Academic literature on the topic 'Sculpture, Australian 20th century'
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Journal articles on the topic "Sculpture, Australian 20th century"
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Steklova, Irina A., and Olesya I. Raguzhina. "SCULPTURE PARKS OF THE XX CENTURY LAST THIRD – THE XXI CENTURY BEGINNING: TYPOLOGY EXPERIENCE." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 41 (2021): 80–94. http://dx.doi.org/10.17223/22220836/41/7.
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The purpose of this article is to present sculpture parks at the modern stage of development, from the last third of the 20th century to our day. The relevance of this purpose is due to the relevance of these parks, which meets, firstly, on the challenges of culture, reproducing itself in the synthesis of landscape and monumental-decorative arts; secondly, on the demands of the population in artistically interpreted natural spaces; thirdly, on the life-building claims of modern art, which is looking for optimal ways of self-presentation. The representation of the sculpture parks is implied their systematization, which, in the course of the factual and visual material analysis, exhibits the most typical trends of formal and informative diversity and takes the form of a typology. To start building a typology, it was necessary to draw up a rather broad and spacious representative sample of objects and to select reference criteria in the trends of the manifold. Thus, a representative sample was made up of 90 Europe, Asia, Africa, Australia, and North and South America brightest objects, and following criteria were put forward: environmental involvement, authorship, the nature of specific forms and links between them. Typology showed that approximately two thirds of the sculpture parks are a product of the natural environment and one third of the architectural environment. In the natural environment, in authentic natural spaces, these are co-author full (independent and contextual) and special (by place, material, style, theme) formats, as well as mono-author formats. In an architectural environment, in integrated or interpreted natural spaces, these are, first of all, city formats that can be both co-authors and mono-authors: destinations, stops, transit zones. The implementation of the typology was facilitated by the attraction of a new material for the national art history. In the scientific circulation were introduced information about objects that were not mentioned before and unknown artists. Accounting for this information, along with known realities, allowed us to reach a higher understanding level of sculpture parks as a modern hypostasis of artistic synthesis.
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Portnova, Tatiana. "Dance in Sculpture of the Early 20th Century." Sculpture Review 68, no. 4 (December 2019): 22–34. http://dx.doi.org/10.1177/0747528420901915.
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This article is concerned with the ratio of plastic arts as exemplified by sculptural works depicting dances of the early 20th century. Special attention is paid to the Greek motives in the Russian art of this period, which became the subject of inexhaustible aesthetic and artistic interest. The representation of ancient dance motifs, their figurative image and the nature of antiquity in sculptural plastics, various approaches to the interpretation of ancient plots and themes, the role and significance of the “antique” component in their artistic structure are considered in the article. The study of multi-level interactions between sculpture and dance in the context of antiquity calls for a comprehensive approach, including historical-cultural, theoretical-analytical and comparative-typological methods. Relating to ancient Greek images, ballet images of S. Konenkov, M. Ryndzyunskaya, N. Andreev, V. Vatagin, V. Beklimishev and S. Erzya provide a purely individual, unique and peculiar vision of dance corresponding to the ancient era. The categories and expressive means of dance were simultaneously analyzed close to the sculptural style of the masters because they are difficult to be divided methodologically and exist as an established artistic system. The concepts of “plastic expressiveness” in relation to the dancers imprinted in sculptures were interpreted. Analyzing the museum materials and sculptures depicting the dancing process, it was concluded that the ancient influence of plastic images on structural and genre determinants may vary.
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Odrekhivskyi, Volodymyr, Vasyl Odrekhivskyi, and Roman Odrekhivskyi. "Ukrainian sculpture of the 20th century: main ideological and plastic transformations." LAPLAGE EM REVISTA 7, no. 3B (September 20, 2021): 187–94. http://dx.doi.org/10.24115/s2446-6220202173b1534p.187-194.
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In this article we attempt at demonstrating the inseparability of Ukrainian sculpture from global culture creating process despite cultural and political isolation as a component republic of the Soviet Union for over 70 years of the 20th century. There is a considerable difference in the character of creativity of Ukrainian sculptors, who lived and worked within the borders of the Soviet Union, and those, who migrated to Western Europe or America and had an opportunity to freely experiment with shape and ideas. In this article, particular attention is dedicated to those personalities that have made the most significant ideological and plastic transformations in the 20th-century sculpture with respect to the previous epochs, i.e., to the sculpture of avant-garde and modernism. The last decade of the 20th century was marked by the end of the Soviet-era cultural isolation from the democratic world, when a powerful stream of information penetrated the artistic arena of already independent and open Ukraine, and simultaneously the examples of various conceptual trends and styles appeared – from pop art and installation to performance art, which influenced the development of sculpture.
