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1
Ward, Debbie, and n/a. "Textile conservation at the Australian National Gallery." University of Canberra. Applied Science, 1985. http://erl.canberra.edu.au./public/adt-AUC20061109.174356.
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Urquhart, Ian McLeod, and n/a. "An internship in painting conservation at the Australian National Gallery." University of Canberra. Applied Science, 1985. http://erl.canberra.edu.au./public/adt-AUC20061109.162330.
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My employment in the Paintings Section of the Conservation Department
of the Australian National Gallery began in June 1983, however my
internship did not begin until March 1984 under the supervision of
Allan Byrne.
At that time, the paintings section was divided, rather arbitrarily,
into: paintings pre-1940, headed by Ilse King and; paintings
post-1940, headed by Allan Byrne.
Because of the departure of the then senior curator of conservation Dr
Nathan Stolow, Allan Byrne became acting senior curator. When Allan
Byrne took up the position of lecturer in paintings conservation at
C.C.A.E., Ilse King then became acting senior curator and my
supervisor; the division within the painting section was then
disbanded.
Jac Macnaughtan departed temporarily from the department to undertake
study and to work at the Tate Gallery and at the Courtauld Institute
in London leaving me with the paintings section.
I was fortunate enough to have at first one assistant Simon Hartas,
then two assistants, Mark Henderson and Les Cormack to help with the
task of backing, framing and restretching paintings.
There was no formal training programme for an intern - work was
undertaken as it came into the department and as it was allotted.
For the sake of simplicity and ease of handling the dissertation is
divided into 3 parts:
Part 1 includes the Functions and Facilities of the conservation
department.
Part 2 includes an outline of painting conservation practice within
the gallery and details of conservation work undertaken.
Part 3 comprises a project on some of the properties of hardboard.
As the gallery has in its collection a considerable number of
paintings on hardboard, to augment my knowledge and perhaps give some
insight into the nature of hardboard, this project was undertaken in
conjunction with the internship.
3
Cains, Carol, and n/a. "Internship in textile conservation at the Australian National Gallery, 1981-1984." University of Canberra. Applied Science, 1985. http://erl.canberra.edu.au./public/adt-AUC20060623.130749.
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Fasoli, Lyn, and n/a. "Young children in the art gallery : excursions as induction to a community of practice." University of Canberra. Communication & Education, 2002. http://erl.canberra.edu.au./public/adt-AUC20060710.095714.
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Learning in 'communities of practice' is a new way of describing and investigating how
people learn and has not been applied extensively in research in early childhood or in art
galleries. This thesis is a critical case study undertaken with preschool children as they
prepared for, participated in and followed up a series of excursions to the National Gallery of Australia. The study explores and analyses children's induction into the
practices of the art gallery and their negotiation of the meanings around these practices in
the gallery and in their preschool. Children's engagement in practices is analysed using a
sociocultural framework for learning called 'communities of practice' (Wenger, 1998) in
combination with a multilevel analysis of the artefacts of practice derived from the
philosophical writings of Wartofsky (1979). Multiple data sources included photographs
of children, their drawings, tape recordings of their incidental talk and group discussions,
and results of play activities as children participated in the practices of the art gallery and
the preschool. Data was also collected through semi-structured interviews with gallery
and preschool staff. In a study involving such young children, the use and juxtaposition
of these multiple sources of data was important because it allowed for the inclusion and
privileging of the material and non-verbal resources as well as verbal resources that
children used as they engaged in practices. Outcomes of this research have been used to
illuminate and problematise early childhood as a site for the intersection of multiple
communities of practice. Learning to make sense of experience is portrayed as more than
language-based 'scaffolding' and the representation of experience through child-centred
play activity. The study provides a detailed descriptive account of children's learning and
sees it as a fundamentally unpredictable and emergent process. It shows that relations of
power are always a part of learning and can be seen through an analysis of the resources
available to children, those they took up and were constrained by in the local situation
and those they brought from other communities of practice. In this process, the children,
as well as their teachers, were active negotiators. They participated in complying with
community-constituted views of knowledge as well as shaping, resisting and contesting
what counted as knowledge. This study makes a contribution to understanding children's
learning in early childhood as fundamentally social, unpredictable, productive and
transformative rather than individually constructed, stable, predetermined and
representational of experience.
5
James, Pamela J., University of Western Sydney, of Arts Education and Social Sciences College, and School of Humanities. "The lion in the frame : the art practices of the national art galleries of New South Wales and New Zealand, 1918-1939." THESIS_CAESS_HUM_James_P.xml, 2003. http://handle.uws.edu.au:8081/1959.7/567.
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This study examines the art practices and management of the National Art Galleries of Australia and New Zealand in the period between the wars, 1918-1939.It does so in part to account for the pervading conservatism and narrow corridors of aesthetic acceptability evident in their acquisitions and in many of their dealings. It aims to explore the role of Britishness, through an examination of the influence of the London Royal Academy of Art, within theses emerging official art institutions. This study argues that the dominant artistic ideology illustrated in these National Gallery collections was determined by a social elite, which was, at its heart, British. Its collective taste was predicated on models established in Great Britain and on traditions and on connoisseurship. This visual instruction in the British ideal of culture, as seen through the Academy, was regarded as a worthy aspiration, one that was at once both highly nationalistic and also a tool of Empire unity. This ideal was nationalistic in the sense that it marked the desire of these Boards to claim for the nation membership of the world's civil society, whilst also acknowleging that the vehicle to do so was through an enhanced alliance with British art and culture. The ramifications of an Empire-first aesthetic model were tremendous. The model severely constrained taste in domestic art, limited the participation of indigenous peoples and shaped the reception of modernism.Doctor of Philosophy (PhD)
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James, Pamela J. "The lion in the frame the art practices of the national art galleries of New South Wales and New Zealand, 1918-1939 /." View thesis, 2003. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20040416.135231/index.html.
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Thesis (Ph.D.) -- University of Western Sydney, 2003."A thesis presented to the University of Western Sydney in partial fulfilment of the requirements for the degree of Doctor of Philosophy" Includes bibliography.
