Dissertations / Theses on the topic 'Painting, Australian 21st century'
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1
Fozard, Roxanne. "Ghostcards of WA: An exhibition of oil paintings on linen – and – Repositioning the Denkbild: A painting investigation into deaths in custody in 21st century Western Australia: An exegesis." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2017. https://ro.ecu.edu.au/theses/2155.
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Having a personal connection through several family members to the life and work of Ngaanyatjarra Elder Mr Ward, I found his death in custody in outback Western Australia unsettling and incomprehensible. As the circumstances of his death were revealed, I became aware of glaring omissions in the telling of his story and the circumstances that led to his death. Through my engagement with the subsequent media reporting, official documents and personal conversations, I recognised a profound lack of understanding of difference and otherness within a shared history and space in Western Australia. The initial aim of my project was to investigate the incomprehensible through the lens of Ngaanyatjarra Elder Mr Ward’s death; however, ethically, this proved a difficult path to negotiate. Through my research, I came to understand that the continued use of the dominant language of the coloniser, which is embedded in social practices and academic discourse is, in part, continuing to perpetuate white privilege. The ethical problems raised inspired me to develop an approach, which although oblique, would nevertheless enable fresh insight into otherness and difference in a multi-cultural society. The particular concern of this practice-led research project is not to exploit the trauma of others but to raise awareness of this social space through my work, giving rise to new understandings and possible relations.
This research gathered key texts from Walter Benjamin and Theodor Adorno, to facilitate the transfer of the written form of Denkbild, a literary device manipulating the codes of language to visualise the process of thought, into a painting practice. The Denkbild (thought-image) is a Euro-centric genre of exploratory philosophical writing, crafted in response to a society witnessing tremendous change as a result of the devastating impact of WWI and WWII. Through this creative project, the challenge was to re-activate the Denkbild through painting and accompanying text to investigate deaths in custody and interrogate the connected issues of ethics, politics and inequality, which is written into the shared spaces of Western Australia. The Denkbild is then developed further with the addition of Henri Lefebvre’s threedimensional spatial application of dialectical thinking and the creative practice of selected Australian artists. Through this addition, the binary dialectical framework of the Denkbild is expanded to reflect contemporary thinking on the concept of space as a social product. This perspective emerges to enable fresh insight into Aboriginal understandings of space as representing an ‘eternal now’, such that a mutual understanding of space is manifested. My painting practice reflects and informs this transition, as I moved from the painting studio to selected locations to record information and experiences that developed my research position.
To achieve the project’s aims, I engaged in reflexivity and praxis as the methodological tools to guide my research. Through painting, my research extended across interdisciplinary fields including visual arts practices, philosophical history and literature, to interrogate a spatial dynamic, revealing marginalised insights and connecting interrelationships between sites. For the purpose of this research, the paintings, exhibitions and exegesis function on two levels: as an avenue into mediation of Western Australian culture and as a methodological approach to visual art practice. My research culminated in the exhibition, Ghostcards of WA 2017 at the Spectrum Project Space, ECU, Mount Lawley. This project is significant as it renews the Denkbild to further the unique relationship between conceptual and representational categories that binds together experience, object and practice to form an interrogative tool for critical inquiry. In the application of this method to a Western Australian context, new thinking is encouraged through the inclusive reading of space and the collapsing of misunderstandings perpetuated in historicism through a shared recognition of the inherent value of space/sites which— far from being incomprehensible, reactive, nostalgic and solipsistic—are comprehensible, active, prescient, abundant and social.
2
Robb, Charles. "The Self as Subject and Sculpture." Thesis, Monash University, 2008. https://eprints.qut.edu.au/16903/1/16903.pdf.
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This paper analyses and contextualises the artist’s exploration of self-portraiture through the sculptural bust format.
Conventionally, the portrait bust epitomises an antiquated view of the human subject as fixed, finite and knowable. The classicistic allusion of the form seems the perfect embodiment of a pre-modern and hopelessly idealised view of subjectivity and its capacity to be represented. This paper will show how, despite these impressions, the portrait bust is in fact a highly volatile sculptural form in which presence and absence are brought into question. When used as a vehicle for self-portraiture the bust yields a spectrum of instability, both literal and metaphoric, that calls into question the clarity of notions of subject and object and challenges the ideas of authority and representation more broadly.
By providing an historical overview of the role of the portrait bust, this paper will map the field of content inherent to the portrait bust and discuss its application in contemporary self-portraiture. As the work of Mike Parr, Janine Antoni and Marc Quinn demonstrates, the classical certainty that permeates the bust format can indeed heighten the capacity of the form to represent uncertainty: an ambiguity that makes it a highly potent form for sustained studio investigation and experimentation.
This paper will provide an overview of this experimental scope and application, by discussing the author’s process of sculptural self-portraiture in relation to aspects of ‘likeness’, expression, truncation and reproduction that occur in the form.
3
Bryant, Benjamin R. "The artist as shaman." Virtual Press, 2005. http://liblink.bsu.edu/uhtbin/catkey/1327289.
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Albert Einstein is one indisputable luminary who in my opinion exemplifies the balance, brilliance, and altruism I look for in my heroes. Subsequent to his dream of riding a beam of light to the edge of the universe, with the tools of calculus and physics, he radically changed our understanding of the universe. But the dream came first, and everybody dreams.I believe everyone has something incredible to offer. In my creative project paintings I attempt to demonstrate with the tools of paint and canvas my peculiar dream of the cosmos from macrocosm to microcosm.I ride the beam of light using paint and canvas, in my creative project paintings I celebrate my fascination with that intuitive element we all share. I also celebrate those who have gone before with the wisdom to seek an understanding and discernment of the genius we all share, have access to, and indeed must thoughtfully and carefully awaken for our species to evolve past its current halting material, ideological, and technological adolescence.Department of Art
4
Peterman, Aaron L. "Judgement." Virtual Press, 2006. http://liblink.bsu.edu/uhtbin/catkey/1347734.
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The objective of this creative project is the creation of sculptures and paintings that make statements concerning judgment and its subsets, fault, blame, martyrdom, self-sacrifice, and absolution. The group of pieces shown at the Thesis Exhibition explores recurring themes and iconography within a historical context, while addressing issues in a contemporary social framework. Repetitive elements and images such as self-portraits, the pointing finger, and the heart, are set in the present, but layered with the iconography and history of Saint Sebastian. The techniques used to achieve these works are metal casting and fabrication, casting using a variety of materials, woodworking, and oil painting. These techniques, along with materials such as wood, steel, plaster, wax, and branches congeal to form a body of work that is conceptually harmonious.Department of Art
5
Cecil, Joseph S. "The figure as an exploration of cultural/self identity." Virtual Press, 2007. http://liblink.bsu.edu/uhtbin/catkey/1371197.
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The primary objective of this creative project was the exploration of cultural and self identity and the painting techniques used for their creation. The paintings are an attempt to portray through the use of the human figure and symbolic elements to communicate my personal struggle relating to events in my past, present, and future. In these three large paintings I have explored an approach reminiscent to German Expressionism style along with more contemporary motifs which are derived from my research and past experiences in painting at Ball State University. It was very important for me to spend time researching artist involved in the German expressionist movement, because they have been an integral part of reshaping the way I approach art. This body of work required a variety of traditional oil painting techniques including: canvas construction, under painting, stumbling, and glazing.Department of Art
6
Mason, Anthony, and n/a. "Australian coverage of the Fiji coups of 1987 and 2000: sources, practice and representation." University of Canberra. Communication, 2009. http://erl.canberra.edu.au./public/adt-AUC20090826.144012.
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For many Australians, Fiji is a place of holidays, coups and rugby. The extent to which we
think about this near-neighbour of ours is governed, for most, by what we learn about Fiji
through the media. In normal circumstances, there is not a lot to learn as Fiji rarely appears
in our media. At times of crisis, such as during the 1987 and 2000 coups in Fiji, there is
saturation coverage. At these times, the potential for generating understanding is great. The
reporting of a crisis can encapsulate all the social, political and economic issues which are a
cause or outcome of an event like a coup, elucidating for media consumers the culture, the
history and the social forces involved. In particular, the kinds of sources used and the kinds
of organisations these sources represent, the kinds of themes presented in the reporting, and
the way the journalists go about their work, can have a significant bearing on how an event
like a coup is represented. The reporting of the Fiji coups presented the opportunity to
examine these factors. As such, the aim of this thesis is to understand the role of the media
in building relationships between developed and developing post-colonial nations like
Australia and Fiji.
A content analysis of 419 articles published in three leading broadsheet newspapers, The
Sydney Morning Herald, The Australian and The Canberra Times, examined the basic
characteristics of the articles, with a particular focus on the sources used in these articles.
This analysis revealed that the reports were dominated by elite sources, particularly
representatives of governments, with a high proportion of Australian sources who provided
information from Australia. While alternative sources did appear, they were limited in
number. Women, Indian Fijians and representatives of non-government organisations were
rarely used as sources. There were some variations between the articles from 1987 and those
from 2000, primarily an increase in Indian Fijian sources, but overall the profile of the
sources were similar.