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Steklova, Irina A., and Olesya I. Raguzhina. "THE SCULPTURE PARKS OF THE MID-20TH CENTURY: UNDERLYING ARTISTIC CONCEPTS." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 38 (2020): 107–24. http://dx.doi.org/10.17223/22220836/38/11.
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Betz, Dorothy M. "Australian Divagations: Mallarme & the 20th Century (review)." Nineteenth Century French Studies 32, no. 3 (2004): 413–14. http://dx.doi.org/10.1353/ncf.2004.0004.
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Armitage, Marc. "Antipodean traditions: Australian Folklore in the 20th century." International Journal of Play 2, no. 2 (September 2013): 150–52. http://dx.doi.org/10.1080/21594937.2013.823812.
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Dzwonkowska, Paulina. "Photography and sculpture:The multifaceted relation of sculpture to photography and new media in the light of the evolving concept of sculpture." Journal of Education Culture and Society 1, no. 1 (January 17, 2020): 26–36. http://dx.doi.org/10.15503/jecs20101.26.36.
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The relationship between photography and sculpture, unlike the dialogue between the latter and painting, was long treated as a peripheral issue. Yet as early as the mid-20th century photography began to show potential that sculpture seemed to be lack. Aware of a large degree of overlap between the two forms of artistic expression, (e.g. with respect to materiality, spatiality, or accentuating frozen gestures) sculptors did not leave sculpture for photography, but attempted to create works that were interdisciplinary in structure. The rise of interest in photography displayed by Polish sculptors was closely connected with the evolution of the concept of sculpture. In the mid-20th century artists creating traditional sculptures (understood as a solid or as a visually rendered spatial form) began to experiment and cross the boundaries of well-established artistic tradition. The changes introduced enabled sculptors to interweave their field with other artistic disciplines, especially photography, even more closely. More and more frequently, sculpture started to establish multi-faceted relations with the new medium. At the beginning the potential of photography as a documentation tool was exploited. Then sculptors began to appreciate photography’s core values, using it to capture and preserve a given moment in time. Finally, they applied it in works that can be classified as close to hyperrealism. The employment of still newer materials and tools made the link between sculpture and photography inextricable, as can be shown through works of Polish artists.
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Choi, Sun il. "Flow of Buddhist Sculpture in the First Half of the 20th Century." Dongak Art History 24 (December 31, 2018): 91–109. http://dx.doi.org/10.17300/dah.2018.24.4.
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Villegas-Broncano, Maria A., and J. Alberto Durán-Suárez. "Historical and technical insight into the human motifs in the glass sculpture." Arte, Individuo y Sociedad 33, no. 2 (February 4, 2021): 589–604. http://dx.doi.org/10.5209/aris.69159.
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Although glass proto-sculptures were made with deep artistic value since the most remote times, in the late 19th century the glass sculpture was developed, and during the 20th century the Studio Glass Movement reached the maximum level of technical perfection and aesthetic variety. The scientific and technical glass knowledge contributed to achieve appropriate hot and cold working procedures, and the artists improved their designs and creations. This paper focuses on the binomial glass sculpture and human motifs. The historic evolution of the glass sculpture with human motifs is analyzed, taking into account the production techniques and the relationships between the glass work and the expression of the finished artwork. A set of sculptures and sculptors are shown as representative examples of the main historical periods in which the glass plays an important role in the sculpture scene. The human representation in the glass sculpture can be considered as a constant throughout centuries, even though it is not the most frequent creative or ornamental motif. Either figurative or abstract human references can be found, although the former are the majority. This tendency is also present in the contemporary Studio Glass Movement sculptures.
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Hotsaliuk, Alla. "Art of Sculpture and Its Development in Ukraine (Late 20th – Early 21st Century)." Ukrainian Studies, no. 1(70) (March 7, 2019): 67–75. http://dx.doi.org/10.30840/2413-7065.1(70).2019.164745.
Full textDissertations / Theses on the topic "Sculpture, Australian 20th century"
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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.
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Bishop, Daniel. "Conceptual and practical considerations inherent in the production of figurative bronze sculpture." Virtual Press, 2003. http://liblink.bsu.edu/uhtbin/catkey/1266031.
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This creative project identifies major conceptual and practical considerations inherent in the production of bronze figurative sculpture. What is considered and how, those considerations are weighted will vary among individuals. Many of these considerations affected my selection of subjects for the studio portion of the project. The paper touches upon considerations which both inhibit and advance a career in art, and have affected both aesthetic and procedural choices.A brief account of foundry procedures is presented. The studio portion of the creative project consists of four sculpted female dancers. The paper addresses a historical context with which each piece may be associated. Two figures exhibit the strong influence of Greek sculpture of the Classical period. The third figure is Impressionist in style. The forth figure has a Cubist influence.Department of Art
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Crellin, Sarah. "Bodies of evidence : making new histories of 20th century British scuplture." Thesis, University of Huddersfield, 2015. http://eprints.hud.ac.uk/id/eprint/27075/.
