as Australia. The thesis excavates key issues about Islam and the Muslim communities in Western nations and argues that successful settlement is possible, as demonstrated by the Bosnian Muslim community. By adopting a socio-historical framework about settlement, the thesis reveals the significant, interconnected and complex aspects of the settlement process. Settlement of immigrants takes place within global, historical, economic, political, social and cultural elements of both the sending and receiving countries. Thus any study of settlement must examine theories and concepts on migration, settlement, religion, culture, integration and identity. The purpose for migration, the conditions under which migration takes place, the conditions of immigrant reception are fundamental in the context of Australia. Furthermore, Australia since the 1970s has adopted a policy of multiculturalism which has changed settlement experiences of immigrants. These elements are strongly analysed in the thesis both through a critical conceptual appraisal of the relevant issues such as migration, multiculturalism and immigration and through an empirical application to the Bosnian Muslim community. The theoretical element of the study is strongly supported by the empirical research related to settlement issues, integration and multiculturalism in Victoria. Through a socio-historical framework and using a ‘grounded theory’ methodological approach, field research was undertaken with Bosnian Muslim communities, Bosnian organizations and multicultural service providers. In addition, historical data was analysed by chronology. The data provided rich evidence of the Bosnian Muslims’ settlement process under the various governmental policies since World War 2. The study concluded that the Bosnian community has successfully integrated and adapted to the way of life in Australia. Different cohorts of Bosnian Muslims had different settlement patterns, problems and issues which many were able to overcome. The findings revealed the contributions that the Bosnian Muslim community has made to broader social life in Australia such as contribution to the establishment of multi-ethnic Muslim communities, the Bosnian Muslim community development and building social infrastructure. The study also concluded that coming from multicultural backgrounds, the Bosnian Muslims understood the value of cultural diversity and contributed to the development of Australian multiculturalism and social harmony. Overall conclusion of this research is that the different generations of Bosnian Muslims are well-integrated and operate well within Australian multiculturalism.
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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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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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McPherson, Ailsa School of Theatre Film & Dance UNSW. "Diversions in a tented field : theatricality and the images and perceptions of warfare in Sydney entertainments 1879-1902." Awarded by:University of New South Wales. School of Theatre, Film and Dance, 2001. http://handle.unsw.edu.au/1959.4/18264.
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This thesis examines the theatricality which accompanied the establishment, development and deployment of the colonial army in New South Wales during the last two decades of the nineteenth century. It investigates the transfer to the colony of the military ethos of the Imperial power, and explores the ways in which performances of military spectacle, in both theatrical and paratheatrical contexts, were interpreted by the colonists. The primary sources for the research are the Sydney press and the Mitchell `Australiana' collection of the State Library of New South Wales. The framework of the argument is presented in five chapters. The first, Displaying, investigates the relationship between civilians and the military forces at training camps, and then the performances of sham fights. The second, Committing, explores the attitudes of civilians and soldiers at the departures of New South Wales troops to the Soudan and Boer Wars. Informing, thirdly, investigates how the Imperial military ideology was conveyed through performance, and how this information was interpreted in the colony. Accommodating analyses songs and theatre performances which first reflected colonial anticipations at the commitment to conflict and then attempted to accommodate the actuality of the experience. Lastly, Desiring, explores the colonists' endeavours to invent traditions which satisfied the discrepancy between their hopes and their experiences of Imperial war. This thesis asserts that the colonial reinterpretation of military ideology was influenced by concepts both of service to the Imperial power and of national identity. The interplay between these influences led to the colonists' idealising the Imperial association. This ideal was not demonstrated in the practice of association. The result of this experience was a defining of the differences between colonial and Imperial perceptions, rather than a reinforcement of their similarities. Much of the exploration of thesis also prepares the ground for a fuller cultural understanding of the issues at play in the final emergence of the Anzac tradition at the engagement of colonial soldiers against Turkish troops at Gallipoli in April, 1915.
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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.