A thematic analysis of the same articles identified and examined the three most prevalent
themes in the coverage. These indicated important aspects of the way the coups were
represented: the way Fiji was represented, the way Australia's responses were represented,
and the way the coup leaders were represented. This analysis found that the way in which
the coups were represented reflected the nature of the relationship between Australia and
Fiji. In 1987, the unexpected nature of the coup meant there was a struggle to re-define how
Fiji should be understood. In 2000, Australia's increased focus on Fiji and the Pacific region
was demonstrated by reports which represented the situation as more complex and uncertain,
demanding more varied responses.
A series of interviews with journalists who travelled to Fiji to cover the coups revealed that
the working conditions for Australian media varied greatly between 1987 and 2000. The
situational factors, particularly those which limited their work, had an impact on the
journalists' ability to access specific kinds of sources and, ultimately, the kinds of themes
which appeared in the stories. The variation between 1987 and 2000 demonstrated that
under different conditions, journalists were able to access a more diverse range of sources
and present more sophisticated perspectives of the coup.
In a cross-cultural situation such as this, the impact of reporting dominated by elite sources
is felt not just in the country being covered, but also in the country where the reporting
appears. It presents a limited representation, which marginalises and downplays the often
complex social, cultural and historical factors which contribute to an event like a coup.
Debate and alternative ways of understanding are limited and the chance to engage more
deeply with a place like Fiji is, by and large, lost.
7
Lyssa, Alison. "Performing Australia's black and white history acts of danger in four Australian plays of the early 21st century /." Thesis, Electronic version, 2006. http://hdl.handle.net/1959.14/714.
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Thesis (MA)--Macquarie University (Division of Humanities, Department of English), 2006.Submitted in fulfilment of the requirements for the degree of Masters in English in the Division of Humanities, Dept. of English, 2006. Bibliography: p. 199-210.
8
Hattam, Katherine, and katherine hattam@deakin edu au. "Art and Oedipus." Deakin University. School of Communication and Creative Arts, 2003. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20070816.121927.
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Nimmo, Heather. "Three plays : The other woman, Banana split, Awa' the crow road ; and an essay, Writing the end." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2005. https://ro.ecu.edu.au/theses/645.
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The Other Woman is an eighty-minute stage play which asks the question: Do women really play the political game differently? A high-flying politician can't admit to a small mistake. A woman kills herself. Does her mother want justice or revenge? Banana Split is a ninety-minute comedy for two actors which investigates life after divorce, the connections between risk and reward, and the implications of doubling (or coupling). The play asks a number of questions: Is it riskier to stay or to go? Which is the more damaging to a relationship-nostalgia for a golden age or the fantasy of a perfect future? Awa’ the Crow Road is a half-hour play for radio. Two brothers are brought to Australia from Scotland, as children. Their father tells them;' We're here. We're Australian. We're not going back.' One brother goes back 10 Scotland. never to return. The other stays in Australia, never to leave. Thirty years pass. They meet again when their father is 'awa' the crow road'. The essay, Writing the end, examines selected literary and performance theory on endings from the perspective of the playwright who must write the end but avoid 'a strangulation'. Later sections of the essay use the endings of the three plays that make up the creative project, to illustrate more specific aspects of writing the end.
10
Millward, William H., University of Western Sydney, and of Performance Fine Arts and Design Faculty. "Beneath the surface : the role of intuition in the creative process." THESIS_FPFAD_XXX_Millward_W.xml, 1998. http://handle.uws.edu.au:8081/1959.7/308.
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One question raised when creating, evaluating and appraising art work is 'How do we know what we know?' This exegesis attempts to answer this by establishing the important role intuitive knowledge plays in decision making in general, and within the author's own art practice specifically. The study reviews some of the literature on intuition from philosophical and psychological perspective in order to validate intuitive knowledge and intuitive decision making within contemporary art practice. However, just because intuition may drive the process, it does not mean that the product of intuitive practice is necessarily good or has any value. Consequently, the importance of aesthetics, and the values of integrity, honesty and truth are explored from a philosophical perspective. These are discussed in relation to the art practice of other artists from this century as well as that of the writer. Having constructed a philosophical framework to work within and be guided by, the final part of this study documents the development of the practical work and how this framework influences the art practice and the outcomes of that practice. It is hoped that the results of the study will reassert the validity and relevance of this form of art practice and philosophy within contemporary art practice.Master of Arts (Hons) (Visual Art)
11
Reichelt, Victoria, and n/a. "Painting's Wrongful Death: The Revivalist Practices of Glenn Brown and Gerhard Richter." Griffith University. Queensland College of Art, 2005. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20060901.143140.
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This thesis considers how the Twentieth Century 'death of painting' debate brought about a series of challenges and changes to painting that have ironically ensured its survival. This is illustrated in the practice of artists Gerhard Richter and Glenn Brown, whose investigations into painting's failures and limitations have paradoxically resulted in their works demonstrating the continued relevance and success of the medium. Specifically, this discussion analyses Richter's Annunciation After Titian (1973) series and Brown's series of works that appropriate Frank Auerbach paintings (1998 - 2000). These works illustrate the ways in which painting has developed in the last half of the Twentieth Century as a result of the 'death of painting' debate. The primary developments identified are that painting now draws from and references many other media; painting now embraces photography (instead of seeing it as a threat); the use of appropriation in painting is now seen as expansive rather than as representing depletion; there has been a return to romanticism and pleasure in painting; and women are now included in the broader discussion of painting. In considering the 'death of painting' debate, as well as the changes painting has experienced as a result of it, the primary point of departure is Yve-Alain Bois' pivotal essay 'Painting: The Task of Mourning' (1986) and his analysis of Hubert Damisch's 'theory of games'. The evolution of the 'death of painting' debate is also outlined via the writings of Douglas Crimp, Arthur C. Danto, Douglas Fogle, Michael Fried, Jeremy Gilbert-Rolfe and Georg Wilhelm Friedrich Hegel. This thesis also considers how the debate has impacted contemporary painters' practices, as well as how my own practice owes a debt not only to the response of artists like Brown and Richter, but also to the debate itself.
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Farber, Jeffrey W. "Natural interactions : a commentary on our relationship with nature." Virtual Press, 2008. http://liblink.bsu.edu/uhtbin/catkey/1391229.
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The objective of this creative project is to develop a series of paintings in oil on canvas that focus on the issue of mankind's crumbling relationship with the natural world. The paintings will be produced through a process that begins with an intuitive abstract approach and will later develop layered representational imagery. My technique of painting involves initially choosing and mixing colors without regard to the finished painting, allowing the subconscious to determine the direction that the painting will take. Upon completion of the under painting, I begin creating stencils and layering imagery that provoke thought concerning nature and our place in it. This collection of paintings is representative of the process I have developed through a wide variety of influences, and is a means of communicating my concern for the ever dwindling natural environment and our connection to it.Department of Art
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Kidson, Renee Louise. "Army in the 21st Century and Restructuring the Army: A Retrospective Appraisal of Australian Military Change Management in the 1990s." Thesis, Canberra, ACT : The Australian National University, 2016. http://hdl.handle.net/1885/117069.
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Army in the 21st Century and Restructuring the Army:
A Retrospective Appraisal of Australian Military Change
Management in the 1990s
Abstract:
Army in the 21st Century (A21) and Restructuring the Army (RTA)
were two related force
structure initiatives undertaken by the Australian Army in the
1990s. A21 radically proposed
to abolish traditional divisional/corps structures, fielding
instead independent task forces with
embedded combat arms. The RTA trials tested A21 concepts over
several years; yet
A21/RTA was abandoned in 1999. What happened, why, and what
lessons does A21/RTA
offer?
This retrospective appraisal of A21/RTA is a case study of
attempted transformational change
in the Australian Army. The sub-thesis’ methodology features
interviews with over thirty
senior military, public service, academic and political leaders
of this era; and applies
organisational theory to interpret internal/external dynamics.
A21/RTA faced formidable strategy, resourcing and cultural
challenges. However A21/RTA
failed to achieve critical elements of successful change
management, including: a clear,
shared, credible vision; achieving early successes; providing
enablers (e.g. time and
resources) and supporting efforts for change; senior leadership
buy-in; and political
sponsorship. A21/RTA failed in technical feasibility and cultural
sensitivity terms. However,
A21/RTA successfully developed an evidence-based approach, an
enduring legacy
supporting Army’s capability resourcing in Defence’s
contested budget environment. Lessons
for future restructures focus leadership attention to elements
critical for successful
organisational change, emphasising culture.
14
Matters, Emily Helene. "AENEAS IN THE ANTIPODES The teaching of Virgil in New South Wales schools from 1900 to the start of the 21st century." University of Sydney. Classics and Ancient History, 2005. http://hdl.handle.net/2123/716.
