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1
James, Pamela J., University of Western Sydney, of Arts Education and Social Sciences College, and School of Humanities. "The lion in the frame : the art practices of the national art galleries of New South Wales and New Zealand, 1918-1939." THESIS_CAESS_HUM_James_P.xml, 2003. http://handle.uws.edu.au:8081/1959.7/567.
Full textAbstract:
This study examines the art practices and management of the National Art Galleries of Australia and New Zealand in the period between the wars, 1918-1939.It does so in part to account for the pervading conservatism and narrow corridors of aesthetic acceptability evident in their acquisitions and in many of their dealings. It aims to explore the role of Britishness, through an examination of the influence of the London Royal Academy of Art, within theses emerging official art institutions. This study argues that the dominant artistic ideology illustrated in these National Gallery collections was determined by a social elite, which was, at its heart, British. Its collective taste was predicated on models established in Great Britain and on traditions and on connoisseurship. This visual instruction in the British ideal of culture, as seen through the Academy, was regarded as a worthy aspiration, one that was at once both highly nationalistic and also a tool of Empire unity. This ideal was nationalistic in the sense that it marked the desire of these Boards to claim for the nation membership of the world's civil society, whilst also acknowleging that the vehicle to do so was through an enhanced alliance with British art and culture. The ramifications of an Empire-first aesthetic model were tremendous. The model severely constrained taste in domestic art, limited the participation of indigenous peoples and shaped the reception of modernism.Doctor of Philosophy (PhD)
2
James, Pamela J. "The lion in the frame : the art practices of the national art galleries of New South Wales and New Zealand, 1918-1939." Thesis, View thesis, 2003. http://handle.uws.edu.au:8081/1959.7/567.
Full textAbstract:
This study examines the art practices and management of the National Art Galleries of Australia and New Zealand in the period between the wars, 1918-1939.It does so in part to account for the pervading conservatism and narrow corridors of aesthetic acceptability evident in their acquisitions and in many of their dealings. It aims to explore the role of Britishness, through an examination of the influence of the London Royal Academy of Art, within theses emerging official art institutions. This study argues that the dominant artistic ideology illustrated in these National Gallery collections was determined by a social elite, which was, at its heart, British. Its collective taste was predicated on models established in Great Britain and on traditions and on connoisseurship. This visual instruction in the British ideal of culture, as seen through the Academy, was regarded as a worthy aspiration, one that was at once both highly nationalistic and also a tool of Empire unity. This ideal was nationalistic in the sense that it marked the desire of these Boards to claim for the nation membership of the world's civil society, whilst also acknowleging that the vehicle to do so was through an enhanced alliance with British art and culture. The ramifications of an Empire-first aesthetic model were tremendous. The model severely constrained taste in domestic art, limited the participation of indigenous peoples and shaped the reception of modernism.
3
Conlin, Jonathan. "The origins and history of the National Gallery, 1753-1860." Thesis, University of Cambridge, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.440592.
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Kringas, Simon. "Design of the High Court of Australia." Thesis, The University of Sydney, 2017. http://hdl.handle.net/2123/18605.
Full textAbstract:
The High Court of Australia is a seminal work of architecture, recognised nationally after twenty-five years by the Royal Australian Institute of Architects 'Enduring Architecture' award, and internationally, as one of only ten Australian buildings registered on the Union of International Architects 'Architectural Heritage of the 20th Century'. Since its construction in 1980, the design of the High Court has been consistently ascribed to the architect Colin Madigan – a director of the firm Edwards Madigan Torzillo and Briggs. It is said to embody a 'unity of concept' with Madigan's National Gallery, and to accord with 'universal' principles, geometric 'design laws' and the 'craft-based attitude' of 'Madigan's architecture'. Such sustained references have effectively established a dominant and institutionally sanctioned narrative. A body of other acclaimed work produced by the firm is similarly construed as Madigan's oeuvre. In fact, the design of the High Court resulted from a national competition held between 1972 and 1973. Documented evidence credits its 'Design Team' and identifies architect Christopher Kringas as the 'Director in Charge'. The stated 'Design Concept' does not mention universal principles or geometric laws, nor does the High Court's architectonic design accord with such descriptors. Kringas's design role is further evident in the firm's most significant work. This thesis traces and critically reviews the prevailing narrative of the design of the High Court. Behind-the-scenes correspondence, original archives and oral histories expose machinations around its authorship and build a counter-narrative that re-contextualises the High Court according to Brutalist ideology, nation building agendas, individual agency and design experimentation, crystallised by an architectural competition. An alternate reading of the High Court design is developed, pointing to a radicalisation and shift of the Brutalist agenda, and salient innovations previously unexamined.
5
Freestone, Mellor Paula. "Sir George Scharf and the problem of authenticity at the National Portrait Gallery." Thesis, University of Oxford, 2016. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.728997.
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Doucette, Valerie Anne. "The art museum in code: display strategies of the National Gallery of Canada." Thesis, McGill University, 2011. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=97220.
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This thesis explores the ways in which the art museum as a powerful cultural medium shapes the public understanding of artworks and how this work is affected by digital media when the museum displays art online. In an analysis of the National Gallery of Canada (NGC) I focus on how the artwork is encountered and understood in physical and digital contexts through the examination of three modes of museum practice: memory, information, and narrative. I compare each mode's manifestation in the physical museum space to its digital translation, revealing that the NGC largely reproduces its objective, highly authored, and one-way communicative practices in digital space. Other online interfaces such as the steve.museum project and the Art Matters blog of the Art Gallery of Ontario are examined as possible alternatives to the NGC's approach through their use of more open, collaborative, and social practices made possible by digital media.La présente thèse examine l'influence du musée d'art en tant que milieu culturel important sur la compréhension des objets d'art par le public et les répercussions des médias numériques sur ces œuvres quand le musée les affiche en ligne. Pendant l'analyse du Musée des beaux-arts du Canada (MBAC), je cherche à déterminer comment les objets d'art sont rencontrés et perçus dans leurs contextes physique et numérique en examinant trois contextes pertinents au musée : la mémoire, les renseignements et la narration. Je compare la manifestation des trois contextes dans l'espace physique du musée à leur traduction numérique, ce qui révèle que le MBAC reproduit de très près ses pratiques à communication unilatérale objectives et consignées dans l'espace numérique. J'examine également d'autres interfaces en ligne, notamment le projet steve.museum et le blog Art Matters du Musée des beaux-arts de l'Ontario, comme autres options à l'approche du MBAC pour leur usage plus ouvert, plus collaboratif et plus social rendu possible par les médias numériques.
7
Lilla, Qanita. ""The advancement of art" : policy and practice at the South African National Gallery, 1940-1962." Master's thesis, University of Cape Town, 2004. http://hdl.handle.net/11427/18426.
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Includes bibliographical references (pages 125-138).This thesis is an enquiry into the policies and practices that shaped the South African National Gallery in the 1940s and 1950s. Drawing on newspaper reports, the South African National Gallery's exhibition catalogues, pamphlets and annual reports, records of parliamentary debate and the crucial report of the Stratford Commission of 1948 the study has reconstructed a detailed history of the South African National Gallery. Established in 1871 as a colonial museum catering for a small part of the settler population of British descent, the museum came under pressure to accommodate the Afrikaner community after 1948. This did not mean that the liberal ethos at the museum disappeared, however. The South African National Gallery was strongly influenced by public pressure in this period. Public outrage over controversial art sales in 1947 led to the appointment of a commission of enquiry into the workings of the museum. At the same time, the head of the Board of Trustees, Cecil Sibbett, engaged the public on matters of Modern art. The museum's conservative and controversial Director, Edward Roworth was replaced in 1949 by John Paris who ushered in a new phase of development and management, encouraged the reconceptualization of South African art and reorganized the permanent collection. This initiative took place despite decreased autonomy for the Director and increased government imposition of Afrikaner Nationalist ideology. Nevertheless, the South African National Gallery avoided becoming a political instrument of the Apartheid regime.
