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1
Ward, Debbie, and n/a. "Textile conservation at the Australian National Gallery." University of Canberra. Applied Science, 1985. http://erl.canberra.edu.au./public/adt-AUC20061109.174356.
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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.
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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.
3
Urquhart, Ian McLeod, and n/a. "An internship in painting conservation at the Australian National Gallery." University of Canberra. Applied Science, 1985. http://erl.canberra.edu.au./public/adt-AUC20061109.162330.
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My employment in the Paintings Section of the Conservation Department
of the Australian National Gallery began in June 1983, however my
internship did not begin until March 1984 under the supervision of
Allan Byrne.
At that time, the paintings section was divided, rather arbitrarily,
into: paintings pre-1940, headed by Ilse King and; paintings
post-1940, headed by Allan Byrne.
Because of the departure of the then senior curator of conservation Dr
Nathan Stolow, Allan Byrne became acting senior curator. When Allan
Byrne took up the position of lecturer in paintings conservation at
C.C.A.E., Ilse King then became acting senior curator and my
supervisor; the division within the painting section was then
disbanded.
Jac Macnaughtan departed temporarily from the department to undertake
study and to work at the Tate Gallery and at the Courtauld Institute
in London leaving me with the paintings section.
I was fortunate enough to have at first one assistant Simon Hartas,
then two assistants, Mark Henderson and Les Cormack to help with the
task of backing, framing and restretching paintings.
There was no formal training programme for an intern - work was
undertaken as it came into the department and as it was allotted.
For the sake of simplicity and ease of handling the dissertation is
divided into 3 parts:
Part 1 includes the Functions and Facilities of the conservation
department.
Part 2 includes an outline of painting conservation practice within
the gallery and details of conservation work undertaken.
Part 3 comprises a project on some of the properties of hardboard.
As the gallery has in its collection a considerable number of
paintings on hardboard, to augment my knowledge and perhaps give some
insight into the nature of hardboard, this project was undertaken in
conjunction with the internship.
4
Cains, Carol, and n/a. "Internship in textile conservation at the Australian National Gallery, 1981-1984." University of Canberra. Applied Science, 1985. http://erl.canberra.edu.au./public/adt-AUC20060623.130749.
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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.
6
James, Pamela J., University of Western Sydney, of Arts Education and Social Sciences College, and School of Humanities. "The lion in the frame : the art practices of the national art galleries of New South Wales and New Zealand, 1918-1939." THESIS_CAESS_HUM_James_P.xml, 2003. http://handle.uws.edu.au:8081/1959.7/567.
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This study examines the art practices and management of the National Art Galleries of Australia and New Zealand in the period between the wars, 1918-1939.It does so in part to account for the pervading conservatism and narrow corridors of aesthetic acceptability evident in their acquisitions and in many of their dealings. It aims to explore the role of Britishness, through an examination of the influence of the London Royal Academy of Art, within theses emerging official art institutions. This study argues that the dominant artistic ideology illustrated in these National Gallery collections was determined by a social elite, which was, at its heart, British. Its collective taste was predicated on models established in Great Britain and on traditions and on connoisseurship. This visual instruction in the British ideal of culture, as seen through the Academy, was regarded as a worthy aspiration, one that was at once both highly nationalistic and also a tool of Empire unity. This ideal was nationalistic in the sense that it marked the desire of these Boards to claim for the nation membership of the world's civil society, whilst also acknowleging that the vehicle to do so was through an enhanced alliance with British art and culture. The ramifications of an Empire-first aesthetic model were tremendous. The model severely constrained taste in domestic art, limited the participation of indigenous peoples and shaped the reception of modernism.Doctor of Philosophy (PhD)
7
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.
8
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.
9
Niciarelli, Elena <1989>. "Brand Community. Tate e The National Gallery." Master's Degree Thesis, Università Ca' Foscari Venezia, 2021. http://hdl.handle.net/10579/19210.
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Il concetto di Brand Community non è nuovo, ma appare ne testi di Muniz e O’Guinn tra la fine degli anni ’90 e l’inizio del 2000. Tuttavia nel tempo, la letteratura scientifica sull’argomento brand community è aumentata, e il digitale, il mondo virtuale e le ICT hanno provveduto ad apportare ulteriori modifiche e cambiamenti.
Lo studio analizza e descrive la brand community delle organizzazioni culturali, nello specifico di due musei situati nel Regno Unito. Tate e The National Gallery sono messi a confronto per descrivere come un museo multi sede e un museo mono sede inglese, abbiano attivato differenti comunità di marca in loco, virtuali, social e online.
Per rincorrere sia una valenza teorica che empirica del concetto, dopo una presentazione generale sul tema, la metodologia di lavoro si concentra sullo studio complessivo dei due Musei e ne descrive le differenze, utilizzando i dati a disposizione degli ultimi anni. Il tema della brand community e del digitale, del virtuale, dei social, della post millennial community, ha una forte struttura in un museo multi sede, che vede differenti collezioni, consumatori, territori, membership, associazioni coinvolte. La National Gallery londinese ha una community digitale più concentrata sulle esposizioni temporanee, meno sulla collezione permanente, dove tuttavia si concentrano i patrons, i fedelissimi del marchio, e non ha ancora attivato una young community chiara come quella alla Tate.