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Aeneas in the Antipodes offers an Australian perspective on the teaching of Virgil�s poetry in the secondary school. The study examines practices in the State of New South Wales from 1900 to the early years of the twenty-first century. The changing role of Latin in the curriculum is traced through a historical account showing the factors which caused a decline in the status and popularity of the subject from the beginning of the century to the 1970s. This decline, not confined to Australia, stimulated the introduction of new teaching methods with different emphases which were, to some extent, successful in preserving Latin from extinction in schools. Against this background of change, Virgil remained the Latin author most frequently studied in the final year of school. Because this poetry was so consistently prescribed for public examinations, a detailed investigation is made of the questions set and of the examiners� comments on candidates� performance, as evidence of changes in expectations and hence, in teaching methods. The influence of trends in Virgilian scholarship is assessed by means of a review of all the officially recommended commentaries and secondary works. The growth of literary criticism from the 1960s is shown to have had a marked effect on syllabuses and examinations, and consequently on the approach taken in the classroom. The role of local professional organizations in supporting the teaching of Virgil has been documented, showing how the disappearance of official support for Latin teaching was to some extent counterbalanced by an increase in voluntary effort. The resources and methods used to introduce Virgil to comparative beginners are classified and reviewed. An assessment is also offered of approaches made to teaching Virgil in English at both junior and senior secondary levels. The final chapter reviews the changes brought about since 2000. Current teaching practices are documented through classroom observations and teacher surveys, substantiating the impression that while most students at the beginning of the twenty-first century are less prepared than their predecessors to translate Virgil independently, they are expected to attempt a far more sophisticated analysis of the literary features Note: For appendix 3-10 please see hardcopy edition.
15
Tuffin, Zoe. "Claiming Shakespeare for our own: An investigation into directing Shakespeare in Australia in the 21st century." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2014. https://ro.ecu.edu.au/theses/1285.
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Shakespeare has been performed on Australian stages for over two hundred years, yet despite this fact, in Australia we still treat Shakespeare as a revered idol. It seems that, as a nation of second-class convicts, consciously or not, we regard Shakespeare as a product of our aristocratic founders. However deeply buried the belief may be, we still think that the British perform Shakespeare ‘the right way’. As a result, when staging his plays today, our productions suffer from a cultural cringe.
This research sought to combat these inhibiting ideologies and endeavoured to find a way in which Australians might claim ownership over Shakespeare in contemporary productions of his plays. The methodology used to undertake this investigation was practice-led research, with the central practice being theatre directing. The questions the research posed were: can Australian directors in the 21st century navigate and reshape Shakespeare's works in productions that give actors and audiences ownership over Shakespeare? And, what role can irreverence play in this quest for ownership? In order to answer these questions, a strong reference point was required, to understand what Shakespeare, with no strings attached to tradition and scholarly reverence, looked and felt like. Taiwan became an ideal reference point, as the country is a site for unrestrained and strongly localised performances of the Shakespearean tradition. The company at the forefront of such Taiwanese productions is Contemporary Legend Theatre (CLT). Wu Hsing-kuo, the Artistic Director of CLT, creates jingju (Beijing opera) adaptations of Shakespeare’s plays, the most renowned of which is his solo King Lear, titled Li Er zaici.
The intention of the practice-led research was to use the ideas gathered from an interview with Wu and through watching a performance of Li Er zaici, to form an approach to directing Shakespeare in Australia today, which was free from the restrictions commonly encountered by Australians. The practical project involved trialling this approach in a series of workshops and rehearsals with eight actors over eight weeks, which ultimately resulted in a performance of an adaptation of Romeo and Juliet.
Wu’s approach generated a sense of ownership over Shakespeare amongst the actors and widened their dominant, narrow concept of Shakespeare performances in Australia to incorporate a wealth of new possibilities. Yet, from this practical experiment, the strength and depth of the inhibiting ideologies surrounding Shakespeare in Australia was made apparent, as even when consciously seeking to remove them, they formed unconscious impediments. Despite the initial intention, a sense of veneration towards Shakespeare’s text entered the rehearsal process for Romeo and Juliet. This practice-led research revealed that as Australians we have an almost inescapable attachment to Shakespeare’s text, which ultimately begs the contrary question: in order to stage an irreverent and owned production of Shakespeare in Australia, how much of Shakespeare and his traditions must we abandon?
16
Gray, Nigel. "His story, a novel memoir (novel) ; and Fish out of water (thesis)." University of Western Australia. School of Social and Cultural Studies, 2009. http://theses.library.uwa.edu.au/adt-WU2009.0095.
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His Story takes the form of a fictive but autobiographically based investigation into the child and young adult I used to be, and follows that protagonist into early adulthood. It tries to show the damage done to that character and the way in which he damaged others in turn. As Hemingway said, We are all bitched from the start and you especially have to hurt like hell before you can write seriously. More importantly, the main protagonist is somebody who became concerned with, and cognizant of the main political and social events of his day. His life is set in its social context, and reaches out to the larger issues. That is to say, the personal events of the protagonist's life are recorded alongside and set in the context of the major events taking place on the world stage. The manuscript is some sort of hybrid of novel, autobiography, and historical and social document. As Isaac Bashevis Singer said, The serious writer of our time must be deeply concerned about the problems of his generation. In order to make His Story effective in sharing my ideas and beliefs, and, of course, in order to protect the innocent and more particularly, the guilty, it is created in the colourful area that is the overlap between memory and fiction. When we tell the stories of our lives to others, and indeed, to ourselves, we prise them out of memory's fingers and transform them into fiction. To write autobiography well, as E.L. Doctorow said, you have to invent everything, even memory.
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Collins, Julie. "Ship of Fools." University of Ballarat, 2008. http://innopac.ballarat.edu.au/record=b1508425.
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The Ship of Fools is an ancient allegory that has long been a part of Western culture in literature, art and song... It has been chosen by many to comment on contemporary issues throughout history, highlighting the foibles of that society. The ship of fools however is also about our world, as a vessel, full of passengers of humanity, full of those who have no care what they do or where they are going... It is the 21st Century and we are all sailing on a Ship of Fools. We consume beyond reason, we want, and get the latest, newest, biggest things. We complain about interest rates and petrol prices, but consume beyond reason often with purchases on credit we don't really need.Master of Arts (Visual Arts)
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Flynn, Warren. "Fragments of the moon (novel) ; and." University of Western Australia. School of Social and Cultural Studies, 2008. http://theses.library.uwa.edu.au/adt-WU2008.0073.
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Fragments of the Moon is a novel set mostly in South Korea, examining relationships between people, interpersonal spaces, architectural spaces and landscape through a cross-cultural context. Matt, a graduate architect from Perth, Australia, finds himself increasingly vulnerable to cultural confusion as he adjusts to life away from his home and friends. Having initially assumed that Seoul's western facade echoes its social dynamic, Matt increasingly discovers that the Confucianism which underpins much of contemporary Korean society makes all relationships far more complex than his assumptions had allowed. Together with a Canadian student who is seeking to find the essence of a different Korea through her investigation of Buddhism, and through meeting diverse Korean characters, readers will discover several of the many facets of contemporary Korean culture. Readers will be encouraged to test the slippery surfaces on which familiar and unfamiliar attitudes to bodies, landscape and created spaces rest. 'Body, Space, Ideas of Home: Cross-cultural Perspectives' (thesis) The thesis examines the interaction of body space, architectural space, landscape, and emotional states in contemporary literary fiction from several cultural perspectives. Bodies, landscapes, and architectural spaces are shown to be devices through which contemporary authors with different cultural backgrounds have expressed character and explored ideas, especially thematic concerns related to cultural or cross-cultural confusion or understanding. Notions of 'feeling at home' and 'being alien' are investigated through the work of authors who either have a cross-cultural heritage (e.g. Jhumpa Lahiri a Bengali/American), or who write about a culture which is not their own (e.g. Dianne Highbridge, an Australian writing about Japan). Several chosen authors explore the relationships between the spiritual and the physical, the metaphysical and the corporeal. These elements are particularly highlighted when examining the narratives of Tim Winton (The Riders, 1994) and Simone Lazaroo (The World Waiting To Be Made, 1994); and two of Japan's most popular writers, Haruki Murakami (Norwegian Wood, 2000) and Banana Yoshimoto (Lizard, 1995). For some writers, this exploration of spaces forms the focal point of their work; for others, it is an important facet of their narrative world, which helps to ground their writing for contemporary readers whose own backgrounds must also influence their understandings.
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Behrens, Monika Art College of Fine Arts UNSW. "Silent bang." Publisher:University of New South Wales. Art, 2007. http://handle.unsw.edu.au/1959.4/42557.