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This thesis includes a monograph, The Sculpture of Charles Wheeler (London: Lund Humphries in association with the Henry Moore Foundation, 2012), and a catalogue essay ‘Let There Be History: Epstein’s BMA House Sculptures’, in Modern British Sculpture, ed.by Penelope Curtis and Keith Wilson (London: Royal Academy of Arts, 2011). The book is the first study of Wheeler, an important but neglected sculptor who was President of the Royal Academy from 1956-66; the Epstein essay looks anew at a notorious episode in the career of one of modernism’s canonical practitioners, coming to radically different conclusions to the accepted narrative. The accompanying analytical commentary reflects on the complex research journey towards understanding and articulating hidden histories of modern British sculpture. Deploying traditional methodologies of archive exploration and making connections between divergent critical and artistic groupings has enabled the construction of new histories. Disrupting the appropriation and elision of ‘modern’ with ‘modernist’ and ‘avant-garde’ restores the work of non-canonical practitioners to the historical moment of the first half of the 20th Century, while historical analysis draws mythologised artists into the contingencies of the real world. These publications offer original insights and their impact is becoming evident in the fields of British sculptural and architectural history. Beginning in the recent past as I prepared to write this thesis, the commentary moves into the deeper history of the research journey, considering my theoretical approaches, the initial difficulties of writing against the prevailing academic fashion, the serendipities of a supportive scholarly milieu and the details of making Wheeler’s history. The value of the monograph itself is discussed. Reviewing Epstein’s modernist cause célèbre proved the transferable value of dispassionate archival research. The commentary finally comes full circle, concluding in October 2014 when I found myself, unexpectedly, implicated in the very history to which I have contributed.
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Frantz, Susanne K. "ARTISTS AND GLASS: A HISTORY OF INTERNATIONAL STUDIO GLASS (SCULPTURE)." Thesis, The University of Arizona, 1987. http://hdl.handle.net/10150/291668.
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Lui, Shi-mun Patricia, and 呂詩敏. "Research on the art of Zhu Ming with special focus on his Taiji', andThe living world' series." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1985. http://hub.hku.hk/bib/B31207388.
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McGown, Katie. "Dropped threads : articulating a history of textile instability through 20th Century sculpture." Thesis, Northumbria University, 2016. http://nrl.northumbria.ac.uk/36117/.
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Despite the ‘post-media condition’ of contemporary practice, some materials continue to be more equal than others. Cloth has a problematic history in Western art, frequently dismissed for its perceived inability to convey meaning beyond its own materiality, or a narrow idea of identity. The following thesis reconsiders this perspective and argues that it arose from the concurrence of heterogeneous post-war groups such as Post-Minimalism, and Fiber and Tapestry Movements, and the plethora of textile-based work they created. I review the accompanying critical responses to demonstrate how they sought to differentiate the use of fabric within these movements through the entrenchment of boundaries between valourised ‘art’ and denigrated ‘craft’. The thesis analyses how these categories were further complicated by mismatched lexicons of textile terminology. While fibre movements referred overtly and directly to fabric, the coinciding art theory primarily described its functions and affectations. We talk about the ‘softness’ of Oldenburg’s sculptures, not the cloth that makes them. This research argues that while there has been increasing scholarship surrounding these suppressed ‘craft’ textile practices, there is little exploration of the parallel and distinct material history of fabric within Western canonical Fine Art. The project addresses this asymmetry by focusing on the unspoken instances of cloth in mainstream twentieth century sculptural work and identifying the particular ways that artists have used this material. Artists have long employed the quotidian and shifting nature of textiles to convey ideas of instability, an impulse that can be traced back to Marcel Duchamp's 1913 work 3 Standard Stoppages. In order to critically interrogate the existing histories of textiles in twentieth century sculptural practices, the historical narratives presented in a number of exhibitions and catalogues are investigated. These accounts are considered in relation to three case studies that examine instances of structural, spatial and temporal instability in which cloth disrupts and untethers notions of fixed forms and static spaces. Investigating these narratives highlights historical cloth omissions, allowing for an understanding of how amnesiatic textile gaps affect practitioners today. My own cloth-based sculptural practice gives me a material authority and alternative perspective with which to question these received art historical narratives, and that in turn allows me to re-contextualise my decision to consistently work with this medium. My research-led practice centres on fabric objects that reference architectural forms; pieces that explore and exploit the unstable nature of cloth through their unfixed nature, and that I constantly reposition, resisting a final placement. By documenting these movements through photography and video, different temporalities are suggested, and a series of works that fluctuate between stasis and fluidity, order and chaos, are created. Accompanying these works are passages in the dissertation that reflectively a ddress the process of making and contending with the legacy of cloth. This project argues that fabric has been under-recognised but widely used in sculptural practices for over a century. Through explicitly articulating this narrative, a richer historical context for works that use fabric can be ascertained, and the insufficient complement of textile language in contemporary artistic discourse can be redressed.