L’epidemia del 2020 ha messo in luce potenzialità e carenze nell’online dei due Musei, spingendo entrambi ad una maggiore informatizzazione e digitalizzazione, al fine di rincorrere e servire tutti i pubblici, creare vincenti brand community e strutturare quelle esistenti.
10
Perry, Lara Ann. "Facing femininities : women in the National Portrait Gallery, 1856-1899." Thesis, University of York, 1999. http://etheses.whiterose.ac.uk/2479/.
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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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Dias, Rosemarie. "John Boydell's Shakespeare Gallery and the promotion of a national aesthetic." Thesis, University of York, 2003. http://etheses.whiterose.ac.uk/2532/.
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Hahn, Catherine Neville. "The political house of art : the South African National Gallery, 1930-2009." Thesis, Goldsmiths College (University of London), 2016. http://research.gold.ac.uk/19314/.
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The thesis analyses modes of representation in the South African National Gallery (SANG) between 1930 and 2009. Built in 1930, for the larger part of its history SANG was situated in a white state that disenfranchised the black populace. Whiteness, as citizenship, was normalised and glorified in the state’s museums. Analysis of evidence collected from the archive, décor, art collection, exhibitions, attendance of walking tours and semi-structured interviews with staff demonstrates that SANG’s historic practice does not fit neatly within the dominant theoretical understanding of the art museum, namely a sacred space in which power has been obscured through the ‘art for art’s sake’ model. Instead, the thesis finds at SANG invisible symbolic capital resided alongside the more muscular capital of the colony, which derived its strength from an overt relationship with commerce, politics and race. The thesis further finds that SANG developed a close relationship with its white audience through its construction as a ‘homely space’. As a consequence, I argue SANG developed museological conventions that better fit the analogy of the political house than the temple. Taking new museum ethics into consideration, the thesis examines how SANG’s distinctive heritage impacted on its ability to be inclusive. My fieldwork on recent representational practice at SANG reveals strategies congruent with the post-museum, including performative political exhibitions, diversification of the collection and active dialogue with the communities it seeks to serve. At the same time embedded modes of white cultural representation were identified that restricted its capacity to ‘move-on’. The thesis contributes to the field of museum studies by drawing attention to the significance of the individual histories of art institutions in determining their ability to make change. The thesis also contributes to the field of visual sociology by presenting images and ‘map-making’ as an integral feature of the research design.
14
Pezzini, Barbara. "Making a market for art : Agnews and the National Gallery, 1855-1928." Thesis, University of Manchester, 2018. https://www.research.manchester.ac.uk/portal/en/theses/making-a-market-for-art-agnews-and-the-national-gallery-18551928(4f296d6c-997a-4eab-95ca-bace7b9c3596).html.
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The thesis investigates the interaction that developed between a major art dealer, Thos. Agnew and Sons (Agnews), and a principal public collection, the London National Gallery, from 1855 to 1928. Agnews played a crucial role in the life of the National Gallery and greatly facilitated the museum accession of important paintings, such as the Madonna Ansidei by Raphael, the Rokeby Venus by Velazquez, the Portrait of Doge Vincenzo Morosini by Tintoretto, and many others. In turn, collaborating with the National Gallery allowed Agnews to penetrate the international Old Masters market and reach for higher social standing. Through the analysis of ten case studies of acquisitions, which are supported by new archival evidence and are contextualised within a broader historical and theoretical framework, this thesis charts the emergence, development and decline of the rapport between the two organisations. It analyses how Agnews and the National Gallery began as two unconnected entities in the mid-nineteenth century, explores how their distinct trajectories turned into a close, collaborative rapport during the 1880s, and finally examines how in the third decade of the twentieth century they separated and initiated a newly detached professional relationship. Appropriating sociological theories by Pierre Bourdieu, Bruno Latour, Viviana Zelizer and others, this study investigates museum acquisitions as resulting from complex interplays of cultural and commercial forces within the field of cultural production. Acquisitions are further enlightened by the analysis of the networks that underpin them, which provide additional evidence on how economic factors are embedded within broader social constructs. By detailing and locating these processes and relationships within the historical context of a broad shift towards commercialisation, yet demonstrating that cultural elements are part of the dealers activities and that commercial values are an intrinsic component of the museum, this study provides an insight into the historical origins of modern-day relationships between museums and art dealers.
15
Morosinotto, Erica <1992>. "L'immagine della National Gallery tra cataloghi ufficiali e pubblicazioni indipendenti (1824-1914)." Master's Degree Thesis, Università Ca' Foscari Venezia, 2016. http://hdl.handle.net/10579/9245.