7
Perry, Lara Ann. "Facing femininities : women in the National Portrait Gallery, 1856-1899." Thesis, University of York, 1999. http://etheses.whiterose.ac.uk/2479/.
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Conlin, Jonathan. "The origins and history of the National Gallery, 1753-1860." Thesis, University of Cambridge, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.440592.
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Dias, Rosemarie. "John Boydell's Shakespeare Gallery and the promotion of a national aesthetic." Thesis, University of York, 2003. http://etheses.whiterose.ac.uk/2532/.
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Oppenheimer, Melanie. "Volunteering the Australian experience /." [Australia] : Melanie Oppenheimer, 2007. http://www.naa.gov.au/Images/oppenheimer-paper-2007_tcm2-9196.pdf.
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Thesis (PhD) - Marketing and International Studies, Faculty of Business and Enterprise, Swinburne University of Technology, 2008."Public lecture for the National Archives of Australia, presented in Canberra ... 15 May 2007."-t.p. Includes bibliographical references (p. 174-215).
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Hahn, Catherine Neville. "The political house of art : the South African National Gallery, 1930-2009." Thesis, Goldsmiths College (University of London), 2016. http://research.gold.ac.uk/19314/.
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The thesis analyses modes of representation in the South African National Gallery (SANG) between 1930 and 2009. Built in 1930, for the larger part of its history SANG was situated in a white state that disenfranchised the black populace. Whiteness, as citizenship, was normalised and glorified in the state’s museums. Analysis of evidence collected from the archive, décor, art collection, exhibitions, attendance of walking tours and semi-structured interviews with staff demonstrates that SANG’s historic practice does not fit neatly within the dominant theoretical understanding of the art museum, namely a sacred space in which power has been obscured through the ‘art for art’s sake’ model. Instead, the thesis finds at SANG invisible symbolic capital resided alongside the more muscular capital of the colony, which derived its strength from an overt relationship with commerce, politics and race. The thesis further finds that SANG developed a close relationship with its white audience through its construction as a ‘homely space’. As a consequence, I argue SANG developed museological conventions that better fit the analogy of the political house than the temple. Taking new museum ethics into consideration, the thesis examines how SANG’s distinctive heritage impacted on its ability to be inclusive. My fieldwork on recent representational practice at SANG reveals strategies congruent with the post-museum, including performative political exhibitions, diversification of the collection and active dialogue with the communities it seeks to serve. At the same time embedded modes of white cultural representation were identified that restricted its capacity to ‘move-on’. The thesis contributes to the field of museum studies by drawing attention to the significance of the individual histories of art institutions in determining their ability to make change. The thesis also contributes to the field of visual sociology by presenting images and ‘map-making’ as an integral feature of the research design.
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Pezzini, Barbara. "Making a market for art : Agnews and the National Gallery, 1855-1928." Thesis, University of Manchester, 2018. https://www.research.manchester.ac.uk/portal/en/theses/making-a-market-for-art-agnews-and-the-national-gallery-18551928(4f296d6c-997a-4eab-95ca-bace7b9c3596).html.
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The thesis investigates the interaction that developed between a major art dealer, Thos. Agnew and Sons (Agnews), and a principal public collection, the London National Gallery, from 1855 to 1928. Agnews played a crucial role in the life of the National Gallery and greatly facilitated the museum accession of important paintings, such as the Madonna Ansidei by Raphael, the Rokeby Venus by Velazquez, the Portrait of Doge Vincenzo Morosini by Tintoretto, and many others. In turn, collaborating with the National Gallery allowed Agnews to penetrate the international Old Masters market and reach for higher social standing. Through the analysis of ten case studies of acquisitions, which are supported by new archival evidence and are contextualised within a broader historical and theoretical framework, this thesis charts the emergence, development and decline of the rapport between the two organisations. It analyses how Agnews and the National Gallery began as two unconnected entities in the mid-nineteenth century, explores how their distinct trajectories turned into a close, collaborative rapport during the 1880s, and finally examines how in the third decade of the twentieth century they separated and initiated a newly detached professional relationship. Appropriating sociological theories by Pierre Bourdieu, Bruno Latour, Viviana Zelizer and others, this study investigates museum acquisitions as resulting from complex interplays of cultural and commercial forces within the field of cultural production. Acquisitions are further enlightened by the analysis of the networks that underpin them, which provide additional evidence on how economic factors are embedded within broader social constructs. By detailing and locating these processes and relationships within the historical context of a broad shift towards commercialisation, yet demonstrating that cultural elements are part of the dealers activities and that commercial values are an intrinsic component of the museum, this study provides an insight into the historical origins of modern-day relationships between museums and art dealers.
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Zainudin, Wan Nur Rahini Aznie Binti. "Essays on Australian wholesale electricity price spikes and the Australian pre-dispatch process." Thesis, University of Manchester, 2014. https://www.research.manchester.ac.uk/portal/en/theses/essays-on-australian-wholesale-electricity-price-spikes-and-the-australian-predispatch-process(7e41cd18-2bf7-49bd-aeb7-c7c5f1b567fa).html.
