Dissertations / Theses on the topic 'Sculpture, Australian 20th century'
To see the other types of publications on this topic, follow the link: Sculpture, Australian 20th century.
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 dissertations / theses for your research on the topic 'Sculpture, Australian 20th century.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
Robb, Charles. "The Self as Subject and Sculpture." Thesis, Monash University, 2008. https://eprints.qut.edu.au/16903/1/16903.pdf.
Full textAbstract:
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.
2
Bishop, Daniel. "Conceptual and practical considerations inherent in the production of figurative bronze sculpture." Virtual Press, 2003. http://liblink.bsu.edu/uhtbin/catkey/1266031.
Full textAbstract:
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
3
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/.
Full textAbstract:
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.
4
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.
Full text
5
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.
Full text
6
McGown, Katie. "Dropped threads : articulating a history of textile instability through 20th Century sculpture." Thesis, Northumbria University, 2016. http://nrl.northumbria.ac.uk/36117/.
Full textAbstract:
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.
7
Heron, Elizabeth. "The Unveiling." PDXScholar, 1988. https://pdxscholar.library.pdx.edu/open_access_etds/2048.
Full textAbstract:
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.
8
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.
Full textAbstract:
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.
9
Lang, Graham Charles. "Aspects of brutality : anxious concepts in sculpture since 1950." Thesis, Rhodes University, 1987. http://hdl.handle.net/10962/d1012724.
Full textAbstract:
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.
10
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.
Full textAbstract:
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.
11
Taylor, Damian. "Busy working with materials : transposing form, re-exposing Medardo Rosso." Thesis, University of Oxford, 2015. http://ora.ox.ac.uk/objects/uuid:29b3640a-a68e-45d1-8f42-130702bc9819.
Full textAbstract:
This thesis examines how making extends artists' thoughts beyond their conceptions. Central to this is consideration of how an artist's statements and their work relate: this thesis argues that the relationship is neither of identity nor contradiction, but of a productive tension from which emerges a richer understanding of thought. A similar approach underscores this doctorate's relationship of studio and written components, both of which desire self-sufficiency. The studio work consists of discrete yet mutually informing series, all engaged with the specificity of a moment of exposure, whether here and now or recording a past moment. The notion of 'documentation' underscores these works, which include large chemical photographs, high-definition video, cyanotypes and extensive exploration of casting to reveal latent images. The written component is a thorough study of the various instances of Medardo Rosso's sculpture Ecce Puer, offering art-historical and theoretical grounding of hands-on making as a way pressing cultural issues inhere in a work at a more fundamental level than understood by its contemporaries or maker. The first chapter locates Rosso in his historical milieu. Chapter 2 assesses the elements constituting Ecce Puer; it argues that no definitions of a 'work' adequately encompass these, and coins the term 'complex work' to designate artworks indivisibly singular and plural, concrete and abstract. Chapter 3 offers phenomenological interpretation of Rosso's confused writings, illuminating them through Maurice Merleau-Ponty's late philosophy but understanding Rosso's thought as inadequate to the complexity of his work. Chapter 4 examines Rosso's photography, specifically his photography of photographs, connecting what this achieves to his phenomenology. Chapter 5 introduces a key notion of 'friendship' to understand how the connections between instances of Ecce Puer became 'meaningful'. Having offered a fundamentally new interpretation of Rosso's project, chapter 6 extends Michael Fried's history of French painting to relocate Rosso within early twentieth-century art.
12
Armanno, Venero. "The volcano." Thesis, Queensland University of Technology, 1998.
Find full textAbstract:
The problems associated with marketing in China have been raised in several studies in the last 10 years. However, these prior studies focused on the four elements of
marketing mix for China and not on strategic marketing for the market in China, nor did they emphasise the implications of culture and marketing systems in China for developing strategic marketing plans.
This thesis has focused on building a general framework that could help Western firms, particularly Hong Kong-based, to develop strategic marketing plans that deal with
Chinese cultures and marketing systems in China. Therefore this thesis addresses the
research problem:How do wholly-owned Western firms in Hong Kong develop strategic marketing plans to do business in China? This research reviewed the available literature relating to cultures and marketing
systems in the West and China. By comparing and contrasting these differences, eleven research questions were formulated and shown as follow. In developing strategic marketing plans for the market in China: RQJ: how is market research as important a foundation for strategic marketing effectiveness as it is in the West?
RQ2: how is planning longer-term than in the West?
RQ3: how is the approach evolutionary rather than revolutionary, compared to the
West?
RQ4: how does strategy emphasise long-term relationships with and among consumers
(for example, by offering sales service) more than in the West?
RQ5: how does target marketing emphasise the group rather than the individual?
RQ6: how are product line strategies different.from those in the West?
RQ7: how do marketing strategies allow for less flexibility in price than in the West?
RQB: how will promotion strategies which Western firms can exercise within
distribution channels in China be similar to those used in the West?
RQ9: how are the choice of institutions and levels of channels in China different from
those in the West?
RQI Oa: how is market segmentation of consumers in China more difficult than in the
West?
RQllb: how can cultural differences between West and China be used as a basis for market segmentation?
As discussed in chapter 3, data were collected by using the case study methodology,with one pilot case study conducted in Brisbane to refine the research protocol and
procedure. In the major stage of data collection, six wholly-owned Western firms from different industries were interviewed and examined in Hong Kong. As discussed in chapter 4, data was analysed by using case descriptions, cross-case analysis and explanation building methods. Triangulation was carried out in order to ensure the findings and conclusion were convincing and generalisable.