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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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Ritchie, Samuel Gordon Gardiner. "'[T]he sound of the bell amidst the wilds' : evangelical perceptions of northern Aotearoa/New Zealand Māori and the aboriginal peoples of Port Phillip, Australia, c.1820s-1840s : a thesis submitted to the Victoria University of Wellington in fulfilment of the requirements for the degree of Master of Arts History /." ResearchArchive@Victoria e-Thesis, 2009. http://researcharchive.vuw.ac.nz/handle/10063/928.
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Lees, Jennifer Anne. "Eisteddfoditis : the significance of the City of Sydney Eisteddfod in Australian cultural history 1933-1941 /." View thesis, 2003. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20051109.114852/index.html.
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Thesis (Ph.D.) (Communication & Media) -- University of Western Sydney, 2003.A thesis submitted in requirement for the degree of Doctor of Philosophy - Communication & Media, University of Western Sydney, 2003. Bibliography : leaves 350-372.
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St, Leon Mark. "Circus & nation : a critical inquiry into circus in its Australian setting, 1847-2006, from the perspectives of society, enterprise and culture." University of Sydney, 2007. http://hdl.handle.net/2123/1702.
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PhDIn Australia, like most countries, circus has been an element, at times a very important element, in the mosaic that constitutes its popular culture. An outgrowth of the circus as recast in a modern form in London in the 18th century, an Australian circus profession has existed almost continuously since 1847. Australia’s circus entrepreneurs took the principal features of English, and later American, circus arts and management and reworked these features to suit their new antipodean context. The athletic, intellectually undemanding nature of its equestrian-based entertainments harmonised with the emerging patterns of modern Australia’s way of life. In time, Australia produced renowned circus artists of its own, even artists capable of reinvigorating the concept of circus in the very countries from which their art had been derived. Since their transience and labours, indeed their very existence, were somehow tangential and inconsequential to mainstream Australian society, Australia’s circus people did not attract tokens of recognition in story and verse as did shearers, drovers, diggers and other identities of the Australian outback. Their contribution to Australia’s social, economic and cultural development has been largely overlooked. Despite its pervasive role in Australia’s cultural life over more than 150 years, examples of academically grounded research into Australian circus are few. The primary aim of this study is to demonstrate the major themes evident in Australia’s circus history, in terms of society, enterprise and culture, between 1847 and 2006. None of these areas, of course, is exclusive of the others, especially the first and last named. These deliberations are framed within the broader influences and events apparent in Australian society and history. Implicit within this demonstration is the notion that circus, whatever its characteristics and merits as an artform, has been, and continues to be, a ‘barometer’ of social, economic and cultural change in Australia.
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Morvan, Arnaud. "Traces en mouvement : histoire , mémoire et rituel dans l’art kija contemporain du Kimberley Oriental (nord-ouest australien)." Paris, EHESS, 2010. http://www.theses.fr/2010EHES0447.
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A partir d’une enquête sur le trajectoire de deux peintures des artistes aborigènes de langue kija, P. Nyunkuny Bedford (1922-2007) et Lena Nyadbi (1936), commandées par une commission publique franco-australienne pour être reproduites à grande échelle dans l’architecture du Musée du quai Branly en 2006 (Australian Indigenous art Commission), la thèse explore le contenu historique et biographique de l’art du Kimberley Oriental qui met en lumière une histoire souterraine de la colonisation de cette région depuis le XIXème siècle. La recherche s’inscrit dans plusieurs courants de l’anthropologie de l’art : d’une part, les approches de Thomas (cultural entanglement) et Kopytoff (biographie culturelle des objets) centrées sur les trajectoires interculturelles des objets ; et d’autre part, une analyse en termes de processus mémoriels inscrits dans les œuvres, initiées par les travaux de C. Severi. Nous analysons un corpus de trente peintures contemporaines kija (1983-2008, école de warmun) au regard de trois performances rituelles (type joomba et balga) observées pendant plusieurs enquêtes de terrain en Australie (2005-2008). Ces relations entre création artistique et élaborations rituelles nous ont permis de mettre en évidence la manière dont les artistes utilisent les peintures dans leurs performances vice-versa pour inscrire des événements historiques à la fois dans les œuvres matérielles, les corps et les paysages, formant une mémoire ancrée géographiquement. Ce processus de « mémorialisation » rituelle du paysage, actualisé par les peintures, reflète des temporalités multiples et des mémoires hétérogènes qui circulent aussi bien dans la société aborigène qu’à l’extérieurAn investigation of the trajectory by kija speaking artists Paddy Nyunkuny Bedford (1922-2007) and Lena Nyadbi (1936-), publicly commissioned to be reproduced on a large scale in the architecture of the Musée du quai Branly in Paris in 2006 (Australian Indigenous Art Commission), provides the basis of an exploration