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L'immagine che un museo dà di sé risulta fondamentale per capirne l'essenza. L'analisi delle pubblicazioni ufficiali e indipendenti riguardanti la National Gallery dalla sua fondazione allo scoppio della Prima Guerra Mondiale mostra lo sviluppo subito dall'istituzione inglese che da una galleria simile a quelle private è diventata uno dei più importanti musei pubblici al mondo.
16
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.
17
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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Hersov, Mary. "The temporary exhibition in the Sainsbury Wing, National Gallery : commission, design and outcome." Thesis, University of Essex, 2017. http://repository.essex.ac.uk/19861/.
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The Sainsbury Wing, the National Gallery’s new extension, opened in July 1991. It had the primary aim of providing new galleries for the Early Renaissance collection. It was also intended to give a new outward-looking face for the Gallery with expanded public facilities, including a larger temporary exhibition space. However, this space has been much criticised for its basement location and resulting lack of natural light. The rooms are limited in size and some are irregular in shape which make it difficult to install larger works and to provide enough viewing space for visitors to popular shows. This thesis investigates why the Gallery decided to build this space, why the design was developed and what were the consequences. It looks at the history of temporary exhibitions - the spaces they need in London and abroad. Using archive material and conversations with participants, it pieces together the convoluted story of the building of the temporary exhibition galleries in the Sainsbury Wing. It examines the many briefs, the involvement of the architects, Venturi Scott Brown, and explains how the resulting design developed. It then relates how the Gallery used the space for its expanded exhibitions programme and considers its advantages and disadvantages. In the conclusion, it makes some recommendations for the best way to create new exhibition galleries for the future. The thesis sheds new light on an aspect of institutional history of the Gallery. It provides an original analysis of an area of the Sainsbury Wing which has been little discussed. As a case study for the design of facilities for temporary exhibitions, it underlines the importance of these spaces and analyses the specific needs and requirements.
19
Bowman, Christopher M. "Gallery of the Past: Writing Historical Fiction with 19th Century Photography in Canada and Australia." Thesis, Griffith University, 2013. http://hdl.handle.net/10072/365910.
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This thesis, consisting of a novel and dissertation, explores the writing of historical fiction, and the use of photography as research in visualising the several settings that the characters inhabit. As the novel is set in the late 19th century, the conventions of Victorian-era photography came to the forefront of the research. The story sees two fictional brothers leave their home on Vancouver Island in Canada, each traveling alone, and each with a different weight on his heart. They find themselves in towns with very real, and very documented, histories, and this is where my research into photography began. Joseph Richard, the younger brother, finds work in the town of Yale, on the Fraser River in British Columbia during the early days of the construction of the Canadian Pacific Railway. Yale was a boomtown and major depot during railway construction, and there are many photographs from the 1880s to chronicle its buildings and denizens, its remote and wild surroundings, its place in history.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Humanities
Arts, Education and Law
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Macduff, Anne. "Advance Australia Fair? Citizenship Law, Race and National Identity in Contemporary Australia." Phd thesis, Canberra, ACT : The Australian National University, 2017. http://hdl.handle.net/1885/133589.
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Although the ‘White Australia policy’ was officially rejected
over 40 years ago, this thesis argues that it continues to
influence notions of belonging in Australia today. While racial
exclusion from the national community was once achieved through
discretionary mechanisms embedded in migration laws and policy,
today, it is achieved through Australian citizenship laws and
policy.
This thesis critically examines the package of law reforms
introduced in 2007, which subsequently became the Australian
Citizenship Act 2007 (Cth) (‘ACA’). It explores the extent to
which Australian citizenship law enables or limits culturally
diverse expressions of belonging in a liberal, multicultural and
democratic nation. The thesis is underpinned by a critical race
theory approach, which understands the relationship between law
and culture as mutually constitutive. That is, it sees the law as
not only reflecting social norms but participating in their
production and reinforcement. The thesis draws out ways that
Australian citizenship laws mobilise narratives of belonging
which construct a racialised Australian national imaginary.
Using a range of interdisciplinary approaches (including legal
analysis, Critical Discourse Analysis and critical legal
geography), the thesis identifies and analyses narratives about
belonging circulating in three significant fields of public
discourse; legal, political and media discourse. It argues that
these public discourses articulate the meaning of the legal
status of citizenship through racially exclusionary narratives
about Australian values and an ‘Australian way of life’.
The thesis argues that Australian citizenship law is an
increasingly important site used to produce and sustain a
racially exclusionary national imaginary. It analyses how
narratives about Australian citizenship status are increasingly
articulated in opposition to migrants generally, but the Muslim
Other in particular. These racialised narratives of belonging are
conveyed through decisions made under the ACA. Having identified
how the law mobilises narratives which produce and sustain a
White national imaginary, Judith Butler’s theory of
performativity is used to identify some possible citizenship
counter-narratives.