The results of the research indicate that most of the methods for developing strategic marketing plans for the market in China (for example, market research, segmentation and targeting) are derived from the Western conventional marketing principles. However, the methods are relatively rudimentary and the approach tends to
evolutionary and emphasises relationships. Indeed, there are only a few similarities between strategic marketing planning in China and the West, with the differences being attributable in the main to cultural factors and marketing systems. The major contribution of the research was to provide far more detailed descriptions and
sometimes explanations of strategic marketing planning processes than those provided in the extant literature.
On the basis of these research findings, a model (refer table 5.2 and figure 5.1) has been built to help Western firms to develop strategic marketing plans that deal with
Chinese cultures and marketing systems.
13
Kneen, Kris. "Head on." Thesis, Queensland University of Technology, 1998. https://eprints.qut.edu.au/35902/1/35902_Kneen_1998.pdf.
Full text
14
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.
Full textAbstract:
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.
15
Burke, Janine, and mikewood@deakin edu au. "A Portrait of Albert Tucker, 1914-1960." Deakin University. School of Contemporary Arts, 2001. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20050915.161937.
Full text
16
Burke, Andrew. "Two collections of poetry, Whispering gallery [and] Flight log: Selected Poems 1967-2001: Plus an Essay: The Roots of My Writing." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2001. https://ro.ecu.edu.au/theses/291.
Full textAbstract:
This presentation includes two collections of poetry and one essay. There are two collections of poetry because one of them, Flight Log, is a 'Selected Poems' which necessarily includes much work not written during the course of my MA. However, I contend that the process of constructing a 'selected' collection is as creative as the editing process one knows through writing poetry, and that respect for one former creativity is a vital part of the artist's continuing productivity. The new manuscript, Whispering Gallery, is the text of my fifth book, published by Sunline Press in November 2001. Originally it was envisaged as a collection of contemporary haibun in a form predominantly created by John Tranter, but creating to a set form became a chore rather than a creative delight, so I returned to a fundamental lyric form for many of the later poems. Hopefully it now has a wide range of tones and moods yet is cohesive through form and content.
17
Heuschele, Margaret, and n/a. "The Construction of Youth in Australian Young Adult Literature 1980-2000." University of Canberra. Creative Communication, 2007. http://erl.canberra.edu.au./public/adt-AUC20081029.171132.
Full textAbstract:
Adolescence is an incredibly complex period of life. During this time young people are searching for and wanting to create their own unique identity, however being confronted with a plethora of roles and directions is challenging and confusing. These challenges are reflected in the vast array of young adult literature being presented to young people today. As a result young adult literature has the potential to function as scaffolding to assist teenagers in the struggles of adolescence by serving as an important source of information about the world and the people in it. Teenage novels also give young people the opportunity to try on different identities and vicariously experience consequences of actions while developing their own distinctive personality and character.
As this study reveals, the Australian young adult novel has undergone considerable developments, with 1989 serving as a milestone year in which writers and publishers turned in new directions. In general, Australian young adult novels have changed from books set predominately in rural areas, incorporating major themes of child abuse, death, friendship and survival with introverted characters aged between twelve and sixteen in the early 1980s to novels with urban settings, a large increase in books about crime, dating, drugs and mental health and sexually active, extroverted characters aged between fourteen and eighteen in the late 1990s.
To chart the progression of these changes and gain an understanding of the messages young adults receive from adolescent novels an evaluative framework was developed. The framework consists of two main sections. The first part applies to the work as a whole,
obtaining data about the novel such as plot, style, setting, temporal context, use of humour,
issues within the text and ending, while the second part collects information about character demographics including gender, age, occupational status, family type, sexual orientation, relationships with family and authority figures, personality traits and outlook for character. To qualitatively and quantitatively assess the construction of youth in Australian young adult literature a random selection of 20 per cent of Australian young adult books published in each year from 1980 to 2000 were analysed using the evaluative framework, with 186 novels being studied altogether.
During the 1990s in particular, Australian young adult literature was heavily criticised for being too bleak, too dark, presenting a picture of life that was all gloom and doom. This research resoundingly dismisses this argument by showing that rather than being a negative influence on the lives of young people, Australian books for young people present a comprehensive portrayal of youth. They probe the entire gamut of teenage experiences, both the good and the bad, providing a wide range of scenarios, roles, relationships and characters for young people to explore. Therefore Australian young adult literature provides an important source of information and support for the psycho-social development of young people during the formative years of adolescence.
This research is significant because it gives hard evidence to support the promotion of a representative selection of Australian young adult novels both in the classroom and in home, school and public libraries. By establishing the available range of contemporary Australian young adult literature through this study, young adult readers, teachers and librarians can be confident in the knowledge that appropriate titles are accessible which meet the needs and interests of young people. Consequently, the substantial amount of data gathered from this
study will considerably add to the knowledge and understanding ofAustralian young adult novels to date and provide an excellent starting point for further research in the future.
18
Singley, William Blake. "Recipes for a nation : cookbooks and Australian culture to 1939." Phd thesis, 2013, 2013. http://hdl.handle.net/1885/109392.