of east Kimberley art, its historical and biographical content, which sheds light on a subterranean history of this region’s colonisation since the 19th century. Yhe research articulates two trends in the anthropology of art: Thomas and Kopytoff approach, focused on cultural biography of objects, and an analysis based on the relation between art and memory. We analyse a corpus of thirty contemporary kija paintings (realised between 1983 and 2008 by eight artists of the Warmun school) in comparison with three ritual performances (public ceremonies of the joonba and balga kind) observed during several fieldwork in Australia (2005-2008). This allows us to reveal how the artists use paintings in their performances and vice versa in order to inscribe historical events in material works, the body and the landscape simultaneously. This process of ritual “memorialisation” of the landscape, actualized by the paintings, reflects the colonial past of the region and its impact on space and people
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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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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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Lees, Jennifer Anne, University of Western Sydney, of Arts Education and Social Sciences College, and School of Humanities. "Eisteddfoditis : the significance of the City of Sydney Eisteddfod in Australian cultural history 1933-1941." THESIS_CAESS_HUM_Lees_J.xml, 2003. http://handle.uws.edu.au:8081/1959.7/714.
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This thesis documents the early history of the City of Sydney Eisteddfod from its beginning in 1933 until it recessed in 1941 for the duration of the Pacific War. Eisteddfods had long been commonplace in Australia, but this competition began for political rather than cultural reasons in 1932, when organisers of the Harbour Bridge celebrations decided that since the spectacular edifice had made Sydney an icon on the world map, the city needed to cultivate a more sophisticated image. In observing events that led to its establishment, the project looks at the technological revolution of the 1920s and the social upheaval of the jazz age. This thesis observes that Sydney competition was Welsh only in name and grew from the political roots of the high and lowbrow debates that had come to divide society. In examining these issues, this thesis focuses on the Sydney contest, the talent that rose from its stages and the cultural revival that exploded in its wake. Written as a narrative history, this thesis draws mostly from empirical sources. It includes a statistical analysis and a substantial amount of original materialDoctor of Philosophy (PhD)
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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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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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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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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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Blake, Kate M. "Drawing All the Way: The Confluence of Performance, Cultural Authority, and Colonial Encounters in the Painting of Rover Thomas." Bowling Green State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1371721339.
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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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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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Wood, Susan, and s2000093@student rmit edu au. "Creative embroidery in New South Wales, 1960 - 1975." RMIT University. Architecture and Design, 2006. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20070206.160246.
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In the years between 1960 and 1975 in NSW there emerged a loosely connected network of women interested in modern or creative embroidery. The Embroiderers' Guild of NSW served as a focus for many of these women, providing opportunities for them to exhibit their work, and to engage in embroidery education as teachers or as learners. Others worked independently, exhibited in commercial galleries and endeavoured to establish reputations as professional artists. Some of these women were trained artists and wanted embroidery to be seen as 'art'; others were enthusiastic amateurs, engaged in embroidery as a form of 'serious leisure'. They played a significant role in the development of creative embroidery and textile art in NSW and yet, for the most part, their story is absent from the narratives of Australian art and craft history. These women were involved in a network of interactions which displayed many of the characteristics of more organised art worlds, as posite d by sociologist Howard Becker. They produced work according to shared conventions, they established co-operative links with each other and with other organisations, they organised educational opportunities to encourage others to take up creative embroidery and they mounted exhibitions to facilitate engagement with a public audience. Although their absence from the literature suggests that they operated in isolation, my research indicates that there were many points of contact between the embroidery world, the broader craft world and the fine art community in NSW. This thesis examines the context in which creative embroiderers worked, discusses the careers of key individuals working at this time, explores the interactions between them, and evaluates the influence that they had on later practice in embroidery and textiles in NSW.