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The research project uses still life as a means of exploring current events of violence and oppression. These events are represented through juxtaposing plastic toys with organic objects. The toys include a range of popular generic toys such as army men, cowboys and Indians and toy soldiers. The organic objects were selected for their relationship to the specific event being represented. The toys and organic objects were positioned to create interesting and logical compositions. Themes of the series include opposing objects and ideas pitched against each other such as plastic/organic, perpetrator/victim, violence/peacefulness and destruction/sustenance. Within each work the plastic toys take on the demeanor of the tyrant(s), whereas the organic objects adopt the role of the victim(s). The research project uses these themes to convey the message that violence is both a barbaric way of dealing with conflict and a senseless form of self-expression. I have used symbols and metaphors to build a visual language. For the language to be translated accurately a great deal of research has taken place into the appropriate still life objects for each work. Each work incorporates metaphors and or symbols for both the oppressor and victim within the event being represented. The studio outcome of this research project, Silent Bang, includes a series of highly detailed finished paintings of various scales. Silent Bang as a body of work is colourful and aims to be aesthetically pleasing in addition to conveying a powerful message that incites interpretation.
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Cooley, Shevaun. "Homing : poetry ; &, An essay on the poetic leap in the late work of R.S. Thomas." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2013. https://ro.ecu.edu.au/theses/850.
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Homing, as a collection, speaks to the capacity and yearning to navigate our way towards something we might call home. In animal behaviour, this seems like an instinct, hard-wired to the body. It is something I envy. By comparison, the instinct, in human behaviour, feels muffled and complicated.
These poems move between two places in which I feel ‘at home’, whatever that means: the south-west of Western Australia, where I was born and raised, and the north-west of Wales, where I lived for a time, and find myself returning to, drawn not by blood, but by longing, and a deep affinity for the landscape. Without any real intention, in the writing of the poems I found I had a lot to say about rivers. In particular, I found myself repeating images of drifting and gripping, as if these two, opposing, compulsions also said something about how we try to find our way home. The poet Mark Doty speaks of a “fierce internal debate between staying moored and drifting away, between holdings and letting go.”1 It is as if the river, too, knows something of how to arrive, and yet its movement is much like that of these poems, pulled by new hungers, at times distracted, or slowed, or apparently lost. Drift. Grip. Perhaps it is, after all, another kind of instinct.
In the critical essay that accompanies the poems, I look at the poetic leap in the work of the Welsh poet and priest R.S. Thomas. I was initially compelled by a strange parallel between an actual physical leap of escape, enacted by Thomas, who leapt a graveyard wall in order to avoid speaking to the mourners to whom he had just ministered a funeral service, and the leap found in Italo Calvino’s essay on lightness. This leap is also one of escape, in which the poet-philosopher Guido Calvcanti places a hand on a grave and leaps lightly over it, in order to elude the taunts of some local louts. Calvino calls this act, “an auspicious image for the new millennium.”2
In poetry we find the leap in the act of making metaphor, in enjambment, even in a kind of concentration. In Thomas’s work, the leap is focused in the form of the raptor; a presence repeated through his oeuvre, carrying with it many of his chief concerns, about God, love, and the inherent ferocity of the natural world. In a close reading of those poems, and with the aid of thinkers as disparate as Helene Cixous, Roland Barthes, Simone Weil and Edward Said, this essay is an attempt to trace the ways the leap works in Thomas’s poetry. It is also an attempt to analyse and understand the way poetry itself works to move the reader, in all senses of the word.
1Doty, M. (2001). Still life with oysters and lemon. Boston: Beacon Press, p.7
2Calvino, I. (2009). Six memos for the new millennium. (P. Creag, Trans.) London: Penguin Classics, p.12
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Blakeley-Carroll, Grace. "Illuminating the spiritual : the symbolic art of Christian Waller." Phd thesis, Canberra, ACT : The Australian National University, 2017. http://hdl.handle.net/1885/146396.
Full textAbstract:
Australian artist Christian Waller nee Yandell (1894-1954) created artworks that unified her aesthetic and spiritual values. The technical and expressive brilliance of her work across a range of art media - drawing, painting, illustration, printmaking, stained glass and mosaic - makes it worthy of focused scholarly attention. Important influences on her practice included Pre-Raphaelitism, Art Deco and the Celtic Revival. Her spirituality was informed by a range of orthodox and alternative systems of belief, including: Christianity, Theosophy, the Hermetic Order of the Golden Dawn and the international Peace Mission Movement. Acting as an emissary, she included personal symbols - especially the sun, the moon, stars and flowers - in her artworks to encourage spiritual contemplation. In this thesis, I argue that Waller harnessed the decorative and expressive potential of these movements - along with a commitment to Arts and Crafts values - to develop a personal set of symbols that expressed her sense of the spiritual. This encompassed the harmony of word, image and message, which underscored her work. It is for this reason that I locate Waller within the international discourse of spiritual art. Despite her remarkable talents across media and the distinctive quality of her art, Waller has always occupied a peripheral position within Australian art and art history. Even when she is included in significant books and exhibitions, most often it is in relation to her hand-printed book 'The Great Breath: A Book of Seven Designs' (1932) and her relationship with her husband, fellow artist Napier Waller. Key aims of this thesis are to highlight the breadth and depth of Waller's art practice and to demonstrate that she made important contributions to Australian art and to art that addresses the sacred.This thesis introduces a number of Waller's artworks, stories and personal ephemera into scholarship, making a comprehensive study of the artist possible for the first time. It makes a major contribution to scholarship on the artist, especially in relation to the spiritual values that underpinned her practice, as expressed in the key symbols that are identified. By extension, it contributes a more nuanced understanding of art produced between the First and Second World Wars to Australian art history and to scholarship on art that addresses the sacred.
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Messina, Philip. "Establishing 21st Century Expressionisim." 2014. http://scholarworks.gsu.edu/art_design_theses/148.
Full textAbstract:
Within my thesis I propose to establish the existence of what I call 21st century expressionism. This genre of art is an extension of the movement that began in 20th century post-war America. 21st century expressionists create works that are intended to promote emotional responses within the viewer. “The term ``expressionism'' can be used to describe various art forms but, in its broadest sense, it is used to describe any art that raises subjective feelings above objective observations. Its aim is to reflect the artists’ state of mind rather than the reality of the external world”. Lee Krasner and Tony Smith, represent prime examples of 20th century expressionists and, Etsuko Ishikawa and Beth Cavener Stichter represent artists of 21st century expressionism.
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Kocan, Peter 1947, University of Western Sydney, College of Arts, and School of Humanities and Languages. "The fable of all our lives : a novel." 2008. http://handle.uws.edu.au:8081/1959.7/29359.
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Coats, Elizabeth. "Organic growth and form in abstract painting." Phd thesis, 2012. http://hdl.handle.net/1885/151306.
Full textAbstract:
This doctorate explores 'Organic Growth and Form in Abstract Painting', as the focus of my studio-based research, and which has resulted in two significant series of paintings, Organica and Streaming. The accompanying exegesis addresses experiences that are realized within the studio practice, and complements the two series of paintings. In the exegesis I describe the innovative and distinctive painting processes I have developed, and explain my motivation for working this way. I cite the writing of the philosopher of science, Henri Bortoft, in particular his description of 'active' seeing, which I suggest can be understood as a kind of modeling of my processes of making the Organica and Streaming paintings. Key to my research has been an investigation into the work of the early Russian avant-garde artist, musician, theorist and teacher, Mikhail Matyushin, who promoted an 'organic' vision of painting during the early years of modernist experimentation, insisting that perception cannot be separated from the body's inherent connection with nature. I discuss how the artists in the Organic studio, led by Matyushin, tested their sensitivity to perceptual and sensory experience with controlled experiments. Philosophically, they considered their findings to be congenial with the latest scientific discoveries of their time. Although my paintings are constructed very differently from those of Matyushin, my approach to perception and interpretation in painting is in sympathy with his thinking. The constructive and perceptual approach I have taken to both series of paintings has been directly influenced by immersion in natural environments. My exegesis provides a detailed account of this working process: how I work with geometric templates for the coordination of colours, and my systematic approach to their application, leading to uncontrived 'organic' extensions in the detail. I discuss my interest in the implicit knowledge garnered through perception of colours and the connective fabric underlying surface appearances in nature. I argue that these observations are generative resources for painting, and emphasise the fact that our sensory and thinking bodies are also part of nature. - provided by Candidate.
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Cheney, Jacqueline Patricia. "The mythology of the uncanny : as theory and practice in Australian contemporary art." Phd thesis, 2012. http://hdl.handle.net/1885/150841.
Full textAbstract:
A sensation raw and primal, unwelcome yet not wholly alien but peculiarly familiar, neither a penetrating roar nor shriek from the depths but a more eerily pervasive murmuring, without being discredited as irrational but instead being elevated within academia - the mythology of the uncanny persists.
This inquiry focusses on the phenomenon of the uncanny and its exemplification in the visual arts. Whilst extant literature relates uncanniness to the broader field of aesthetics, especially enlarged upon in literature, film-studies and architecture, it is a comparatively neglected topic in the context of visual arts. It is occasionally touched upon in texts concerning an artist's work, but usually very synoptically. Yet much art aligns to readings of uncanniness. For example, Sally Smart's evocatively uncanny work attracts descriptive smatterings about it without adequate enunciation against a critical theoretical framework.
