Dissertations / Theses on the topic 'Musicals Australia History and criticism'
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Ryan, Robin Ann 1946. ""A spiritual sound, a lonely sound" : leaf music of Southeastern aboriginal Australians, 1890s-1990s." Monash University, Dept. of Music, 1999. http://arrow.monash.edu.au/hdl/1959.1/8584.
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GRAY, FRED ALLEN. "CHILDREN'S MUSICALS, 1973-1985: ANNOTATIONS WITH SOURCEBOOK FOR PRODUCTION (DRAMA, ELEMENTARY, HISTORY, VOICE, CHORAL)." Diss., The University of Arizona, 1985. http://hdl.handle.net/10150/188089.
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The purpose of this study was to collect and annotate the musical dramas for children of elementary school age published since 1972. Musical dramas selected were limited to those having a story line rather than just a narrator and chorus, having dialogue interaction between the characters, containing mostly original music, and written for grades kindergarten through six. This document is intended as a resource for elementary school teachers and church workers who are searching for appropriate material for performance or study. Annotations of 210 musicals for children, sacred and secular, are the main emphasis of the study. Pertinent information in each annotation includes: basic story line, voice span (extreme range of the music), tessitura (range where most of the tones lie), recommended grade level, duration, type of accompaniment available, 1985 prices and required purchase for performance rights, staging requirements, number and characteristics of the songs, and personnel needed. Musicals were obtained through publishers, music retailers, and leasing firms. A part of the study is a history of musical drama in America and in America's schools. Musical drama has been a part of elementary education in America almost from its inception. The first musical drama in America was presented in Charleston, S.C., in 1735, and the first school music drama was presented in New York in 1853. Because children's musicals involve the child voice, information is contained in the study concerning practices which might cause vocal damage. Current research and theory about children's voice range is reported. Opinion is divided about proper natural voice range for children. Each viewpoint has supporting research. The study shows that an abundance of musical drama material is available for children of elementary age, especially the upper grades. A sourcebook for directors and producers of children's musicals has been included to assist those who have a limited knowledge of stage lighting, choreography, make-up, sound systems, sets, and costumes. Suggestions are provided for choosing a musical, holding auditions, scheduling rehearsals, and involving parents and community. 1973 was selected as the beginning date for inclusion of musicals in the study because of the resurgence of writing and publishing elementary school musicals and because of the growing number of musicals written for church children's groups. Recommended areas for further research concerning children's musicals include the present usage figures for published musicals, an annotated list of musicals using only narrators and choir, and usage figures of musicals by geographic areas.
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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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Serni, Nicole Mioni. "Canções cinematográficas : análise dialógica do filme musical Les Misérables /." Araraquara, 2018. http://hdl.handle.net/11449/154573.
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Orientador: Luciane de PaulaBanca: Maria da Penha Casado Alves
Banca: Marco Antonio Villarta-Neder
Banca: Odilon Helou Fleury Curado
Banca: Marina Célia Mendonça
Resumo: Esta pesquisa se propôs a analisar o filme musical Les Misérables (2012), de Tom Hooper, sob a ótica dos estudos do Círculo Bakhtin, Medviédev, Volochinov, tendo como objetivo refletir, por meio de uma análise dialógica, acerca da constituição da arquitetônica do filme musical como gênero discursivo, em sua forma, conteúdo, estilo, produção e circulação, conforme as ideias do Círculo. A partir de Les Misérables este trabalho buscou investigar a especificidade do gênero filme musical assim como analisar os diálogos entre o filme escolhido e outras obras musicais produzidas no cinema norte-americano. A canção, aqui também considerada como um gênero, é elemento constitutivo do filme escolhido e sua presença é de extrema importância na formação do musical, configurando-o como intergenérico. O filme musical norte-americano é marcado por elementos de canto e dança que se consolidam especialmente na era de ouro (anos 50 e 60). Les Miserables apresenta características diferentes de outros filmes musicais, como, por exemplo, a temática (a partir da obra de Victor Hugo), a fala cantada constante (e não apenas canto em momentos performáticos), e a ausência de dança (ainda que as movimentações sejam ritmadas). Estas especificidades do gênero discursivo filme musical foram discutidas ao longo desta pesquisa a partir da trajetória do filme musical, sendo possível, deste modo, analisar como a obra cinematográfica em questão dialoga com outras produções, de diferentes períodos; assim como as... (Resumo completo, clicar acesso eletrônico abaixo)
Abstract: This research aims to analyze the musical film Les Misérables (2012), by Tom Hooper, within the perspective of the Circle Bakhtin, Medviédev, Volochinov studies, having as objective to reflect, by a dialogic analysis, about the constitution of the architectonic of the musical film, as a discursive genre in its form, content, style, production and circulation, based on the ideas of the Circle. With the study of Les Misérables this work focuses on the investigation of the specificity of the musical film genre as much as analyze the dialogs between the musical film, and other musicals produced in the North American cinema. The song, here as well considered as a genre, is an element that constitutes de movie chosen and its presence is of extreme importance in the formulation of the musical, which is built with intergenres. The North American musical film is marked by elements of singing and dancing that are consolidated in the golden era (the 50's and 60's). Les Misérables presents characteristics which are different from other musical films, such as, for example, the thematic (based on the novel by Victor Hugo), the constant singing (and not just singing in performatic contexts), and the absence of dance (even though every move is punctuated). These specificities of the musical film as a discursive genre were discussed along this research from the trajectory of the musical film, making it possible to analyze how the cinematographic work in focus dialogs with other productions, f... (Complete abstract click electronic access below)
Doutor
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Stafford, Andrew. "Pig city : from The Saints to Savage Garden." Thesis, Queensland University of Technology, 2004.
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She comes from Ireland, she's very beautiful
I come from Brisbane, and I'm quite plain Pig City
- The Go-Betweens, Lee Remick
If popular music really is a universal language, it's curious how easily a song - even a commercially obscure one - can come to symbolise a city's identity. The stories of
London, Liverpool, Manchester, Dunedin, Detroit, Memphis, Nashville, New York, New Orleans, San Francisco and Seattle are inextricably entwined with the music made there. Robert Forster, however, could never have imagined that his self-deprecating paean to an actress would become so fabled in his home town.
This is understandable. Queensland's often stifling subtropical capital doesn't exactly spring to mind when discussing the world's great musical cities. Partly this comes down to Australian pop and rock's poor-relation status next to the United States and
the United Kingdom. Inside Australia, too, Brisbane for decades wore a provincial reputation as a big country town, at least in the southern capitals of Sydney and Melbourne.
Of course, one of the most successful bands in recording history began life in Brisbane in the late 1950s. But the Bee Gees didn't so much outgrow the city as outgrow Australia. Struggling for recognition, the Brothers Gibb began an exodus of musicians out of the country when they left for their native UK at the beginning of 1967, the year before a peanut fanner, Joh Bjelke-Petersen, took control of
Queensland's ruling Country Party (later the National Party).
The literature on Australian pop is only beginning to accumulate, so again it is understandable that Brisbane, so far, has rated little more than a footnote. The bigger problem is that the footnote has remained the same, recycled in various contexts by various authors: that music in Brisbane especially the punk scene of the late '70s -
was overwhelmingly a reaction to the repression of the Bjelke-Petersen era.