Full textAbstract:
Cookbooks were ubiquitous texts found in almost every Australian home. They played an influential role that extended far beyond their original intended use in the kitchen. They codified culinary and domestic practices thereby also codifying wider cultural practices and were linked to transformations occurring in society at large. This thesis illuminates the many ways in which cookbooks reflected and influenced developments in Australian culture and society from the early colonial period until 1939. Whilst concentrating on culinary texts, this thesis does not primarily focus on food; instead it explores the many different ways that cookbooks can be read to further understand Australian culture in the nineteenth and early twentieth century. Through cookbooks we can chart the attitudes and responses to many of the changes that were occurring in Australian life and society. During a period of dramatic social change cookbooks were a constant and reassuring presence in the home. It was within the home that the foundations of Australian culture were laid. Cookbooks provide a unique perspective on issues such as gender, class, race, education, technology, and most importantly they hold a mirror up to Australia and show us what we thought of ourselves.
19
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.
Full textAbstract:
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)
20
Behin, Bahram. "Aspects of the role of language in creating the literary effect : implications for the reading of Australian prose fiction /." Title page, contents and abstract only, 1997. http://web4.library.adelaide.edu.au/theses/09PH/09phb419.pdf.
Full text
21
Lamb, Jacquelyn R. "The Patsy and Raymond Nasher Collection of Twentieth-Century Sculpture, 1967 to 1987." Thesis, University of North Texas, 1990. https://digital.library.unt.edu/ark:/67531/metadc501252/.
Full textAbstract:
Over a period of two decades, Raymond D. Nasher, a Dallas-based real estate developer, and his late wife Patsy amassed a collection of significant modern sculptures. For years, pieces from the private collection--numbering over 300 as of 1990--were on display in various museums and civic institutions, and they were installed on a rotating basis at Northpark Center, a Dallas shopping mall developed by Nasher. Since the 1987 Dallas Museum of Art exhibition, the collection has been shown in several major international museums. This study documents the formative period of the collection, the Nashers' collecting and exhibiting philosophies, and four early exhibitions of the sculptures. It includes a chronology of the Nashers and major acquisitions of sculpture.
22
O’Neill, Patrick Nathaniel. "Paul Solanges : soldier, industrialist, translator : a biographical study and critical edition of his correspondence with Antonio Fogazzaro and Henry Handel Richardson." Monash University. Faculty of Arts. School of Languages, Cultures and Linguistics, 2007. http://arrow.monash.edu.au/hdl/1959.1/53105.
Full textAbstract:
Paul Solanges was one of the most prolific (in correspondence) and enthusiastic fans of Australian author Henry Handel Richardson (HHR). What was it about him that made HHR invest so much time in his translation of her novel, and to what extent can credence be given to the self-portrait in his letters? This thesis reveals his illegitimate royal background, considers his early career as a cavalry officer in North Africa and in the Franco-Prussian War, and describes his long career as manager of the gasworks in Milan. It also portrays in detail his other life as a translator of songs, short stories and operas from Italian to French. Finally, it compares his relationship with Italian novelist Antonio Fogazzaro to his relationship with HHR. A critical edition of Solanges’s correspondence with Fogazzaro and HHR offers the reader a privileged insight into the life and character of this Franco-Italian littérateur.
23
Nasifoglu, Yelda. "Walter Pichler : the modern Prometheus." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=32821.
Full textAbstract:
The ritualistic aspect of Walter Pichler's work greatly problematizes the traditional view of the art object as the locus of aesthetic contemplation. Yet how are we to approach such art in our secularized world? For it to maintain its meaningfulness, does not ritual require a shared symbolic system?Indirectly guided by Pichler's work, this thesis is an exploration of the contemporary status of the work of art. An investigation into the myth of Prometheus reveals that art and ritual share the same origin. Further inquiries into early Greek sculpture, as well as the concepts of techne and mimesis, expand this origin into the relationship between the art object and the viewer, shifting the customary focus away from the resemblance between the model and the copy. In this space of looking , art no longer presents itself as an aestheticized object---presence and absence, the visible and the invisible, recognition and anamnesis come into play as possible ways of participation in the work of art.
24
Johnson, Jeffrey R. "Transmittance device : a study and construction of an architectural installation." Virtual Press, 1992. http://liblink.bsu.edu/uhtbin/catkey/845989.
Full textAbstract:
The Transmittance Device was an architectural installation, constructed as an imposition upon a public evergreen hedge row. The premise behind this exploration was to exploit architecture as a sequence of dynamic human experiences, creating an event or incident. The intention was to initiate a human transfer or violation from one side of a presumed boundary or barrier, to the opposite side. The boundary or barrier metaphorically represented the inherent characteristics human's possess, concerning abidement and conformity, within their normalities of regulated habit.The evolution process included theoretical conception, analysis of past installations, development of objectives, and four proposed projects. The final proposed Device was constructed in September, 1992, adjacent to the Fine Arts Building, on the campus of Ball State University. The Transmittance Device stood for over three weeks, instigating human engagement. The thesis document presents my collection of information gained, questions posed, and aspirations evoked, throughout the process of this exploration.This workbook documents the evolution process of the Transmittance Device. The Transmittance Device is an installation which exploits architecture as an event or incident, occurring as a human participates. Also, it is a construction which attempts to fuse the separation between architecture and sculpture. The document is not to be read as a conclusive narrative, but rather, a working text. The information is compiled in three general sections: architecture, installations, and the Transmittance Device, respectively chronological. The majority of the information presented was collected as scribbled notes, sketches, and study models produced throughout the nine month process (February to November, 1992.) The presentation of the constructed Device IV is presented with process sketches, scaled drawings, and photographs of the built construction. My aspirations are to continue this exploration, building upon the workbook, to never reach an end.Department of Architecture
25
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.