8
Galastro, Anne Bernadette. "Institutional history of the Scottish National Gallery of Modern Art : tensions, paradoxes and compromises." Thesis, University of Edinburgh, 2012. http://hdl.handle.net/1842/7899.
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This study provides the first comprehensive account of the institutional history of the Scottish National Gallery of Modern Art (SNGMA) from the earliest calls for its foundation at the start of the twentieth century to the recent series of exhibitions marking its fiftieth anniversary in 2010. The SNGMA is both a unique case‐study and a useful illustrative example of the specific category of modern art museum: the account of its history sets the institution within its wider cultural context and explores the inevitable complexities facing a public gallery devoted to modern art. The study examines how the institution has balanced the need to represent a full historical survey of modern art with the desire to engage with the contemporary, and how it has addressed the question of collecting and displaying the work of Scottish artists alongside international art. By providing a close documentary analysis of the evolution of the institution, drawn from within the Gallery’s own archives, combined with extended reflections on the central dilemmas it has had to face, the study constitutes an original contribution to museum scholarship. Various methodologies are employed to assess the diverse factors that have affected the institution’s development. The narrative confirms the close correlation between the architectural frame and the public perception of the institution. It traces the evolution of the acquisitions policy and notes how this shaped the permanent collection, allowing a shift from an aspiration to universal coverage of the international trends of 20th century art to a more targeted specialisation in certain areas, primarily Dada and Surrealism. It charts the attitudes towards temporary exhibitions and the display of the permanent collection, and examines these in the light of current exhibition theory and practice. The analysis concludes that the SNGMA has been largely successful at achieving the aims and ambitions it originally defined for itself, although its role is constantly evolving in response to changes in the broader context of art museums.
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Greenwood, Justine Daniela. "Welcome to Australia: Intersections between immigration and tourism in Australia, 1945-2015." Thesis, The University of Sydney, 2015. http://hdl.handle.net/2123/15447.
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The second half of the twentieth century was characterised by drastic changes in the nature of immigration and the growth of mass tourism, leading to the two forms of mobility to become increasingly interconnected. However, much of the work in this area has been concerned with the contemporary implications of these ‘new forms of mobility’. This thesis argues that there is a need to look backwards, and beyond simply a concern with these new forms of mobility, to examine the ways tourism and immigration have intersected and influenced each other historically, at least through the second half of the twentieth century. In doing so, this thesis demonstrates how tourism and holiday-making have shaped the migrant experience, and conversely how immigration has changed the tourist image of Australia. This thesis argues that re-establishing the connection between tourism and immigration provides insights within three broad areas: mobilities, national identity and hospitality. Firstly, through the use of memoirs and autobiographies it shows how some migrants approached Australia with a sense of touristic curiosity that allowed them to negotiate their understanding of Australia and their new identity as ‘Australians’. Secondly, it demonstrates the role tourism has played in creating an appealing image of the nation for migrants, and subsequently, how migrants have become part of an image of Australia presented to domestic and international audiences. It argues that this shift has had important ramifications for multicultural policy, moving it away from its welfare and social justice roots. And thirdly, this thesis argues that tourism has had an important influence on the negotiation of national hospitality. This has resulted in tensions between the desire to present a welcoming tourist image and the realities of immigration restrictions; and equally between the desire to welcome outsiders and attempts to shape their behaviour. Together these three arguments demonstrate the need to more carefully explore past connections between tourism and immigration in order to better understand their continued relationship in the present.
10
Woodpower, Zeb Joseph. "The Australian National History Curriculum: Politics at Play." Thesis, Department of History, 2013. http://hdl.handle.net/2123/10246.
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In 2006, Prime Minister John Howard’s call for the root and renewal of Australian history initiated an ideologically driven process of developing an Australian national history curriculum which was completed by the Labor Government in 2012. Rather than being focussed on pedagogy, the process was characterised by the use of the curriculum as an ideological tool. This thesis provides accounts of the some of the key events during this period and engages with the conceptual debates that underlie the history curriculum being invested with such potent cultural authority.
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Fasoli, Lyn, and n/a. "Young children in the art gallery : excursions as induction to a community of practice." University of Canberra. Communication & Education, 2002. http://erl.canberra.edu.au./public/adt-AUC20060710.095714.
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Learning in 'communities of practice' is a new way of describing and investigating how
people learn and has not been applied extensively in research in early childhood or in art
galleries. This thesis is a critical case study undertaken with preschool children as they
prepared for, participated in and followed up a series of excursions to the National Gallery of Australia. The study explores and analyses children's induction into the
practices of the art gallery and their negotiation of the meanings around these practices in
the gallery and in their preschool. Children's engagement in practices is analysed using a
sociocultural framework for learning called 'communities of practice' (Wenger, 1998) in
combination with a multilevel analysis of the artefacts of practice derived from the
philosophical writings of Wartofsky (1979). Multiple data sources included photographs
of children, their drawings, tape recordings of their incidental talk and group discussions,
and results of play activities as children participated in the practices of the art gallery and
the preschool. Data was also collected through semi-structured interviews with gallery
and preschool staff. In a study involving such young children, the use and juxtaposition
of these multiple sources of data was important because it allowed for the inclusion and
privileging of the material and non-verbal resources as well as verbal resources that
children used as they engaged in practices. Outcomes of this research have been used to
illuminate and problematise early childhood as a site for the intersection of multiple
communities of practice. Learning to make sense of experience is portrayed as more than
language-based 'scaffolding' and the representation of experience through child-centred
play activity. The study provides a detailed descriptive account of children's learning and
sees it as a fundamentally unpredictable and emergent process. It shows that relations of
power are always a part of learning and can be seen through an analysis of the resources
available to children, those they took up and were constrained by in the local situation
and those they brought from other communities of practice. In this process, the children,
as well as their teachers, were active negotiators. They participated in complying with
community-constituted views of knowledge as well as shaping, resisting and contesting
what counted as knowledge. This study makes a contribution to understanding children's
learning in early childhood as fundamentally social, unpredictable, productive and
transformative rather than individually constructed, stable, predetermined and
representational of experience.
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Indelicato, Maria Elena. "International students: a history of race and emotions in Australia." Thesis, The University of Sydney, 2014. http://hdl.handle.net/2123/10470.
Full textAbstract:
In the aftermath of Indian students’ protest in Melbourne in 2009 a heated international debate between Indian and Australian media brought a question at the core of Australian national identity to the centre of national and international attention: is Australia racist? In Australia, public responses to this question have ranged from denial to acknowledgment of the continued existence of racial discrimination in Australia. This binary has been reflected and reproduced in public responses to the problems that international students have been seen to face during their stay in the country: emotional distress, social exclusion and exploitation. Those who have denied that Australia is not a racist country are also those who have depicted international students as “bogus migrants” making themselves vulnerable to exploitation by taking advantage of the loopholes in the Australian migration system. Meanwhile, those who have acknowledged racism in Australia have been also those who, in advocating in favour of international students, have represented them as “victims” of unscrupulous migration and education agents as well as racist Australians. This somewhat generalised overview of the debate highlights what both positions have in common: the absence of critical engagement with the history of international students’ presence in Australia. With no reference to this complex history, the national “problem” of international students has been almost always regarded as an isolated object of worried analysis and anxious governmental intervention in public discourse. To go beyond this binaristic mode of representing international students, this thesis first and foremost aims to historicise the debate erupted on the occasion of the protest of Indian students by undertaking a genealogical account of international students’ history of presence in Australia. In unfolding this history, this thesis also seeks to reveal how internationals students have been the privileged subjects of a doubled economy of discourses, one economic the other affective. In the process, it sheds light on the role of emotions in shaping the territorial and social borders of the Australian nation as well as in sustaining an international order of racialised positions dominated by Western nations due to their alleged capacity to control and act upon their emotions instead of being subsumed by them. To do so, this thesis analyses how the historical investment in the representation of international students as melancholic subjects has created the very conditions for the conversion of sympathetic feelings such as compassion into resentment. Conversely, this thesis will examine how the articulation of resentment into discourse regarding the governance of international students has established over time the level of inclusion of international students in the nation by aligning them with or against other population groups such as skilled migrants and asylum seekers. This thesis concludes by arguing that both the naming of international students as object of national compassion and resentment have stemmed from the same “white fantasy” that social problems and inequalities can be overcome without taking into account the history of structural and symbolic inequalities that has characterised race relations in Australia since its colonisation.