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Heron, Elizabeth. "The Unveiling." PDXScholar, 1988. https://pdxscholar.library.pdx.edu/open_access_etds/2048.
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The method I use in creating abstract sculpture presented the question that became the subject of my Master's thesis. Only occasionally will I create from a pre-conceived concept. The sculptures evolve through a process of addition and subtraction of material to something that simply pleases me. This method, really no method at all, seemed contradictory to my original intentions. My artistic goals were purposeful; I wanted to create sculpture that would provoke a reaction first, not a judgment of features. I wanted the viewers emotional and psychological involvement to be the basis for content and meaning in the work.
In spite of the indirect approach, I felt there was some success in achieving my goal. Discovering how this occurred was important because I was at a loss to understand the content of my own work. Did the sculpture I was making hold any deeper meaning for me?
My thesis proposal advanced the question of how sculptural form expresses content. A more accurate question is, what does it mean? I had faith that I was indeed making art that was more than a pleasant arrangement of forms. Confident that there was also meaning, I proceeded to explore and analyze the relationship of creative process to sculptural form and content. While writing a draft of my thesis, I realized the question was beyond a definitive answer. This was a personal investigation of a fundamental question. My expectation was that insight and analysis would provide the answer I needed.
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Gleeson, Damian John School of History UNSW. "The professionalisation of Australian catholic social welfare, 1920-1985." Awarded by:University of New South Wales. School of History, 2006. http://handle.unsw.edu.au/1959.4/26952.
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This thesis explores the neglected history of Australian Catholic social welfare, focusing on the period, 1920-85. Central to this study is a comparative analysis of diocesan welfare bureaux (Centacare), especially the Sydney, Melbourne and Adelaide agencies. Starting with the origins of professional welfare at local levels, this thesis shows the growth in Catholic welfare services across Australia. The significant transition from voluntary to professional Catholic welfare in Australia is a key theme. Lay trained women inspired the transformation in the church???s welfare services. Prepared predominantly by their American training, these women devoted their lives to fostering social work in the Church and within the broader community. The women demonstrated vision and tenacity in introducing new policies and practices across the disparate and unco-ordinated Australian Catholic welfare sector. Their determination challenged the status quo, especially the church???s preference for institutionalisation of children, though they packaged their reforms with compassion and pragmatism. Trained social workers offered specialised guidance though such efforts were often not appreciated before the 1960s. New approaches to welfare and the co-ordination of services attracted varying degrees of resistance and opposition from traditional Catholic charity providers: religious orders and the voluntary-based St Vincent de Paul Society (SVdP). For much of the period under review diocesan bureaux experienced close scrutiny from their ordinaries (bishops), regular financial difficulties, and competition from other church-based charities for status and funding. Following the lead of lay women, clerics such as Bishop Algy Thomas, Monsignor Frank McCosker and Fr Peter Phibbs (Sydney); Bishop Eric Perkins (Melbourne), Frs Terry Holland and Luke Roberts (Adelaide), consolidated Catholic social welfare. For four decades an unprecedented Sydney-Melbourne partnership between McCosker and Perkins had a major impact on Catholic social policy, through peak bodies such as the National Catholic Welfare Committee and its successor the Australian Catholic Social Welfare Commission. The intersection between church and state is examined in terms of welfare policies and state aid for service delivery. Peak bodies secured state aid for the church???s welfare agencies, which, given insufficient church funding proved crucial by the mid 1980s.
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Lang, Graham Charles. "Aspects of brutality : anxious concepts in sculpture since 1950." Thesis, Rhodes University, 1987. http://hdl.handle.net/10962/d1012724.
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It would be wrong to suggest that this essay is in any way a comprehensive study of brutal sculpture. Certainly not. There have been many deliberate omissions for reasons which become clear in the text. Very briefly, omissions of certain sculptors and their work are largely due to my wish to avoid repetitive ideas and images. My view in this essay is to provide a cross-section of ideas and works, whereby the reader might gain some insight into the varied nature of this kind of sculpture. Thus, there seemed very little need for endless similarities of concept and expression. It was the diversity which I felt was important. The chapter which discusses concepts of beauty is also not a comprehensive study. This subject demands more than a humble essay to do it any justice. However, my reasons for touching the vague and controversial outline of these concepts were, primarily, to suggest that notions of beauty as the sole criterion in the judgement of art are too limiting, and, consequently, to introduce the concept of vitalism, which I believe is more valid. Finally, I wish to mention the personal motive behind this work. Over the years, I have witnessed the emergence of brutal elements in my own work, which I found disturbing at times. I have never been able to answer satisfactorily the criticism I've received. All I knew was that these things came from a very deep source. It is with this in mind that I embarked on this project, hoping to achieve two things. Firstly, to provide an objective survey of an important development in art, and, secondly , to answer some of my criticism. Foreword, p. 1.