Such a framework, newly developed here, takes into account Sigmund Freud's pivotal essay of 1919 whilst providing new interpretations of it and its subsequent plethoric discourse. Furthermore, this framework incorporates entirely different viewpoints, including Existentialist versions of uncanniness centred upon Martin Heidegger's and Jean-Paul Sartre's theories. Whilst being an evolution of the extensive discourse, my framework assimilates otherwise disparate notions of the uncanny effect and its sensations, then applies it contemporaneously.
In writing from the secularised worlds of Freudian psychoanalysis and Existentialism, religion, spirituality and mysticism are areas not intentionally ignored nor sidelined as unworthy of consideration. Nevertheless the scope of this dissertation required curtailing thereby making the exclusion of the non-secular a necessity. Psychophysical, neural and cognitive characteristics of viewers' sensory perception of artwork (in relation to evoking uncanniness) are other exclusions, and whilst I touch on various socio-political aspects of the uncanny, it likewise requires greater regard than what is allowed for herein.
This is essentially an interpretative analysis which applies a more broadly developed framework to six Australian artists whose work is persuasively uncanny: Ron Mueck, Patricia Piccinini, Sally Smart, Lawrence Daws, Pat Brassington and Bill Henson. These case-studies are structured into three chapters: the first concentrates on three-dimensional, figurative sculpture (Mueck and Piccinini); the next section looks at siting the uncanny in two-dimensional landscapes, specifically the locale of Australia, a land where the uncanny is said to loom large (Smart and Daws); whilst the final section focuses on uncanny 'filmic' surfaces or photo-based media (Brassington and Henson}. This form of analysis is founded on either the artist's self-identification with the topic and/or is based on consistent commentary about their artwork eliciting uncanniness, except Henson, who receives little discussion in relation to uncanniness, but, as demonstrated, epitomises it nonetheless.
Examining their art against a contemporary theoretical framework thus addresses a lacuna of critical, academic insight into the uncanniness of visual art, before drawing conclusions about some conceptual, technical and formal differences and similarities.
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Eastburn, Melanie. "The living specimen : Guan Wei : a Chinese-Australian artist." Thesis, 1997. http://hdl.handle.net/1885/258500.
Full textAbstract:
This thesis focuses on the work and experience of Guan Wei. Guan Wei is a Chinese born artist now living and working in Australia. He is one of a number of mainland Chinese who came to live in Australia in the late 1989s and early 1990s. While there are certain commonalities between the experiences of these artists, I have concentrated on Guan Wei not merely as a case study for recent emigre Chinese artists in Australia, but because of his prominent place in Australian contemporary art.
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Van, Langenberg Carolyn, University of Western Sydney, of Arts Education and Social Sciences College, and School of Communication and Media. "With tender contempt." 2000. http://handle.uws.edu.au:8081/1959.7/31372.
Full textAbstract:
The novel Riverweed, which forms the substantial part of this thesis, is an experiment with strategies in writing across cultures and across time, from Australia to Malaysia, from 1997 to 1956. The method of writing the novel was,in the most part, informed by viewing the television dramas and films and reading the novels of the late Dennis Potter. Riverweed is a novel in five parts. The essay, with tender contempt : history, fiction auto/biography : writing across cultures, discusses many of the issues related to the research for the novel. The author had hoped to write a novel that crossed political and cultural borders in a seamless exploration of nostalgic love for a place - George Town, Penang. She believes she has written an Australian novel which includes in its imaginative sphere a migration from the loneliness of the mythologised paddock forward to nostalgia, understanding nostalgia as part of the anxious energy characterising the middle-class neuroses of civil society in both Australia and Malaysia.Doctor of Philosophy (PhD)
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Hu, Lisa Chu-Ying. "Report." Master's thesis, 2001. http://hdl.handle.net/1885/156336.
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Perrin, Steve, University of Western Sydney, of Arts Education and Social Sciences College, and School of Contemporary Arts. "The plughole of time." 2003. http://handle.uws.edu.au:8081/1959.7/30107.
Full textAbstract:
This thesis is comprised of a survey of all the varying influences behind the author's art making. All pre-occupations are included, the concepts of childhood memory; the use of imagination; the ability to comprehend and put together an old fashioned story in varying forms; as well as considering the notion of blurring historical and actual fact with personal elements of fantastical fiction. These themes have all been threaded delicately through the motif of time-travel, the author's personal favourite of literary genres. The main aim has been to make an attempt to re-create the feelings of childhood.Whilst embracing whimsy, the absurd and the time travel genre, this project hopefully shows a struggle and is an allegorical comment on the author as an artist, who having lost a little of his faith in the world and his abilities, becomes seduced by a new focus.Master of Arts (Hons) (Creative Arts)
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Macneil, Roderick Peter. "Blackedout : the representation of Aboriginal people in Australian painting 1850-1900." 1999. http://repository.unimelb.edu.au/10187/1063.
Full textAbstract:
This thesis examines the representation of Aboriginal people in Australian painting between 1850 and 1900. In particular, the thesis discusses and seeks to account for the decline in the frequency with which Aboriginal people were represented in mainstream academic art in the decades preceding Australia’s Federation in 1901. In addition, this thesis investigates the ways in which a visual discourse of Aboriginality was realised in mid- and late nineteenth-century Australian painting.The figures of Aboriginal people formed a significant presence in Australian painting from the moment of first contact in the late eighteenth century until well into the nineteenth century. I argue that in paintings of the Australian landscape, as well as in portraiture and figure studies produced in the second half of the nineteenth century, images of Aboriginal people were used to signify the primordial difference of the antipodean landscape. In these paintings, Aboriginality emerged as a motif of Australia’s precolonial past: a timeless, arcadian realm that preceded European colonisation, and in which Aboriginal people enjoyed uncontested possession of the Australian landscape. This uncolonised landscape represented the antithesis of colonial civilisation, both spatially and temporally distinct from the colonial nation.
I argue that prior to Federation in 1901, Australian national identity was dependent upon the recognition and construction of a ‘difference’ that was seen to be implicit within the Australian landscape itself. This sense of difference derived from the settlers’ perception of the Australian environment, and became embodied in those objects which appeared most ‘different’ from settlers’ notion of the familiar. Colonial artists drew upon an iconography based upon this recognition of difference to signify the geographical identity of the landscape which they painted. Aboriginal people were central to these icons of ‘Australian-ness’. Further, the association of Aboriginal people with a precolonial Australia served to rationalise acts of colonial dispossession.
Representations of Aboriginal people dressed in a traditional manner, as well as those in which they are portrayed in European costume as ‘white but not quite’, underwrote colonial assertions of Aboriginal ‘primitiveness’ and precluded Aboriginal participation in the foundation of the Australian nation. The strengthening nationalist movement of the 1880s and 1890s meant that a new iconography was needed, one in which the triumph of the white settler culture over indigenous cultures could be celebrated. As a result, Aboriginal people began to disappear from the canvases of Australian artists, replaced by ‘white Aborigines’, who symbolised a new depth in the relationship between setter-Australia and the landscape itself. As well and more broadly, they were replaced by the image of the white frontiersman, the leitmotif of settler culture. This exclusion of Aboriginal people from the conceptualisation of the Australian nation reflects not only their ‘disenfranchisement’ within Australian society, but more significantly reveals the effectiveness with which a visual discourse of ‘Australia’ painted Aboriginal people out of existence.
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Taylor, Johnson Heather. "And the Word was Song: a novel." 2006. http://hdl.handle.net/2440/47791.
Full textAbstract:
v. 1 [Novel]: And the Word was Song [Embargoed] -- v. 2 [Exegesis]: The return to mother: exegesis accompanying the novel: And the Word was SongThe novel manuscript And the Word was Song is a work in five parts, structurally (and very loosely) mirroring the first five books of The Old Testament. It is the story of Lily May, a young woman who travels around the world trying to find meaning in her life after her prostitute, heroin-addicted mother has died. Throughout her journeys, Lily May comes into contact with people who have issues with sex and / or addiction, always forcing her to remember her mother, a loving yet entirely flawed woman. Some of her fellow travellers are neglected children; some are street-smart gypsies; some are lovers; all are unknowingly Lily May’s mother substitutes. Through an impending birth, a return to her childhood home and an unexpected discovery of a half-sister, Lily May is able to end her journey and accept her mother for who she was: an imperfect woman who gave birth to her, then loved and cared for her the best that she could. The story is about spirituality, sexuality, love, addiction, acquiescence — and Elvis. Ultimately it is about mothers. The exegetical essay is a reflection on the journey from daughter to mother. I discuss the structuring of my novel manuscript and explore ways in which memory is accessed in the recreation of the maternal bond. Through an imaginary conversation with my mother about the legitimacy of psychoanalysis in re-evaluating mothers and maternity, I look at three concepts of mother substitution, considering ways in which the subconscious reconstructs the mother in the relationships women have. I deliberate on homecomings, both literary and personal, and consider the ethics of using my mother’s stories to further my own story.