Full text
26
Corcoran, Cristine C. "Dudelsacks : sculptural extensions in blown glass." PDXScholar, 1989. https://pdxscholar.library.pdx.edu/open_access_etds/3863.
Full textAbstract:
This thesis project consists of 19 sculptures. The medium is hot blown glass. The work interprets and extends the visual and metaphorical qualities of bagpipes. The utilization of the German dudelsack references the playful improvisational nature of these international and culturally diverse forms.
27
Collins, Julie. "Ship of Fools." University of Ballarat, 2008. http://innopac.ballarat.edu.au/record=b1508425.
Full textAbstract:
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)
28
Thoday, Heather Frances. "Lived spaces of representation : thirdspace and Janette Turner Hospital's political praxis of postmodernism /." Title page, abstract and table of contents only, 2004. http://web4.library.adelaide.edu.au/theses/09PH/09pht449.pdf.
Full text
29
Ross, Frances Pamella. "The gift : a novel." Thesis, Queensland University of Technology, 2000.
Find full textAbstract:
The gift is a research-based novel set in Cambodia in 1993,
during the United Nations - sponsored elections. The central
character is a Brisbane woman who travels to Cambodia to
help run the elections.
30
Penazzi, Leonardo. "The fellow (novel) ; and Australian historical fiction, debating the perceived past (dissertation)." University of Western Australia. School of Social and Cultural Studies, 2008. http://theses.library.uwa.edu.au/adt-WU2008.0070.
Full textAbstract:
Novel The Fellow What is knowledge? Who should own it? Why is it used? Who can use it? Is knowledge power, or is it an illusion? These are some of the questions addressed in The Fellow. At the time of Australian federation, the year 1901, while a nation is being drawn into unity, one of its primary educational institutions is being drawn into disunity when an outsider challenges the secure world of The University of Melbourne. Arriving in Melbourne after spending much of his life travelling around Australia, an old Jack-of-all-trades bushman finds his way into the inner sanctum of The University of Melbourne. Not only a man of considerable and varied skill, he is also a man who is widely read and self-educated. However, he applies his knowledge in practical ways, based on what he has experienced in the
31
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.
Full textAbstract:
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.
32
Sun, Christine Yunn-Yu. "The construction of "Chinese" cultural identity : English-language writing by Australian and other authors with Chinese ancestry." Monash University, School of Languages, Cultures and Linguistics, 2004. http://arrow.monash.edu.au/hdl/1959.1/5438.
Full text
33
Aramendía, Manuel. "Alternativa personal para el estudio del proceso escultórico : precedentes históricos y debate actual." Doctoral thesis, Universitat de Barcelona, 1990. http://hdl.handle.net/10803/405419.
Full textAbstract:
Esta tesis da una visión sintética de las diferentes corrientes escultóricas internacionales que confluyen en el panorama actual español. Una vez contextualizada nuestra joven escultura se pasa a estudiar las reacciones individuales concretas de nuestros escultores, dejando claro que estos análisis individuales son solo una fase de la metodología sin que constituyan una finalidad por sí mismos.
A través del análisis de las posiciones individuales se detectan una serie de planteamientos que rebasan las posturas particulares concretas y que se expresan mediante unos "ejes de discusión".
Estos ejes se organizan como estructuras bipolares que asocian determinadas posiciones opuestas o antagónicas en un esfuerzo notable por deshacerse del concepto de "negación de lo anterior" como finalidad. Con esta intención revisa el arte conceptual español y constata la permanencia de alguno de sus postulados en la segunda mitad de la década de los 80, una vez superada la fase de pura negación del concepto en los primeros años de la actual década.
Con la misma vocación positiva se cuestiona conceptos tales como proceso y proyecto, mostrándonos el primero como una línea descompositiva tendente al signo elemental, mientras que nos presenta el proyecto como afirmación, posterior al proceso, en la cual tiene cabida la expresión de lo complejo. Relaciona tal énfasis de lo complejo con el carácter ecléctico del actual panorama.
34
Mol, Elias Perigolo 1980. "Amilcar de Castro : confronto com a matéria." [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/279114.
Full textAbstract:
Orientador: Nelson Alfredo AguilarDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
Made available in DSpace on 2018-08-20T11:12:27Z (GMT). No. of bitstreams: 1 Mol_EliasPerigolo_M.pdf: 45699349 bytes, checksum: 0aa0676c63c1f2a73f7b7c3e9192234d (MD5) Previous issue date: 2012
Resumo: Este estudo analisa a obra do artista mineiro Amilcar de Castro (1920-2002) e busca as relações existentes entre as suas diferentes produções: o desenho, a pintura, a gravura, sua atuação à frente da reforma gráfica no Jornal do Brasil e o restante de sua produção escultórica
Abstract: This study examines the work of artist Amilcar de Castro (1920-2002). It investigates the relationships between his various activities: drawing, painting, printmaking, his role leading the redesign of Jornal do Brasil as well as his sculpture production
Mestrado
Historia da Arte
Mestre em História
35
Gunn, Anthea Caroline. "Imitation realism and Australian art." Phd thesis, 2010. http://hdl.handle.net/1885/109407.