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Buchanan, David. "Contextual thesis Part I & Part II : Book of poems, "Looking off the Southern Edge" ; Stage play (full-length): Ecstasis." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2001. https://ro.ecu.edu.au/theses/1015.
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This thesis, which accompanies my book of poems Looking Off the Southern Edge and my full-length stage play Ecstasis, is submitted in two parts: Part-I and Part-II. Part-l contextualises the writing practice of the above poems in considering the epistemological, autobiographical and landscape contexts of my poetry. Part-I then discusses how the poetry is involved in the process of decentring subjectivity within the southern India/Pacific arena. It should be pointed out that Part-I was submitted and marked last year, as the first year component of the Master of Arts (Writing) course. It is included this year because much of its thesis informs Part-II (and indeed is referred to and referenced by Part-II), especially in terms of my general theoretical approach to writing poems, plays, as well as the relevance of my music, painting and stained glass practices. Part II mostly addresses the writing of the play Ecstasis. I have however, discussed why I have re-edited, augmented and re-submitted my book of poems. I have then contextualised the writing of the play, by addressing the areas of Apophasis and the Aporia of 'the story', An Ecstatic Dramaturgy and the Undecidable Subject, and Ecstasis and an Endemic Specificity. This play was written, workshopped and enjoyed a partially moved reading (as late as the 11th, November) in the course of this year. While the writing of the piece is addressed under the previous headings, the workshopping and reading process is discussed in Workshopping the 'Spectacle Text' in the Co-operative Medium of 'Theatre. I have also included Appendix (i) in support of this process, in particular, the changes inspired by the reading. The conclusion discusses some of the boundaries for my writing of A Poetry and The Spectacle Text for theatre, and hints at the context required for any writing of experimentation in the southern Indian/Pacific arena.
Books on the topic "Sculpture, Australian 20th century"
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The birth of love: Dus̆an and Voitre Marek, artist brothers in Czechoslovakia and post-war Australia. Norwood, S. Aust: Moon Arrow Press, 2008.
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Henry Moore Institute (Leeds, England), ed. Sculpture in 20th century Britain. Leeds, England: Henry Moore Institute, 2003.
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Antonia, Boström, ed. Encyclopedia of 20th century sculpture. New York: Fitzroy Dearborn, 2004.
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McCallum, John. Belonging: Australian playwriting in the 20th century. Sydney: Currency Press, 2009.
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Schofield, Anne. Australian jewellery: 19th and early 20th century. Woodbridge: Antique Collectors' Club, 1990.
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McCallum, John. Belonging: Australian playwriting in the 20th century. Sydney: Currency Press, 2009.
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Belonging: Australian playwriting in the 20th century. Sydney: Currency Press, 2009.
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Schofield, Anne. Australian jewellery: 19th and early 20th century. Woodbridge, Suffolk: Antique Collectors Club, 1991.
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Welded sculpture of the twentieth century. London: Lund Humphries, 2000.
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Sam, Hunter. Modern art: Painting, sculpture, architecture. 3rd ed. New York: Harry N. Abrams, 2000.
Find full textBook chapters on the topic "Sculpture, Australian 20th century"
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Körner, Hans. "Speared Heads. Portraits as Things in 20th-Century Sculpture." In Art History and Fetishism Abroad, 57–70. Bielefeld, Germany: transcript Verlag, 2014. http://dx.doi.org/10.14361/9783839424117-003.
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"Speared Heads. Portraits as Things in 20th–Century Sculpture." In Art History and Fetishism Abroad, 57–70. transcript-Verlag, 2014. http://dx.doi.org/10.14361/transcript.9783839424117-003.
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Körner, Hans. "Speared Heads. Portraits as Things in 20th–Century Sculpture." In Art History and Fetishism Abroad, 57–70. transcript Verlag, 2014. http://dx.doi.org/10.1515/transcript.9783839424117-003.
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Toner, Kieron. "The cart before the horse? Australian exchange rate policy and economic reform in the 1980s." In Exchange Rates and Economic Policy in the 20th Century, 172–200. Routledge, 2017. http://dx.doi.org/10.4324/9781315255729-6.