This is partly true. Bjelke-Petersen's rule of Queensland between 1968 and 1987 was nothing if not iron-fisted. Public displays of dissent were often brutally suppressed;
the rule of law was routinely bent to the will of those charged with its enforcement; minorities were treated as simply another obstacle on the path to development. To top
it all off, the electoral system was hopelessly rigged in favour of the incumbents. 'Here,' writes Rod McLeod, 'in a city practically under police curfew, you fucked and
fought, got stoned, got married, or got out of town.'
But it makes little sense to give a politician too much credit for the creation of a music scene. Major cultural movements result from an intersection of local, national and
international factors. The Saints were not so much a reaction to living in a police state as they were a response to the music of not just the Stooges and the MC5, but the Easybeats and the Missing Links. And it's doubtful the national success of a string of Brisbane acts in the '90s - from Powderfinger to George - could have happened
without the nationalisation of the Triple J network.
Of course, it would be naïve to suggest that growing up in a climate of fear and loathing did not heavily distort the prism through which these artists saw the world. As Saints guitarist Ed Kuepper says, 'I think the band was able to develop a more obnoxious demeanor, thanks to our surroundings, than had everyone been really nice.' In the words of Australian music historian Ian Mcfarlane, 'That Australia's most conservative city should give rise to such a seditious subcultural coterie is a sociological phenomenon yet to be fully explored.
This book is my attempt to document the substantial yet largely unsung contribution that Brisbane has made both to Australian popular culture and to international popular
music. In doing so, I aimed to chart the shifts in musical, political and cultural consciousness that have helped shape the city's history and identity. In its broadest
sense, Pig City is the story of how Brisbane grew up.
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吳月華. "歌影拍和 : 粤語青春歌舞片歌曲與電影的關係 (1966-1969) = Songs in tune with movies : the relationship of movie songs and Cantonese youth musicals in 1966-1969." HKBU Institutional Repository, 2006. http://repository.hkbu.edu.hk/etd_ra/687.
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Brooklyn, Bridget. "Something old, something new : divorce and divorce law in South Australia, 1859-1918." Title page, contents and summary only, 1988. http://web4.library.adelaide.edu.au/theses/09PH/09phb872.pdf.
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Grossman, Michèle 1957. "Entangled subjects : talk and text in collaborative indigenous Australian life-writing." Monash University, School of Literary, Visual and Performance Studies, 2004. http://arrow.monash.edu.au/hdl/1959.1/5269.
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Smith, Keith. "Kodak's worst nightmare Super 8 in the digital age: A cultural history of Super 8 filmmaking in Australia 1965-2003." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2004. https://ro.ecu.edu.au/theses/1612.
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This project charts the extraordinary history of the Super 8 film medium, a popular amateur home movie format first introduced in 1965 and largely assumed to have disappeared with the advent of home video technologies in the early 1980's. Kodak's Worst Nightmare investigates the cultural history of the Super 8 medium with an emphasis on its (secret) life since 1986. lt asks how (and why) an apparently obsolete consumer technology has survived some 35 years into a digital future despite the emergence of technologically-advanced domestic video formats and Eastman Kodak's sustained attempts since the mid-80s to suppress, what is for it, a patently unprofitable product line. Informed by the work of Heath (1900), Zimmermann (1995), and Carroll (1996), this project takes the unusual step of isolating a specific amateur film medium as its object of study at the centre of a classic 'nature vs. nurture' debate. Arguing against a popular essentialist position which attributes the longevity of Super 8 to its unique, irreplaceable aesthetic, Kodak's Worst Nightmare proposes that Super 8 film has been a contested site in a social, cultural, political, and economic nexus where different agencies have appropriated the medium through the construction of discourses which have imposed their own meanings on the use and consumption of this cultural product. In an extraordinary cycle of subjugation, resistance and incorporation, this project finds that the meanings and potentials of Super 8 have been progressively colonised by differing institutions - firstly by Eastman Kodak ('domestic' Super 8), secondly by the alternative,independent film movement ('oppositional' Super 8 and 'indie' Super 8), and finally by the mainstream film and television industry ('professional' Super 8"). In an amazing contradiction, it is argued that Super 8 in its current incarnation has emerged as the exact opposite of Kodak's original discursive construction of its amateur status - it has become a professional medium for commercial production. Drawing together related work in the histories of domestic photography and communications technologies, and the cultural practice of everyday life, this project contributes to an area which is seriously undertheorised in the literature of film theory and cultural studies- the social, political and cultural role of amateur film technologies.
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Wellborn, Brecken. "Musicals and the Margins: African-Americans, Women, and Queerness in the 21st Century American Musical." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1404583/.
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This thesis provides an overview of the various ways in which select marginalized identities are represented within the twenty-first century American musical film. The first intention of this thesis is to identify, define, and organize the different subgenres that appear within the twenty-first century iterations of the musical film. The second, and principal, intention of this thesis is to explore contemporary representations of African-Americans, women, and queerness throughout the defined subgenres. Within this thesis, key films are analyzed from within each subgenre to understand these textual representations.
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Anderson, Emma Kate School of English UNSW. "Representations of female sexuality in chick-lit texts and reading Anais Nin on the train." Awarded by:University of New South Wales. School of English, 2006. http://handle.unsw.edu.au/1959.4/27319.
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My critical essay uses Foucault???s theory of discursive formation to chart the emergence of the figure of the single modern woman as she is created by the various discourses surrounding her. It argues that representations of the single modern woman continue a tradition of perceiving the female body as a source of social anxiety. The project explores ???chick-lit??? as a site within the discursive formation from which the single modern woman emerges as a paradoxical figure; the paradoxes fundamentally linked to her sexuality. This essay, then, essentially seeks to investigate representations of female sexuality within chick-lit, exposing for scrutiny the paradoxes inherent in and around the figure of the single modern woman. My fictional piece is a work of erotica. It is divided into four sections: The Reader, The Writer, The Muse and The Critic. Essentially it explores the relationships between female sexuality and literature; between female sexuality and feminist, post-feminist and patriarchal values and between literature and issues of truth, perspective and representation. The two works complement each other to illuminate the paradox of female sexuality: one from a theoretical perspective and the other from a fictional perspective. The critical work focuses on female sexuality and its relationship to, and development within, the current social context. Chick-lit, as a new and immensely popular genre of fiction which holistically explores the lives of single modern women was useful for examining the relationship between the sexual persona of the single modern woman and society. The fiction is concerned with a narrower focus: specifically the sexual life of the single modern woman. Through the creative process, it became apparent that working within the genre of ???erotica??? would be not only more useful than working within chick-lit, but more powerful in exploring the themes I was interested in. The creative work draws on numerous points of interest raised in the critical work from, for example, the grander notions of the relationship between object and discourse ??? in this case female sexuality and literature ??? and the female body as a source of social fascination and anxiety to finer observations such as what it means to have sex ???like a man.??? In essence, the creative work seeks to examine the many faces of the single modern woman as a sexual being and to illuminate, on an intimate level, the many conflicts between and surrounding those faces and to suggest that while paradox remains in female sexual ideology, the single modern woman will remain suspended in a kind of sexual paralysis.
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Ellis, Jeanne. "Past (pre)occupations, present (dis)locations : the nineteenth century restoried in texts from/about South Africa, Canada, Australia and Aotearoa New Zealand." Thesis, Stellenbosch : Stellenbosch University, 2014. http://hdl.handle.net/10019.1/96012.