Full textAbstract:
The work of the Imitation Realists has rightly been seen as marking the start of the
widespread use of assemblage and popular culture by Australian artists during the
1960s. Viewed within the context of their training and the debates of the Australian
art world in the 1950s, it can be seen that the impetus for their work was to find an
alternative form of 'Australian' art. The stated objective of this thesis is to
demonstrate how the work of the Imitation Realists adapted and contributed to
changes to art in Australia. This is achieved by considering the work of Mike
Brown, Ross Crothall and Colin Lanceley in the context of the debates that shaped
the reception and production of art in Australia, including changing ideas concerning
materials, exhibition display and the national identity. Their art, exhibitions and
statements are closely analysed to show how the group formed, worked together and
why they later disbanded.
It is argued in this thesis that Imitation Realism arose as a response to what the
artists saw as the inadequacy of local art practice. This was a result of a
disconnection that they saw between contemporary art and daily life in Australia.
The Imitation Realists found that both abstract and figurative painters were at a
remove from modern urban life as they experienced it. They tried to form an
authentic mode of art that connected with the materiality of the everyday.
Assemblage enabled the artists to break through the impasse they perceived in
contemporary art. Their work was one instance of a widespread interest in the
'primitive' and assemblage shared by artists in Europe and the United States. As
virtually no precedent existed for their art in Australia, it is contextualised
internationally in this thesis. This identifies that the Imitation Realists shared the
practice of using deliberately naive techniques and styles to create work that sought
to capture creativity at its most basic level. The Imitation Realists used assemblage
to respond to modern life as a whole, not just to modernism within the visual arts.
36
Brenner, Joni. "The construction of likeness in some contemporary high portrait painting." Thesis, 2016. http://hdl.handle.net/10539/20922.
Full textAbstract:
A Dissertation Submitted to the Faculty of Arts. University of the
Witwatersrand, Johannesburg, in partial fulfilment of the requirements
for the Degree of Master of Arts in Fine Arts.
Johannesburg 1996Likeness is a central issue to the tradition of portrait painting. This dissertation examines the notion of likeness in some contemporary high portrait painting. Likeness is viewed as constructed socially through the complex relations between artist, sitter and viewer. Faced with the problematic notions of realism and naturalism and their philosophical ramifications, the dissertation confronts the question of What in our world can be regarded as natural or given, and what is constructed or acquired. The discussion, framed by the debate set up between Nelson Goodman and E.H. Gombrich, leads to the conclusion that the 'natural' and the 'real' are not neutral, they are highly constructed. The dIfferences between various conventions; various ways of representing others, are extrapolated from the debate, and once acknowledged. the final position taken is a less linear conventionalist stance. The constructed nature of likeness is tested against the portraits by American artist, Andy Warhol and British artist. Lucian Freud, contemporary painters working in direct antithesis to one another. The aim is to show that both of their portrait likenesses. whether private or public, painterly Or mechanical, are embedded within socially constructed conventions. Recognition of 'the conventions can guide the viewer in deconstructing the work and locating the meaning. I discuss my own work in relation to the contents of this dissertation.
37
"Inspiration of architecture on contemporary ceramic art." 1997. http://library.cuhk.edu.hk/record=b5889270.
Full textAbstract:
Wong Lai Ching.Slides insert in pocket.
Thesis (M.F.A.)--Chinese University of Hong Kong, 1997.
Includes bibliographical references (leaves 45-46).
ABSTRACT
INTRODUCTION --- p.1
Chapter Chapter 1 : --- SYMBIOSIS OF INSIDE AND OUTSIDE --- p.4
-Transformation of vessel
Chapter Chapter 2 : --- THE CRISIS OF IDENTITY --- p.15
-The magic of teapot
Chapter Chapter 3 : --- SITE - SPECIFIC WORK --- p.22
-The giant in nature
Chapter Chapter 4 : --- METABOLISM --- p.35
-Regeneration and process
CONCLUSION --- p.42
BIBLIOGRAPHY AND REFERENCE --- p.45
38
Cohen, Joshua Irwin. "Masks and the Modern: African/European Encounters in 20th-Century Art." Thesis, 2014. https://doi.org/10.7916/D8BG2M4Z.
Full textAbstract:
Taking Paris as its geographical nexus, this dissertation tracks European and African modernist appropriations of African sculpture across a three-tiered historical trajectory spanning from 1905 to 1980. Part I charts engagements with West and Central African masks and statues by the Fauves and Pablo Picasso; Part II assesses the work of pioneering black South African artists Ernest Mancoba and Gerard Sekoto; and Part III chronicles the nationalization of modern art in Senegal under President Léopold Sédar Senghor. Through examinations of the cross-cultural, formal, and politicized dynamics of African sculpture--or so-called art nègre--in modern art discourse and practice on two continents, the dissertation argues that European and African artists shared certain form-based approaches to African objects, coupled with tactical understandings of those objects' cultural origins. The artists diverged--both individually and by movement--insofar as they appropriated African art to different ends reflective of historical period, social context, and personal approach. More broadly, the dissertation argues that the early-20th-century European avant-garde "discovery" of African sculpture became globally significant through its eventual catalytic role for modern art movements in Africa. It argues that some of the most important modernist appropriators of African sculptural forms were African painters who both studied and subverted their European precursors in that practice.