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Kuo, Mei-fen. "Reading Gender in Early Chinese Australian Newspapers." In Locating Chinese Women, 27–44. Hong Kong University Press, 2021. http://dx.doi.org/10.5790/hongkong/9789888528615.003.0002.
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Although women were largely absent from male-dominated Chinese community discussions on democratic values, brotherhood, diaspora unity, and Han-identity nationalism, they were not absent from Chinese Australians’ modern social life from the end of the 19th century to the beginning of the 20th century. By examining public comments and views in Chinese Australian newspapers regarding gender as a new social relationship, this chapter argues that the newspapers provide a window through male narratives that now enables us to espy how the Chinese population deliberated women’s social role and the way it was changing. The chapter aims to uncover through an investigation of the historic records, in the social life of Chinese Australians, the male-dominated view of gender role reconciled on the one hand the desire to segregate women from public discussions and participation, and on the other the need to involve women’s presence to demonstrate respectability and social standing to meet Australian social expectations. These public narratives and social networks provide a new approach to apprehending the nature and importance of Chinese Australian social life.
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Smith, Adam, Minna Korhonen, Haidee Kotze, and Bertus van Rooy. "Modal and Semi-modal Verbs of Obligation in the Australian, New Zealand and British Hansards, 1901–2015." In Exploring the Ecology of World Englishes in the Twenty-first Century, 301–23. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474462853.003.0015.
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Research by Adam Smith, Minna Korhonen, Haidee Kotze and Bertus van Rooy is reported in this longitudinal study of changes in the language of parliamentary discourse, focusing on the modals and semi-modals of obligation: must, should, need to, have to. The researchers used a large diachronic corpus of material from the three regional Hansards (Australian, New Zealand and British), to compare the profiles of modal usage at five key points from the early 20th to 21st century. They found overall declining frequencies for must, should and have to in all three Hansards, but also remarkably high levels and peaks in Australian and New Zealand usage when the subject of the verb was we or the Government. Some of these co-occur with key points in national history, suggesting waves of collective sentiment in parliamentary rhetoric and setting national priorities. Other contextual factors – such as changing editorial conventions, and newer parliamentary practices in presenting speeches and broadcasting debates – may also have modulated the expression of obligation in individual Hansards over time.
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Mishchenko, I. I. "TENDENCIES OF THE DEVELOPMENT OF THE BUKOVYNIAN SCULPTURE FROM THE MIDDLE OF THE 20TH TO THE BEGINNING OF THE 21TH CENTURY." In UROPEAN VECTOR OF MODERN CULTURAL STUDIES AND ART CRITICISM: THE EXPERIENCE OF UKRAINE AND THE REPUBLIC OF POLAND, 73–89. Izdevniecība “Baltija Publishing”, 2020. http://dx.doi.org/10.30525/978-9934-588-41-9/73-89.
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Poddubtsev, Ruslan A. "The Newspaper Nov’ and the Supplement Utrennij Telefon “Novi”: List of Contents." In Russian Literature and Journalism in the Pre-revolutionary Era: Forms of Interaction and Methodology of Analysis, 562–681. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2021. http://dx.doi.org/10.22455/978-5-9208-0661-1-562-681.
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This work is a list of the contents of the daily newspaper Nov’, as well as the accompanying supplement Utrennij telefon “Novi”. The objects of attention were publications that touch upon topics related to literature, music, painting, theater, architecture, sculpture and philosophy. The pages of a relatively short-lived newspaper reflected, in particular, such events as the arrival in Moscow of F. Marinetti, H. Wells, G. Kogan, the protest actions of European suffragettes, the exclusion of V. Rozanov from the Religiousphilosophical society, the centenary anniversary of T. Shevchenko, the return of M. Gorky to Russia and exhibitions of avant-garde artists. This indicates that the Nov’ newspaper can be used as a valuable source for the study of Russian culture at the beginning of the 20th century.
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Saunders, Peter. "The development, value and application of budget standards: reflecting on the Australian experience." In Minimum Income Standards and Reference Budgets, 139–54. Policy Press, 2020. http://dx.doi.org/10.1332/policypress/9781447352952.003.0010.
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This chapter draws attention to Australia's very rich tradition of family budget research, which was associated with the Social Policy Research Centre. It explains that the idea of a basic living standard enshrined in wage laws became a reality in Australia at the start of the 20th century. It also charts the history of budget standards research in Australia, focusing on the four major studies that were coordinated during the 1990s, 2000s and 2010s. The chapter looks at the latest work that relates to the budget for healthy living and combines public health knowledge and focus group deliberations. It concludes that budget standards only provide a rough-and-ready adequacy benchmark, which should be used with care and in conjunction with other measurement approaches to living standards whenever possible.