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Campbell, Rachel. "Peter Sculthorpe's Irkanda period, 1954-1965: music, nationalism, 'aboriginality' and landscape." Thesis, The University of Sydney, 2014. http://hdl.handle.net/2123/12869.
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Peter Sculthorpe’s Irkanda Period, 1954-1965: Music, Nationalism, ‘Aboriginality’ and Landscape Peter Sculthorpe began writing what he considered to be truly Australian music in the mid1950s. Many audience members, critics and culture industry personnel also heard it as Australian. Sculthorpe’s place in Australian music has subsequently been very prominent, beginning in the early 1960s during his Irkanda period. The period takes its name from his works Irkanda I - IV, their name borrowed from an Aboriginal word meaning “scrub country” that Sculthorpe variously translated as “the huge scrub-country of Central Australia,” “an austere and lonely place” and “a remote and lonely place.” This thesis is a study of the Irkanda-period works on which Sculthorpe’s initial reception was based: the origin of his dominant nationalist project, of significance in both his oeuvre and the history of Australian music. These musical representations of aspects of Aboriginal ‘folklore’ and central Australian landscapes have received significant popular and academic attention. However, many accounts have been shaped by what is identified as a culturally nationalist historiography evident in much of the commentary on Australian music and culture from the mid1960s. This thesis addresses some of the distorting effects of this historiography, through biographical analysis, music analysis and source study. An overarching aim is to analyse the music and reception of Sculthorpe’s Irkanda works in detail to address the question of what it was that audiences found plausibly Australian about them. Sculthorpe’s Irkanda music draws on longstanding representational traditions in classical and entertainment genres of musical exoticism, landscape, and ‘primitivism.’ His work is strongly connected with contemporary non-indigenous Australian cultural expressions of landscape and ‘Aboriginality.’ The relationship of his work with these contexts is explored, as is the nationalist basis of his music and its context within wider Australian and transnational cultural traditions. Keywords Peter Sculthorpe’s Irkanda Period, 1954-1965: Music, Nationalism, ‘Aboriginality’ and Landscape Peter Sculthorpe began writing what he considered to be truly Australian music in the mid1950s. Many audience members, critics and culture industry personnel also heard it as Australian. Sculthorpe’s place in Australian music has subsequently been very prominent, beginning in the early 1960s during his Irkanda period. The period takes its name from his works Irkanda I - IV, their name borrowed from an Aboriginal word meaning “scrub country” that Sculthorpe variously translated as “the huge scrub-country of Central Australia,” “an austere and lonely place” and “a remote and lonely place.” This thesis is a study of the Irkanda-period works on which Sculthorpe’s initial reception was based: the origin of his dominant nationalist project, of significance in both his oeuvre and the history of Australian music. These musical representations of aspects of Aboriginal ‘folklore’ and central Australian landscapes have received significant popular and academic attention. However, many accounts have been shaped by what is identified as a culturally nationalist historiography evident in much of the commentary on Australian music and culture from the mid1960s. This thesis addresses some of the distorting effects of this historiography, through biographical analysis, music analysis and source study. An overarching aim is to analyse the music and reception of Sculthorpe’s Irkanda works in detail to address the question of what it was that audiences found plausibly Australian about them. Sculthorpe’s Irkanda music draws on longstanding representational traditions in classical and entertainment genres of musical exoticism, landscape, and ‘primitivism.’ His work is strongly connected with contemporary non-indigenous Australian cultural expressions of landscape and ‘Aboriginality.’ The relationship of his work with these contexts is explored, as is the nationalist basis of his music and its context within wider Australian and transnational cultural traditions.
14
Dickenson, Rachelle. "The stories told : indigenous art collections, museums, and national identities." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=98919.
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The history of collection at the National Gallery of Canada, the Art Gallery of Ontario and the Montreal Museum of Fine Arts, illustrates concepts of race in the development of museums in Canada from before Confederation to today. Located at intersections of Art History, Museology, Postcolonial Studies and Native Studies, this thesis uses discourse theory to trouble definitions of nation and problematize them as inherently racial constructs wherein 'Canadianness' is institutionalized as a dominant white, Euro-Canadian discourse that mediates belonging. The recent reinstallations of the permanent Canadian historical art galleries at the National Gallery of Canada, the Art Gallery of Ontario and the Montreal Museum of Fine Arts are significant in their illustration of contemporary colonial collection practices. The effectiveness of each installation is discussed in relation to the demands and resistances raised by Indigenous and non-Native artists and cultural professionals over the last 40 years, against racist treatment of Indigenous arts.
15
James, Pamela J. "The lion in the frame the art practices of the national art galleries of New South Wales and New Zealand, 1918-1939 /." View thesis, 2003. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20040416.135231/index.html.
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Thesis (Ph.D.) -- University of Western Sydney, 2003."A thesis presented to the University of Western Sydney in partial fulfilment of the requirements for the degree of Doctor of Philosophy" Includes bibliography.
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Baskerville, Bruce Gordon. "The Chrysalid Crown: An un-national history of the Crown in Australia 1808 – 1986." Thesis, The University of Sydney, 2016. http://hdl.handle.net/2123/16395.
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This thesis set out to answer a deceptively simple question: why did the 1999 referendum to abolish the Australian Crowns fail? It focuses on the evolving civic personalities, communal identities and popular representations of the Crown in Australia, and how those representations and agents changed over 180 years. Capacities for the Crown’s continuing mutability, especially its divisibility, are at the heart of these imaginings. The answer to the question lies partly in emotions, in passion and the heart rather than in reason and the mind, along with a complex historical mix of other factors. Each chapter focuses on a single event or artefact: a usurpation of vice-regal authority, a proposal for a cadet kingdom of Australia, a mystic royal response to anti-German persecution, a State’s attempt to secede under the Crown and the invention of a chivalric order. The thesis posits a complex, iterative and changing network of social relationships rather than a simple metropole-periphery binary or hierarchy. It disaggregates ideas of crown, Britishness, empire, nation and Australianess, and concludes on the eve of the 1988 bicentennial celebrations when the Crown in Australia appeared splendid, popular, modern, federal, natural and regenerative. They were characteristics that, with hindsight, girded an Australian institution at once ancient and contemporary for the challenges of the 1990s when it stared-down what appeared to be an existential threat from Australian republicanism.
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McGrath, Frank Roland. "The intentions of the framers of the Commonwealth of Australia Constitution in the context of the debates at the Australasian Federation Conference of 1890, and the Australasian Federal Conventions of 1891 and 1897-8 The understanding of the framers of the Constitution as to the meaning and purpose of the provisions of the Constitution which they debated at these assemblies /." Connect to full text, 2000. http://hdl.handle.net/2123/850.
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Thesis (Ph. D.)--University of Sydney, 2001.Title from title screen (viewed Apr. 24, 2008). Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy to the Dept. of History, Faculty of Arts. Degree awarded 2001; thesis submitted 2000. Includes bibliography and of tables of cases. Also available in print form.
18
Cook, Shashi Chailey. ""Redress : debates informing exhibitions and acquisitions in selected South African public art galleries (1990-1994)" /." Thesis, Rhodes University, 2009. http://eprints.ru.ac.za/1631/.
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McGrath, Frank Roland. "Intentions of the Framers of the Commonwealth of Australia Constitution." Thesis, The University of Sydney, 2000. http://hdl.handle.net/2123/850.