39
Gathercole, Michael University of Ballarat. "Progress in Australia over the 20th century : the ups, downs and reversals that occurred in Australian human wellbeing over the 20th century." 2005. http://archimedes.ballarat.edu.au:8080/vital/access/HandleResolver/1959.17/12756.
Full textAbstract:
"This study is an investigation of progress in Australia over the 20th century. Progress is defined here as the enhancement of human wellbeing. For the purposes of this study, human wellbeing will be characterised by five main components: knowledge, environment, economy, individual and social. Enhancement refers to positive directional change in terms of these components. The study firstly develops a framework to conceptualise progress. It then collects and uses statistical data in a descriptive study of what happened in Australia, over those 100 years, in terms of progress in general and in terms of its components. The study also develops a typology of relationships for models of progress, which best explain the Australian data. This study finally explores some of the relationships between the elements that make up the components of progress and looks at ways to best explain what has happened..." --p.1.Doctor of Philosophy
40
Gathercole, Michael. "Progress in Australia over the 20th century : the ups, downs and reversals that occurred in Australian human wellbeing over the 20th century." 2005. http://archimedes.ballarat.edu.au:8080/vital/access/HandleResolver/1959.17/14593.
Full textAbstract:
"This study is an investigation of progress in Australia over the 20th century. Progress is defined here as the enhancement of human wellbeing. For the purposes of this study, human wellbeing will be characterised by five main components: knowledge, environment, economy, individual and social. Enhancement refers to positive directional change in terms of these components. The study firstly develops a framework to conceptualise progress. It then collects and uses statistical data in a descriptive study of what happened in Australia, over those 100 years, in terms of progress in general and in terms of its components. The study also develops a typology of relationships for models of progress, which best explain the Australian data. This study finally explores some of the relationships between the elements that make up the components of progress and looks at ways to best explain what has happened..." --p.1.Doctor of Philosophy
41
Da, Cruz Carla. "The use of clay as a medium in contemporary sculpture (1980- 2003)." Thesis, 2004. http://hdl.handle.net/10321/2187.
Full textAbstract:
Dissertation submitted in partial compliance with the requirements for the Master's Degree in Technology: Fine Art, Durban Institute of Technology, Durban, 2004.This dissertation investigates the use of clay as a medium in contemporary sculpture made between 1980 and 2003. This research focuses specifically on discussing the artists' (both sculptors and ceramists) different approaches and attitudes to working with clay, from construction, manipulation, firing and glazing techniques through to their personal aesthetics and ideas. This dissertation examines how and why the contemporary sculptor trained in Fine Art is increasingly using clay as a medium in which to work. In addition, the candidate discusses the work of ceramic artists that have moved away from the constraints of earlier, more traditional, functional ceramics and have sought to push the boundaries of clay usage in terms of size, scale, mass and concept. Chapter One presents a broad historical overview of the use of clay in sculpture. This overview illustrates the depth and breadth of the use of clay in the making of sculpture, spanning the Nineteenth Century to the Twentieth Century, in order to highlight the significant shift in the use of clay in contemporary sculpture. Chapter Two introduces and discusses a number of contemporary sculptors who work in clay in different ways. Section One examines artists using clay and other materials in the creation of installations. These include Antony Gormley and Andy Goldsworthy. Section Two discusses those artists working with clay in large-scale, including Jun Kaneko and Wilma Cruise. The architectural and environmental use of clay materials is discussed in Section Three; this includes artists John Roloff, who works with the kiln as sculpture and Joyce Kohl, who works with adobe assemblages and steel.
M
42
"History in Australian popular culture : 1972-1995." Thesis, University of Technology, Sydney. Department of Writing & Contemporary Cultures, 1996. http://hdl.handle.net/10453/20231.
Full textAbstract:
As cultural studies has consolidated its claim to constitute a distinct field of study in recent years, debate has intensified about its characteristic objects, concepts and methods, if any, and, therefore, its relationship to traditional disciplines in the Humanities and Social Sciences.
In History in Australian Popular Culture 1972-1995, I focus on an intersection of cultural studies with history. However, I do not debate the competing claims of 'history' and 'cultural studies' as academic projects. Rather, I examine the role played by historical discourse in popular cultural practices, and how those practices contest and modify public debate about history; I take 'historical discourse' to
include argument about as well as representation of the past, and so to involve a rhetorical dimension of desire and suasive force that varies according to social contexts of usage. Therefore, in this thesis I do cultural studies empirically by asking what people say and do in the name of history in everyday contexts of work and leisure, and what is at stake in public as well as academic 'theoretical' discussion of the meaning and value of history for Australians today.
Taking tourism and television ('public culture') as my major research fields, I argue that far from abolishing historical consciousness -- as the 'mass' dimension of popular culture is so often said to do -- these distinct but globally interlocking cultural industries have emerged in Australian conditions as major sites of historical contestation and pedagogy.
Tourism and television are, of course, trans-national industries which impact on the living-space (and time) of local communities and blur the national boundaries so often taken to define the coherence of both 'history' and 'culture' in the modern period. I argue, however, that the historical import of these industries includes the use of the social and cultural spaces they make available by people seeking to publicise their own arguments with the past, their criticisms of the present, and their projects for the future; this usage is what I call 'popular culture', and it can include properly historical criticism of the power of tourism and television to disrupt or destroy a particular community's sense of its past.