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Kuo, Mei-fen. "The “Invisible Work” of Women." In Chinese Diaspora Charity and the Cantonese Pacific, 1850-1949, 154–72. Hong Kong University Press, 2020. http://dx.doi.org/10.5790/hongkong/9789888528264.003.0009.
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This chapter explores how Chinese cultural expressions of charity, based on interpersonal relationships (guanxi) and native place (tongxiang) ties, came to mix and interact with contrasting traditions of Christian charity practiced in a predominantly British milieu in colonial and federation Australia over the late 19th century and 20th centuries. We employ the term “philanthropic sociability” to capture the spirit of innovation that came to characterize a number of voluntary organizations in which Chinese Australian women were active organizers and innovators. By analyzing male-dominated writings and records of charitable fairs and public celebrations, the chapter argues that women undertook “invisible work” in voluntary organizations and built a variety of informal networks among them. Although their social impact was limited, women contextualized their participation in male-dominated activities in ways that cannot be explained in terms of patriarchal values. We find that the impact of women in Chinese- Australian voluntary organizations was not just about the feminizing of community formations but also about promoting philanthropic sociability in ways that traditional organizations could not match.
Conference papers on the topic "Sculpture, Australian 20th century"
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Carter, Nanette. "The Sleepout." In The 38th Annual Conference of the Society of Architectural Historians Australia and New Zealand. online: SAHANZ, 2022. http://dx.doi.org/10.55939/a3999pm4i5.
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Going to bed each night in a sleepout—a converted verandah, balcony or small free-standing structure was, for most of the 20th century, an everyday Australian experience, since homes across the nation whether urban, suburban, or rural, commonly included a space of this kind. The sleepout was a liminal space that was rarely a formal part of a home’s interior, although it was often used as a semi-permanent sleeping quarter. Initially a response to the discomfort experienced during hot weather in 19th century bedrooms and encouraged by the early 20th century enthusiasm for the perceived benefits of sleeping in fresh air, the sleepout became a convenient cover for the inadequate supply of housing in Australian cities and towns and provided a face-saving measure for struggling rural families. Acceptance of this solution to over-crowding was so deep and so widespread that the Commonwealth Government built freestanding sleepouts in the gardens of suburban homes across Australia during the crisis of World War II to house essential war workers. Rather than disappearing at the war’s end, these were sold to homeowners and occupied throughout the acute post-war housing shortage of the 1940s and 1950s, then used into the 1970s as a space for children to play and teenagers to gain some privacy. This paper explores this common feature of Australian 20th century homes, a regional tradition which has not, until recently, been the subject of academic study. Exploring the attitudes, values and policies that led to the sleepout’s introduction, proliferation and disappearance, it explains that despite its ubiquity in the first three-quarters of the 20th century, the sleepout slipped from Australia’s national consciousness during a relatively brief period of housing surplus beginning in the 1970s. As the supply of affordable housing has declined in the 21st century, the free-standing sleepout or studio has re-emerged, housing teenagers of low-income families.
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Moulis, Antony. "Architecture in Translation: Le Corbusier’s influence in Australia." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.752.
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Abstract: While there is an abundance of commentary and criticism on Le Corbusier’s effect upon architecture and planning globally – in Europe, Northern Africa, the Americas and the Indian sub-continent – there is very little dealing with other contexts such as Australia. The paper will offer a first appraisal of Le Corbusier’s relationship with Australia, providing example of the significant international reach of his ideas to places he was never to set foot. It draws attention to Le Corbusier's contacts with architects who practiced in Australia and little known instances of his connections - his drawing of the City of Adelaide plan (1950) and his commission for art at Jorn Utzon's Sydney Opera House (1958). The paper also considers the ways that Le Corbusier’s work underwent translation into Australian architecture and urbanism in the mid to late 20th century through the influence his work exerted on others, identifying further possibilities for research on the topic. Keywords: Le Corbusier; post-war architecture; international modernism; Australian architecture, 20th century architecture. DOI: http://dx.doi.org/10.4995/LC2015.2015.752
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Valero, Alicia, Antonio Valero, and Inmaculada Arauzo. "Exergy as an Indicator for Resources Scarcity: The Exergy Loss of Australian Mineral Capital — A Case Study." In ASME 2006 International Mechanical Engineering Congress and Exposition. ASMEDC, 2006. http://dx.doi.org/10.1115/imece2006-13654.