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The thesis examines the speeches and debates in the Australasian Federation Conference of 1890, and the Australasian Federal Conventions of 1891 and 1897-8 for the purpose of establishing what the framers of the Commonwealth Constitution understood to be the meaning and purpose of the individual sections of the Constitution upon which they were called upon either to support or oppose. The particular matters involved in the examination are the manner and form in which the principles of responsible government were incorporated into the constitution, and the relationship of these principles to the powers of the Senate; the crisis in the 1891 Convention in relation to the powers of the Senate over money bills; the significance of the difference in composition of the Convention of 1891 compared with that of 1897-8; the significance of the classification of the Constitution as an indissoluble federation under the Crown; the principles of responsible government and the provisions of s.57 in the context of the deadlock over Supply in 1975; the meaning and purpose of s.41 preserving the rights of voters qualified to vote in State elections for the lower Houses, and the misconceptions in relation thereto the position of aborigines under the Constitution; the meaning and purpose of the special laws power in the light of the 1967 Constitutional referendum, and its interpretation bU the High Court in the Hindmarsh Island Bridge case; the relationship of the intentions of the framers of the Constitution to the interpretation bu the High Court of the Financial Clauses of the Constitution, and the provisions of s.92; and the meaning and purpose of the external affairs power, and the corporations power as understood bu the framers of the Constitution.
20
Vidal, Anne. "Representing Australian identity in the years 2000-2001 : the Sydney Olympic Games and the Centenary of Federation (selling Australia to the world or commemorating a flawless past?)." Thesis, The University of Sydney, 2004. https://hdl.handle.net/2123/27914.
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In his book, Inventing Australia: Images and Identity 1688-1980,
Richard White argues that:
There is no 'real' Australia waiting to be uncovered. A national
identity is an invention [. ..]. When we look at ideas about national
identity, we need to ask, not whether they are true or false, but
what their function is, whose creation they are, and what interests
they serve.
White's argument is a useful starting point when considering the
“obsession” Australian intellectuals have always felt to uncover their
national identity, which goes back to the very birth of Australia as a settler-colony.
Australia’s beginning as a colony not only implied a complete
dependence in terms of economy, defence and culture towards Great
Britain but also the dispossession of the indigenous population under the
legal doctrine of Terra Nullius. All settler-colonies in search for a national
identity follow the same initiatory path. The settlers at first feel isolated and
in exile, far away from any familiar landmark and find it difficult to
measure up with the mother country. After having, not without difficulty,
defined itself through the invention and the appropriation of myths
originating from the dominant Anglo Celtic society, Australia now seems to
suffer from a national identity crisis. The last three decades saw the
challenging and eroding of the mainstream white Australia identity by
minority groups such as women, non Anglo-Celtic migrants and indigenous
Australians. While those groups have made their voices heard throughout
the last thirty years, we can easily identify a dominant decade for each
group. Women saw most of their claims settled in the 1970s,
multiculturalism became a reality in the 1980s while indigenous
Australians stamped on the 1990s with native title laws, the reconciliation
movement and the growing acceptance and adoption of Aboriginality as a
desirable component of the Australian national identity.
21
Hook, Sarah. "Reading the gallery : portraits and texts in the mid- to late nineteenth century." Thesis, University of Oxford, 2017. https://ora.ox.ac.uk/objects/uuid:87ad5989-055a-4777-9418-5f636afd6f96.
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The Victorians saw more portraits than any generation before them. While the eighteenth century has been named 'the age of portraiture', portraits pervaded nineteenth-century society like never before. With the invention of photography, coupled with technological advancements in low-cost printing methods, the medium in which faces could be recorded was revolutionised, the classes of society that could afford to be immortalised expanded, and the spaces in which portraits were seen proliferated. These spaces included the public gallery, photography studio shop windows, and personal photograph albums. They also included the art periodical, biography, fiction, and poetry as the experience of portraiture became distinctly textual as well as visual. This thesis draws upon art history alongside literary, museum, and material studies to explore the creative exchange that developed between portrait viewership and reading practices in the mid- to late nineteenth century. Taking the establishment of the National Portrait Gallery in 1856 as its starting point, the thesis tracks the changing idea of the portrait gallery through its literary reception. It takes the portrait gallery to mean the physical space in which portraits were exhibited, and the conceptual idea of collecting, arranging, and interacting with portraits that permeated into the literary world. By focussing on the work of Edmund Gosse, Walter Pater, Thomas Hardy, and Vernon Lee, the thesis forms a 'gallery' of nineteenth-century tastemakers, each of whom looked to the democratic art of portraiture to reflect upon their literary art. How did portraits and texts interact in the mid- to late nineteenth century? In what ways did writers adapt the conventions of portraiture and the portrait gallery for the written text? This thesis seeks to answer these questions and provide new narratives about the complex relationship between the visual and the verbal in nineteenth-century culture. It observes the Victorian 'culture of art' with a more focussed eye to illuminate how the conditions of viewing, circulating, and collecting portraits specific to the period allowed the portrait gallery to serve as a particularly compelling arena for the literary imagination. Gosse, Pater, Hardy, and Lee tested the inherent limitations of portraiture as an art of imitation to realise its imaginative capacity for communicating with close and distant, contemporary and historic figures. They recognised that writing offered a valuable way of constructing the affective conversations that could be had with - and the stories that could be told about - portraits and portrait collections. With the proliferation of portraits came the problem and the opportunity of organising them.
22
McLennan, Bruce Clark. "Contemporary maritime pressures and their implications for naval force structure planning." Access electronically, 2006. http://www.library.uow.edu.au/adt-NWU/public/adt-NWU20070315.111709/index.html.
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De, Leuil Heather. "The introduction of recurrent funding to non-government schools in Western Australia : National statesmanship or provincial pragmatism?" Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2007. https://ro.ecu.edu.au/theses/318.
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State aid to private schools has been a controversial issue in Australia since the beginning of European settlement. This was true in all colonies' and remains a national issue in the twenty-first century. At various times colonial governments chose to provide to private schools, principally those operated by the Catholic and major churches. However as the colonies grew and statehood loomed, the of the day sought to withdraw their aid from private schools and their funding on the growing non-denominational, public school systems.
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Foley, Meredith Anne. "The women's movement in New South Wales and Victoria, 1918-1938." Phd thesis, Department of History, 1985. http://hdl.handle.net/2123/6084.
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Gore, James Michael. "Representations of history and nation in museums in Australia and Aotearoa New Zealand : the National Museum of Australia and the Museum of New Zealand, Te Papa Tongarewa /." [Australia] : J. Gore, 2002. http://eprints.unimelb.edu.au/archive/00000320.
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O'Malley, Timothy Rory. "Mateship and Money-Making: Shearing in Twentieth Century Australia." Thesis, The University of Sydney, 2009. http://hdl.handle.net/2123/5351.
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After the turmoil of the 1890s shearing contractors eliminated some of the frustration from shearers recruitment. At the same time closer settlement concentrated more sheep in small flocks in farming regions, replacing the huge leasehold pastoral empires which were at the cutting edge of wool expansion in the nineteenth century. Meanwhile the AWU succeeded in getting an award for the pastoral industry under the new arbitration legislation in 1907. Cultural and administrative influences, therefore, eased some of the bitter enmity which had made the annual shearing so unstable. Not all was plain sailing. A pattern of militancy re-emerged during World War I. Shearing shed unrest persisted throughout the interwar period and during World War II. In the 1930s a rival union with communist connections, the PWIU, was a major disruptive influence. Militancy was a factor in a major shearing strike in 1956, when the boom conditions of the early-1950s were beginning to fade. The economic system did not have satisfactory mechanisms to cope. Unionised shearers continued to be locked in a psyche of confrontation as wool profits eroded further in the 1970s. This ultimately led to the wide comb dispute, which occurred as wider pressures changed an economic order which had not been seriously challenged since Federation, and which the AWU had been instrumental in shaping. Shearing was always identified with bushworker ‘mateship’, but its larrikinism and irreverence to authority also fostered individualism, and an aggressive ‘moneymaking’ competitive culture. Early in the century, when old blade shearers resented the aggressive pursuit of tallies by fast men engaged by shearing contractors, tensions boiled over. While militants in the 1930s steered money-makers into collectivist versions of mateship, in the farming regions the culture of self-improvement drew others towards the shearing competitions taking root around agricultural show days. Others formed their own contracting firms and had no interest in confrontation with graziers. Late in the century New Zealanders arrived with combs an inch wider than those that had been standard for 70 years. It was the catalyst for the assertion of meritocracy over democracy, which had ruled since Federation.