Thesis (PhD) -- School of Humanities, 2006
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Lahy, Waratah. "Painted objects : investigating the imagery of Australian iconic culture." Phd thesis, 2007. http://hdl.handle.net/1885/149626.
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Mosely, Genevieve Kate Lydia. "Innovative futures: design in the Australian Curriculum." Thesis, 2019. http://hdl.handle.net/1959.13/1400456.
Full textAbstract:
Masters Research - Master of Philosophy (Mphil)Building the innovative capabilities of students is recognised as a national priority for economic growth and productivity, particularly in the context of rapidly developing technologies that are radically changing traditional ways of living and working. Current education policy rhetoric in Australia emphasises Science, Technology, Engineering and Mathematics (STEM) as the key avenue for developing innovative capabilities and skills that are critical for an unpredictable future workforce. This policy rhetoric, however, overlooks the potential for innovative capabilities, including creativity, critical thinking, and problem-solving skills to be developed through curriculum areas beyond STEM. Despite being overlooked in the policy space, design is increasingly recognised in the research literature as providing students with opportunities to develop creativity and imagination, and prepare them with the skills needed to face the challenges of a globalised future. However, there are stark limitations in the understanding of how design is represented in the Australian Curriculum, which provides key information for teachers about how to teach design in Australian classrooms. Using qualitative approaches, including content analysis and tools from Membership Categorisation Analysis, this study examines representations of design, including concepts associated with design, across the curriculum. The results illustrate that design and design thinking is represented in multiple ways across the Australian Curriculum and that curriculum documents in key learning areas present teachers with limited and potentially confusing representations of design. In exploring the complex incorporation of design in the Australian Curriculum and specifically within the Technologies curriculum the study examines the implications of these representations including for teachers’ pedagogies and students’ future aspirations.
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Harrow, Janet Gail. "Flight." 2006. http://hdl.handle.net/2440/56815.
Full textAbstract:
Title page and synopsis only v.2; Title page, table of contents and abstract only. The complete thesis in print form is available from the University of Adelaide Library.Abstract from Exegesis: As writers create stories within fragile and contested territories, they are often confronted by difficult ethical questions. When the lives of people from different cultures, races and genders intersect, whose story should be told? Does the person of white, European ancestry have the right to tell his/her part of that story? Does a man have the right to tell a woman's story? If so, from whose point of view? If not, should stories be peopled only with one's own race, one's own gender? Must a person of mixed identity write only about one race, one ethnicity? If so, which one? What is the responsibility of the writer to create stories of the world she/he observes and lives in rather than the ideal one in which most of us would like to live? How does the writer construct writing practices that embody theoretical and ideological values without privileging polemic over artistic integrity? These questions are not just philosophical for me as a writer. The answers determine what I will or will not permit myself to write, especially since I want to approach story-telling with a sensitive eye to the power of literature to show readers a world of diverse and intersecting experiences. This essay explores the responses to such questions by a number of highly respected international writers whose work has informed my writing. It also looks at the ethical use point of view as a strategy for entering the space of intersecting human experiences within contested geographic and political terrain.
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Thesis (Ph.D.) -- University of Adelaide, School of Humanities, 2006
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Cleave, Kaye L. "Gifts from Catherine." 2006. http://hdl.handle.net/2440/56813.
Full textAbstract:
Title page, contents and abstract only. The complete thesis in print form is available from the University of Adelaide Library.The memoir dealing with the 1st year following her daughter’s death, has developed from 5 personal essays on grief submitted for a Master of Fine Arts in Writing, University of San Francisco, 1992 and is intended to honour her daughter’s life and tell her own story. The exegesis: The ethics of life writing, grew out of the questions explored in the process of writing the memoir: What does it mean to write the ’truth’?; What must I consider when writing about others?; and, Should I reveal information that is regarded as secret or private?
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Thesis (Ph.D.) -- University of Adelaide, School of Humanities, 2006
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Cleave, Kaye L. "Gifts from Catherine." Thesis, 2006. http://hdl.handle.net/2440/56813.
Full textAbstract:
The memoir dealing with the 1st year following her daughter’s death, has developed from 5 personal essays on grief submitted for a Master of Fine Arts in Writing, University of San Francisco, 1992 and is intended to honour her daughter’s life and tell her own story. The exegesis: The ethics of life writing, grew out of the questions explored in the process of writing the memoir: What does it mean to write the ’truth’?; What must I consider when writing about others?; and, Should I reveal information that is regarded as secret or private?Thesis (Ph.D.) -- University of Adelaide, School of Humanities, 2006
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Kelen, Stephen Kenneth. "Writing the Goddess." 2005. http://hdl.handle.net/2440/37730.
Full textAbstract:
This thesis comprises a creative work, the manuscript of a book of poems, Goddess of Mercy, and an exegesis, A Further Existence, which explores the creative, aesthetic, philosophical and other ideas and inputs that went into writing the poems. Goddess is a collection of idylls of the electronic age, narratives, dramas, fictions and meditations. The poems are various in style and subject matter. The exegesis begins with the author's earliest remembered experiences of poetry, considers a wide range of poetries and goes some way to proposing an open poetic that allows a writer versatility in approach to subject matter and writing style. Poems can transcend their time and place to create a 'further existence' where temporality is irrelevant. A diverse range of poems are examined -- from ancient Babylonian to contemporary Australian -- to determine the aspects of a poem that take it beyond daily speech. The usefulness and limitations of theory are considered. The art's mystical dimensions are not easy to analyse but are still worth thinking about: the mysterious spark or talent for poetry, how and where a poem occurs, epiphanies, 'being in the zone' and when all the words come rushing at once. The persistence of poetry is noted: poetry still manifests itself in public life through newspapers, sport, pop music, radio commentary, television, and politics, as well as in everyday living. Poetry adapts to new environments like the internet. Conversely, events in the 'real world' influence poetic thought and writing as evidenced by the barrage of poems and publishing in response to the US invasion of Iraq. Some recent Australian poems are explored with regard to establishing contexts and areas of interest for the practice of poetry in the opening years of the twenty-first century, with a view to establishing the contexts in which the poems in Goddess exist and the world they address.Thesis (Ph.D.)--School of Humanities, 2005.
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Kelen, Stephen Kenneth. "Writing the Goddess." Thesis, 2005. http://hdl.handle.net/2440/37730.
Full textAbstract:
This thesis comprises a creative work, the manuscript of a book of poems, Goddess of Mercy, and an exegesis, A Further Existence, which explores the creative, aesthetic, philosophical and other ideas and inputs that went into writing the poems. Goddess is a collection of idylls of the electronic age, narratives, dramas, fictions and meditations. The poems are various in style and subject matter. The exegesis begins with the author's earliest remembered experiences of poetry, considers a wide range of poetries and goes some way to proposing an open poetic that allows a writer versatility in approach to subject matter and writing style. Poems can transcend their time and place to create a 'further existence' where temporality is irrelevant. A diverse range of poems are examined -- from ancient Babylonian to contemporary Australian -- to determine the aspects of a poem that take it beyond daily speech. The usefulness and limitations of theory are considered. The art's mystical dimensions are not easy to analyse but are still worth thinking about: the mysterious spark or talent for poetry, how and where a poem occurs, epiphanies, 'being in the zone' and when all the words come rushing at once. The persistence of poetry is noted: poetry still manifests itself in public life through newspapers, sport, pop music, radio commentary, television, and politics, as well as in everyday living. Poetry adapts to new environments like the internet. Conversely, events in the 'real world' influence poetic thought and writing as evidenced by the barrage of poems and publishing in response to the US invasion of Iraq. Some recent Australian poems are explored with regard to establishing contexts and areas of interest for the practice of poetry in the opening years of the twenty-first century, with a view to establishing the contexts in which the poems in Goddess exist and the world they address.Thesis (Ph.D.)--School of Humanities, 2005.
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Taylor, Johnson Heather. "And the Word was Song: a novel." Thesis, 2006. http://hdl.handle.net/2440/47791.