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Rouliere, Camille. "Visions of Waters in Lower Murray Country." Thesis, Normandie, 2018. http://www.theses.fr/2018NORMC014/document.
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L’eau a creusé son chemin jusqu’au cœur des discussions sur le développement durable. Les discours autour de la gestion des eaux soulignent à la fois son abondance dévastatrice et son absence critique : la montée des eaux se juxtapose à la désertification ; les tornades et les inondations répondent à des périodes de sécheresse prolongées. Alors que nous polluons, canalisons et dessalinisons à un rythme toujours croissant, la nature ambiguë de notre relation avec l’eau devient visible. Pendant que nous continuons d’endommager ce qui, par-dessus tout, rend la vie possible, la précarité augmente pour l’ensemble de la population. Il n’est donc pas étonnant qu’un changement de paradigme dans notre compréhension des eaux, devant engendrer une modification dans leur utilisation, soit présenté comme l’un des plus grands et plus pressants défis de notre époque. Ma recherche répond à ce défi. Elle porte sur la poétique de l’espace, c’est-à-dire sur l’étude de la manière dont les êtres humains vivent et interagissent avec leur environnement à travers les arts. Plus précisément, j’explore les relations entre les humains, les eaux et les sons (à la fois propres et générés par les humains) dans la Lower Murray Country (Australie Méridionale). Mon but est de révéler et théoriser ces relations qui évoluent en parallèle afin d’élaborer une cartographie mettant à jour toute une gamme de manières de percevoir et de comprendre ces eaux, et d’être ensuite à même d’utiliser cette pluralité pour remettre en question—et potentiellement imaginer à nouveau—leur construction et représentation culturelles. Afin d’atteindre ce but, j’érige “les eaux” en leitmotiv qui me permet d’unifier ma recherche et me déplacer entre des espaces physiques et théoriques pour mettre en dialogue les individus et leur environnement, tant au niveau local que général. En particulier, je me sers du mouvement des eaux que forment le courant et la résonance pour opérer cette synthèse, mouvement que j’associe à la rythmanalyse et la réverbération (d’après les philosophes Henri Lefebvre et Fran Dyson, respectivement). Je me suis également inspirée du travail du philosophe et poète Édouard Glissant. En particulier, son concept de Relation est une clef pour me permettre de traduire textuellement ces mouvements des eaux. J’applique cette méthodologie aqueuse à presque deux siècles de production musicale—allant des pratiques ngarrindjeri et des ballades coloniales à la musique classique contemporaine et l’art sonore ; et presque deux siècles de modifications touchant au “caractère sonore” des eaux de la Lower Murray Country—matérialisée à travers la déforestation défigurante, la retenue des eaux, l’irrigation mais aussi la salinité croissante des eaux comme des sols. Ainsi, cette thèse se construit selon le principe d’accumulation d’exemples prôné par Glissant (Poetics of Relation 172-4). Elle est structurée autour de quatre sections—quatre visions punctiformes des eaux écrites comme un prélude à une potentielle infinité d’autres. Furtives, partielles, orientées et fragmentées, ces visions procèdent de périodes particulièrement significatives : de périodes pouvant subir des changements, de périodes charnières où des altérations radicales peuvent poindre ou apparaître effectivementWaters are contested entities that are currently at the centre of most scientific discussions about sustainability. Discourse around water management underlines both the serious absence and devastating overabundance of water: rising sea levels compete against desertification; hurricanes and floods follow periods of prolonged drought. As we increasingly pollute, canalise and desalinate waters, the ambiguous nature of our relationship with these entities becomes visible. And, while we continue to damage what most sustains us, collective precarity grows. It is therefore unsurprising that shifting our understanding, and subsequent use, of water has been described as one of the biggest—and most pressing—challenges of our time.My research answers to this challenge. It centres on spatial poetics, that is, on the manner in which people engage and interact with their environment through art. More precisely, I explore the relationships between humans, waters and sound—both intrinsic and human-produced—in Lower Murray Country (South Australia). My aim is to unveil, theorise and create maps of these co-evolving relationships to reveal an array of manners to perceive and relate to these waters; and then draw on this plurality to question—and potentially reimagine—their cultural construction and representation. In order to do so, I transform waters into a leitmotif which enables me to weave my investigation together and move in-between theoretical and physical spaces to bring people and their environments into dialogue, both at the local and global levels. In particular, I draw on the watery movements of flow and resonance to operate this weaving, and associate these with rhythmanalysis and resounding (after philosophers Henri Lefebvre and Fran Dyson, respectively). I am also inspired by the