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O'Malley, Timothy Rory. "Mateship and Money-Making: Shearing in Twentieth Century Australia." University of Sydney, 2009. http://hdl.handle.net/2123/5351.
Full textAbstract:
Doctor of Philosophy (PhD)After the turmoil of the 1890s shearing contractors eliminated some of the frustration from shearers recruitment. At the same time closer settlement concentrated more sheep in small flocks in farming regions, replacing the huge leasehold pastoral empires which were at the cutting edge of wool expansion in the nineteenth century. Meanwhile the AWU succeeded in getting an award for the pastoral industry under the new arbitration legislation in 1907. Cultural and administrative influences, therefore, eased some of the bitter enmity which had made the annual shearing so unstable. Not all was plain sailing. A pattern of militancy re-emerged during World War I. Shearing shed unrest persisted throughout the interwar period and during World War II. In the 1930s a rival union with communist connections, the PWIU, was a major disruptive influence. Militancy was a factor in a major shearing strike in 1956, when the boom conditions of the early-1950s were beginning to fade. The economic system did not have satisfactory mechanisms to cope. Unionised shearers continued to be locked in a psyche of confrontation as wool profits eroded further in the 1970s. This ultimately led to the wide comb dispute, which occurred as wider pressures changed an economic order which had not been seriously challenged since Federation, and which the AWU had been instrumental in shaping. Shearing was always identified with bushworker ‘mateship’, but its larrikinism and irreverence to authority also fostered individualism, and an aggressive ‘moneymaking’ competitive culture. Early in the century, when old blade shearers resented the aggressive pursuit of tallies by fast men engaged by shearing contractors, tensions boiled over. While militants in the 1930s steered money-makers into collectivist versions of mateship, in the farming regions the culture of self-improvement drew others towards the shearing competitions taking root around agricultural show days. Others formed their own contracting firms and had no interest in confrontation with graziers. Late in the century New Zealanders arrived with combs an inch wider than those that had been standard for 70 years. It was the catalyst for the assertion of meritocracy over democracy, which had ruled since Federation.
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Edström, Felicia. "Konstmuseer i den digitala världen : En kvalitativ studie av konstpedagogikens roll i virtuella konstmuseiutställningar." Thesis, Linnéuniversitetet, Institutionen för musik och bild (MB), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-96783.
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En kvalitativ studie av konstpedagogikens roll i virtuella konstmuseiutställningar. Syftet med denna studie är att kartlägga konstpedagogiska element och hur dessa påverkar förmedlandet, mottagandet och funktionerna i två virtuella utställningar från de Londonbaserade konstmuseerna The National Gallery och The Courtauld Gallery. Metoder och teorier med utgångspunkt i en analysmodell av den konstpedagogiska processen samt konstpedagogiska hållningar, har använts för analys och tolkning. I denna studie dras paralleller mellan studieobjekten och traditionella utställningar, samt ytterligare perspektiv på konstpedagogikens roll och virtuella utställningars funktioner i en konstpedagogisk kontext. Resultatet av denna studie visar på en fri pedagogik där användaren tar stor plats och styr sin virtuella rundtur bestående av ett rikligt men selekterat och kontrollerat innehåll.
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ROY, HAIMANTI. "CITIZENSHIP AND NATIONAL IDENTITY IN POST PARTITION BENGAL, 1947-65." University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1147886544.
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Baguley, Margaret Mary. "The deconstruction of domestic space." Thesis, Queensland University of Technology, 1998. https://eprints.qut.edu.au/35896/1/35896_Baguley_1998.pdf.
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Introduction:
I find myself in the pantry, cleaning shelves, in the laundry, water slopping around my elbows, at the washing line, pegging clothes. I watch myself clean shelves, wash, peg clothes. These are the rhythms
that comfort. That postpone. (The Painted Woman, Sue Woolfe, p. 170)
As a marginalised group in Australian art history and society, women artists possess a valuable and vital craft tradition which inevitably influences all aspects of their arts practice. Installation art, which has its origins in the craft tradition, has only been
acknowledged in the art mainstream this decade; yet evolved in the home of the 1950s. The social policies of this era are well documented for their insistence on
women remaining in the home in order to achieve personal success in their lives. This cultural oppressiveness paradoxically resulted in a revolution in women's art in the environment to which they were confined. Women's creative energies were diverted and sublimated into the home, resulting in aesthetic statements of individuality in home decoration. As an art movement, women's installation art in the home provided the similar structures to formally recognised art schools in the mainstream, and include: informal networks and training (schools); matriarchs within the community
who were knowledgable in craft traditions and techniques and shared these with younger women (mentorships); visiting other homes and providing constructive
advice (critiques); and women's magazines and glory boxes (art journals and sketch books). A re-examination of this vital period in women's art history will reveal the
social policies and cultural influences which insidiously undermined women's art, which was based on craft traditions.
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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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Deas, Megan Elizabeth. "Imagining Australia: Community, participation and the 'Australian Way of Life' in the photography of the Australian Women's Weekly, 1945-1956." Phd thesis, Canberra, ACT : The Australian National University, 2018. http://hdl.handle.net/1885/148424.
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While the cultural history and practices of press photography in Australia have gained scholarly attention in recent years, the contribution of other forms of photography published in magazines—including editorial, advertising and readers’ photographs—to burgeoning concepts of nationhood has been largely overlooked. This thesis examines the role of photography in visualising a post-war ‘imagined community’ in a study of The Australian Women’s Weekly magazine, the highest-circulating weekly publication in the country, between the end of the Second World War in 1945 and the introduction of television in 1956. In its examination of these photographs, the thesis asks: What narratives of national identity were evident in the photographs? What subject matter and framing techniques were frequently employed to construct a national photographic language? And what does this reveal about the values the Weekly’s publisher and editors attached to being Australian? I argue that the Weekly was not passively depicting or reflecting a national community and its ‘Way of Life’, but that it actively constructed an Australian identity through the thousands of photographs it published, while simultaneously instructing its readers what good citizenship looked like—and how to perform their belonging to the nation. Visual analysis of over 200 photographs highlights the predominant narratives during the period, including an emphasis on the practice of family photography to reinforce ideals of urban, family life as centred within the modern home. Representations of immigration and Aboriginal Australians, the repetition of photographs of families participating in community events, and a valorisation of the rural worker’s relationship with the land were intertwined with the concepts of ordinariness and of the ‘Australian Way of Life’. These core ideals were deployed to enable multiple and potentially oppositional narratives to coexist on the pages of the magazine. Analysis of a series of readers’ colour travel photographs published in the later years of the study foregrounds the Weekly’s encouragement of its readers as collaborators by providing them with an opportunity to demonstrate their performance of national identity. The magazine thus became a platform through which readers contributed to the visual narrative of Australianness, via the medium of photography as a form of participatory citizenship. The thesis foregrounds the implementation of a high-speed printing press in 1950 as a turning point at which readers saw a significant increase in the publication of colour photographs of native flora and fauna, and specifically photographs of ordinary Australians within the landscape. I argue that Alice Jackson and Esme Fenston, the Weekly’s editors during the period of study, positioned it as the mediator of knowledge about Australia, and constructed a relationship with readers based on notions of intimacy and authority. Situated within the multidisciplinary field of visual culture, and drawing from photography studies, visual anthropology, cultural history and media studies, the thesis highlights the cultural work of photography in the process of imaging, and imagining, post-war Australia.