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In the first essay I examine whether the occurrences of the extreme price events display any regularities that can be captured using an econometric model. Here I treat these price events as point processes and apply Hawkes and Poisson autoregressive models to model the dynamics in the intensity of this process. I use load and meteorological information to model the time variation in the intensity of the process. The models are applied to data from the Australian wholesale electricity market, and a forecasting exercise illustrates both the usefulness of these models and their limitations when attempting to forecast the occurrence of extreme price events. In the second essays I explain that in the past doubts have been raised as to whether the pre-dispatch process in Australia Electricity Market is able to give market participants and market operator good and timely quantity and price information. It is the purpose of the second essay to introduce a framework to analyse whether the pre-dispatch process is delivering biased predictions of the actual wholesale spot price outcomes. Here I investigate the bias by comparing the actual wholesale market spot price outcome to pre-dispatch sensitivity prices established the day before dispatch and on the day of dispatch. I observe a significant bias (mainly indicating that the pre-dispatch process tends to underestimate spot price outcomes) and I further establish the seasonality features of the bias across seasons and/or trading periods. I also establish changes in bias across the years in our sample period (1999 to 2007). In the formal setting of an ordered probit model I establish that there are some exogenous variables that are able to explain increased probabilities of over- or under-predictions of the spot price. It transpires that meteorological data, expected pre-dispatch prices and information on past over- and under-predictions contribute significantly to explaining variation in the probabilities for over- and under-predictions. The results allow me to conjecture that some of the bids and re-bids provided by electricity generators are not made in good faith. Finally, the third essay investigates whether information from this pre-dispatch process can be useful when predicting next-day price spikes. In a preliminary analysis I establish the effect of pre-dispatch prices on the quantiles of the spot price distribution. A Quantile regression approach reveals that higher pre-dispatch prices signal only to a certain extent an increased probability of higher spot price outcomes. They also signal a higher uncertainty about the resulting spot price outcomes. I further establish whether the inclusion of information from the pre-dispatch process can significantly improve the predictability of price spikes when these are modelled as a point process (as in the first essay). The models used here are Hawkes and Poisson autoregressive models which allow for time variation (correlated to exogenous information) in the intensity process that governs the occurrence of price spikes. It transpires that the pre-dispatch process of the Australian Electricity Market does not provide any information that can be used in a systematic manner to help predicting on what days price spikes are more likely to occur.
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Slavin, John. "Lost causes : the ideology of national identity in Australian cinema /." [Melbourne : University of Melbourne, 2002. http://eprints.unimelb.edu.au/archive/00000297.
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Doucette, Valerie Anne. "The art museum in code: display strategies of the National Gallery of Canada." Thesis, McGill University, 2011. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=97220.
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This thesis explores the ways in which the art museum as a powerful cultural medium shapes the public understanding of artworks and how this work is affected by digital media when the museum displays art online. In an analysis of the National Gallery of Canada (NGC) I focus on how the artwork is encountered and understood in physical and digital contexts through the examination of three modes of museum practice: memory, information, and narrative. I compare each mode's manifestation in the physical museum space to its digital translation, revealing that the NGC largely reproduces its objective, highly authored, and one-way communicative practices in digital space. Other online interfaces such as the steve.museum project and the Art Matters blog of the Art Gallery of Ontario are examined as possible alternatives to the NGC's approach through their use of more open, collaborative, and social practices made possible by digital media.La présente thèse examine l'influence du musée d'art en tant que milieu culturel important sur la compréhension des objets d'art par le public et les répercussions des médias numériques sur ces œuvres quand le musée les affiche en ligne. Pendant l'analyse du Musée des beaux-arts du Canada (MBAC), je cherche à déterminer comment les objets d'art sont rencontrés et perçus dans leurs contextes physique et numérique en examinant trois contextes pertinents au musée : la mémoire, les renseignements et la narration. Je compare la manifestation des trois contextes dans l'espace physique du musée à leur traduction numérique, ce qui révèle que le MBAC reproduit de très près ses pratiques à communication unilatérale objectives et consignées dans l'espace numérique. J'examine également d'autres interfaces en ligne, notamment le projet steve.museum et le blog Art Matters du Musée des beaux-arts de l'Ontario, comme autres options à l'approche du MBAC pour leur usage plus ouvert, plus collaboratif et plus social rendu possible par les médias numériques.
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Freestone, Mellor Paula. "Sir George Scharf and the problem of authenticity at the National Portrait Gallery." Thesis, University of Oxford, 2016. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.728997.
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Hersov, Mary. "The temporary exhibition in the Sainsbury Wing, National Gallery : commission, design and outcome." Thesis, University of Essex, 2017. http://repository.essex.ac.uk/19861/.
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The Sainsbury Wing, the National Gallery’s new extension, opened in July 1991. It had the primary aim of providing new galleries for the Early Renaissance collection. It was also intended to give a new outward-looking face for the Gallery with expanded public facilities, including a larger temporary exhibition space. However, this space has been much criticised for its basement location and resulting lack of natural light. The rooms are limited in size and some are irregular in shape which make it difficult to install larger works and to provide enough viewing space for visitors to popular shows. This thesis investigates why the Gallery decided to build this space, why the design was developed and what were the consequences. It looks at the history of temporary exhibitions - the spaces they need in London and abroad. Using archive material and conversations with participants, it pieces together the convoluted story of the building of the temporary exhibition galleries in the Sainsbury Wing. It examines the many briefs, the involvement of the architects, Venturi Scott Brown, and explains how the resulting design developed. It then relates how the Gallery used the space for its expanded exhibitions programme and considers its advantages and disadvantages. In the conclusion, it makes some recommendations for the best way to create new exhibition galleries for the future. The thesis sheds new light on an aspect of institutional history of the Gallery. It provides an original analysis of an area of the Sainsbury Wing which has been little discussed. As a case study for the design of facilities for temporary exhibitions, it underlines the importance of these spaces and analyses the specific needs and requirements.
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Tham, Poh Weng Electrical Engineering & Telecommunications Faculty of Engineering UNSW. "Managing market risks in the Australian national electricity market." Awarded by:University of New South Wales. School of Electrical Engineering & Telecommunications, 2005. http://handle.unsw.edu.au/1959.4/20834.
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The restructuring of many national and state electricity industries over the last two decades has created new sets of laws and regulations, market design and participants. Along with those changes, industry risks have also been transformed significantly. Prior to restructuring, government-owned or carefully regulated monopoly private utilities would manage most of these industry risks. With restructuring, however, both the government, through their market regulators, and industry participants need to manage a range of previous,, yet also now new, risks. While the government???s risk management strategy is focused on the industry as a whole, participants are naturally more concerned with their individual risks. The Australian National Electricity Market (NEM) is one of the many electricity markets that were formed through the restructuring process underway worldwide. It created a number of new types of market participants facing different sets of risks. The main objective of this thesis is to examine the management of market risk by these different NEM participants. The methodology used in the thesis involves developing a fundamental understanding of electricity restructuring, the NEM and the various risks faced by the different NEM participants. Data on NEM spot prices, ancillary costs and forward prices are analysed to gain a better understanding of its relationship with market activities. Different risk management strategies, both proactive and reactive, that can be taken by the participants are discussed This thesis has highlighted some of the complexities involved in managing risks in a restructured electricity industry. Risks are never static and changes in market conditions alter the risk exposure of the participants. Therefore, participants will need to constantly monitor their risk exposure and update their risk management strategies. The Cash-Flow-at-Risk methodology is introduced as a possible tool to measure risk and analyse risk management options for different NEM participants.