work of philosopher and poet Édouard Glissant and use his concept of Relation as a key to enable me to translate these watery movements textually.I apply this aqueous theoretical frame to nearly two centuries of sonic production—ranging from Ngarrindjeri performance and colonial ballads through to contemporary classical music and sound art; and to nearly two centuries of evolution in the sonic character of Lower Murray Country’s waters—ranging from disfiguring deforestation and damming through to rising salinity and irrigation. As such, this thesis is built on the “accumulation of examples” advocated by Glissant (Poetics of Relation 172-4). It is structured around four sections—four punctiform visions of waters written as a prelude to a potential infinity of others. Furtive, partial, oriented and fragmented, these visions denote times of particular significance: times open to challenge; times of hinges and articulations where radical alteration (can) occur
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Lang, Ian William, and n/a. "Conditional Truths: Remapping Paths To Documentary 'Independence'." Griffith University. Queensland College of Art, 2003. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20031112.105737.
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(Synopsis to introductory statement): An introductory statement to five documentary films made by Ian Lang in Australia between 1981 and 1997 exemplifying a 'democratising' model of sustainable and ethical documentary film production. This document critically reflects on the production process of these films to accompany their submission for the degree of Doctor of Philosophy by Publication at Griffith University. It finds that a contemporary tendency towards 'post-industrial' conditions allows an observational film-maker to negotiate a critical inter-dependence rather than a romantically conceived 'independence' traditional to the genre. [Full thesis consists of introductory statement plus six DVD videodiscs.]
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Chaka, Limakatso Elizabeth. "Pitseng de Thomas Mofolo, roman sesotho (Afrique australe) : texte et contexte." Paris, INALCO, 2010. http://www.theses.fr/2010INAL0019.
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Thomas Mokopu Mofolo (1876-1948), né au Lesotho, est l'auteur de trois romans de langue sesotho : "Moeti oa bochabela" (1907), "L'homme qui marchait vers le soleil levant" (2003), "Pitseng" (1910) et "Chaka" (1925), "Chaka, une épopée bantoue" (1940). L'objectif de la thèse est d'analyser le roman "Pitseng" en le situant par rapport à son contexte de production et à l'ensemble de l'oeuvre romanesque de l'auteur. Pour ce faire, nous traduisons le roman en français, en respectant le registre de langue et le style proche de l'oralité, et Mofolo étant le premier romancier de langue sesotho, le contexte d'émergence de cette littérature est étudié notamment le rôle de la prese missionnaire et sa relation avec la littérature locale ainsi que la standardisation de l'orthographe de la langue sesotho du sud en 1906 (chapitre 1). L'analyse du roman Pitseng comprend cinq chapitres : la présentation générale portant sur l'organisation du récit, l'articulation des thèmes et les rôles des personnages (chapitre 2) ; l'étude de l'espace, notamment des éléments qui entrent en jeu pour construire l'espace référentiel, imaginaire et culturel (chapitre 3) ; l'analyse de la société traditionnelle telle qu'elle apparaît dans le roman, en particulier l'ensemble des valeurs dont celle, centrale, de l'humanisme (chapitre 4) ; l'observation de la langue et du rôle du narrateur (chapitre 5) donnent accès aux représentations de la conscience et du pluralisme linguistiques de l'Afrique australe ainsi qu'à la construction du discours des sociètés traditionnelle et chrétienne dans le roman ainsi que celle du style oral dans son rapport avec l'écriture romanesque (chapitre 6). L'analyse des deux autres textes de l'auteur, "L'homme qui marchait vers le soleil levant" (chapitre 7) et "Chaka" (chapitre 8), permet de comprendre l'articulation de "Pitseng" avec ces oeuvresThomas Mokopu Mofolo (1876-1948), born in Lesotho, is the author of three novels written in Sesotho language : "Moeti oa bochabela" (1907), "L'homme qui marchait vers le soleil levant" (2003), "Pitseng" (1910) et "Chaka" (1925), "Chaka, une épopée bantoue" (1940). The aim of this research is to study the novel "Pitseng", analyze the context of its production as well as its relationship with the other literary works of author. In order to achieve this, we translate the novel into French, in a way that respects the language register and the oral style of the original novel. Mofolo is the first novelist to write in Sesotho. The research therefore dealswith the emergence of Sesotho literature, in particular, the role of the missionary press and its relationship with the local literature. It begins by examining the 1906 standardization of Southern Sesotho orthography (Chapter 1). The analysis of the novel itself is presented in the first five chapters. Chapter 2 provides a discussion of the general presentation of the novel focusing on the structure of the narrative, themes and characters. Chapter 3 deals with the referential, imaginary and cultural settings in "Pitseng". Chapter 4 analyses the portrayal of traditional society, in particular its values at the centre of which is humanism. Chapter 5 is an analysis of language and the role of the narrator in fictional prose. It studies the representation of the linguistic awareness and pluralism of Southern Africa as well as the construction of discourse characteristic of traditional and Christian societies. Chapter 6 probes into relationship between orality and written fictional prose. A comparative analysis of "Pitseng" with the other two novels of the author appears in Chapter 7 which deals with "Moeti a bochabela" ("L'homme qui marchait vers le soleil levant"), and Chapter 8 wich focuses on "Chaka". This comparative approach is expected to enhance the understanding of the articulation of "Pitseng" with these two literaty works
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Roby, Ruth. "Imprint of a landscape a Yarrawa Brush story /." Access electronically, 2007. http://ro.uow.edu.au/theses/15.
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Jolly, Martyn. "Fake photographs making truths in photography /." Click here for electronic access to document: http://www.anu.edu.au/ITA/CSA/photomedia/ph_d.pdf, 2003. http://www.anu.edu.au/ITA/CSA/photomedia/ph_d.pdf.
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Smith, Avis Carol. "Changing fortunes: the history of China Painting in South Australia." 2009. http://hdl.handle.net/2440/59391.
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This thesis addresses a gap in research regarding South Australian china painting. Although china painting has been practised in Australia for the last 120 years and is held in major Australian collections, it has been little researched and then in a minor role associated with ceramics and studio potters, or as women’s art/craft. The china painters too, have been little researched. My research identifies the three ‘highs’ of the changing fortunes of china painting, and how the practice survived in between. I argue that it was first taught in the city’s School of Design, Painting and Technical Art in 1894 as a skill for possible industrial employment, due to the initiative of School Principal, Harry Pelling Gill. However china painting classes were discontinued by 1897 due to an economic depression and the fact that the anticipated industry did not eventuate. In 1906 china painting classes were reinstituted in the (re-named) Adelaide School of Art and teacher Laurence Howie was pivotal in that revival. China painting classes ceased during the First World War while Howie served overseas in the Australian Forces, but resumed in 1923 after his return and appointment as Principal of the (renamed) School of Arts and Crafts. The resulting change in the fortunes of china painting was the outcome of the School’s appropriate training in art and design, and I argue this enabled emerging professional female artists to confidently exhibit china painting alongside their fine art. I will devote a chapter to the important role of the South Australian Society of Arts in facilitating this important public exposure of china painting. The Second World War marked a decline in popularity of china painting. Chapter 5 traces its survival till it burst into popularity again in 1965. Further chapters describe china painting’s following meteoric rise in fortune and the role played by the South Australian teachers of the art/craft, few of whom had received formal art training. I argue that china painting became a conservative social craft, but nonetheless a serious hobby, pursued by married, middle-class women who strongly believed their work was art, not craft. I will point out how they were visited and influenced by entrepreneurial American teachers, politically active in the art/craft debate in the United States of America. Chapter 8 will chart the steps taken by Australian teachers in the 1980s to break from the American influence and regain an Australian identity in teachers’ organisations and iconography. I will describe the debates that ensued following experimental work exhibited by avant-garde Australian teachers to resolve the art/craft debate regarding china painting in Australia, and the difficulties of maintaining china painting momentum as the majority of practitioners became elderly women. This thesis identifies education of the practitioners as a key factor throughout South Australian china painting history as a way of better understanding the place of china painting within the decorative arts. China painting is currently in decline; nevertheless, as I will point out in my conclusion, there are several future pathways it could take. Only within recent decades have curators and writers shown an increased interest in women’s decorative arts, including china painting. It is timely to undertake research before existing documentation of china painting is lost.http://proxy.library.adelaide.edu.au/login?url= http://library.adelaide.edu.au/cgi-bin/Pwebrecon.cgi?BBID=1374281
Thesis (Ph.D.) -- University of Adelaide, School of History and Politics, 2009
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Hollier, Nathan. "From Hope to Disillusion? A Literary and Cultural History of the Whitlam Period, 1966-1975." 2006. http://eprints.vu.edu.au/526/1/Hollier.pdf.