It concludes that, contrary to official statements, Australian
citizenship status does not facilitate an inclusive notion of
national belonging. Instead, it is a mechanism that produces and
sustains a White national imaginary.
21
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.
22
Yoshie, Yoshiara. "Art museums in a diverse society : a visitor study at the South African National Gallery." Thesis, SOAS, University of London, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.498502.
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Spence, Cathryn Helen Gordon. "A passionate vision and its legacy : the national gallery of British art at South Kensington." Thesis, Royal Holloway, University of London, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.521759.
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Trodd, Colin. "Formations of cultural identity : art criticism, the National Gallery and the Royal Academy, 1820-1863." Thesis, University of Sussex, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.358796.
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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.
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Fort, Carol S. "Developing a national employment policy : Australia 1939-45 /." Title page, contents and abstract only, 2000. http://web4.library.adelaide.edu.au/theses/09PH/09phf736.pdf.
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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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Robinson, Cicely. "Edward Hawke Locker and the foundation of the National Gallery of Naval Art (c.1795-1845)." Thesis, University of York, 2013. http://etheses.whiterose.ac.uk/6272/.
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The National Gallery of Naval Art was situated within the Painted Hall at Greenwich Hospital from 1824 until 1936. This collection of British naval paintings, sculptures and nautical curiosities was one of the first ‘national’ collections to be acquired and exhibited for the general public, preceding the foundation of the National Gallery by a matter of months. Installed in the wake of the Revolutionary and Napoleonic Wars, the Naval Gallery, as it was more commonly known, was primarily founded to commemorate ‘the distinguished exploits of the British Navy’. This thesis examines how the Gallery presented a unique type of national naval history to the early nineteenth-century public, contributing to the development of contemporary commemorative culture as a result. In addition, the Naval Gallery also functioned as a forum for the exhibition of British art. This study examines how the Gallery was actively involved in the contemporary art world, liaising with the Royal Academy of Arts and the British Institution, providing patronage for contemporary artists and actively contributing toward the development of a national patriotic aesthetic. In 1936 the Naval Gallery was dismantled and the collection was given, on permanent loan, to the newly founded National Maritime Museum. As a result of this closure the Gallery ceased to be the subject of contemporary commentary and knowledge of its existence gradually declined. This thesis conducts a dedicated institutional study of the Naval Gallery in an attempt to re-establish its status as the first ‘national’ naval art collection, as a major site for the public commemoration of Nelson and as an active participant in the early nineteenth-century British art world.
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Mead, Jonathan, and mikewood@deakin edu au. "The Australia-Indonesia security relationship." Deakin University. School of International and Political Studies, 2004. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20051017.144017.
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Venn, Darren Peter. "A changing cultural landscape Yanchep National Park, Western Australia /." Connect to thesis, 2008. http://portalapps.ecu.edu.au/adt-public/adt-ECU2008.0012.html.
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Venn, Darren P. "A changing cultural landscape: Yanchep National Park, Western Australia." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2008. https://ro.ecu.edu.au/theses/28.
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This study depicts the changing landscape of Western Australia's Yanchep National Park as it has evolved in response to natural processes and human activities. The study also serves to evaluate the level of input Indigenous people have in the management of Australian natural and cultural heritage. The Park was examined by utilising a methodology that combined a cultural geography approach with Structuration Theory. Yanchep National Park is highly suited to this type of investigation because of its close proximity to a major urban centre ( Perth ) and because of the importance of the area to Indigenous people, resulting in a highly visible cultural heritage within the Park.
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Morris, Andy. "The geographies of multiculturalism : Britishness, normalisation and the spaces of the Tate Gallery." Thesis, n.p, 2002. http://oro.open.ac.uk/18912.
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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.
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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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Limbos-Bomberg, Nathalie. "The ideal and the pragmatic, the National Gallery of Canada's Biennial Exhibitions of Canadian Art, 1953-1968." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/MQ57706.pdf.
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Abbo, Mayer S. "Transforming and revealing a footprint of place : new National Gallery of Art Project, San Jose, Costa Rica." Thesis, Massachusetts Institute of Technology, 1992. http://hdl.handle.net/1721.1/62908.
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Thesis (M. Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 1992.Includes bibliographical references (p. 293-297).
The primary focus of this investigation is the insertion of a new piece in an environment where the natural elements of site and the man-made elements of city can begin to inform the ordering systems used in the design process. The existing footprint of the ruins of La Antigua Penitenciaria, in the center of the Costa Rican capital, San Jose, is transformed in meaning and character to become a cultural center for the city. The problem presented is a contextual one of making a place in the world through a reading, cataloguing and reinterpretation of /lature, city, and culture. The .goal of the process is a building that reveals the meaning of its present time and place, set in a landscape that tells stories of its past.
by Mayer S. Abbo.
M.Arch.
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King, Martha J. (Martha Juliette) Carleton University Dissertation Canadian Studies. "The National Gallery of Canada at arm's length from the government of Canada; a precarious balancing act." Ottawa, 1996.
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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.