From this it follows that in this thesis I defend cultural studies as a practice which, far from participating in a 'death' or 'killing' of history, is capable of accounting in specific ways for the liveliness of historical debate in Australia today.
43
"History in Australian popular culture : 1972-1995." University of Technology, Sydney. Department of Writing & Contemporary Cultures, 1996. http://hdl.handle.net/2100/310.
Full textAbstract:
As cultural studies has consolidated its claim to constitute a distinct field of study in recent years, debate has intensified about its characteristic objects, concepts and methods, if any, and, therefore, its relationship to traditional disciplines in the Humanities and Social Sciences. In History in Australian Popular Culture 1972-1995, I focus on an intersection of cultural studies with history. However, I do not debate the competing claims of 'history' and 'cultural studies' as academic projects. Rather, I examine the role played by historical discourse in popular cultural practices, and how those practices contest and modify public debate about history; I take 'historical discourse' to include argument about as well as representation of the past, and so to involve a rhetorical dimension of desire and suasive force that varies according to social contexts of usage. Therefore, in this thesis I do cultural studies empirically by asking what people say and do in the name of history in everyday contexts of work and leisure, and what is at stake in public as well as academic 'theoretical' discussion of the meaning and value of history for Australians today. Taking tourism and television ('public culture') as my major research fields, I argue that far from abolishing historical consciousness -- as the 'mass' dimension of popular culture is so often said to do -- these distinct but globally interlocking cultural industries have emerged in Australian conditions as major sites of historical contestation and pedagogy. Tourism and television are, of course, trans-national industries which impact on the living-space (and time) of local communities and blur the national boundaries so often taken to define the coherence of both 'history' and 'culture' in the modern period. I argue, however, that the historical import of these industries includes the use of the social and cultural spaces they make available by people seeking to publicise their own arguments with the past, their criticisms of the present, and their projects for the future; this usage is what I call 'popular culture', and it can include properly historical criticism of the power of tourism and television to disrupt or destroy a particular community's sense of its past. From this it follows that in this thesis I defend cultural studies as a practice which, far from participating in a 'death' or 'killing' of history, is capable of accounting in specific ways for the liveliness of historical debate in Australia today.
44
Barker, Heather Isabel. "A critical history of writing on Australian contemporary art, 1960-1988." 2005. http://repository.unimelb.edu.au/10187/7134.
Full textAbstract:
This thesis examines art critical writing on contemporary Australian art published between 1960 and 1988 through the lens of its engagement with its location, looking at how it directly or indirectly engaged with the issues arising from Australia's so-called peripheral position in relation to the would-be hegemonic centre. I propose that Australian art criticism is marked by writers' acceptances of the apparent explanatory necessity of constructing appropriate nationalist discourses, evident in different and succeeding types of nationalist agendas, each with links to external, non-artistic agendas of nation and politics. I will argue that the nationalist parameters and trajectory of Australian art writing were set by Australian art historian, Bernard Smith, and his book Australian Painting, 1788-1960 (1962) and that the history of Australian art writing from the 1960s onwards was marked by a succession of nationalist rather than artistic agendas formed, in turn, by changing experiences of the Cold War. Through this, I will begin to provide a critical framework that has not effectively existed so far, due to the binary terror of regionalism versus internationalism.Chapter One focuses on Bernard Smith and the late 1950s and early 1960s Australian intellectual context in which Australian Painting 1788-1960 was published. I will argue that, although it can be claimed that Australia was a postcolonial society, the most powerful political and social influence during the 1950s and 1960s was the Cold War and that this can be identified in Australian art criticism and Australian art. Chapter Two discusses art theorist, Donald Brook. Brook is of particular interest because he kept his art writing separate from his theories of social and political issues, focussing on contemporary art and artists. I argue that Brook's failure to engage with questions of nation and Australian identity directly ensured that he remained a respected but marginal figure in the history of Australian art writing. Chapter Three returns to the centre/periphery issue and examines the art writing of Patrick McCaughey and Terry Smith. Each of these writers dealt with the issue of the marginality of Australian art but neither writer questioned the validity of the centre/periphery model.
Chapter Four examines six Australian art magazines that came into existence in the 1970s, a decade of high hopes and deep disillusionment. The chapter maps two shifts of emphasis in Australian art writing. First, the change from the previous preoccupation with provincialism to pluralist social issues such as feminism, and second, the resulting gravitation of individual writers into ideological alliances and/or administrative collectives that founded, ran and supported magazines that printed material that focused on (usually Australian) art in relation to specific social, cultural or political issues. Chapter Five concentrates on the Australian art magazine, Art & Text, and Paul Taylor, its founder and editor. Taylor and his magazine were at the centre of a new Australian attempt to solve the provincialism problem and thus break free of the centre/periphery model.
45
Bloch, Barbara, University of Western Sydney, College of Arts, and Centre for Cultural Research. "Unsettling Zionism : diasporic consciousness and Australian Jewish identities." 2005. http://handle.uws.edu.au:8081/1959.7/20925.