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Thesis (PhD)--Stellenbosch University, 2014.ENGLISH ABSTRACT: This thesis focuses on the 'restorying‘ of British settler colonialism in a range of texts that negotiate the intricacies of post-settler afterlives in the postcolonial contexts of South Africa, Canada, Australia and Aotearoa New Zealand. In this, I do not undertake a sustained, programmatic comparative reading in order to deliver a set of answers based on insights achieved into the current state of post-settler colonial identities. Rather, I approach the study as an open-ended exploration by reading a combination of texts of various kinds – novels, poetry, drama, films and installation art – from and about these different geographical and historical contexts, structured as a sequence of four chapters, each with a distinct theoretical ensemble specific to the (pre)occupations of the settler colonial past and the linked senses of (dis)location in the present that emerge from the primary texts combined in each case. Since this project is informed by my location as a South African researcher, the cluster of primary texts in every chapter always includes one or more South African texts as pivotal to the juxtapositional dynamics such a reading attempts. By placing this study of the textual afterlives of settler colonialism undertaken from a South African perspective within the ambit of neo-Victorian studies, it is my intention to contribute to the growing body of critical and theoretical work emerging from this interdisciplinary field and to introduce to it a set of primary texts that will extend the parameters of its productive intersections with colonial and postcolonial studies.
AFRIKAANSE OPSOMMING: Hierdie tesis bestudeer die 'restorying' van Britse setlaar-kolonialisme in ‘n groep tekste wat die verwikkeldheid van post-setlaar 'afterlives' in the post-koloniale kontekste van Suid Afrika, Kanada, Australië en Aotearoa Nieu-Seeland vervat. Hiermee onderneem ek nie ‘n volgehoue, programmatiese vergelykende interpretasie met die oog daarop om die huidige stand van post-setlaar koloniale identiteite tot ‘n stel antwoorde te reduseer nie. Ek benader die studie eerder as ‘n verkenning van moontlikhede gegenereer deur die lees van ‘n kombinasie van verskillende tekste – romans, gedigte, drama, films en installasie kuns – wat hulle oorsprong in hierdie verkillende geografiese en historiese kontekste het, asook daaroor handel. Gevolglik bestaan die studie uit vier hoofstukke wat elkeen die (pre)okkupasies van die setlaar-koloniale verlede en die gepaardgaande gevoel van (dis)lokasie in die hede, soos tevoorskyn gebring deur die kombinasie van primere tekste, aan die hand van ‘n toepaslike teoretiese ensemble bespreek. Aangesien die projek uit my posisie as Suid Afrikaanse navorser spruit, en ‘n jukstaposisionele dinamiek grondliggend aan my leesbenadering is, betrek ek telkens een of meer Suid Afrikaanse tekste by die groep primere tekste wat die basis van elke hoofstuk vorm. Deur hierdie studie van die tekstuele 'afterlives' van setlaar-kolonialisme, wat vanuit ‘n Suid Afrikaanse perspektief onderneem word, binne die raamwerk van neo-Viktoriaanse studies te plaas, beoog ek om by te dra tot die korpus van kritiese en teoretiese werk van hierdie interdisiplinere veld. Deur die toevoeging van die betrokke groep primere tekste word die area waar hierdie veld met koloniale en post-koloniale studies oorvleuel verbreed.
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Wellborn, Brecken. "Musicals and the Margins: African-Americans, Women, and Queerness in the Twenty-First Century American Musical." Thesis, University of North Texas, 2012. https://digital.library.unt.edu/ark:/67531/metadc1404583/.
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This thesis provides an overview of the various ways in which select marginalized identities are represented within the twenty-first century American musical film. The first intention of this thesis is to identify, define, and organize the different subgenres that appear within the twenty-first century iterations of the musical film. The second, and principal, intention of this thesis is to explore contemporary representations of African-Americans, women, and queerness throughout the defined subgenres. Within this thesis, key films are analyzed from within each subgenre to understand these textual representations.
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Montecillo, Victoria. "The Naïve Ingénue, The Plucky Everyman's Hero, and the Ingénue Gone Awry: The Satirical Deconstruction of Theatrical Character Tropes in Urinetown: The Musical." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/868.
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This thesis looks to explore Urinetown: The Musical through a critical and theoretical framework, analyzing the show's presentation and deconstruction of theatrical character tropes through musical satire. Using the theories of theatre theorists such as Bertolt Brecht, Peter Brook, and Augusto Boal, this thesis discusses the use of theatre as a device for political and social commentary. Additionally, this thesis focuses more specifically on the show's character of Penelope Pennywise as a new kind of character in the theatre: an "ingénue gone awry," within the context of approaching a performance of the character in a performance of the musical.
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White, Deborah. "Masculine constructions : gender in twentieth-century architectural discourse : 'Gods', 'Gospels' and 'tall tales' in architecture." Title page, contents and abstract only, 2001. http://web4.library.adelaide.edu.au/theses/09PH/09phw5834.pdf.
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Includes 2 previously published journal articles by the author: Women in architecture: a personal reflection ; and, "Half the sky, but no room of her own", as appendices. Includes bibliographical references (p. 233-251) An examination of some texts influential in the discourse of Australian architecture in the twentieth century. Explores from a feminist standpoint the gendered nature of discourse in contemporary Western architecture from an Australian perspective. The starting point for the thesis was an examination of Australian architectual discourse in search of some explanation for the continuing low numbers of women practitioners in Australia. Hypothesizes that contemporary Western architecture is imbued with a pervasive and dominant masculinity and that this is deeply imbedded in its discursive constructions: the body housed by architecture is assume to be male, the mind which produces architecture is assumed to be masculine. Given the cultural location of Australian architecture as a marginal participant in the wider arena of contemporary Western / international discourses, focuses on writing about two iconic figues in Western architecture; Le Corbusier, of international reknown; and, Glenn Murcutt, of predominantly local significance.
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Sedgwick, Enid. "Kulturelle Beziehungen : German-Australian literary links in Catherine Martin's An Australian girl and Henry Handel Richardson's Maurice Guest." University of Western Australia. European Languages and Studies Discipline Group. German Studies, 2009. http://theses.library.uwa.edu.au/adt-WU2009.0140.
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This thesis demonstrates the close links between Australian literature and German thought and culture in Catherine Martin's An Australian Girl (1890) and Henry Handel Richardson's Maurice Guest (1908), and thereby provides a fuller understanding of the sophisticated literary and intellectual purposes of these two works. In examining the German elements in each novel, and the contexts from which much of that material is drawn, this study seeks to supplement the scholarly explanations provided in the two Academy Editions of these works. While Maurice Guest has received serious scholarly attention, An Australian Girl has been accorded relatively little. Despite generally favourable reviews on publication, both appear to have been undervalued over time. The study begins with a brief historical survey of German migration to Australia and the contribution German migrants made to the intellectual life and culture of the evolving nation. The examination of Catherine Martin's work includes: biographical details, particularly concerning her contact with German culture; an analysis of the form of the novel and a comparison of An Australian Girl with Goethe's Bildungsroman Wilhelm Meister with regard to form, theme and characterisation; an analysis of German philosophical elements in the novel; and Martin's presentation of social conditions in Germany in 1888-90, and their role in the novel as a whole. The examination of Henry Handel Richardson's work encompasses: biographical details; the genesis of Maurice Guest; differences between the reception of the novel in England and Germany; the genre to which the novel belongs and parallels with Künstlerromane; an analysis of Richardson's description of the physical, historical and intellectual milieu of Leipzig, and its role in the novel; and finally her integration of German social customs and the German language into the text. Use has been made of five primary sources which have not been used before in any detail with regard to these aspects of either author: additional material from the Mount Gambier Border Watch; The Hatbox Letters, the family history of the Martin and Clarke families; the German translation of Maurice Guest; German reviews of Maurice Guest; and the correspondence between Richardson and her French translator Paul Solanges. The key argument of this thesis is that the German influence on both form and content, in the case of An Australian Girl, and on style and content, in the case of Maurice Guest, is deep and various, and that these German elements have proved to be an impediment to a full understanding and appreciation of these novels for many Anglo-Saxon readers and reviewers. In the two novels Martin and Richardson provide pointers to Australia's earlier interaction with the wider world and display a level of sophistication which makes these works worthy of greater recognition than they currently enjoy.