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Burke, Andrew. "Two collections of poetry, Whispering gallery [and] Flight log: Selected Poems 1967-2001: Plus an Essay: The Roots of My Writing." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2001. https://ro.ecu.edu.au/theses/291.
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This presentation includes two collections of poetry and one essay. There are two collections of poetry because one of them, Flight Log, is a 'Selected Poems' which necessarily includes much work not written during the course of my MA. However, I contend that the process of constructing a 'selected' collection is as creative as the editing process one knows through writing poetry, and that respect for one former creativity is a vital part of the artist's continuing productivity. The new manuscript, Whispering Gallery, is the text of my fifth book, published by Sunline Press in November 2001. Originally it was envisaged as a collection of contemporary haibun in a form predominantly created by John Tranter, but creating to a set form became a chore rather than a creative delight, so I returned to a fundamental lyric form for many of the later poems. Hopefully it now has a wide range of tones and moods yet is cohesive through form and content.
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Hoyle, Maxwell Bruce, and mikewood@deakin edu au. "Australia and East Timor: elitism, pragmatism and the national interest." Deakin University, 2000. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20050915.110809.
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For over two decades the issue of East Timor's right to self-determination has been a prickly issue in Australian foreign policy. The invasion by Indonesian forces in 1975 was expected, as Australian policy-makers had been well informed of the events leading up to the punitive action being taken. Indeed, prior discussions involving the future of the territory were held between the Australian Prime Minister and the Indonesian President in 1974. In response to the events unfolding in the territory the Australian Labor Government at the time was presented with two policy options for dealing with the issue. The Department of Defence recommended the recognition of an independent East Timor; whereas the Department of Foreign Affairs proposed that Australia disengage itself as far as possible from the issue. The decision had ramifications for future policy considerations especially with changes in government. With the Department of Foreign Affairs option being the prevailing policy what were the essential ingredients that give explanation for the government's choice?
It is important to note the existence of the continuity and cyclical nature of attitudes by Labor governments toward Indonesia before and after the invasion. To do so requires an analysis of the influence Doc Evatt had in shaping any possible Labor tradition in foreign policy articulation. The support given by Evatt for the decolonisation of the Netherlands East Indies (Indonesia) gave rise to the development of a special relationship-so defined. Evidence of the effect Evatt had on future Labor governments may be found in the opinions of Gough Whitlam. In 1975 when he was Prime Minister, Whitlam felt the East Timor issue was merely the finalisation of Indonesia's decolonisation honouring Evatt's long held anti-colonialist tradition existing in the Australian Labor Party. The early predisposition toward Indonesia's cohesiveness surfaced again in the Hawke and Keating Labor governments of later years. It did not vary a great deal with changes in government
The on-going commitment to preserving and strengthening the bilateral relationship meant Indonesia's territorial integrity became the focus of the Australian political elites regional foreign policy determinations. The actions taken by policy-makers served to promote the desire for a stable region ahead of independence claims of the East Timorese. From a realist perspective, the security dilemma for Australian policy-makers was how to best promote regional order and stability in the South East Asian region. The desire for regional cohesiveness and stability continues to drive Australian political elites to promote policies that gives a priority to the territorial integrity of regional states. Indonesia, in spite of its diversity, was only ever thought of as a cohesive unitary state and changes to its construct have rarely been countenanced. Australia's political elite justifications for this stance vacillate between strategic and economic considerations, ideological (anti-colonialism) to one of being a pragmatic response to international politics.
The political elite argues the projection of power into the region is in Australias national interest. The policies from one government to the next necessarily see the national interest as being an apparent fixed feature of foreign policy. The persistent fear of invasion from the north traditionally motivated Australia's political elite to adopt a strategic realist policy that sought to shore up the stability, strength and unity of Indonesia. The national interest was deemed to be at risk if support for East Timorese independence was given. The national interest though can involve more than just the security issue, and the political elite when dealing with East Timor assumed that they were acting in the common good. Questions that need to be addressed include determining what is the national interest in this context? What is the effect of a government invoking the national interest in debates over issues in foreign policy? And, who should participate in the debate? In an effort to answer these questions an analysis of how the ex-foreign affairs mandarin Richard Woolcott defines the national interest becomes crucial.
Clearly, conflict in East Timor did have implications for the national interest. The invasion of East Timor by Indonesia had the potential to damage the relationship, but equally communist successes in 1975 in Indo-China raised Australia's regional security concerns. During the Cold War, the linking of communism to nationalism was driving the decision-making processes of the Australian policy-makers striving to come to grips with the strategic realities of a changing region. Because of this, did the constraints of world politics dominated by Cold War realities combined with domestic political disruption have anything to do with Australia's response?
Certainly, Australia itself was experiencing a constitutional crisis in late 1975. The Senate had blocked supply and the Labor Government did not have the funds to govern. The Governor-General by dismissing the Labor Government finally resolved the impasse. What were the reactions of the two men charged with the responsibility of forming the caretaker government toward Indonesia's military action? And, could the crisis have prevented the Australian government from making a different response to the invasion?