Full textAbstract:
v. 1 [Embargoed] And the Word was Song : Novel -- v. 2 The return to mother: exegesis accompanying the novelThe novel manuscript And the Word was Song is a work in five parts, structurally (and very loosely) mirroring the first five books of The Old Testament. It is the story of Lily May, a young woman who travels around the world trying to find meaning in her life after her prostitute, heroin-addicted mother has died. Throughout her journeys, Lily May comes into contact with people who have issues with sex and / or addiction, always forcing her to remember her mother, a loving yet entirely flawed woman. Some of her fellow travellers are neglected children; some are street-smart gypsies; some are lovers; all are unknowingly Lily May’s mother substitutes. Through an impending birth, a return to her childhood home and an unexpected discovery of a half-sister, Lily May is able to end her journey and accept her mother for who she was: an imperfect woman who gave birth to her, then loved and cared for her the best that she could. The story is about spirituality, sexuality, love, addiction, acquiescence — and Elvis. Ultimately it is about mothers. The exegetical essay is a reflection on the journey from daughter to mother. I discuss the structuring of my novel manuscript and explore ways in which memory is accessed in the recreation of the maternal bond. Through an imaginary conversation with my mother about the legitimacy of psychoanalysis in re-evaluating mothers and maternity, I look at three concepts of mother substitution, considering ways in which the subconscious reconstructs the mother in the relationships women have. I deliberate on homecomings, both literary and personal, and consider the ethics of using my mother’s stories to further my own story.
Thesis (Ph.D.) -- University of Adelaide, School of Humanities, 2006
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Omarova, Amina. "The Australian Army in the 21st century: organisational adaptation to new conditions of military engagement: a complex adaptive system perspective." Thesis, 2016. http://hdl.handle.net/2440/119518.
Full textAbstract:
Modern military engagements are characterised by complexity, dynamics and unpredictability that force armies as complex social bureaucratic systems to adapt to continuously changing conditions of war. This is an on-going vital matter since modern society has been under stress from recent military engagements in Afghanistan, Iraq, Syria as well as current terrorist attacks in France and Belgium. We are seeking a way to describe and understand from a theoretical perspective both the operational conditions and the process of adaptation that the Australian Army needs to employ in response to external changes of these extreme kinds. In this regard Complex Adaptive System (CAS) theory offers an advanced method of understanding contemporary warfare and military organisations that will represent the core focus of the thesis; its main goal being to appraise organisational change in the Australian Army through the lens of CAS theory. The literature review on this topic identifies changes in contemporary warfare and characterises both modern military engagements and organisations as complex adaptive systems. Any army representing the defence of a nation state strives to be both capable and effective in its military engagements, most notably in conditions of war or hostilities against a known enemy combatant. The objectives of capability and effectiveness, often understood as ‘fit for purpose’, means that an army must always be in a state of readiness to change, not only to keep abreast of the methods and tools of warfare technology that continuously evolve but ideally to be strategically ahead of the enemy, whether in a classical battleground scenario or, as seems more likely, fighting an opponent who has the advantage of local knowledge, an element of surprise and other features of asymmetrical warfare providing them with the upper hand. Contemporary warfare, as described in the history books, has already moved beyond our capacity to understand and interpret the nature of conflict. Moreover, the lessons of military engagement for the Australian Army in recent years fighting insurgency in faraway lands point to a new level of complexity where unforeseen and unknown factors play a decisive part in determining success and failure in strategic planning and actual operations. Difficult though it may be, the Army has no choice but to embrace new ‘out of the box’ thinking and get to grips with the mysteries of CAS in order to adapt and remain effective. This leads us to the main research question that is: How does a modern professional army adapt, structurally and functionally, to the changing nature of military engagement, which is increasingly characterised by complexities arising outside of conventional operations? CAS theory can be seen as a promising perspective in appraising these complexities as it provides a number of characteristics that offer a better understanding of the nature of modern warfare and military organisations. To apply CAS theory to a real-life case of organisational change we have chosen the Conceptual Framework for Adaptation (CFA) since it provides a good descriptive model of CAS. Moreover, CFA, currently being developed by the Defence Science and Technology Group (DST Group) in Australia, is the most familiar framework for the Australian Army in the task of reviewing the complexities of both modern warfare and military organisations. For this reason, the thesis uses CFA as a methodological basis for appraising a case of organisational change. The findings will draw on ideas taken from CAS theory and CFA as a means to appraise organisational change. From a practical point of view, we have selected a recent case of organisational change that had been introduced into the Australian Army. In particular, in response to future environment complexities, the Australian Army has released Adaptive Campaigning and launched the Adaptive Army Initiative (AAI). This is an ambitious program that puts the whole organisation on an adaptive footing, claiming to be a restructuring of higher command and control arrangements by providing a systemic approach to adaptation across the entire Army. The review of the AAI aims to explore from a theoretical perspective, how the Army as a complex organisation, and given its multiple functions, levels of command and control, can actively manage this adaptation to a continuously changing environment. During the AAI review we conducted 19 face-to-face interviews that included 13 senior Officers, 3 mid-ranking Army Officers and 3 external to the Army people. We also recognise that organisational learning plays a crucial role in the way the Army adapts to external requirements. To cover this ground we conducted a review of the lessons mechanisms, Army Lessons Network (ALN); the focus being on the operational aspects (process, structures and roles) that make an organisation adaptable to changing conditions. Thus, the thesis describes how the change was designed and implemented as well as the outcomes that have been possible to track so far. Appraisal of the lessons processes in the Army, through the ALN review, helps us to understand the role of organisational learning as a mechanism of change. Both the AAI and ALN analyses demonstrate that the Army has developed characteristics of CAS. Taking into account the views of experienced senior Army Officers about their own self-generated initiative to drive and foster an adaptive, change-oriented culture, the thesis demonstrates the depth of understanding of the challenge of achieving ‘fit for purpose’ organisational performance as well as the important contribution of leadership, a supportive socio-culture and the lubrication of organisational learning. This is what the thesis has revealed and its special knowledge contribution is to obtain the insights from Army leaders as practitioners about what is going on in a modern army in a continuous process of transition. Indeed, gaining access to the thoughts of these truly professional soldiers has provided the thesis with unique and original insights into military operations. The thesis explores the development of a model of the Army as a complex adaptive system. It acknowledges that in the context of the practical orientation of the Army theory-building this is just the beginning of a long road-testing process. A serious attempt has been made to start the theory-to-practice process with an extensive exploration of leading ideas inspired and drawn from complex system thinking.Thesis (Ph.D.) -- University of Adelaide, Entrepreneurship, Commercialisation and Innovation Centre (ECIC), 2016.
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Bartlett, Anne 1951. "Knitting a novel : a retrospective view, and Knitting : a novel / Anne Bartlett." 2006. http://hdl.handle.net/2440/22312.
Full textAbstract:
Includes the novel and exegetical essay.With: "Knitting a novel" in the back section of the volume bound upside down.
Bibliography: p. 92-97.
97, 244 p. ; 30cm.
Title page, contents and abstract only. The complete thesis in print form is available from the University Library.
Thesis (Ph.D.)--University of Adelaide, School of Humanities and Social Sciences, Discipline of English, Creative Writing, 2006
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Walker, Malcolm. "The stone crown : a novel." 2007. http://hdl.handle.net/2440/56818.
Full textAbstract:
Title page and prologue v.2; Title page, table of contents and abstract only. The complete thesis in print form is available from the University of Adelaide Library."The stone crown is, in part, a contemporary reworking of the Arthurian legend." -- abstract, [v. 2], p. v.
http://proxy.library.adelaide.edu.au/login?url= http://library.adelaide.edu.au/cgi-bin/Pwebrecon.cgi?BBID=1284280
Thesis (Ph.D.) -- University of Adelaide, School of Humanities, 2007
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Lewis, Kate Yvonne Margot. "The conversation between painting and photography in the 21st century: An analysis of selected paintings by Peter Doig (1959-) and Luc Tuymans (1958-)." Thesis, 2013. http://hdl.handle.net/10539/13082.
Full textAbstract:
In this research I explore the relationship between painting and photography, focusing on the
natures of both mediums and how they are questioned when creating a painting from a
photographic source. I have selected works by contemporary painters Peter Doig and Luc
Tuymans for analysis, examining the ways in which their images force us to question the
assumed ‘truth value’ attached to photographic images. I also explore the potential for both
painting and photography as mediums to portray the internal or the imagined, as well as
painting’s link to the concepts of artifice and construction throughout history, especially when
compared to photography.
In this research I examine the early development of photography, as well as the
development of ‘photographic’ or perspectival language in painting, both separate from and
in relation to advancements in photographic technologies in the late nineteenth and early
twentieth century. I then look at 20th Century painters and photographers and their
engagement with and criticism of photography through their work, while examining the
continuing debate around the associations linked with both mediums. This leads into the
examination of selected works by Peter Doig and Luc Tuymans, exploring how their use of a
photographic source to create their images raises questions of representation and if these
representations can be classified as truthful or imagined, transparency or construction,
human or mechanical. Finally in the discussion of my own work I deal with painting’s link to
the internal or imagined, photography’s indexical link to reality, and how through the
combination of these mediums these links are challenged. This research also looks at the
nature of my subject matter; the city of Johannesburg, as a site of contradiction, existing in a
space that is at once real and somehow otherworldly or imagined.
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Dalley, Hamish. "Postcolonialism and the historical novel : allegorical realism and contemporary literature of the past in Nigeria, Australia and New Zealand." Phd thesis, 2013. http://hdl.handle.net/1885/155168.