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Thomas, Stuart John, and stuart thomas@rmit edu au. "Modelling Commodity Prices in The Australian National Electricity Market." RMIT University. Economics, Finance and Marketing, 2007. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080528.160806.
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Beginning in the early 1990s several countries, including Australia, have pursued programs of deregulation and restructuring of their electricity supply industries. Dissatisfaction with state-run monopoly suppliers and a desire for increased competition and choice for consumers have been the major motivations for reform. In Australia, the historical, vertically-integrated, government-owned electricity authorities were separated into separate generation, transmission, distribution and retail sectors in each State and a competitive, wholesale market for electricity, the National Electricity Market (NEM) began operation in December 1998. The goal of deregulation was (and remains) increased competition in electricity supply, so that consumers may enjoy wider choice and lower prices. The first benefit has largely been delivered but it is arguable whether the second benefit of lower prices has been realised. Increased competition has come at the price of increased wholesale price volatility, which brings with it increased cost as market participants seek to trade profitably and manage the increase in price risk. In the NEM, generators compete to sell into a pool market and distributors purchase electricity from the pool at prices determined by demand and supply, on a half-hourly basis. These market-clearing prices can be extremely volatile. Electricity prices are generally characterised by significant seasonal patterns, on an intra-day, weekly and monthly basis, as demand and supply conditions vary. Prices are also characterised by strong mean-reversion and extremely high spikes in price. While long-run mean prices typically range between $30 and $45 per megawatt hour, prices can spike to levels above $9,000 or $10,000 per megawatt hour from time to time. These spikes tend to be sporadic and very short-lived, rarely lasting for more than an hour or two. Although infrequent, spikes are the major contributor to price volatility and their evolution and causes need to be investigated and understood. The purpose of this thesis is to investigate and model Australian electricity prices. The research work presented is mostly empirical, with the early analytical chapters focusing on investigating the presence and significance of seasonal factors and spikes in electricity price and demand. In subsequent chapters this work is extended into analysis of the underlying volatility processes and the interaction between extreme values in demand and price is specifically investigated. The findings of the thesis are that while the characteristics of strong seasonal patterns and spikes that are generally observed in similar electricity markets are present in the NEM in both price and demand, there is significant variation in their presence and effect between the regional pools. The study also finds that while time-varying volatility is evident in the price series there is again some variation in the way this is characterised between states. A further finding challenges the accepted wisdom that demand peaks drive price spikes at the extremes and shows empirically that price spikes are more likely to be caused by supply disruptions than extremes of demand. The findings provide useful insight into this highly idiosyncratic but economically important national market.
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Reid, Michelle. "National identity in contemporary Australian and Canadian science fiction." Thesis, University of Reading, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.413934.
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Galastro, Anne Bernadette. "Institutional history of the Scottish National Gallery of Modern Art : tensions, paradoxes and compromises." Thesis, University of Edinburgh, 2012. http://hdl.handle.net/1842/7899.
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This study provides the first comprehensive account of the institutional history of the Scottish National Gallery of Modern Art (SNGMA) from the earliest calls for its foundation at the start of the twentieth century to the recent series of exhibitions marking its fiftieth anniversary in 2010. The SNGMA is both a unique case‐study and a useful illustrative example of the specific category of modern art museum: the account of its history sets the institution within its wider cultural context and explores the inevitable complexities facing a public gallery devoted to modern art. The study examines how the institution has balanced the need to represent a full historical survey of modern art with the desire to engage with the contemporary, and how it has addressed the question of collecting and displaying the work of Scottish artists alongside international art. By providing a close documentary analysis of the evolution of the institution, drawn from within the Gallery’s own archives, combined with extended reflections on the central dilemmas it has had to face, the study constitutes an original contribution to museum scholarship. Various methodologies are employed to assess the diverse factors that have affected the institution’s development. The narrative confirms the close correlation between the architectural frame and the public perception of the institution. It traces the evolution of the acquisitions policy and notes how this shaped the permanent collection, allowing a shift from an aspiration to universal coverage of the international trends of 20th century art to a more targeted specialisation in certain areas, primarily Dada and Surrealism. It charts the attitudes towards temporary exhibitions and the display of the permanent collection, and examines these in the light of current exhibition theory and practice. The analysis concludes that the SNGMA has been largely successful at achieving the aims and ambitions it originally defined for itself, although its role is constantly evolving in response to changes in the broader context of art museums.
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Yoshie, Yoshiara. "Art museums in a diverse society : a visitor study at the South African National Gallery." Thesis, SOAS, University of London, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.498502.
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Spence, Cathryn Helen Gordon. "A passionate vision and its legacy : the national gallery of British art at South Kensington." Thesis, Royal Holloway, University of London, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.521759.
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Trodd, Colin. "Formations of cultural identity : art criticism, the National Gallery and the Royal Academy, 1820-1863." Thesis, University of Sussex, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.358796.
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Lilla, Qanita. ""The advancement of art" : policy and practice at the South African National Gallery, 1940-1962." Master's thesis, University of Cape Town, 2004. http://hdl.handle.net/11427/18426.