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O'Connor, Jennifer. "Black snow by Michael Smetanin : an analysis : and original compositions." University of Western Australia. School of Music, 2004. http://theses.library.uwa.edu.au/adt-WU2004.0054.
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Black Snow, an orchestral work composed by Michael Smetanin in 1987, was named after the book Black Snow by Mikhael Bulgakov. Newspaper articles, reviews and the literature researched, all comment on Smetanin’s style and on the influences that shaped that style. The aggressive and confrontational style of much of Smetanin’s music can be attributed partly to his love of rock music and jazz and partly to his mentor in the Netherlands, Louis Andriessen. The same sources quote other composers who also influenced Smetanin’s style. Three works in particular are named, that is, Trans by Stockhausen, Keqrops by Xenakis and De Tijd by Andriessen. It was decided, in the light of previous investigations into Smetanin’s music, to take one of these composers, namely Stockhausen and his work Trans, and discover how much Smetanin was influenced by this composer and this particular work. Trans was chosen because the similarities with Black Snow are less obvious. All aspects of Black Snow were examined - namely the harmony, rhythms, the important textures, serial/mathematical techniques, orchestration, the dramatic program, how the instruments are played - and then compared with Trans for similarities and differences. The results of the analytical investigation show that, while the internal organisation of the two works is very different, there are significant similarities between the two works in most of these areas. Serial/mathematical techniques could only be demonstrated in one area, and this is only conjecture.
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Barnett, Vanessa. "Tasha: A practice-based problematisation of Australian comedy cinema’s representation of gender, family and nationhood." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2014. https://ro.ecu.edu.au/theses/1411.
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Between 2007 and 2012, 140 fictional feature films were financed with the assistance of Australian film funding bodies. Of these 140 films, only 31 featured female protagonists and of these 31 films, only 8 were comedies (see Appendix B). These figures show statistically, Tasha, the creative film component of this research project, is not a typical Australian comedy film; it is the story of Tasha, an unemployed girl from Girrawheen in her early twenties, who has lost her sense of identity. As Australian films such as Little Fish¸ Candy, Jedda and Muriel’s Wedding would suggest, this is certainly not an uncommon premise in Australian national cinema. However, this is not all there is to know about Tasha; she is preoccupied, not by a love interest or by a drug addiction, but by ninjutsu, and vigilantism. This is where Tasha finds its unique approach to Australian cinema’s historic treatment of the woman-centred narrative. That said, beneath Tasha’s unconventional surface arguably lies a truly Australian comedy film.
The exegesis component of this project re-interprets Bazin’s question, “Qu'est-ce que le cinéma?” (What is cinema?), with a theoretical framework inspired by Australian film theorist Tom O’Regan’s influential text, Australian National Cinema. The exegesis begins by looking at Australian national cinema as a whole, then narrowing the focus to Australian comedy cinema. O’Regan (1996) describes Australian cinema as a national cinema; a cinema that embodies Australian culture, society and history. The focus is on Australian comedy film texts, and their social, political and cultural contexts. Tasha, the creative film project, is what O’Regan would term a “problematisation” of Australian comedy cinema.
The key argument of this project is that Australian national comedy films are uniquely Australian, cinematic explorations of individual identity, socio-cultural identity, landscape and family. Australia laughs about what it knows best, these four narrative and aesthetic preoccupations being central to Australian socio-cultural values and attitudes, to understanding the concept of Australianness. Australian comedy cinema is a problematic genre unto itself. The theoretical component of this project is a profile of Australian comedy cinema’s homogenised representation of Australianness. Tasha is then presented as an alternative. This investigation aims to both improve, and demonstrate an understanding of Australian comedy cinema as a problematisation of gender, culture, landscape, family and identity.
Tasha responds to the research question, “What is Australian comedy cinema?” by revealing that even an Australian action comedy with exciting stunts and fight scenes, is still a story of an individual’s sense of identity, family, and place. Such stories are arguably the hallmark of Australian comedy cinema; this carries a uniquely Australian sense of quirkiness. It remains the domain of the underdog: the battlers, larrikins, and of course the ockers. It still carries the same messages; never forget who you are, who your friends and family are, or where you came from. Despite its unconventional narrative, subject matter, soundtrack and aesthetics, Tasha proves to be no exception; it is still easily identified as a truly Australian comedy film.
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Habel, Chad Sean, and chad habel@gmail com. "Ancestral Narratives in History and Fiction: Transforming Identities." Flinders University. Humanities, 2006. http://catalogue.flinders.edu.au./local/adt/public/adt-SFU20071108.133216.
Full textAbstract:
This thesis is an exploration of ancestral narratives in the fiction of Thomas Keneally and Christopher Koch. Initially, ancestry in literature creates an historical relationship which articulates the link between the past and the present. In this sense ancestry functions as a type of cultural memory where various issues of inheritance can be negotiated. However, the real value of ancestral narratives lies in their power to aid in the construction of both personal and communal identities. They have the potential to transform these identities, to transgress natural boundaries and to reshape conventional identities in the light of historical experience.
For Keneally, ancestral narratives depict national forbears who narrate the nation into being. His earlier fictions present ancestors of the nation within a mythic and symbolic framework to outline Australian national identity. This identity is static, oppositional, and characterized by the delineation of boundaries which set nations apart from one another. However, Keneallys more recent work transforms this conventional construction of national identity. It depicts an Irish-Australian diasporic identity which is hyphenated and transgressive: it transcends the conventional notion of nations as separate entities pitted against one another. In this way Keneallys ancestral narratives enact the potential for transforming identity through ancestral narrative.
On the other hand, Kochs work is primarily concerned with the intergenerational trauma causes by losing or forgetting ones ancestral narrative. His novels are concerned with male gender identity and the fragmentation which characterizes a self-destructive idea of maleness. While Keneallys characters recover their lost ancestries in an effort to reshape their idea of what it is to be Australian, Kochs main protagonist lives in ignorance of his ancestors life. He is thus unable to take the opportunity to transform his masculinity due to the pervasive cultural amnesia surrounding his family history and its role in Tasmanias past.
While Keneally and Koch depict different outcomes in their fictional ancestral narratives they are both deeply concerned with the potential to transform national and gender identities through ancestry.
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Dedman, Stephen. "Techronomicon (novel) ; and The weapon shop : the relationship between American science fiction and the US military (dissertation)." University of Western Australia. School of Social and Cultural Studies, 2008. http://theses.library.uwa.edu.au/adt-WU2008.0093.