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It is argued in this thesis that Australian history between 1966 and 1975 can usefully be termed 'the Whitlam period' because the 1972-1975 ALP government of E.G. Whitlam represented the culmination of a wider set of movements for progressive social change, activated primarily by post-1965 opposition to Australia's involvement in the Vietnam War. It is suggested that the defeat of this government marked the end of the postwar 'Keynesian' public policy consensus and the rise to dominance of a neo-classical liberal public policy framework, based on a comparatively negative or 'disillusioned' view of both human nature and the capacity of society to organise itself in a rational and equitable way. And it is argued that the ongoing political importance of the Whitlam period - as the political and historical Other of contemporary Australian society - means that interpretations of this period are especially contested. Accordingly, taking its cue from Raymond Williams's still relevant theoretical argument that culture is an active element of social development, this thesis examines the cultural causes of the defeat of Whitlam and the rise to dominance of neo-classical liberal public policy. It is argued that the primary cultural cause of these social developments is a broad-based Americanisation of Australian culture. The central evidence for this contention is found in the lives and works of Patrick White, Frank Hardy and Les Murray, authors held to best represent the major - Anglocentric, nationalist and American - cultural influences of the Whitlam period.
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Barker, Heather Isabel. "A critical history of writing on Australian contemporary art, 1960-1988." 2005. http://repository.unimelb.edu.au/10187/7134.
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This thesis examines art critical writing on contemporary Australian art published between 1960 and 1988 through the lens of its engagement with its location, looking at how it directly or indirectly engaged with the issues arising from Australia's so-called peripheral position in relation to the would-be hegemonic centre. I propose that Australian art criticism is marked by writers' acceptances of the apparent explanatory necessity of constructing appropriate nationalist discourses, evident in different and succeeding types of nationalist agendas, each with links to external, non-artistic agendas of nation and politics. I will argue that the nationalist parameters and trajectory of Australian art writing were set by Australian art historian, Bernard Smith, and his book Australian Painting, 1788-1960 (1962) and that the history of Australian art writing from the 1960s onwards was marked by a succession of nationalist rather than artistic agendas formed, in turn, by changing experiences of the Cold War. Through this, I will begin to provide a critical framework that has not effectively existed so far, due to the binary terror of regionalism versus internationalism.Chapter One focuses on Bernard Smith and the late 1950s and early 1960s Australian intellectual context in which Australian Painting 1788-1960 was published. I will argue that, although it can be claimed that Australia was a postcolonial society, the most powerful political and social influence during the 1950s and 1960s was the Cold War and that this can be identified in Australian art criticism and Australian art. Chapter Two discusses art theorist, Donald Brook. Brook is of particular interest because he kept his art writing separate from his theories of social and political issues, focussing on contemporary art and artists. I argue that Brook's failure to engage with questions of nation and Australian identity directly ensured that he remained a respected but marginal figure in the history of Australian art writing. Chapter Three returns to the centre/periphery issue and examines the art writing of Patrick McCaughey and Terry Smith. Each of these writers dealt with the issue of the marginality of Australian art but neither writer questioned the validity of the centre/periphery model.