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Seddelmeyer, Laura M. "All the Way with LBJ?: Australian Grand Strategy and the Vietnam War." Ohio : Ohio University, 2009. http://www.ohiolink.edu/etd/view.cgi?ohiou1236630726.
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Thesis (M.A.)--Ohio University, March, 2009.Title from PDF t.p. Release of full electronic text on OhioLINK has been delayed until April 1, 2014. Includes bibliographical references (leaves 104-108)
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Orr, Kirsten School of Architecture UNSW. "A force for Federation: international exhibitions and the formation of Australian ethos (1851-1901)." Awarded by:University of New South Wales. School of Architecture, 2006. http://handle.unsw.edu.au/1959.4/23987.
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In 1879 the British Colony of New South Wales hosted the first international exhibition in the Southern Hemisphere. This was immediately followed by the Melbourne International Exhibition of 1880 in the colony of Victoria and the success of these exhibitions inspired the Melbourne Centennial Exhibition, which was held in 1888 to celebrate the centenary of white settlement in Australia. My thesis is that these international exhibitions had a profound impact on the development of our cities, the evolution of an Australian ethos and the gaining of nationhood. The immense popularity and comprehensive nature of the exhibitions made them the only major events in late nineteenth-century Australia that brought the people together in an almost universally shared experience. The exhibitions conveyed official ideologies from the organising elites to ordinary people and encouraged the dissemination of new cultural sentiments, political aspirations, and moral and educational ideals. Many exhibition commissioners, official observers and ideologues were also predominantly involved in the Federation movement and the wider cultural sphere. The international exhibitions assisted the development of an Australian urban ethos, which to a large extent replaced the older pastoral / frontier image. Many of the more enduring ideas emanating from the exhibitions were physically expressed in the consequent development of our cities ??? particularly Sydney and Melbourne, both of which had achieved metropolitan status and global significance by the end of the nineteenth century. The new urban ethos, dramatically triggered by Sydney 1879, combined with and strengthened the national aspirations and sentiments of the Federation movement. Thus the exhibitions created an immediate connection between colonial pride in urban development and European and American ideals of nation building. They also created an increasing cultural sophistication and a growing involvement in social movements and political associations at the national level. The international exhibitions, more than any other single event, convinced the colonials that they were all Australians together and that their destiny was to be united as one nation. At that time, Australians began to think about national objectives. The exhibitions not only promulgated national sentiment and a new ethos, but also provided opportunities for independent colonial initiatives, inter-colonial cooperation and a more equal position in the imperial alliance. Thus they became a powerful impetus, hitherto unrecognised, for the complex of social, political and economic developments that made Federation possible.
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Emerson, John. "The representation of the colonial past in French and Australian cinema, from 1970 to 2000 /." Title page, contents and abstract only, 2002. http://web4.library.adelaide.edu.au/theses/09PH/09phe536.pdf.
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Taylor, Christopher George. "The Good Bloke in Contemporary Australian Workplaces: Origins, Qualities and Impacts of a National Cultural Archetype in Small For-Profit Businesses." Antioch University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=antioch1566171729886909.
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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.
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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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Davies, Llewellyn Willis. "‘LOOK’ AND LOOK BACK: Using an auto/biographical lens to study the Australian documentary film industry, 1970 - 2010." Phd thesis, Canberra, ACT : The Australian National University, 2018. http://hdl.handle.net/1885/154339.
Full textAbstract:
While much has been written on the Australian film and television
industry, little has been presented by actual producers,
filmmakers and technicians of their time and experiences within
that same industry. Similarly, with historical documentaries, it
has been academics rather than filmmakers who have led the
debate. This thesis addresses this shortcoming and bridges the
gap between practitioner experience and intellectual discussion,
synthesising the debate and providing an important contribution
from a filmmaker-academic, in its own way unique and insightful.
The thesis is presented in two voices. First, my voice, the
voice of memoir and recollected experience of my screen
adventures over 38 years within the Australian industry, mainly
producing historical documentaries for the ABC and the SBS. This
is represented in italics. The second half and the alternate
chapters provide the industry framework in which I worked with
particular emphasis on documentaries and how this evolved and
developed over a 40-year period, from 1970 to 2010.
Within these two voices are three layers against which this
history is reviewed and presented. Forming the base of the
pyramid is the broad Australian film industry made up of feature
films, documentary, television drama, animation and other types
and styles of production. Above this is the genre documentary
within this broad industry, and making up the small top tip of
the pyramid, the sub-genre of historical documentary. These form
the vertical structure within which industry issues are
discussed. Threading through it are the duel determinants of
production: ‘the market’ and ‘funding’.
Underpinning the industry is the involvement of government, both
state and federal, forming the three dimensional matrix for the
thesis. For over 100 years the Australian film industry has
depended on government support through subsidy, funding
mechanisms, development assistance, broadcast policy and
legislative provisions.
This thesis aims to weave together these industry layers, binding
them with the determinants of the market and funding, and
immersing them beneath layers of government legislation and
policy to present a new view of the Australian film industry.
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Péron, Marie. "Culture Warriors: Education and Awareness at the Inaugural National Indigenous Art Triennial, organized by National Gallery of Australia, 2007-2009." Thesis, 2010. http://spectrum.library.concordia.ca/7076/1/Peron_MA_F2010.pdf.
Full textAbstract:
This thesis discusses the inaugural National Indigenous Art Triennial: Culture Warriors organized and hosted by the National Gallery of Australia and provides a critical analysis of the National Indigenous Art Triennial: Educational Resource that accompanied the exhibition.
The aim of this discussion and analysis is to identify elements from the educational program at the National Gallery of Australia (NGA) that effectively increase knowledge and appreciation of Indigenous art at the Gallery. The premise behind my analysis consists of the possibility and feasibility of using similar educational programs in a Canadian context.
Using an exploratory approach, this thesis brings attention to elements that could potentially be of benefit to the National Gallery of Canada (NGC) in the development of future educational programs associated with Indigenous Art exhibitions.
It is well-known that, in the past, the NGC has been criticized for its exhibition, collecting, and dissemination practices with regards to Indigenous art. Having undergone considerable changes since the 1990’s, the NGC is beginning to look like a different institution especially with the establishment of an Indigenous Art Department in August 2007. One particular area criticized in the past about the NGC has been public access to and information about Indigenous art at the Gallery. As stated by Alfred Young Man, Department Head of Indian Fine Arts, at the First Nations University of Canada, in 2008; “There needs to be a better way for people who are looking for Aboriginal art at the National Gallery to find it, and learn about it.”
Today, the NGC’s mandate seeks to “increase the knowledge, awareness and appreciation of Indigenous art in Canada and internationally.” With its Indigenous Art Department currently in a relative stage of infancy, it is a logical time to be looking at the educational tools being developed and implemented at similar institutions, such as the NGA, for ideas as to how the NGC can fulfill its present-day mandate.
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Gleeson, PK. "The Ethnology Room : exhibiting Indigenous material culture at the Tasmanian Museum and Art Gallery, 1885-2021." Thesis, 2022. https://eprints.utas.edu.au/47654/.