Full textAbstract:
Techronomicon Techronomicon is a science fiction novel that examines far-future military actions from several different perspectives. Human beings have colonized several planets with help from the enigmatic and more technologically advanced Zhir, who gave spaceships and habitable worlds to those they deemed suitable and their descendants. The Joint Expeditionary Force is the military arm of the Universal Faith, called in when conflicts arise that the Faith decides are beyond the local government and militia and require their intervention. Leneveldt and Roader are JEF officers assigned to Operation Techronomicon, investigating what seems to be a Zhir-built defence shield around the planet Lassana. Another JEF company sent to Kalaabhavan after the murder of the planets Confessor-General loses its CO to a land-mine, and Lieutenant Hellerman reluctantly accepts command. Chevalier, a civilian pilot, takes refugees fleeing military-run detention camps on Ararat to a biological research station on otherwise uninhabited Lila. The biologists on Lila discover a symbiote that enables humans to photosynthesize, which comes to the attention of Operation Techronomicon and the JEF's Weapons Research Division. Leneveldt and Roeder, frustrated by the lack of progress on Lassana, are sent to Lila to detain the biologists, who flee into the swamps. Hellerman's efforts to restore peace on Kalaabhavan are frustrated by the Confessors, and his company finds itself besieged by insurgents. The novel explores individuals' motives for choosing or rejecting violence and/or military service; the lessons they learn about themselves and their enemies; and the possible results of attempts to forcibly suppress ideas.
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Bowan, Kate. "Musical mavericks : the work of Roy Agnew and Hooper Brewster-Jones as an Australian counterpart to European modern music 1906-1949." Phd thesis, 2007. http://hdl.handle.net/1885/109691.
Full textAbstract:
In 1920 the Lone Hand reported that Sydney composer Roy Agnew (1891-1944) had “after
much anxious consideration been forced to abandon the limitations of key and tonal
relationship.” For this transgression, he was branded, among other things, a musical
Bolshevik. Three years later in Adelaide, Hooper Brewster-Jones (1887-1949) wrote the first
of his “formula” pieces which are part of a larger body of works that experiment with various
aspects of musical language. In this thesis, I will argue that together certain works of these
two isolated composers constitute an instance of what is known in conventional music history
terms as “progressive” or “innovative” music. As such it can be seen as part of the wider
international scene concerned with developing new means of musical expression at this time.
This significant fact has been overlooked by musicologists and historians dealing with this
interwar period, long dismissed as stagnant, producing only second-rate work: a pale
imitation of British pastoralism and “light” salon music. This study seeks to revise that longaccepted
story and show that there was an Australian musical intelligentsia in the early
decades of last century.
Drawing from a wide array of primary sources, including contemporary newspapers,
journals, letters, memoirs, unpublished music manuscripts and other archival material, I will
first, through analysis of selected works, demonstrate how the music fits into a broader
international framework, then, using biography as a lens, reconstruct their worlds in Sydney,
Adelaide and London, describing networks and important relationships that provide a context
for this music, and finally examine aspects of the two composers’ public output such as
performance, radio broadcasts and newspaper criticism that strengthen the picture of these
two composers as individuals who enthusiastically engaged with international modernism.
Central themes that emerge to underpin the study of these two figures are: the relationship
between exoticism, occultism and modernism (demonstrating that exoticism and occultism
were driving forces behind the development of early modernism); exoticism as a process by
which that from the outside is brought into and reinterpreted for the local and particular; an
interpretation of the diverse meanings and uses of that much-contested term modernism; and
the broad informal network of dissemination, communication and bi-directional influence
offered by the transnational British world and direct engagement with America and Europe.
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Arbogast, Jennifer L. "Keeping the concept clear : a perspective on performing selected mezzo-soprano songs from the musicals of Stephen Sondheim." 2012. http://liblink.bsu.edu/uhtbin/catkey/1675391.
Full textAbstract:
This study presents research relevant to the performance of four different mezzo-soprano songs from musicals composed by Stephen Sondheim. The research first gives a comprehensive overview of the contributions of Sondheim to the American Musical Theatre genre, and compares and contrasts his treatment of mezzo-soprano characters with that of his contemporaries. The project also investigates details regarding cultural and historical influences over the four musicals. Additionally, the study includes character analyses and musical analyses for each of the selected characters and their respective songs. The research is synthesized in order to provide suggestions of ways mezzo-sopranos can incorporate this research into their performance, in order to give a more informed and educated presentation of the selected pieces.The contributions of Stephen Sondheim -- Mezzo-sopranos of the American musical -- Amy in Company (1970) -- Beth in Merrily we roll along (1981) -- The bakers wife in Into the woods (1987) -- Lynette "Squeaky" Fromme in Assassins (1990).
School of Music
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Lambert, Josephine Gay. "Finishing the hat, where there never was a hat : a critical analysis of the words and music of Stephen Sondheim and their relationship to the development of musical theatre as an art form." Diss., 1998. http://hdl.handle.net/10500/17165.
Full textAbstract:
This dissertation develops the premise that, whilst conceding the difficulties inherent in the medium,
musical theatre should be regarded as an art form, worthy of serious critical evaluation. This view is
supported by a detailed examination of four works, chosen from different periods of Sondheim's career:
A Funny Thing Happened on the Way to the Forum (1962); Sweeney Todd (1979); Into the Woods
(1988) and Assassins (1991). The argument develops through the application of accepted literary
critical procedures and systematically examines the thematic and prosodic content of the lyrics, as well
as their dramatic potentiality, growing in Sondheim's more mature works, which suggests a seriousness
of intent manifest in other forms of the dramatic arts. The emotional and dramatic contribution of the
music is examined, in the way it creates mood and atmosphere and modifies or comments on action
and character, promoting a musical vocabulary that accommodates a dramatic function.English Studies
M.A. (English)
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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.
Full textAbstract:
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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Capili, Jose Wendell P. "Migrations and mediations : the emergence of Southeast Asian diaspora writers in Australia, 1972-2006." Phd thesis, 2007. http://hdl.handle.net/1885/150957.
Full text
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Garretson, Anna. "Unsettling fictions : contemporary white writing from South Africa and Australia." Phd thesis, 2008. http://hdl.handle.net/1885/151206.
Full text
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Dalley, Hamish. "Postcolonialism and the historical novel : allegorical realism and contemporary literature of the past in Nigeria, Australia and New Zealand." Phd thesis, 2013. http://hdl.handle.net/1885/155168.
Full textAbstract:
The historical novel is one of the most prominent modes of contemporary writing in the former British Empire, yet the genre's postcolonial variant has not been the subject of critical analysis in its own right. This neglect can be explained by the dominance of a "resistance paradigm" in postcolonial studies, which tends to equate realism with naive mimesis and thus treats the historical novel as either a vehicle for imperialist ideology or a site of discursive conflict over the meaning of the past. As a result, the genre's epistemological and aesthetic complexities have been marginalised. This thesis responds to this neglect by critically analysing examples of the historical novel published since 2000 in Nigeria, Australia, and New Zealand. Historicised close analysis reveals that notwithstanding the anti-mimetic presumptions of much contemporary postcolonial criticism, and despite differences arising from contextual particularities, these texts are shaped by a common "realist impulse" that frames their narratives as defensible interpretations of the past. This ethical obligation to evidence-based interpretation has formal and epistemological consequences that manifest in an aesthetic framework I call allegorical realism. This term names a mode of representation in which fictional elements oscillate between ontological and conceptual registers in ways that simultaneously produce empathetically-unsettling relations to imagined individuals and interpretations of macro-historical change. This combination of affect and abstraction defines the genre as one based neither around assumptions about the transparency of language, nor overly pessimistic views that knowledge of the past is unachievable. I show that focusing analysis on allegorical realism allows critical attention to move away from its exclusive concern with textual resistance and instead explore how the genre is inflected by the various narratives it mediates and the specificities of postcolonial contexts. This research identifies three main variants of the contemporary postcolonial historical novel, each characterised by a different modulation of allegorical realism. Settler allegory comprises texts like Kate Grenville's The Secret River (2005) and Fiona Kidman's The Captive Wife (2006), in which colonists' alienation from occupied territory is reflected formally in the undercutting of allegorical procedures that align imaginary characters with their settings. Transnational historical novels, by contrast, stretch the spatio-temporal coordinates of allegorical realism to encompass processes taking place in global settings. This generates aesthetic effects that link apparently dissimilar novels like Witi Ihimaera's The Trowenna Sea (2009) and Chimamanda Ngozi Adichie's Half of a Yellow Sun (2006). Finally, melancholy realism describes texts like Chris Abani's Song for Night (2007) and Richard Flanagan's Gould's Book of Fish (2001)-texts which disrupt the boundaries between past and present to unsettle postcolonial complacency. Tracing allegorical realism across these modes reveals how postcolonial concerns continue to recreate the genre, and how the oscillation of the allegorical signifier can challenge dominant accounts of historical change. The genre provides a significant archive for exploring how postcolonial literature is characterised by disjunctive temporalities irreducible to dominant narratives of modernity, while nonetheless being shaped by processes that link the globalised world.