Chapter Four examines six Australian art magazines that came into existence in the 1970s, a decade of high hopes and deep disillusionment. The chapter maps two shifts of emphasis in Australian art writing. First, the change from the previous preoccupation with provincialism to pluralist social issues such as feminism, and second, the resulting gravitation of individual writers into ideological alliances and/or administrative collectives that founded, ran and supported magazines that printed material that focused on (usually Australian) art in relation to specific social, cultural or political issues. Chapter Five concentrates on the Australian art magazine, Art & Text, and Paul Taylor, its founder and editor. Taylor and his magazine were at the centre of a new Australian attempt to solve the provincialism problem and thus break free of the centre/periphery model.
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Déry, Catherine. "Art, Internet et dissidence en Chine : le cas d'Ai Weiwei." Thèse, 2018. http://hdl.handle.net/1866/22025.
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Edmonds, Frances. "‘Art is us’: Aboriginal art, identity and wellbeing in Southeast Australia." 2007. http://repository.unimelb.edu.au/10187/7112.
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Aboriginal arts practices in the southeast of Australia have, since the early years of colonisation, been rarely considered within the realm of authentic Aboriginal arts practices. Such attitudes were a reflection of the colonial encounter and associated attempts to assimilate the Aboriginal population with the White. This thesis explores Aboriginal arts practices and asserts that there has always been Aboriginal art in the southeast and that, despite the overwhelming effects of colonisation, the work of Aboriginal artists provides a distinct and definite counter-history to that endorsed by the dominant culture. Using published historical and contemporary accounts and recent interviews from Aboriginal artists and arts workers, this thesis investigates the continuation of the knowledge and practice of southeast Australian Aboriginal art and its connection to culture, identity and wellbeing. It explores the corresponding adaptations and changes to these practices as Aboriginal people contended with the ever-expanding European occupation of the region from 1834 onwards.This project adopted a collaborative research methodology, where members of the Aboriginal arts community were consulted throughout the project in order to develop a study which had meaning and value for them. The collaborative approach combined an analysis of historical data along with the stories collected from participants. By privileging the Aboriginal voice as legitimate primary source material, alternative ways of exploring the history of Aboriginal art were possible. Although the story of Aboriginal art in the southeast is also one of tensions and paradoxes, where changes in arts practices frequently positioned art, like the people themselves, outside the domain of the ‘real’, the findings of this project emphasise that arts practices assist people with connecting and in some cases reconnecting with their communities. Aboriginal art in the southeast is an assertion of identity and wellbeing and reflects the dynamic nature of Aboriginal culture in southeast Australia.
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Cowie, Barbara Jane. "A study through text and artifacts of the major factors that have influenced the development of studio glassmaking in South Australia from a glassmaker's perspective : history and practice of studio glass blowing in South Australia." 2004. http://arrow.unisa.edu.au/vital/access/manager/Repository/unisa:36829.
Full textAbstract:
Although many texts discuss studio glass blowing in Australia, few focus on the South Australian situation and even fewer are written by studio glass blowers themselves. As a studio glass blower, I bring to this research experiential knowledge of practice to offer new insights into studio glass blowing. The study accesses knowledge that is implicit, embodied and tacit; knowledge derived from living and working within a particular community. In using this knowledge, I highlight the importance of both financial survival and the development of practice in creating a practitioner's perspective of studio glass blowing in South Australia. The study is designed as an ethnography. This incorporated a review of the literature and images found in published texts; interview and questionnaire data; anecdotal narratives and familiarity with the South Australian glass blowing community; and tacit knowledge of glass blowing practice, glass blowing skills and techniques. This tacit knowledge was accessed through an auto-ethnographic investigation of re-making the selected artefacts. The selection of these artefacts was based on my personal knowledge of glass blowing processes, first hand relationships with individual glassblowers, observation of artefacts and prior experience of working as a studio glass blower.
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Harford, Shelley. "A trans-tasman community : organisational links between the ACTU and NZFOL/NZCTU, 1970-1990 : a thesis submitted in fulfilment of the requirements for the degree of Master of Arts in History in the University of Canterbury /." 2006. http://library.canterbury.ac.nz/etd/adt-NZCU20061220.102547.
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