Full textAbstract:
The historical novel is one of the most prominent modes of contemporary writing in the former British Empire, yet the genre's postcolonial variant has not been the subject of critical analysis in its own right. This neglect can be explained by the dominance of a "resistance paradigm" in postcolonial studies, which tends to equate realism with naive mimesis and thus treats the historical novel as either a vehicle for imperialist ideology or a site of discursive conflict over the meaning of the past. As a result, the genre's epistemological and aesthetic complexities have been marginalised. This thesis responds to this neglect by critically analysing examples of the historical novel published since 2000 in Nigeria, Australia, and New Zealand. Historicised close analysis reveals that notwithstanding the anti-mimetic presumptions of much contemporary postcolonial criticism, and despite differences arising from contextual particularities, these texts are shaped by a common "realist impulse" that frames their narratives as defensible interpretations of the past. This ethical obligation to evidence-based interpretation has formal and epistemological consequences that manifest in an aesthetic framework I call allegorical realism. This term names a mode of representation in which fictional elements oscillate between ontological and conceptual registers in ways that simultaneously produce empathetically-unsettling relations to imagined individuals and interpretations of macro-historical change. This combination of affect and abstraction defines the genre as one based neither around assumptions about the transparency of language, nor overly pessimistic views that knowledge of the past is unachievable. I show that focusing analysis on allegorical realism allows critical attention to move away from its exclusive concern with textual resistance and instead explore how the genre is inflected by the various narratives it mediates and the specificities of postcolonial contexts. This research identifies three main variants of the contemporary postcolonial historical novel, each characterised by a different modulation of allegorical realism. Settler allegory comprises texts like Kate Grenville's The Secret River (2005) and Fiona Kidman's The Captive Wife (2006), in which colonists' alienation from occupied territory is reflected formally in the undercutting of allegorical procedures that align imaginary characters with their settings. Transnational historical novels, by contrast, stretch the spatio-temporal coordinates of allegorical realism to encompass processes taking place in global settings. This generates aesthetic effects that link apparently dissimilar novels like Witi Ihimaera's The Trowenna Sea (2009) and Chimamanda Ngozi Adichie's Half of a Yellow Sun (2006). Finally, melancholy realism describes texts like Chris Abani's Song for Night (2007) and Richard Flanagan's Gould's Book of Fish (2001)-texts which disrupt the boundaries between past and present to unsettle postcolonial complacency. Tracing allegorical realism across these modes reveals how postcolonial concerns continue to recreate the genre, and how the oscillation of the allegorical signifier can challenge dominant accounts of historical change. The genre provides a significant archive for exploring how postcolonial literature is characterised by disjunctive temporalities irreducible to dominant narratives of modernity, while nonetheless being shaped by processes that link the globalised world.
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Norris, Craig Jeffrey, University of Western Sydney, of Arts Education and Social Sciences College, and of Communication Design and Media School. "The cross-cultural appropriation of manga and anime in Australia." 2003. http://handle.uws.edu.au:8081/1959.7/13320.
Full textAbstract:
This thesis is an investigation into the cross-cultural appropriation of manga and anime by fans in Australia. I investigate the way in which fans embark on ‘identity’ projects through manga and anime to construct a space where issues of gender politics, identity and culture are explored. I argue that a key reason why many Western fans and scholars perceive manga and anime as ‘different’ is its ‘Japaneseness’. The two key problems addressed throughout the thesis are : how can we analyse the significance of the Japanese origins and context of manga and anime, and would the ‘identity projects’ that fans construct be possible without an appreciation of manga and anime’s 'Japaneseness?.' These questions are explored in terms of a number of key forms within manga and anime including cyberpunk, bishonen(beautiful boys), otaku(fans) and anime forms that have had their ‘Japaneseness’ softened. I discuss the way in which these manga and anime forms offer different spaces for fans, scholars and cultural industries to contest, rework and reiterate the cultural value of manga and anime.Doctor of Philosophy (PhD)
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Matthews, Amy T. "End of the night girl: a novel." 2007. http://hdl.handle.net/2440/38745.
Full textAbstract:
v. 1 [Novel]: End of the night girl [Embargoed] -- v. 2 [Exegesis]: Navigating the kingdom of night: writing the holocaust'End of the Night Girl': Nothing seems to go right for Molly – she’s stuck in a dead-end waitressing job, she’s sleeping with a man she doesn’t even like, and she’s just been saddled with a swarm of goldfish and a pregnant stepsister. The chance discovery of an old photograph leads her into an act of creation, and brings her into contact with the ghost of a woman who has been dead for more than sixty years. Sixty years earlier, in Poland, Gienia’s family arranges her marriage to a distant cousin. Not long after her marriage to this stranger, the Nazis invade and she has to face life in the ghetto and the horrors of Auschwitz. End of the Night Girl is a complex fictional narrative in which the lives of these two women, ‘real’ and imagined, imagined and re-imagined, are inextricably combined. ‘Navigating the Kingdom of Night’: Critics, historians and Holocaust survivors have argued for decades over whether the Holocaust should be accessible to fiction and, if so, who has the right to write those fictions. ‘Navigating the Kingdom of Night’ addresses such concerns and analyses various literary strategies adopted by authors of Holocaust fiction, including the non-realist narrative techniques used by authors such as Yaffa Eliach, Jonathan Safran Foer and John Boyne and the self-reflexivity of Art Spiegelman. Through the course of the essay I contextualise End of the Night Girl by turning my attention to works that raise critical issues of authorial intent and the reader/writer contract; for example Jerzy Kosinski’s The Painted Bird and Helen Darville’s The Hand That Signed the Paper. How did I resolve my own concerns? Which texts helped me and why? Together End of the Night Girl and ‘Navigating the Kingdom of Night’, one creatively and one critically, explore these complex and controversial questions in a contemporary Australian context.
Thesis(PhD)-- School of Humanities, 2007
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Greenhill, Fiona. "The stutter of recognition: re-visioning the baroque in contemporary painting." Thesis, 2013. http://hdl.handle.net/1959.13/1039658.
Full textAbstract:
Research Doctorate - Doctor of Philosophy (PhD)The major theme that runs throughout my work has always been the question of representation; where to draw the line between ‘real life’ and ‘art’, illusion and abstraction, transcription and composition. The line between illusion and truth, or to put it another way, “between the ontological and the epistemological – between ‘things as they are’ and ‘things as they seem”, was also a concern that preoccupied the seventeenth century. This research challenges the assumption that the ancients are fixed firmly and stably in a past in which the moderns are the victors and the ancients the losers. This research reconsiders the contribution the Baroque has made to Western thought, but in particular, to explain its ongoing appeal and its continuing relevance to painting in the late twentieth / early twenty-first centuries. And more importantly for the purposes of my own research as a painter in the digital age, is to pose the question: how to formulate a Neo-Baroque aesthetic adequate to addressing the problems and uncertainties specific to painting in the twenty-first century?
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Wepener, Daneille. "Conflicting conventions: space as a medium in the works of Gerhard Richter and Serge Nitegeka." Thesis, 2017. https://hdl.handle.net/10539/24581.
Full textAbstract:
A dissertation submitted to the Faculty of Humanities, University of the Witwatersrand, Johannesburg, in partial fulfilment of the degree of Masters of Arts in Fine Arts (MAFA) Johannesburg, 2017This dissertation aims to examine Gerhard Richter and Serge Nitegeka’s artistic practices, in order to understand and identify how artists can potentially use space as a medium and contextualise my own practice within this realm. I position the conventions and principles of space through reference to French theorists’ Henri Lefebvre, Michel de Certeau and Michel Foucault. The thesis begins with a brief overview of the window as a painterly motif and spatially familiar everyday device in the introduction. In the first chapter, I explore the surface and reflection of the medium of glass, the colour gray, the monochrome, as well as the pictorial, in Gerhard Richter’s Eight Gray (2002). The second chapter examines the role of the frame or line in Serge Nitegeka’s Black Lines (2012), as an environment of experience that relies on painted diagrams and the illusion of perspectival space. The third chapter observes a shift in the manner in which Richter and Nitegeka experiment and extend their practices through an engagement with the mirror and the door, respectively, as ways of exploring the threshold. Finally, I discuss my own practice and reflect on the exhibition Through the Extent (2015), which was submitted as the practical component of this research.
XL2018
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PETRÁŠOVÁ, Jitka. "Vlakové nádraží." Master's thesis, 2007. http://www.nusl.cz/ntk/nusl-47975.
Full textAbstract:
The theoretical part of this work refers to the presence and approach to the technical element in former and current Czech art. It closely inquires into this theme in the work of the outstanding contemporary Czech artists and it also mentions the graffiti phenomenon and its influence on the present artistic production. Furthermore it explains my intention and technical method in the course of creating the practical part of the work - a cycle of six thematic paintings.
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Lofts, Pamela. "A necessary nomadism : rethinking a place in the sun." Master's thesis, 2007. http://hdl.handle.net/1885/147113.
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