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Holloway, Marilyn June. "Cole Porter : the social significance of selected love lyrics of the 1930s." Diss., 2010. http://hdl.handle.net/10500/4209.
Full textAbstract:
This dissertation examines selected love lyrics composed during the 1930s by Cole Porter, whose witty and urbane music epitomized the Golden era of American light music. These lyrics present an interesting paradox – a man who longed for his music to be accepted by the American public, yet remained indifferent to the social mores of the time. Porter offered trenchant social commentary aimed at a society restricted by social taboos and cultural conventions. The argument develops systematically through a chronological and contextual study of the influences of people and events on a man and his music. The prosodic intonation and imagistic texture of the lyrics demonstrate an intimate correlation between personality and composition which, in turn, is supported by the biographical content.English
M.A. (English)
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Kloppers, Hanmari. "Die gebruik van storytelling en die interaksie tussen sprokies en musiek as uitgangspunt vir 'n interdissiplinere musiekblyspel in die seniorfase (Afrikaans)." Diss., 2001. http://hdl.handle.net/2263/26277.
Full textAbstract:
AFRIKAANS: In hierdie studie word 'n voorstel gemaak vir die skep van 'n interdissiplinere musiekblyspel vir die seniorfase (Graad 7-9). Die uitgangspunt vir hierdie musiekblyspel is die dinamiese interaksie wat daar tussen sprokies en musiek bestaan. In voorafgaande navorsing deur die outeur, is hierdie interaksie as die integrasieteorie geformuleer. Die integrasieteorie word in hierdie MMus-verhandeling deur middel van storytelling met die kurrikulum verbind. Die vertel-elemente van filmmusiek word ondersoek. Die werk van die filmprodusent, Walt Disney, as sinoniem vir die kombinasie van musiek, sprokies, film en storytelling, dien as voorbeeld vir die skep van die musiekblyspel. Improvisasie¬materiaal, na aanleiding van die fases en motiewe van 'n gekose sprokie, vorm die basis vir die skep van musiek vir die musiekblyspel. Die wedersydse ondersteuning wat tussen die sprokie en die musiek tot stand kom, verhoog die opvoedkundige waarde van hierdie projek. Die skep van hierdie musiekblyspel bied moontlikhede vir suksesvolle kurrikulum-integrasie. ENGLISH: In this study a proposal is made for the creation of an interdisciplinary musical for the senior phase (Grades 7-9). The point of departure for this musical is the dynamic interaction that exists between fairy tales and music. In preliminary research by the writer, this interaction is formulated as the theory of integration. In This MMus dissertation the theory of integration is linked to the curriculum by means of storytelling. The narrative elements of film music are examined. The work of the film producer, Walt Disney, as synonym for the combination of music, fairy tales, film and storytelling, serves as an example for the creation of the musical. Improvisation material, in terms of the phases and motifs of the chosen fairy tale, forms the basis for the creation of music for the musical. The mutual support that comes about between the fairy tale and the music, enhances the educational value of this project. The creation of this musical presents possibilities for successful curriculum integration.Dissertation (M Mus (Music Education))--University of Pretoria, 2006.
Music
unrestricted
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Hart, Alexander. "Writing the Diaspora : a bibliography and critical commentary on post-Shoah English-language fiction in Australia, South Africa, and Canada." Thesis, 1996. http://hdl.handle.net/2429/6638.
Full textAbstract:
In the aftermath of the Shoah (Holocaust)—the mass murder of 6,000,000
Jews—Jean-Paul Sartre wrote Reflexions sur la Question Juive (1946), in which he
concluded that the fate of the Jews, the fate of the individual non-Jew, and the fate of the entire world are inextricably and reciprocally intertwined. Building on Sartre's perception, Portrait of a Jew (1962) and The Liberation of the Jew (1966) describe what the author, Albert Memmi, terms "the universal Jewish fate": that of being the paradigmatic "colonized" Other—insofar as the Jews are a particularly oppressed minority, that is, their
marginalization epitomizes the fate of all humanity. Further, Memmi argues both that "to be a Jewish writer is ... to express the Jewish fate" and that a "true Jewish literature" is necessarily one which revolts against the imposition and acceptance of this fate. Sartre's
and Memmi's insights posit that Jewish consciousness acts upon both national and world consciousness. Memmi suggests that one means of expressing the Jewish consciousness is through literature. In their imaginative interpretations of the post-Shoah interconnections between the Jew, the nation, and the world, modern Jewish fiction writers of the Diaspora (dispersion)
—at least those whose work foregrounds tropes of Jewish sensibility, incorporating Jewish characters and themes—often delineate a world which, in the aftermath of Auschwitz, is socially and existentially even more precarious than it was before the war. This study examines post-Shoah Jewish consciousness and its relation to national/world consciousness,as represented in the English-language Jewish fiction of Australia, South Africa, and Canada, Commonwealth countries whose diverse Jewish literatures have been overshadowed by the predominant English-language Jewish literary culture of the U.S.A. The structure of this study is bipartite. Part B is an indexed Bibliography enumerating primary works by Jewish prose fiction writers of Australia, Canada, and South Africa. Part A is a critical commentary on Part B. The Introduction (Chapter 1) outlines the
theoretical bases for the study. The three following chapters scrutinize Jewish Australian (Chapter 2), Jewish South African (Chapter 3), and Jewish Canadian (Chapter 4) fiction. Among the writers considered are Australians B.N. Jubal, Judah Waten, David Martin, Morris Lurie, Serge Liberman, and Lily Brett; South Africans Nadine Gordimer, Dan Jacobson, Jillian Becker, Antony Sher, and Rose Zwi; and Canadians Henry Kreisel, A.M. Klein, Adele Wiseman, Mordecai Richler, and Robert Majzels. Each of these three chapters follows a similar format: a description of the origin, history, and demography of the Jewish community; an outline of the important pre-World War II Jewish fiction writers and their work; an examination of representative post-Shoah works; and concluding remarks about
the ways in which the works under consideration here contest and revise both the canons of nation and national literature and the very concepts of nation, canon, and canon-making. An Epilogue (Chapter 5) contextualizes the thematic patterns common to the Jewish fiction of the three countries and suggests ways in which this fiction can be located within the larger framework of Jewish Literature.