Importantly, and in terms of economic security, did the knowledge of oil and gas deposits thought to exist in the Timor Sea influence Australia's foreign policy? The search for oil and gas requires a stable political environment in which to operate. Therefore for exploration to continue in the Timor Sea Australia must have had a preferred political option and thoughts of with whom they preferred to negotiate. What was the extent of each government's cooperation and intervention in the oil and gas industry and could any involvement have influenced the Australian political elites attitude toward the prospect of an independent East Timor? Australia's subsequent de jure recognition that East Timor was part of Indonesia paved the way for the Timor Gap (Zone of Cooperation) Treaty signing in 1989. The signing underpinned Australia's acceptance of Indonesian sovereignty over East Timor.
The outcome of the analysis of the issues that shaped Australia's foreign policy toward East Timor showed that the political elite became locked into an integration model, which was defended by successive governments. Moreover, they formed an almost reflexive defence of Indonesia both at the domestic and international level.
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Wyndham, Diana. "Striving for national fitness eugenics in Australia 1910s to 1930s /." Connect to full text, 1996. http://hdl.handle.net/2123/402.
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Thesis (Ph. D.)--University of Sydney, 1997.Title from title screen (viewed Apr. 15, 2008). Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy to the Dept. of History, Faculty of Arts. Degree awarded 1997; thesis submitted 1996. Includes bibliography. Also available in print form.
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Wyndham, Diana Hardwick. "Striving for National Fitness: Eugenics in Australia 1910s to 1930s." Thesis, The University of Sydney, 1996. http://hdl.handle.net/2123/402.
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Eugenics movements developed early this century in more than 20 countries, including Australia. However, for many years the vast literature on eugenics focused almost exclusively on the history of eugenics in Britain and America. While some aspects of eugenics in Australia are now being documented, the history of this movement largely remained to be written. Australians experienced both fears and hopes at the time of Federation in 1901. Some feared that the white population was declining and degenerating but they also hoped to create a new utopian society which would outstrip the achievements, and avoid the poverty and industrial unrest, of Britain and America. Some responded to these mixed emotions by combining notions of efficiency and progress with eugenic ideas about maximising the growth of a white population and filling the "empty spaces". It was hoped that by taking these actions Australia would avoid "racial suicide" or Asian invasion and would improve national fitness, thus avoiding "racial decay" and starting to create a "paradise of physical perfection". This thesis considers the impact of eugenics in Australia by examining three related propositions: 1. that from the 1910s to the 1930s, eugenic ideas in Australia were readily accepted because of concerns about declining birth rate; 2. that, while mainly derivative, Australian eugenics had several distinctive Australian qualities; 3. that eugenics has a legacy in many disciplines, particularly family planning and public health. This examination of Australian eugenics is primarily from the perspective of the people, publications and organisations which contributed to this movement in the first half of this century. In addition to a consideration of their achievements, reference is also made to the influence which eugenic ideas had in such diverse fields as education, immigration, law, literature, politics, psychology and science.
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Wyndham, Diana Hardwick. "Striving for National Fitness: Eugenics in Australia 1910s to 1930s." University of Sydney, History, 1996. http://hdl.handle.net/2123/402.
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Eugenics movements developed early this century in more than 20 countries, including Australia. However, for many years the vast literature on eugenics focused almost exclusively on the history of eugenics in Britain and America. While some aspects of eugenics in Australia are now being documented, the history of this movement largely remained to be written. Australians experienced both fears and hopes at the time of Federation in 1901. Some feared that the white population was declining and degenerating but they also hoped to create a new utopian society which would outstrip the achievements, and avoid the poverty and industrial unrest, of Britain and America. Some responded to these mixed emotions by combining notions of efficiency and progress with eugenic ideas about maximising the growth of a white population and filling the "empty spaces". It was hoped that by taking these actions Australia would avoid "racial suicide" or Asian invasion and would improve national fitness, thus avoiding "racial decay" and starting to create a "paradise of physical perfection". This thesis considers the impact of eugenics in Australia by examining three related propositions: 1. that from the 1910s to the 1930s, eugenic ideas in Australia were readily accepted because of concerns about declining birth rate; 2. that, while mainly derivative, Australian eugenics had several distinctive Australian qualities; 3. that eugenics has a legacy in many disciplines, particularly family planning and public health. This examination of Australian eugenics is primarily from the perspective of the people, publications and organisations which contributed to this movement in the first half of this century. In addition to a consideration of their achievements, reference is also made to the influence which eugenic ideas had in such diverse fields as education, immigration, law, literature, politics, psychology and science.
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Adriaanse, Johanna Anja Jr. "Gender dynamics on boards of National Sport Organisations in Australia." Thesis, The University of Sydney, 2013. http://hdl.handle.net/2123/8950.