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This thesis returns to Australia’s colonial past through the portal of a significant yet largely overlooked Australian museum, the Tasmanian Museum and Art Gallery (TMAG), located in Hobart, Tasmania. Formerly known as Van Diemen’s Land, Tasmania was the second of Australia’s colonies to be established, following New South Wales and remained a significant site throughout the colonial period. The originating archive for this project is TMAG’s Pacific Collection, which has not previously received sustained scholarly attention. It forms part of TMAG’s Ethnological Collection which in its entirety numbers some 10,000 objects, over 7000 of which hail from the Pacific. I explore the formation of the Pacific Collection, and its subsequent display in the museum’s Ethnology Room from the 1880s to the present as a means through which to engage in broader, pertinent discussions relevant to the ‘new’ museum history.1
My central research question asks how such a collection of Pacific material culture came to be housed in a small museum in what is now regional Australia? That TMAG, a modest museum at the edge of empire, was able to amass one of the most significant Pacific collections in Australia, was not an anomaly. Rather, I argue that this collection reflects the prominence and dynamism of intellectual, scientific and material networks in the Austral-Pacific in the late nineteenth and early twentieth centuries.
The central argument I make in this thesis is that despite Australia’s connection to the British Empire, Australian colonial museums were not purely imitative of British museology. In Australia, British museology was transformed by the Antipodean colonial world. It was, I argue, heavily influenced by the circulation of intercolonial material culture and knowledge networks within Australia and the Pacific. I suggest that when viewing British metropolitan and Australian colonial connections as networked systems, these webs and nodes very often crosshatch across Australia, Aotearoa New Zealand, and the Pacific, rather than leading neatly back to Britain.2 By applying transnational and transcolonial perspectives that consider the role of social exchange in museum and anthropological networks, this thesis highlights the importance of intercolonial networks in Australian museology.
Another key research question I pose, therefore, is whether Australia’s relationship with the Pacific challenges the assumed centrality of Britain in Australian museum history? Although Australia’s relationship with the Pacific did not replace that with Britain, the geographical location and the imperial ambitions of the Antipodean settler colonies formed central nodes in intellectual and material networks, bringing the colonial periphery to the centre of Oceanic collection and display. This thesis expands Australian museum history to include consideration of Pacific, in addition to British, worlds. It was not London, but Australia and Aotearoa New Zealand cities that were the metropoles of the Pacific.
Moving beyond the increasingly exhausted post-colonial critique of collecting and museums as tools of imperial domination, chapters two to five open with a carefully selected object from TMAG’s Pacific Collection: a photograph, a lime spatula, a diorama and a painting.3 Figuratively speaking, I remove these objects from the museum’s storerooms, recontextualising them. I curate these objects within a trajectory of acquisition and display, exposing as I do so the dynamic relationships between the colonisers and colonised, colonial networks involving knowledge and trade, and past practices of display. These new interpretations highlight how Australia’s place in the Pacific world inflected, and continues to inflect, museum practice.
I also use these storied objects as lenses through which to interrogate museum objects, ethnology, and indigenous art. I do so through combining theoretical insights from the cognate fields of post-colonial studies, cultural history, and visual studies. This thesis necessarily draws on an extensive volume and range of traditional archival manuscripts and sources, while also providing innovative analysis of visual and material sources. Distilling the resulting research findings not only reanimates a series of significant objects left lying dormant in a museum store, but, importantly, provides an insightful critique of past museum practice and illuminates productive ways of moving forward.
TMAG’s once popular Ethnology Room is now defunct; the Pacific Collection has been off permanent display since 2011. Moving the collection from storeroom to gallery as the twenty-first century progresses would necessitate vastly different forms of interpretation and display than those employed during the nineteenth and twentieth centuries. All key stakeholders, including museum curators, academics, school educators, and the viewing public, would demand no less. History and historians can offer museums a means through which to contend sensitively with often difficult pasts, and to forge new, more appropriate pathways for the future.
Footnotes
1 Rosi Crane, Bronwyn Labrum, Angela Wanhalla, ‘Introduction: Museum histories in Aotearoa New Zealand: intersections of the local and the global’, Museum History, vol.13, no.1, 2020, pp.1–7.
2 Tony Ballantyne, ‘Contesting the Empire of Paper: Cultures of Print and Anti-Colonialism in the Modern British Empire’, in Indigenous Networks: Mobility, Connections and Exchange, Jane Carey, Jane Lydon (eds), Routledge, New York, 2014, pp.219–240.
3 Fiona Cameron and Conal McCarthy, ‘Museum, Field, Colony: collecting, displaying and governing people and things,’ Museum and Society: special issue, vol,13, no.1, 2015, pp.1–6 (p.2).
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Chen, Li-Yu, and 陳麗郁. "Notions of History in Museum Exhibition: A Study on the History Gallery at the National Museum of Singapore." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/hw766m.
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碩士國立臺北藝術大學
博物館研究所碩士班
100
History is invented by nowadays people those are trying to reveal the past days’ wonders and mysteries. It’s the contemporary product and the remains of the past. It’s also the connection of the past and today. History is a knowledge system that carries lots of self-identifies and variety of values. It’s not only existed in the academic disciplines or in the scholar’s brain but also an invisible power that was born in the contemporary society and became the strength that made the society. My thesis is trying to discuss the landscape of history exhibition and the relationships with the notions of history itself. We will look through the case, History Gallery in the National Museum of Singapore, and try to discover the complexity between the museum history exhibition and the Historiography. When the two paths of the History Gallery, the Events Path and the Personal Path, catch visitors’ attentions, we have to rethink the possibilities of the paths brings. And we have to connect the guiding device, the Companion, and the “story-telling” narrative techniques into the concept of the representation of the history. I use diachronic historical timeline and synchronic cultural space to reconstruct the exhibition structure and I treat the story-telling narratives and the objects as the bricks and concrete to be the basic elements of the exhibition. All of these parts together and build a subjective view of the represented history and the agency to communicate and interact with the objective views outside of the museum or from the society and the authorities. That’s the reason and the purpose why I try to put the notions of history in museum exhibition being the important perspective of the historiography and History itself. The museums in Singapore and those in Taiwan are so different that I try not to jump to conclusion, but the notions of history in the History Gallery would be one of the best examples for the every museum cosmopolitan who’s within the historical identity confusion.
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Hansen, GS. "History curatorship in Australia : case studies from the National Museum of Australia 1991-2008." Thesis, 2009. http://hdl.handle.net/10453/33281.
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University of Technology, Sydney. Faculty of Arts and Social Sciences.The main argument of this thesis is that history curatorship in Australia does not, as yet, possess a mature critical culture. While there is a growing literature in the academy about museums, there is surprisingly little material written by practising history curators. History curatorship, as such, lacks a tradition of critical writing about its professional practice. All too often curators move from one project to the next with little time to reflect on the way they work. While some curators have written about their work the impression emerges that history curators are still struggling to define what it is they do and how they do it. In this thesis I explore the relationship between theory and practice, or praxis, in relation to history curatorship. In most exhibitions curators seek to apply a theoretical framework to the subject matter they are working on. In some instances this is a self conscious process and in others it is implicit in their work. I will explore a series of case studies from projects I have completed at the NMA to explore this relationship in my own work. As such the thesis is designed to be an interrogation of my own professional practice. Reflecting on the work I have completed provides some valuable insights into the practice of history curatorship.
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Hansen, Christine Frances. "Telling Absence: Aboriginal social history and the National Museum of Australia." Phd thesis, 2009. http://hdl.handle.net/1885/9328.
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The ordinary stories of ordinary Aboriginal people are a necessary part of Australian history. Yet museums throughout Australia, and in particular the National Museum of Australia, which are charged with the task of telling these stories, struggle to find appropriate material means to do
so: the history which shaped Australian museum collections and the history which shaped contemporary Aboriginal communities do not neatly converge. This research reflects on both.
The structure of this thesis is fashioned around three distinct voices. The first of these is my own where I give an account of my engagement with the Ngarigo community from the Snowy Mountains region of New South Wales into whose contemporary reality and history I am drawn. This reflexive narrative also provides the means for consideration of the complex and sometimes confronting research process as it unfolds in the field. Stories rather than objects were central to the interests of the community participants and it was a story, or rather a series of stories, which I felt would best serve the thorny conjunction of politics, history and representation at the core of this project. Story is also the central method in the second voice of this work, that of the
historical narrative. Here the plot centres not so much on reflection as on reconstruction of a Ngarigo family history. It is this voice that provides a powerful juxtaposition between the reality of lived lives and the constructions of Aboriginality emanating from both the academy and from within institutions of popular culture such as museums. The third voice of the thesis offers an analytical examination of the ideas underpinning the conceptual and historical elements out of which a museum is constructed. In this way I explore how the processes which have constituted the museum might be re-configured to accommodate the particularities of Aboriginal social
history.