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Lawrenson, Anna Louise. "Flesh + blood : appropriation and the critique of Australian colonial history in recent art practice." Phd thesis, 2007. http://hdl.handle.net/1885/110373.
Full textAbstract:
In the final two decades of the twentieth century Australian society was preoccupied with its
own history. So ubiquitous was this interest, that bookshops were crammed with popular
histories and historical fictions, TV networks aired historical re-enactments and devoted
whole series to its exploration and re-creation. In part, this increased awareness of history
was stimulated by the 200-year anniversary of white settlement simultaneously celebrated by
many non-Indigenous Australians and condemned by Indigenous protestors. Throughout the
1990s the debate over historical fact and its place within society- or the 'history wars' - took
centre stage moving beyond academic circles and into political and public discourse. At the
heart of this debate was what Bain Attwood called the 'new history', which incorporated the
hitherto absent perspectives of Indigenous Australians. This new version of history examined
discrepancies between dominant settler accounts of historical events and those provided by
Indigenous people, often in the form of oral testimony. A more vocal Indigenous population
also forced these new perspectives on Australian history into being, as increased calls for
land rights recognition and social justice became prominent.
The debate was so prominent that it permeated many areas of Australian society, the visual
arts provides one such example. This thesis is concerned with how the popularisation of
history was contended in the visual arts. I argue that Australian artists have used
appropriation as an effective means of engaging in a discourse on colonialism; of
communicating with the past, and of ensuring that that past remained a highly visible
concern of the present Through its reliance on existing images, appropriation enables artists
to condense the space between the quoted image and their new work. It therefore demands
that the quoted image be seen as a concern of the present. This strategy was implemented by
a significant number of Indigenous and non-Indigenous Australian practitioners during the
last two decades of the twentieth century. Moreover, it provides an important point of
intersection between the artistic practice of Indigenous and non-Indigenous artists. Rather
than seeking to document the history of appropriation in Australia, this thesis is concerned
with highlighting how appropriation has become the basis of a critical commentary on
historical narratives of colonialism.
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Hooton, Fiona Art History & Art Education College of Fine Arts UNSW. "The impact of the counterculture on Australian cinema in the mid to late 20th century." 2007. http://handle.unsw.edu.au/1959.4/41008.
Full textAbstract:
This thesis discusses the impact of the counterculture on Australian cinema in the late 20thcentury through the work of the Sydney Underground Film group, Ubu. This group, active between 1965 -1970, was a significant part of an underground counter culture, to which many young Australians subscribed. As a group, Ubu was more than a rat bag assemblage of University students. It was an antipodean aspect of an ongoing artistic and political movement that began with the European avant-garde at the beginning of the 20th century and that radically transformed artistic conventions in theatre, painting, literature, photography and film. Three purposes underpin this thesis: firstly to track the art historical links between a European avant-garde heritage and Ubu. Experimental film is a genre that is informed by cross art form interrelations between theatre, painting, literature, photography and film and the major modernist aesthetic philosophies of the last century. Ubu's revolutionary aesthetic approaches included political resistance and the involvement of audiences in the production of art. Their creative wellspring drew from: Alfred Jarry, Dadaism, Surrealism, Futurism, Fluxus, Conceptual and Pop art. This cross fertilization between the arts is critical to understanding not only the Australian experimental movement but the history of contemporary image making. The second purpose is to fill a current void of research about early Australian Experimental film. This is a significant gap given it was a national movement with many international connections. The counterculture movement also contains many major figures in Australian art history. These individuals played their parts in the Sydney Push, Oz magazine and the activities of the Yellow House and have since become important multi arts practitioners and commentators. Thirdly, the thesis attempts to evaluate Ubu's political and social agenda for the democratization of film appreciation through their objectives of: production, exhibition, distribution and debate of experimental film both nationally and internationally. Ultimately the group would succeed in these objectives and in winning the war on repressive censorship laws. Their influence has informed the practice of many of Australia's current film heavy weights. Two key films have been selected for analysis, It Droppeth as the Gentle Rain (1963) and Newsfront (1978). The first looks forward to Ubu's contemporary practices and political agenda while the second demonstrates their longer term influences on mainstream cinema.
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Wood, Alison J. E. "The poetics of Libretti: reading the opera works of Gwen Harwood and Larry Sitsky." 2008. http://hdl.handle.net/2440/49219.
Full textAbstract:
Gwen Harwood is one of Australia’s most celebrated poets. Her longstanding collaboration with composer Larry Sitsky produced six substantial operas between 1963 and 1982; Fall of the House of Usher (1965); Lenz (1970); Fiery Tales (1975, based on Chaucer’s Canterbury Tales and excerpts from Boccaccio’s Decameron); Voices in Limbo (1977); The Golem (1980, first performed in 1993); and De Profundis (1982, a setting of Oscar Wilde’s letters). Both Harwood and her critics acknowledge the libretti as some of her best writing (Harwood cites her libretto for Lenz as her ‘selected poem’); to date, there has been no major study of these works. This thesis engages with Harwood’s opera texts, arguing for readings that are neither atomist nor reductive but jointly focused on both the effect of the text and the mechanics of its production. It begins by outlining the theoretical terrain of words and music studies and establishes an approach to Harwood and Sitsky’s operas based on the idea that opera’s textual exaggeration is a function of its multiple critical components; that is, the intersection of words and music, collaborative authorship, and dramatic language. The thesis then offers focused studies of each of these aspects in Harwood and Sitsky’s works, constructing a literary picture of the opera texts. Primary sources include the scores of the operas (usually copies of the composer’s autograph), selected correspondence between Sitsky and Harwood, drafts and typescripts of the libretti (held in the National Library, Canberra, and the Fryer Library, University of Queensland), and selected essays by Harwood on her words for music.http://proxy.library.adelaide.edu.au/login?url= http://library.adelaide.edu.au/cgi-bin/Pwebrecon.cgi?BBID=1331575
Thesis (M.A.) -- University of Adelaide, School of Humanities, 2008
34
Wood, Alison J. E. "The poetics of Libretti: reading the opera works of Gwen Harwood and Larry Sitsky." Thesis, 2008. http://hdl.handle.net/2440/49219.
Full textAbstract:
Gwen Harwood is one of Australia’s most celebrated poets. Her longstanding collaboration with composer Larry Sitsky produced six substantial operas between 1963 and 1982; Fall of the House of Usher (1965); Lenz (1970); Fiery Tales (1975, based on Chaucer’s Canterbury Tales and excerpts from Boccaccio’s Decameron); Voices in Limbo (1977); The Golem (1980, first performed in 1993); and De Profundis (1982, a setting of Oscar Wilde’s letters). Both Harwood and her critics acknowledge the
libretti as some of her best writing (Harwood cites her libretto for Lenz as her ‘selected poem’); to date, there has been no major study of these works.
This thesis engages with Harwood’s opera texts, arguing for readings that are neither atomist nor reductive but jointly focused on both the effect of the text and the mechanics of its production. It begins by outlining the theoretical terrain of words and music studies and establishes an approach to Harwood and Sitsky’s operas based on the idea that opera’s textual exaggeration is a function of its multiple critical components; that is, the intersection of words and music, collaborative authorship, and dramatic language.