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Despite stunning progress on the sport field in the past 100 years, women’s representation off the field remains a serious challenge. While sport participation rates for women have grown exponentially, data on the Sydney Scoreboard indicate that women remain markedly under-represented on sport boards globally including in Australia. A significant body of research has emerged to explain women’s under-representation in sport governance. The majority of studies have investigated the gender distribution of the board’s composition and related issues such as factors that inhibit women’s participation in sport governance. Few studies have examined the underlying gender dynamics on sport boards once women have gained a seat at the boardroom table, yet this line of investigation may disclose important reasons for the lack of gender equality on sport boards. The aim of the present study was to examine how gender works on boards of National Sport Organisations (NSOs) in Australia with the following research questions: 1. What are the gender relations that characterise the composition and operation of sport boards in NSOs in Australia in terms of a ‘gender regimes’ approach, that is, one that draws on categories associated with the gendered organisation of production, power/authority, emotional attachment and symbolic relations? 2. In view of the above, what are the implications or prospects for gender equality on these boards in terms of the barriers and opportunities created by the specific configurations of gender relations and dynamics? The theoretical framework was based on the notions that organisations are intrinsically gendered (Acker, 1990) and that gender is actively created through social practice (Connell, 1987; West & Zimmerman, 1987). According to Connell, systematically determining where and how people ‘do gender’ in an organisational context depends on being able to identify a pattern of practices or ‘gender regime’ (2009, p. 72) associated with four main areas of social life. The four dimensions of a gender regime are: a) gender division of labour, that is, the way in which production or work are arranged on gender lines; b) gender relations of power, that is, the way in which control, authority, and force are exercised on gender lines, including organisational hierarchy, legal power and violence, both individual and collective; c) emotion and human relations, that is, the way attachment and antagonism among people and groups are organised along gender lines, including feelings of solidarity, prejudice, sexual attraction and repulsion and d) gender culture and symbolism, that is, ways in which gender identities are defined and gender is represented and understood, including prevailing beliefs and attitudes about gender. Such an approach permits the possibility of identifying how organisational processes, such as sport board governance, are gendered and whether the configurations identified reproduce gender inequalities or promote gender change. The research design for the study comprised two stages. Stage one involved an audit of gender representation on 56 NSO boards. Stage two contained in-depth interviews with board directors and chief executive officers (n=26; 9 women and 17 men) from five NSOs, and collection of documents in relation to gender equality on boards of these organisations. In terms of data analysis I used both a deductive, theory-inspired, approach and an inductive, data- inspired, approach (Amis, 2005). To ensure credibility and legitimacy of the study, I produced a detailed audit trail which contains an explicit account of the research methodology used. In relation to the research questions informing this study, I found that gender dynamics, understood from a ‘gender regimes’ perspective, were not uniform. The following three gender regimes were identified: masculine hegemony, masculine hegemony in transition, and gender mainstreaming in progress. The gender regime of masculine hegemony, found on boards in sports A, B and D, offered the least prospects for gender equality. These boards were deeply hierarchical in terms of gender: men were numerically dominant and held the most influential positions. Yet such a situation was not challenged by any of the directors, men or women. The male dominance that characterised board membership and executive positions was normalised and accepted. It was not identified and understood as a problem for which the board had any responsibility. Most members of these boards believed that the problem of gender inequality on sport boards lay well beyond the control of their organisations. Women were simply not putting themselves forward for board membership or did not have the appropriate qualifications and experience to participate. By contrast, the gender regime of masculine hegemony in transition, found on sport board C, demonstrated a more dynamic pattern of gender relations with prospects for gender equality more positive than the previous regime. Here, a highly qualified and experienced woman occupied the chair and she was supported by an alliance of the male CEO and two board members, one of whom was a woman. Together they comprised a formidable foursome – two men and two women – who explicitly assumed responsibility to address gender equality in their sport, including in relation to board membership and practice. Nevertheless, this regime displayed some barriers to the advancement of gender equality, primarily through the presence of a masculine ethic in leadership, some marked hostility towards the woman chair, and generalised support for meritocracy over gender equality. To the extent that this regime was characterised by structures of practice that both maintained and contested masculine dominance in sport governance, it expressed tensions in gender dynamics that rendered the board’s regime status one of transition between acceptance of masculine dominance and opposition to it. The gender regime of gender mainstreaming in progress, found on the board of sport E, was the most conducive for the advancement of gender equality. Here women occupied significant board positions, senior and influential male board members were supportive of the women on the board, the constitution included a gender quota clause that required a minimum of three directors of either gender, and friendly, collegial emotions characterised the working relationships of the directors. The regime was one in progress because, although the prospects were most positive compared to the two other regimes, gender equality had not yet been achieved. Men still occupied the most influential positions of president and CEO, and women’s representation on the board (33%) had not reached gender parity yet. The present study has contributed to knowledge and understanding of sport governance by disclosing how gender works on boards of NSOs. It has done so by applying a particular analytical tool – the ‘gender regimes’ approach – that enables the identification of the gendered structures of practice in operation in the organisation and management of sport boards. In yielding such configurations, the study has generated evidence-based findings for determining organisational practices on boards that advance or obstruct gender equality. It is in the light of these findings that the study proposes a number of recommendations for policy and practice related to sport governance and gender equality.