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Toyosawa, Nobuko. "The cartography of epistemology : the production of "national" space in late 19th century Japan /." 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3337944.
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Thesis (Ph.D.)--University of Illinois at Urbana-Champaign, 2008.Source: Dissertation Abstracts International, Volume: 69-11, Section: A, page: 4461. Adviser: Ronald P. Toby. Includes bibliographical references (leaves 258-271) Available on microfilm from Pro Quest Information and Learning.
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Pulsford, Ian Frank. "History of disturbances in the white cypress pine (Callitris glaucophylla) forests of the lower Snowy River Valley, Kosciusko National Park." Thesis, 1991. http://hdl.handle.net/1885/143071.
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Beer, Chris. "Imagining and practising a national capital city : political geographies of Canberra." Phd thesis, 2008. http://hdl.handle.net/1885/151330.
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Thornton, Mia. "Never Waste a Crisis: Restoring Credibility at the National Museum of Australia after the 'History Wars', 2003-2013." Phd thesis, 2021. http://hdl.handle.net/1885/229872.
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Since the early 1990s, a large body of literature has studied high profile controversies in museums. These scholars have called on museums not to hide from controversy, but rather view controversy as a productive aspect of contemporary museology. Their case is founded on transforming the role of museums - by discarding their associations with tradition and, instead, taking a stand on politically contentious subject matter. But in reality, museums face many social and political pressures that prevent them from fully rallying behind this call. Moreover, to date scholars have overlooked investigating if there are legitimate reasons behind this trend of reluctance or cautiousness. This study aims to fill this analytical gap by asking why museums struggle to take a stand on politically contentious subject matter following a controversy.
In its attempt to do so this thesis narrows its analysis to a case study of the National Museum of Australia (NMA). It provides a window into a previously unexamined area - how NMA staff dealt with politically contentious subject matter during its ten-year (2003-2013) refurbishment project and cultural policy debates, after its involvement in the Australian version of the history wars. Analysis of public and grey material, interviews, media clips, and final gallery exhibits illuminates the strategies deployed by NMA staff during: the refurbishment of a gallery exploring transnational history ('Australian Journeys: Australia's Connections with the World'), a gallery presenting a general history of Australia since 1788 ('Landmarks: People and Places Across Australia/), and two unique opportunities to debate cultural policy with federal politicians (Senate Estimates hearings on the efficiency dividend and consultations on 'Creative Australia: National Cultural Policy, 2013-2023'). The analysis is located within interdisciplinary work - including sociology, organisational theory, museum studies, cultural politics, and Australian history - that critiques organisational crises and change.
I argue that the ability of museum managers and curators to earn credibility and trust was problematic and complex during the refurbishment project and the cultural policy opportunities. Following its earlier controversy, NMA staff were faced with addressing a complex tension - between professional, scholarly, and social responsibility considerations and garnering credibility with powerful stakeholders. NMA staff tailored their strategies across two phases, which had a largely constraining impact on curatorial and interpretative practices. Out of necessity I contend that NMA staff prioritised rebuilding trust and belief, or what I call credibility in my study. During the first phase (2003-2009), staff made compromises in order to restore trust with stakeholders with opposing political agendas. During the second phase (2006-2013), which overlaps with the phase, the NMA struggled to garner credibility with socially liberal stakeholders who acted with ambivalence towards the refurbishments and during cultural policy debates.
The study's findings illustrate that the NMA took a more conservative approach than that advocated by much existing scholarly work. It asserts that restoring credibility is a genuine consideration for museums following a controversy. While museums may have to make compromises, the study finds that crises are never wasted effort. This study is not suggesting major museums in Australia avoid provoking controversy with powerful stakeholders. Rather, it acknowledges the worthwhile but considerable task ahead for museums recovering from crises and pursuing reforms that magnify divisive views within Australian society.
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Cuffe, Honae. "The search for an integrated policy: challenges to Australian national interest in the Asia-Pacific, 1921–57." Thesis, 2020. http://hdl.handle.net/1959.13/1411231.
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Research Doctorate - Doctor of Philosophy (PhD)This dissertation examines the development of a distinct Australian foreign policy over the years 1921–57. The period under study was one of immense upheaval for Australia as the nation navigated economic crises, the threat of aggressive Japanese expansion and the sifting power distributions underway in the Asia-Pacific region as the world transitioned from British leadership to that of United States of America. Successive Australian governments carefully observed these global and regional forces, searching for a policy in response. This dissertation argues that the policy that developed was an integrated one—that is, one that sought to balance Australia’s particular geopolitical circumstances with great powers relations and, in assessing the value of these relationships, ensure that the nation’s trade, defence and diplomatic interests were served. This dissertation identifies a marked continuity in how Australia’s political elite approached foreign policy over the years 1921–57. In the midst of the economic and strategic uncertainty of the interwar years, policymakers determined the need to reorient policymaking to Australia’s immediate region and acknowledged that neither the policies of Britain nor the US completely served the national interest. The government accordingly sought to intervene in the policies of the great powers to ensure the national interest was safeguarded. This thesis traces how this geopolitically informed, interventionist approach to foreign policy went on to inform policymaking throughout the 1940s and 1950s. In doing so, this thesis identifies a comprehensive and explicitly pragmatic approach in Australia’s foreign policy tradition that has not been previously acknowledged.
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Arrighi, Gillian Anne. "A circus and its context: the FitzGerald Brothers' Circus in Australia and New Zealand, 1888-1906." Thesis, 2007. http://hdl.handle.net/1959.13/1312413.
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Research Doctorate - Doctor of Philosophy (PhD)Throughout the 1890s and early years of the twentieth century, the FitzGerald Brothers' Circus was the largest and most popular homegrown circus touring in Australasia. Their productions were at once fabulous and educational, parochial and cosmopolitan, political and sensual. The company's principals, Dan and Tom FitzGerald were astute showmen, sensitive to the shifting tastes of their public, and people of all ages and stations found something in their shows that appealed. Drawing on a diverse range of primary source material, this thesis examines the ways that a range of shows produced by the FitzGeralds articulated a variety of narratives, not all of which were congruent, concerning nation, identity, allegiance, and belonging, in Australasia at the turn of the twentieth century. As a history of a performance company, it traces the artisitic career of the circus from their emergence in 1888 to the company's dispersal in 1906. It brings forward and analyses many of the acts which the FitzGeralds promoted as their key attractions and in which they invested much of their identity. While the story of the FitzGeralds' Circus constitutes the primary narrative line of the thesis, a meta-narrative about events in the wider community, shifting political imperatives, and cultural change, also runs through the thesis as a strategy for annotating the circus shows and drawing out possible readings of them. This study investigates the dialogic relationship that developed between one particular circus and the contemporary society; it interrogates the extent to which that society, directly and indirectly, impacted on the cultural productions of the principal circus of the era and considers the meaning that were reflected back to the circus's public.
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Scott, Margaret. "Engendering loyalties: the construction of masculinities, feminities and national identities in South Australian secondary schools, 1880-1919." Thesis, 2000. http://hdl.handle.net/2440/19740.
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Bibliography: leaves 369-398.xiv, 398, [19] leaves : ill., maps, ports ; 30 cm.
A comparative study of a selection of South Australian secondary schools during the period 1880-1919. The ideals of gender and national identity of the various schools are investigated through an analysis of archival records relating to their rhetoric, organisation and curricula.
Thesis (Ph.D.)--University of Adelaide, Dept. of Education, 2000