Full textAbstract:
The motivation for writing this thesis derives from the lengthy conflict between Israelis and Palestinians and its effects on Jews who have been engaged politically and intellectually in challenging a paradigm most prevalent among Australian and other diasporic Jewry since the establishment of the state of Israel in 1948. The paradigm asserts that Israelis’ right to live safely within secure borders must be of exclusive concern. To challenge this exclusively therefore, by speaking in support of Palestinian justice and needs for similar basic conditions of life which have not yet been met, is viewed by many Jews as disloyalty and even as antisemitism. Australian Jewry has become known as Zionism’s ‘last bastion’. What were the particular conditions in Australia that led to Zionism and identification with Israel becoming the key symbol of Jewish identity within the Jewish community? The Zionist project has been sustained by deeply held metaphors. These include the historically-based claims and lived experiences of victimisation and vulnerability as Jews, whether individual and collective. Through revealing and synthesising the complexities and contradictions that are inherent in Jewish-Zionist subjectivities today, the thesis hopes to illuminate more generally questions of identity formation, diaspora and community, power and victimisation, and the unifying force of discourse.Doctor of Philosophy (PhD)
46
Bolton, Ken 1949. "At the flash & at the baci." 2003. http://web4.library.adelaide.edu.au/theses/09PH/09phb6943.pdf.
Full textAbstract:
"August 2003." Includes bibliographical references (leaves 166-177) Pt. 1. At the flash & at the baci: contents, poems, notes to poems -- pt. 2. Exegetical essay: note on the text, essay: How I remember writing some of my poems - why, even Consists principally of poems. The collection does not pursue any particular theme. It is organized chronologically. An exegetical essay written as a poem forms the second part of the thesis. The essay does not explain the poem's 'meanings' to any great extent but considers the poems' relation to each other and to poems written in the past.
47
Bolton, Ken 1949. "At the flash & at the baci / Ken Bolton." Thesis, 2003. http://hdl.handle.net/2440/21996.
Full textAbstract:
"August 2003."Includes bibliographical references (leaves 166-177)
2 v. (131, 177 leaves) ; 30 cm.
Consists principally of poems. The collection does not pursue any particular theme. It is organized chronologically. An exegetical essay written as a poem forms the second part of the thesis. The essay does not explain the poem's 'meanings' to any great extent but considers the poems' relation to each other and to poems written in the past.
Thesis (Ph.D.)--University of Adelaide, Dept. of English, 2003
48
Hooton, Fiona Art History & Art Education College of Fine Arts UNSW. "The impact of the counterculture on Australian cinema in the mid to late 20th century." 2007. http://handle.unsw.edu.au/1959.4/41008.
Full textAbstract:
This thesis discusses the impact of the counterculture on Australian cinema in the late 20thcentury through the work of the Sydney Underground Film group, Ubu. This group, active between 1965 -1970, was a significant part of an underground counter culture, to which many young Australians subscribed. As a group, Ubu was more than a rat bag assemblage of University students. It was an antipodean aspect of an ongoing artistic and political movement that began with the European avant-garde at the beginning of the 20th century and that radically transformed artistic conventions in theatre, painting, literature, photography and film. Three purposes underpin this thesis: firstly to track the art historical links between a European avant-garde heritage and Ubu. Experimental film is a genre that is informed by cross art form interrelations between theatre, painting, literature, photography and film and the major modernist aesthetic philosophies of the last century. Ubu's revolutionary aesthetic approaches included political resistance and the involvement of audiences in the production of art. Their creative wellspring drew from: Alfred Jarry, Dadaism, Surrealism, Futurism, Fluxus, Conceptual and Pop art. This cross fertilization between the arts is critical to understanding not only the Australian experimental movement but the history of contemporary image making. The second purpose is to fill a current void of research about early Australian Experimental film. This is a significant gap given it was a national movement with many international connections. The counterculture movement also contains many major figures in Australian art history. These individuals played their parts in the Sydney Push, Oz magazine and the activities of the Yellow House and have since become important multi arts practitioners and commentators. Thirdly, the thesis attempts to evaluate Ubu's political and social agenda for the democratization of film appreciation through their objectives of: production, exhibition, distribution and debate of experimental film both nationally and internationally. Ultimately the group would succeed in these objectives and in winning the war on repressive censorship laws. Their influence has informed the practice of many of Australia's current film heavy weights. Two key films have been selected for analysis, It Droppeth as the Gentle Rain (1963) and Newsfront (1978). The first looks forward to Ubu's contemporary practices and political agenda while the second demonstrates their longer term influences on mainstream cinema.
49
Lahy, Waratah. "Painted objects : investigating the imagery of Australian iconic culture." Phd thesis, 2007. http://hdl.handle.net/1885/149626.
Full text
50
Batho, Susan Smith, University of Western Sydney, and Faculty of Humanities and Social Sciences. "Family." 1998. http://handle.uws.edu.au:8081/1959.7/24561.
Full textAbstract:
Family is a work of creative fiction concerning four women and their relationships with each other. It is threaded with scenes from their past lives which hint at their previous connections with each other. These images of the past start to intrude into and affect their present lives. The central character, and storyteller of the present,is Margaret, a married woman who is finding that the 'comfort' of stereotypical behaviour and a prescribed marital relationship is a fiction. For Margaret, the intrusions of these past memories reveal to her traits in her character, aiding an understanding of herself, and eventually gives her freedom from her present situation.Master of Arts (Hons) (Writing)