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Includes bibliographical references (pages 125-138).This thesis is an enquiry into the policies and practices that shaped the South African National Gallery in the 1940s and 1950s. Drawing on newspaper reports, the South African National Gallery's exhibition catalogues, pamphlets and annual reports, records of parliamentary debate and the crucial report of the Stratford Commission of 1948 the study has reconstructed a detailed history of the South African National Gallery. Established in 1871 as a colonial museum catering for a small part of the settler population of British descent, the museum came under pressure to accommodate the Afrikaner community after 1948. This did not mean that the liberal ethos at the museum disappeared, however. The South African National Gallery was strongly influenced by public pressure in this period. Public outrage over controversial art sales in 1947 led to the appointment of a commission of enquiry into the workings of the museum. At the same time, the head of the Board of Trustees, Cecil Sibbett, engaged the public on matters of Modern art. The museum's conservative and controversial Director, Edward Roworth was replaced in 1949 by John Paris who ushered in a new phase of development and management, encouraged the reconceptualization of South African art and reorganized the permanent collection. This initiative took place despite decreased autonomy for the Director and increased government imposition of Afrikaner Nationalist ideology. Nevertheless, the South African National Gallery avoided becoming a political instrument of the Apartheid regime.
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Holliday, Brian. "For the term of its national life : the Australian (imagi)nation." Curtin University of Technology, School of Communication and Cultural Studies, 1993. http://espace.library.curtin.edu.au:80/R/?func=dbin-jump-full&object_id=11621.
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This thesis is divided into two sections; a theoretical section which looks at the analytic construction of collective identities, and a section which applies the theory to two Australian novels. The first four chapters use the theories of Roy Wagner, Benedict Anderson, Jacques Lacan and Homi Bhabha to look at the often unconscious construction of culture and national, and at the process of hybridity to which those constructions are continually subject.The next three chapters examine Glenda Adamss Games of the Strong and Nicholas Haslucks The Bellarmine Jug showing how an unconscious development of Australian themes runs through the novels, regardless of a lack of Australian characters and setting. The novels show the complex, unique and frequently misunderstood position Australia holds between the cultures, nations and civilisations of the East and the West.The conclusion draws together the principal arguments of the thesis and highlights some concerns which they imply for Australian and its national imagination.
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Scott, Kristin. "The two-way learning process : Aboriginal involvement in Australian national parks /." Title page, contents and abstract only, 1987. http://web4.library.adelaide.edu.au/theses/09AR/09ars4275.pdf.
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Tindall, Alexis. "Creating Australia : cultural representations and national identity in contemporary Australian literature /." Title page, contents and conclusion only, 1999. http://web4.library.adelaide.edu.au/theses/09AR/09art588.pdf.
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Malla, Kalyan. "Market Benefit Assessment of Basslink in the Australian National Electricity Market." Thesis, University of Canterbury. Electrical and Computer Engineering, 2012. http://hdl.handle.net/10092/7770.
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Economic benefit assessment has become an integral requirement of transmission system planning in the context of electricity market deregulation around the world. In a deregulated electricity market, not only does transmission planning have to address technical requirements but also has to consider commercial issues linked to an electricity market. One of the prime goals of transmission planning is to ensure a fair distribution of economic benefits among the market participants (all those who produce, transmit and consume). These economic benefits attributable to a transmission interconnection generally appear as benefits to an electricity market and are referred to as market benefits. Even from a regulatory perspective, assessment of market benefits of a transmission interconnection is an essential requirement to ascertain its economic value.
The market benefit assessment of a transmission interconnector presented in this thesis is specific to the Australian National Electricity Market (NEM) consistent with the regulatory framework in the NEM. This thesis develops a market benefit assessment framework in accordance with Regulatory Investment Test for Transmission (RIT-T) to assess the economic significance of Basslink, one of six inter-regional transmission interconnectors in the Australian NEM. A long-term market benefit modelling framework comprising least cost modelling (LCM) and time sequential modelling (TSM) is developed and applied to undertake modelling of long term market benefits. PLEXOS, a leading power market modelling software is used for this purpose.
Economic analysis concludes that the presence of Basslink is of significant economic value in terms of market benefits for the ranges of market development scenarios (MDS) studied.
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Piper, Jennifer Ann. "White, Carey and Nolan : national myth in Australian literature and painting." Thesis, Open University, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.446272.
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Cook, Shashi Chailey. ""Redress : debates informing exhibitions and acquisitions in selected South African public art galleries (1990-1994)" /." Thesis, Rhodes University, 2009. http://eprints.ru.ac.za/1631/.
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Robinson, Cicely. "Edward Hawke Locker and the foundation of the National Gallery of Naval Art (c.1795-1845)." Thesis, University of York, 2013. http://etheses.whiterose.ac.uk/6272/.
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The National Gallery of Naval Art was situated within the Painted Hall at Greenwich Hospital from 1824 until 1936. This collection of British naval paintings, sculptures and nautical curiosities was one of the first ‘national’ collections to be acquired and exhibited for the general public, preceding the foundation of the National Gallery by a matter of months. Installed in the wake of the Revolutionary and Napoleonic Wars, the Naval Gallery, as it was more commonly known, was primarily founded to commemorate ‘the distinguished exploits of the British Navy’. This thesis examines how the Gallery presented a unique type of national naval history to the early nineteenth-century public, contributing to the development of contemporary commemorative culture as a result. In addition, the Naval Gallery also functioned as a forum for the exhibition of British art. This study examines how the Gallery was actively involved in the contemporary art world, liaising with the Royal Academy of Arts and the British Institution, providing patronage for contemporary artists and actively contributing toward the development of a national patriotic aesthetic. In 1936 the Naval Gallery was dismantled and the collection was given, on permanent loan, to the newly founded National Maritime Museum. As a result of this closure the Gallery ceased to be the subject of contemporary commentary and knowledge of its existence gradually declined. This thesis conducts a dedicated institutional study of the Naval Gallery in an attempt to re-establish its status as the first ‘national’ naval art collection, as a major site for the public commemoration of Nelson and as an active participant in the early nineteenth-century British art world.
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Gwatkin, Jan. "Investigating the viability of a national accreditation system for Australian piano teachers." University of Western Australia. School of Music, 2009. http://theses.library.uwa.edu.au/adt-WU2009.0099.