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Saltmarsh, David L. W. (David Lloyd William). "National review of nursing education : student expectations of nursing education." Canberra, A.C.T. : Commonwealth Department of Education, Science and Training, 2001. http://www.dest.gov.au/highered/nursing/pubs/student_expect/1.htm.
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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.
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Heath, Elizabeth. "Sir George Scharf and the early National Portrait Gallery : reconstructing an intellectual and professional artistic world, 1857-1895." Thesis, University of Sussex, 2018. http://sro.sussex.ac.uk/id/eprint/73230/.
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This thesis investigates the professional practice of the National Portrait Gallery's first Director Sir George Scharf (1820–95). It is the first focused analysis of his career and influence, within the nineteenth-century art and museum worlds. It attempts to position Scharf in relation to developments in art historical scholarship and the professionalization of museum practice, in the second half of the 1800s. Chapter 1 outlines Scharf's methodology for portraiture research and considers his scientific approach alongside the establishment of art history as a discipline during his lifetime. Whilst exploring Scharf's development of research standards to be carried forward by successors, it argues for his active role amongst a growing contingent of museum professionals. Chapter 2 reconstructs Scharf's social and professional networks, collating the names of individuals with whom he interacted and mapping the physical sites of engagement. It proposes that access to contacts proved vitally important to his official work and that Scharf himself functioned as an influential figure in this sphere. The third chapter concerns the nature of Scharf's relationships with members of the NPG's Board of Trustees. It investigates his early collaboration with two expert Trustees and charts his interactions with consecutive Chairmen of the Board, demonstrating Scharf's increasing authority with regards to Gallery procedures. Chapters 4 and 5 explore Scharf's interventions relative to the organization and interpretation of the collection across the NPG's early exhibition spaces. Chapter 4 argues that an increased capacity for display enabled Scharf to implement a rational hanging scheme, in line with the Gallery's instructive purpose and inspired by contemporary debates over the efficient presentation of public art. The final chapter documents Scharf's efforts to contextualize the national portraits, ranging from manipulating the exhibition environment, to expanding the NPG's catalogue according to a scholarly model. In its examination of George Scharf's career spanning five decades, particularly his engagement with discourse surrounding public art museums in the Victorian period, this thesis aims to make a significant contribution to the fields of museum studies and studies in the history of collecting and display.
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Becker, Natasha. "Inside and outside the family album: Making, exhibiting and archiving the photograph in the South African National Gallery and the National Library of South Africa." University of the Western Cape, 2018. http://hdl.handle.net/11394/6046.
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Magister Artium - MA (History)One of the first things that reached me about photography was how a photograph tells a story or stories. This experience is perhaps most common when viewing personal photographs. A few years ago I was looking through a vast number of personal photographs, of a family I knew well, and was struck by how all the photographs (in albums, framed or lying loosely about) were part of a particular family narrative. Even without the storytelling, which accompanied my viewing of the photographs, I could still 'read' bits and pieces of the family history (and the broader social, political and cultural histories) in their photographs.
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Gwatkin, Jan. "Investigating the viability of a national accreditation system for Australian piano teachers." University of Western Australia. School of Music, 2009. http://theses.library.uwa.edu.au/adt-WU2009.0099.
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The Federal education system has 12 nationally accredited and portable qualifications issued by the Australian Qualifications Framework (AQF) which cover three sectors; Higher Education, Vocational Education and Training (VET) and Schools. A mandatory minimum bachelor qualification together with education units, state registration and ongoing professional development is imposed for all classroom music teachers. In direct contrast, however, Australian studio piano teachers and school instrumental teachers may or may not have formal qualifications, registration with professional associations, or ongoing professional development. All teachers must be registered with State registration boards for Working With Children (WWC) but no monitoring controls exist for studio teachers. Qualifications are available from public examination boards, private enterprises and state Music Teacher Associations (MTAs) but these are not recognised within the national system and consequently have no status or portability, although they are used and recommended within the industry and higher education institutions as course prerequisites. The aim of the current study was to investigate whether a National Accreditation System (NAS) for Australian studio piano teachers could be a viable system, adding unprecedented professionalism to the field and drawing upon the existing systems of government, private industry and educational institutions. In the thesis, current systems of accreditation, education and training available for classroom music teachers, school instrumental music teachers and other recognised professions such as lawyers, engineers, accountants, health professionals and sports coaches were reviewed as a comparative basis upon which to assess similar contexts for studio piano teachers. Results are combined with a survey of Australian piano teachers' perceptions, from which the study ascertained the extent to which studio piano teachers' needs were being catered for and met in available systems of accreditation and training.
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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.
Full textAbstract:
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.