The thesis then offers focused studies of each of these aspects in Harwood and Sitsky’s works, constructing a literary picture of the opera texts. Primary sources include the scores of the operas (usually copies of the composer’s autograph), selected correspondence between Sitsky and Harwood, drafts and typescripts of the libretti (held in the National Library, Canberra, and the Fryer Library, University of Queensland), and selected essays by Harwood on her words for music.Thesis (M.A.) -- University of Adelaide, School of Humanities, 2008
35
Jewell, Melinda R., University of Western Sydney, College of Arts, and School of Communication Arts. "The representation of dance in Australian novels : the darkness beyond the stage-lit dream." 2008. http://handle.uws.edu.au:8081/1959.7/39463.
Full textAbstract:
Many Australian novelists since the late 1890s have written about dance in varied and interesting ways. Characters in many Australian novels are portrayed dancing on stage, dancing within the context of their everyday lives, watching corroborees, reminiscing about social dance events in distant homelands or gyrating under flashing lights at discos and raves. In other instances the word “dance” (or an associated term) is used metaphorically to convey actual or imagined movement such as the wind dancing in trees, or thoughts dancing in characters’ minds. Although representations of dance in Australian novels portray qualities such as vitality, beauty and transcendence, this thesis argues that they also elucidate a shadowland of pain and suffering and sometimes an uncertainty about Australian culture and identity. Indigenous dancers are scrutinised critically by non-Indigenous spectators. Despite the bright lights and glamour of their world, professional dancers are shown to struggle against the persistence of the cultural cringe. Unflattering notions of class and gender taint the excitement and romance of social dance occasions, migrant characters associate dance with painful memories of abandoned homelands and dancers performing professionally or privately risk being labelled mad, feminine or homosexual (or all three). The metaphorical use of the word dance does not always portray vital movement but often conveys heaviness, awkwardness and even imminent collapse. Descriptions of dance are minimalist to the point where the dance almost disappears from the reader’s view. As well as making dance in Australian novels visible, the investigation conducted in this thesis sharpens awareness of its negative or “shadow” side and challenges the widespread critical glorification of the presence of dance in literature more generally.Doctor of Philosophy (PhD)
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Spear, Peta, University of Western Sydney, and School of Communication and Media. "Libertine : a novel and A writer's reflection : the Libertine dynamic: existential erotic and apocalyptic Gothic." 1998. http://handle.uws.edu.au:8081/1959.7/26115.
Full textAbstract:
This thesis comprises two works: a novel ‘Libertine’ and a monograph ‘A writer’s reflection’. ‘Libertine’contemplates the eroticising and brutalising of being, and sex as currency, as need and as sacrament. It is set in a city where war is the norm, nightmare the standard, and ancient deities are called upon to witness the new order of killing technologies. The story is narrated by a woman chosen to be the consort of the General, a despostic war leader who believes that he has been chosen by the goddess Kali. She journeys deep into a horror which exists not only around her, but also within her. ‘Libertine’, by melding the erotic and the Gothic, tells the story of a woman enacting the role cast for her in the complex theatres of war. ‘A writer’s reflection’ discusses the themes of the novel, introducing the notion of existential erotica. The existential experience particular to the expression of the erotic being is discussed, and the dilemma which arises from a self yearning to merge ecstatically with an/other in order to obtain a heightened or differently valued self. This theme is elaborated in ‘Libertine’ with regard to subjectivity and the broader issues of nausea, horror and choice, drawing on the conventions of Gothic literature and apocalyptic visioning. This visioning, as eroticised death worship, is found in a Sadian credo of cruelty, the tantric rituals of Kali devotion, and the annihilating erotic excess propounded by Bataille. The monograph illustrated that ‘Libertine’ is not a re-representation of these elements, but an original contribution to the literature of erotica.Doctor of Philosophy (PhD)
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Robertson, Judith Smyth. "Australian lexicography 1880-1910." Phd thesis, 2005. http://hdl.handle.net/1885/151727.
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McCaffrie, Brendan John. "Locating leadership success in political time : analysing presidents and prime ministers in historical context." Phd thesis, 2013. http://hdl.handle.net/1885/155799.
Full textAbstract:
This thesis makes a theoretical contribution to the analysis of successful political leadership. It argues that we should judge leaders operating in different historical contexts by different criteria. Historical context shapes the opportunities leaders have to achieve their goals, enabling some leaders to achieve more than others. Furthermore, in different historical contexts society demands different types of leadership. Therefore, taking account of historical context allows us to make a fair comparison of leaders when assessing their success and it allows us to encourage leaders to behave in ways that provide better results for their nations. The thesis derives its understanding of the relationship between historical context and political leadership from Stephen Skowronek's conceptualisation of the US Presidency and his four leadership types. It demonstrates that Skowronek's theory operates in Australia and other so-called Westminster countries. In particular, political time operates where the executive leader is the most creative agent of change within the political system, and where competing conservative and progressive political actors contest to control the direction of political change. Regardless of their political system, leaders are always in a contest with opponents and the interaction between these leaders and their oppositions is vital to their eventual success or failure. The thesis shows that oppositions can encourage the success of political leaders, sometimes unintentionally, sometimes in a positive and deliberate manner through engaging with leaders' ideas. The relationship between political leaders and oppositions can be complex but it must be examined closely in order to understand leaders' success or failure. The second half of the thesis focuses heavily on how political leaders can succeed and it creates four separate frameworks for analysing presidents and prime ministers. These frameworks take account of both material and interpretive realms of success. Naturally, leaders' concrete achievements are important but so is their interpretive success, in which they convince publics and political elites that their actions are successes and that they are successes as a result of leaders' actions. Political leaders' success comes in three forms: personal success, partisan regime success and normative success and these form the basis of the four frameworks of political success. The three forms of success are available to Skowronek's four leadership types to differing degrees and so the four leadership types are examined according to different criteria. The most important form of success is partisan regime success, as success of this form allows leaders' achievements to endure. Partisan regime success is the form that alters most among the different leadership types. The conclusion also examines the thesis' implications for how we understand political leadership and how we understand the broader operation of democratic politics. It argues that once we examine them in context, more leaders have been successful than is commonly supposed. Political leadership studies must pay more attention to historical context and come to understand leadership in relationship to the full range of social and political forces that act upon it.
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Doyle, Adrian. "Using Blender Studios as a Point of Reference to Examine the Intersection of Fine Art and Street Art." Thesis, 2021. https://vuir.vu.edu.au/43499/.
Full textAbstract:
Blender Studios is a hybrid cultural and commercial hub for Australian street art and
fine art, operating both as a collaborative studio space for artists and as a base for a
range of collective art endeavours. Utilising ‘Blender Studios’ as a case study, this
research is based on the proposition that it has played a pivotal role in establishing a
new aesthetic through the rise of street art. The practice-based creative component
of the project takes the form of an exhibition and installation. The research period is
inclusive of a two-year corporate residency undertaken at The District shopping
centre in Melbourne’s Docklands precinct. This corporate residency, and other
Blender activities, raise questions such as: Does the radical street artist in a
corporate/commercialised structure become, utilising Berlin-based writer Elvia Wilk’s
term, like an ‘artist as consultant’? The research undertaken for this project will
highlight the paradigms and tensions between notions of both the urban art aesthetic
and fine art frameworks. Furthermore, the research will reveal the manner in which
cultural activity is sustained and valued through the lens of ‘the Blender’ and provide
a potential blueprint for artistic endeavour of the future.
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Thirion, Frank R. "Circular continuum : the depiction of historical time in the art of Paddy Fordham Wainburranga." Phd thesis, 2004. http://hdl.handle.net/1885/148548.
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