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The Federal education system has 12 nationally accredited and portable qualifications issued by the Australian Qualifications Framework (AQF) which cover three sectors; Higher Education, Vocational Education and Training (VET) and Schools. A mandatory minimum bachelor qualification together with education units, state registration and ongoing professional development is imposed for all classroom music teachers. In direct contrast, however, Australian studio piano teachers and school instrumental teachers may or may not have formal qualifications, registration with professional associations, or ongoing professional development. All teachers must be registered with State registration boards for Working With Children (WWC) but no monitoring controls exist for studio teachers. Qualifications are available from public examination boards, private enterprises and state Music Teacher Associations (MTAs) but these are not recognised within the national system and consequently have no status or portability, although they are used and recommended within the industry and higher education institutions as course prerequisites. The aim of the current study was to investigate whether a National Accreditation System (NAS) for Australian studio piano teachers could be a viable system, adding unprecedented professionalism to the field and drawing upon the existing systems of government, private industry and educational institutions. In the thesis, current systems of accreditation, education and training available for classroom music teachers, school instrumental music teachers and other recognised professions such as lawyers, engineers, accountants, health professionals and sports coaches were reviewed as a comparative basis upon which to assess similar contexts for studio piano teachers. Results are combined with a survey of Australian piano teachers' perceptions, from which the study ascertained the extent to which studio piano teachers' needs were being catered for and met in available systems of accreditation and training.
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Rice, Andrew. "A forgotten sacrifice : South Australian National Servicemen returning from the Vietnam War /." Title page, contents and introduction only, 1985. http://web4.library.adelaide.edu.au/theses/09AR/09arr495.pdf.
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Ungari, Elena. "Australian national identity/ies in transition in the fiction of Patrick White." Thesis, University of Wales Trinity Saint David, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683214.
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Limbos-Bomberg, Nathalie. "The ideal and the pragmatic, the National Gallery of Canada's Biennial Exhibitions of Canadian Art, 1953-1968." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/MQ57706.pdf.
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King, Martha J. (Martha Juliette) Carleton University Dissertation Canadian Studies. "The National Gallery of Canada at arm's length from the government of Canada; a precarious balancing act." Ottawa, 1996.
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Abbo, Mayer S. "Transforming and revealing a footprint of place : new National Gallery of Art Project, San Jose, Costa Rica." Thesis, Massachusetts Institute of Technology, 1992. http://hdl.handle.net/1721.1/62908.
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Thesis (M. Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 1992.Includes bibliographical references (p. 293-297).
The primary focus of this investigation is the insertion of a new piece in an environment where the natural elements of site and the man-made elements of city can begin to inform the ordering systems used in the design process. The existing footprint of the ruins of La Antigua Penitenciaria, in the center of the Costa Rican capital, San Jose, is transformed in meaning and character to become a cultural center for the city. The problem presented is a contextual one of making a place in the world through a reading, cataloguing and reinterpretation of /lature, city, and culture. The .goal of the process is a building that reveals the meaning of its present time and place, set in a landscape that tells stories of its past.
by Mayer S. Abbo.
M.Arch.
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Morris, Andy. "The geographies of multiculturalism : Britishness, normalisation and the spaces of the Tate Gallery." Thesis, n.p, 2002. http://oro.open.ac.uk/18912.
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au, Katie Ellis@westnet com, and Kathleen Ellis. "You Look Normal To Me:The Social Construction of Disability in Australian National Cinema in the 1990s." Murdoch University, 2004. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20061123.144826.
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This thesis examines the social construction of disability in Australian national
cinema throughout the 1990s. During that decade, disability was an issue that
remained in the background of many film narratives and is (still) under-theorised
in academic scholarship. Disability continues to be tangential to many social
critiques, particularly in relation to cultural diversity and national identity. When
it is foregrounded, as in Liz Ferriers (2001) work, its theoretical premise is
chiefly located in a damaged body, rather than examined through the lens of
cultural construction.
The growing number of culturally diverse filmmakers in the Australian film
industry during the 1990s initiated a critical focus on diversity, multiculturalism
and minority group interests. However, an examination of the social construction
of disability is conspicuously absent. I argue that a disability identity that
focuses attention away from the body and onto society should be incorporated
into notions of diversity concerning Australian national cinema.
In this thesis I investigate both thematic and stylistic representations of disability
with reference to socio-political contexts and influences. A disability identity
as it is included or excluded from Australian national identity is explored
through a variety of close readings of local films. I examine the methods
filmmakers employ to problematise diversity in relation to the limitations of
dominant representations of disability.
This thesis recognises the historical lack of scholarship in relation to disability as
a diversity issue in Australian national cinema of the 1990s and is an attempt to
open up this field to new modes of criticism.
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Hall, Frederick Leonard. "Australians in a corporate culture the national characteristics, are they intrinsic? : a study of cultural behaviour of Australian employees in a multi national [sic] corporation : a measure of change of national culture over time and it's relevance to corporate culture in Australia /." Master's thesis, Australia : Macquarie Universityc, 1989. http://hdl.handle.net/1959.14/23256.
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Thesis (MA)--Macquarie University, Graduate School of Management, 1989.Introduction -- Values and culture -- The four dimensions -- Australia survey 1984/85 -- Methodological debate -- Literature reviews -- Outcome in terms of our national culture -- Transition to corporate culture -- Results of survey 1984/85 -- Appendix.
Bibliography: final [7] leaves (Appendix 4).
Mode of access: World Wide Web.
49 leaves ill. +
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Faulkner, Xandra Madeleine, and n/a. "The Spirit of Accommodation: The Influence of the ALP's National Factions on Party Policy, 1996-2004." Griffith University. Griffith Business School, 2006. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20070216.133604.