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Over the span of the 20th century, the global demand for metals and minerals has increased dramatically. This is associated with a general trend of declining ore grades from most commodities, meaning higher quantities of ore needed to be processed and thus more energy. Hence, quantifying the loss of mineral capital in terms of mass is not enough since it does not take into account the quality of the minerals in the mine. Exergy is a better indicator than mass because it measures at the same time the three features that describe any natural resource: quantity, composition and a particular concentration. For the sake of better understanding the exergy results, they are expressed in tons of Metal equivalent, tMe, which are analogously defined to tons of oil equivalent, toe. The aim of this paper is 1) to show the methodology for obtaining the exergy loss of mineral resources throughout a certain period of time and 2) to apply it to the Australian case. From the available data of production and ore grade trends of Australian mining history, the tons of Metal equivalent lost, the cumulative exergy consumption, the exergy decrease of the economic demonstrated reserves and the estimated years until depletion of the main base-precious metals are provided, namely: for gold, copper nickel, silver lead and zinc.
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Aristizábal, José Antonio. "HUMBERTO RIVAS, DESDE LO ROMÁNTICO Y LO SINIESTRO. HUMBERTO RIVAS FROM THE ROMANTIC AND THE SINISTER." In I Congreso Internacional sobre Fotografia: Nuevas propuestas en Investigacion y Docencia de la Fotografia. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/cifo17.2017.6880.
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Palabras clave:Fotografía, estética, Humberto Rivas, Rafael Argullol, Eugenio Trías.Keywords: Photography, esthetic, Humberto Rivas, Rafael Argullol, Eugenio Trías.Resumen:El siguiente artículo busca dar una lectura a la obra del fotógrafo Humberto Rivas, Premio Nacional de Fotografía y unos de los mayores exponentes de la fotografía española de finales del siglo XX. Se parte de la convicción de que hace falta ubicar a Humberto Rivas en una tradición de pensamiento estético, ya que las distintas lecturas que existen sobre su trabajo, aunque importantes, no han dejado de ser lecturas impresionistas que no han reflexionado en profundidad sobre su obra. Este artículo trata de ver a Rivas a partir de unas categorías estéticas. Para ello se remite a las reflexiones de Rafael Argullol para distinguir aquello propio del artista romántico, y a las aportaciones filosóficas de Eugenio Trías acerca de lo siniestro en la obra de arte, y las vincula a la obra de Humberto Rivas. La hipótesis inicial es de que Rivas no se sentía como un fotógrafo que atrapa momentos o documenta acontecimientos, sino como un creador, y su obra es resultado de un artista que se repliega sobre sí mismo con la intención de producir una imagen reflejo de su mundo interior, la cual se puede explicar desde la mente del artista romántico, aunque el contexto no sea el romanticismo. Por último, aunque el artículo hable sobre Humberto Rivas, también es una manera de construir un relato entre la imagen fotográfica y distintos valores estéticos que hacen parte la historia del arte. Abstract:The following article seeks to give a reading to the work of photographer Humberto Rivas, National Photography Prize and one of the greatest exponents of Spanish photography at the end of the 20th century. It is based on the conviction that it is necessary to locate Humberto Rivas in a translation of aesthetic thought, since the different readings that exist on his work, although important, have not ceased to be Impressionist readings that have not reflected in depth on his work . This article tries to see Rivas from some aesthetic categories. For this he refers to the reflections of Rafael Argullol to distinguish that of the romantic artist and the philosophical contributions of Eugenio Trías about the sinister in the work of art, and links them to the work of Humberto Rivas. The initial hypothesis is that Rivas did not feel like a photographer who catches moments or documents events, but as a creator, and his work is the result of an artist who recoils on himself with the intention of producing a reflex image of Its inner world, which can be explained, from the mind of the romantic artist although the context is not romanticism. Finally, although the article talks about Humberto Rivas, it is also a way to build a narrative between the photographic image and the values that have served to interpret painting or sculpture in the history of art.
Reports on the topic "Sculpture, Australian 20th century"
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Kholoshyn, I., T. Nazarenko, O. Bondarenko, O. Hanchuk, and I. Varfolomyeyeva. The application of geographic information systems in schools around the world: a retrospective analysis. IOP Publishing, March 2021. http://dx.doi.org/10.31812/123456789/4560.
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The article is devoted to the problem of incorporation geographic information systems (GIS) in world school practice. The authors single out the stages of GIS application in school geographical education based on the retrospective analysis of the scientific literature. The first stage (late 70 s – early 90s of the 20th century) is the beginning of the first educational GIS programs and partnership agreements between schools and universities. The second stage (mid-90s of the 20th century – the beginning of the 21st century) comprises the distribution of GIS-educational programs in European and Australian schools with the involvement of leading developers of GIS-packages (ESRI, Intergraph, MapInfo Corp., etc.). The third stage (2005–2012) marks the spread of the GIS school education in Eastern Europe, Asia, Africa and Latin America; on the fourth stage (from 2012 to the present) geographic information systems emerge in school curricula in most countries. The characteristics of the GIS-technologies development stages are given considering the GIS didactic possibilities for the study of school geography, as well as highlighting their advantages and disadvantages.