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This thesis explores the influence of the Australian Labor Party's (ALP's) national factions on Party policy. The specific emphasis is on policy development during Labor's 1996-2004 period in opposition. Through a total of 88 interviews, predominantly with members of Caucus including Kim Beazley, Simon Crean and Mark Latham, this thesis has been able to examine not only the formal policy development processes but, significantly, also the informal processes within the Party. The thesis begins with an overview of the national factions' organisation and operations in relation to policy development in both the organisational and parliamentary wings. It concentrates on exploring how the informal processes of the faction system dominate the formal Party structures, and demonstrates how the factional elite control these decision-making forums. The thesis then concentrates on analysing in-depth the factional influences on policies developed within the Immigration, Trade and Family and Community Services portfolios. These case studies were selected because they provoked debate, to varying degrees, in the Party. An understanding of how consensus was reached among the diverse perspectives, particularly between the factions, within the Party is critical to exploring the relationship between the national factions and policy development. The case studies cover a range of policy development modes, and therefore provide ample opportunity to explore factional dynamics in relation to policy formulation under different circumstances throughout the 1996-2004 period. This thesis utilises Arend Lijphart's theory of the Politics of Accommodation, which was originally developed to explain inter-party negotiations within the Dutch coalition government during the twentieth century. This theory is relevant to the study of the ALP's modern factions because, similar to the Dutch political system, the faction system operates on the power-sharing principle of proportional representation (PR). By applying Lijphart's theoretical framework, this thesis provides a rigorous and comprehensive analysis of the ALP's factional dynamics in relation to policy. It gives an in-depth analysis of the elite control of the faction system in the domain of policy development. It demonstrates that faction leaders resolve contentious policy issues by negotiating in a 'spirit of accommodation' and when the factions adopt a policy position, the unwritten rules of the 'factional game' are applied to ensure the national factions reach a consensus on Party policy. Given that the national factions compete for power and sometimes pursue a different set of policy objectives, this 'spirit of accommodation' appears to be paradoxical; this palliative application of factional power is arguably in contrast to the general perception of faction politics. Through the presentation and analysis of original primary data this thesis makes a valuable contribution to the study of the ALP and factions in general, significantly advancing existing knowledge.
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Garlick, Barbara. "Australian travelling theatre 1890-1935 : a study in popular entertainment and national ideology /." Online version, 1994. http://bibpurl.oclc.org/web/19943.
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Burns, Kathryn E. "This other Eden exploring a sense of place in twentieth-century reconstructions of Australian childhoods /." Connect to full text, 2006. http://hdl.handle.net/2123/1691.
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Thesis (Ph. D.)--University of Sydney, 2007.Title from title screen (viewed 25 March 2008). Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy to the Dept. of English, Faculty of Arts. Degree awarded 2007; thesis submitted 2006. Includes bibliographical references. Also available in print form.
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Heath, Elizabeth. "Sir George Scharf and the early National Portrait Gallery : reconstructing an intellectual and professional artistic world, 1857-1895." Thesis, University of Sussex, 2018. http://sro.sussex.ac.uk/id/eprint/73230/.
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This thesis investigates the professional practice of the National Portrait Gallery's first Director Sir George Scharf (1820–95). It is the first focused analysis of his career and influence, within the nineteenth-century art and museum worlds. It attempts to position Scharf in relation to developments in art historical scholarship and the professionalization of museum practice, in the second half of the 1800s. Chapter 1 outlines Scharf's methodology for portraiture research and considers his scientific approach alongside the establishment of art history as a discipline during his lifetime. Whilst exploring Scharf's development of research standards to be carried forward by successors, it argues for his active role amongst a growing contingent of museum professionals. Chapter 2 reconstructs Scharf's social and professional networks, collating the names of individuals with whom he interacted and mapping the physical sites of engagement. It proposes that access to contacts proved vitally important to his official work and that Scharf himself functioned as an influential figure in this sphere. The third chapter concerns the nature of Scharf's relationships with members of the NPG's Board of Trustees. It investigates his early collaboration with two expert Trustees and charts his interactions with consecutive Chairmen of the Board, demonstrating Scharf's increasing authority with regards to Gallery procedures. Chapters 4 and 5 explore Scharf's interventions relative to the organization and interpretation of the collection across the NPG's early exhibition spaces. Chapter 4 argues that an increased capacity for display enabled Scharf to implement a rational hanging scheme, in line with the Gallery's instructive purpose and inspired by contemporary debates over the efficient presentation of public art. The final chapter documents Scharf's efforts to contextualize the national portraits, ranging from manipulating the exhibition environment, to expanding the NPG's catalogue according to a scholarly model. In its examination of George Scharf's career spanning five decades, particularly his engagement with discourse surrounding public art museums in the Victorian period, this thesis aims to make a significant contribution to the fields of museum studies and studies in the history of collecting and display.
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Becker, Natasha. "Inside and outside the family album: Making, exhibiting and archiving the photograph in the South African National Gallery and the National Library of South Africa." University of the Western Cape, 2018. http://hdl.handle.net/11394/6046.
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Magister Artium - MA (History)One of the first things that reached me about photography was how a photograph tells a story or stories. This experience is perhaps most common when viewing personal photographs. A few years ago I was looking through a vast number of personal photographs, of a family I knew well, and was struck by how all the photographs (in albums, framed or lying loosely about) were part of a particular family narrative. Even without the storytelling, which accompanied my viewing of the photographs, I could still 'read' bits and pieces of the family history (and the broader social, political and cultural histories) in their photographs.
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Noseda, Mary, and res cand@acu edu au. "Belonging: the case of immigrants and the Australian Catholic Church." Australian Catholic University. School of Arts and Sciences, 2006. http://dlibrary.acu.edu.au/digitaltheses/public/adt-acuvp101.04092006.
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The aim of this thesis is to ascertain the extent and nature of belonging to the Australian Catholic Church as experienced by immigrants. This experience of belonging was ascertained through the quantitative study of the National Church Life Survey of 2001 and to a lesser extent the Catholic Church Life Survey of 1996. Both surveys were conducted with attenders at a particular Sunday Eucharist and hence measured the experiences only of Catholics who attend Church. This quantitative study was complemented with a qualitative study of a small group of Vietnamese Catholics who were members of a particular parish. The importance of belonging to a religious tradition is that it provides an aspect of an individual’s identity. Identity is many-faceted and formed and reformed in the context of belonging, whether that belonging is to people such as family or to groups of people such as fellow members of a religious tradition. In the process of migration and settlement, the set of primary groups to which an individual belongs is at best disrupted and at worst, lost. Belonging to a religious tradition may provide a constancy of belonging in the immigrant’s life when all other aspects of belonging are being renegotiated during settlement in the host country. In the case of the Catholic Church in Australia, there has been some debate about whether or not the Church has been welcoming of immigrants but little testing of immigrants’ experience of being welcomed and enabled to belong to the Church. The National Church Life Survey provided a unique opportunity to examine the extent and nature of belonging as experienced by immigrant Catholics. Since all respondents to the survey were asked their birthplace, comparisons could readily be made between the experiences of Australian-born Catholics and those Catholics who were born elsewhere. Since nearly 3,000 respondents completed surveys in Italian or Vietnamese, comparisons could also be made between these respondents and those who responded to the survey in English. Finally, comparisons were made between the small group of Vietnamese parishioners who engaged in the qualitative research, and other groups of Catholics. The comparisons were made between all the groups on the issue of belonging. In the survey there was a particular question that asked respondents about their experience of belonging, but there were other questions that indicated the nature of belonging of respondents, and these were used in the analysis. The results of the analyses show that on almost all measures, immigrants belong to the Church to a greater extent than Australian-born Catholics. Immigrants attend Sunday Eucharist in greater proportion than Australian born Catholics. Immigrant Catholics participated more in devotional activities, they reported a greater degree of satisfaction with their faith life and they hold more orthodox beliefs than Australian-born Catholics. However, they did participate less in parish roles and groups than did the Australian-born Catholics. Whilst it may be concluded that this participation is limited because of the barrier of language, the results of this research indicate that this is not the only barrier to participation. Even those immigrants who responded to the English language survey did not participate in parish roles and groups to the extent that Australian-born Catholics did. Further research may be able to ascertain whether cultural barriers outside the scope of this work determine the level of participation of immigrants. This research concludes that since the Second World War, Catholic immigrants have ‘done the work’ of belonging to the Australian Catholic Church. They have done this despite the ‘benign neglect’ of the Church itself and they represent in fact the Church’s ‘most Catholic’ members.
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Moruthane, Sepadi. "The digital classification of “unknown maker(s)” of cultural objects: A case study of Iziko South African National Gallery." Master's thesis, Faculty of Humanities, 2021. http://hdl.handle.net/11427/32884.
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Throughout history, cultural institutions like the Iziko Museums of South Africa have preserved, catalogued, researched and displayed a diverse collection of cultural objects. The renewed interest in digital media has revived the move to reclaim cultural identities, bringing with it the associated challenges regarding the veracity of historical accounts. With the transition to digitisation, and the adoption of digital curatorship for knowledge production in museum environments, it has become necessary to examine the historical accuracy, reliability and trustworthiness of the digital information being provided. Digitisation is an important priority for most cultural institutions. This study contributes to the colonial debate about museum classification and the challenges that these institutions face regarding what is referred to as the “unknown maker”. The use of the term “unknown maker(s)” to denote creators of cultural objects housed in the Iziko South African National Art Gallery collections was crucial to this investigation into the digital cataloguing of objects whose creators could not be determined. The findings show that a national museum is a space where identities are contested, and that museum professionals are repeatedly faced with difficult curatorial and ethical decisions when it comes to classifying cultural objects. As a result, the problems encountered with the digitsation and cataloguing of cultural objects are extensive. Inaccurate classification processes, including the use of the term “unknown maker(s)”, affects how digital heritage objects are recorded, the servicesthat museums offer, how exhibitions are presented, the research that is undertaken, and the skills required to manage cultural objects.
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Wing, Ian Politics Australian Defence Force Academy UNSW. "Australian Defence in transition: responding to new security challenges." Awarded by:University of New South Wales - Australian Defence Force Academy. School of Politics, 2002. http://handle.unsw.edu.au/1959.4/38662.
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The conceptual understanding of security and the practicalities of national defence are interdependent. In many countries both are undergoing significant change. This work provides an international context but focuses on Australian defence, arguing that a transition is underway from old security thinking to new, and that this is evidenced by changes in policies and practical activities. The aim of this work is to demonstrate the interdependence between the current reconceptualisation of security and the practicalities of national defence. Old security thinking concerns military power relationships between states, in contrast with new security thinking, which uses a broader conceptual framework. These are described, providing benchmarks for the subsequent analysis. While it is acknowledged that change has occurred in security thinking throughout history, those developments observed since the end of the Cold War and the rise of globalisation signify a fundamental shift. To explore this shift, recent developments in the defence policies and military activities of four relevant nations are examined, providing an international context for the consideration of the primary case study of Australian defence. This case study draws on historical descriptions and empirical data to analyse developments in four spheres - Australian defence policy, current Australian Defence Force activities, recent military developments and contemporary Australian public debate. The weight of evidence supports the thesis of a transition in both security thinking, described as transitional security thinking, and ADF activities. Tensions are observed between the requirements of defending a nation against attack, and contributing to the expanding requirements of the broadened security agenda. Despite these tensions, the expansion in both security thinking and the associated activities of armed forces, is likely to continue. This expansion has important implications for Australia???s defence capabilities which are increasingly required to meet the demands of refocused national security. These demands contribute to the pressing challenges of convergence and overstretch. A strategy of integration is recommended to address these challenges and it follows the principles of whole-of-government security and sustainable partnerships. The application of these principles will require the ADF to emphasise capabilities with versatility and adaptability.
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Dickenson, Rachelle. "The stories told : indigenous art collections, museums, and national identities." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=98919.
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The history of collection at the National Gallery of Canada, the Art Gallery of Ontario and the Montreal Museum of Fine Arts, illustrates concepts of race in the development of museums in Canada from before Confederation to today. Located at intersections of Art History, Museology, Postcolonial Studies and Native Studies, this thesis uses discourse theory to trouble definitions of nation and problematize them as inherently racial constructs wherein 'Canadianness' is institutionalized as a dominant white, Euro-Canadian discourse that mediates belonging. The recent reinstallations of the permanent Canadian historical art galleries at the National Gallery of Canada, the Art Gallery of Ontario and the Montreal Museum of Fine Arts are significant in their illustration of contemporary colonial collection practices. The effectiveness of each installation is discussed in relation to the demands and resistances raised by Indigenous and non-Native artists and cultural professionals over the last 40 years, against racist treatment of Indigenous arts.