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Artigos de revistas sobre o assunto "Arts – Australia – History"
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Pardy, John. "Remembering and forgetting the arts of technical education". History of Education Review 49, n.º 2 (12 de novembro de 2020): 181–93. http://dx.doi.org/10.1108/her-02-2020-0009.
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PurposeTechnical education in the twentieth century played an important role in the cultural life of Australia in ways are that routinely overlooked or forgotten. As all education is central to the cultural life of any nation this article traces the relationship between technical education and the national social imaginary. Specifically, the article focuses on the connection between art and technical education and does so by considering changing cultural representations of Australia.Design/methodology/approachDrawing upon materials, that include school archives, an unpublished autobiography monograph, art catalogues and documentary film, the article details the lives and works of two artists, from different eras of twentieth century Australia. Utilising social memory as theorised by Connerton (1989, 2009, 2011), the article reflects on the lives of two Australian artists as examples of, and a way into appreciating, the enduring relationship between technical education and art.FindingsThe two artists, William Wallace Anderson and Carol Jerrems both products of, and teachers in, technical schools produced their own art that offered different insights into changes in Australia's national imaginary. By exploring their lives and work, the connections between technical education and art represent a social memory made material in the works of the artists and their representations of Australia's changing national imaginary.Originality/valueThis article features two artist teachers from technical schools as examples of the centrality of art to technical education. Through the teacher-artists lives and works the article highlights a shift in the Australian cultural imaginary at the same time as remembering the centrality of art to technical education. Through the twentieth century the relationship between art and technical education persisted, revealing the sensibilities of the times.
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Anderson, Margot. "Dance Overview of the Australian Performing Arts Collection". Dance Research 38, n.º 2 (novembro de 2020): 149–67. http://dx.doi.org/10.3366/drs.2020.0305.
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The Dance Collection at Arts Centre Melbourne traces the history of dance in Australia from the late nineteenth century to today. The collection encompasses the work of many of Australia's major dance companies and individual performers whilst spanning a range of genres, from contemporary dance and ballet, to theatrical, modern, folk and social dance styles. The Dance Collection is part of the broader Australian Performing Arts Collection, which covers the five key areas of circus, dance, opera, music and theatre. In my overview of Arts Centre Melbourne's (ACM) Dance Collection, I will outline how the collection has grown and highlight the strengths and weaknesses associated with different methods of collecting. I will also identify major gaps in the archive and how we aim to fill these gaps and create a well-balanced and dynamic view of Australian dance history. Material relating to international touring artists and companies including Lola Montez, Adeline Genée, Anna Pavlova and the Ballet Russes de Monte Carlo provide an understanding of how early trends in dance performance have influenced our own traditions. Scrapbooks, photographs and items of costume provide glimpses into performances of some of the world's most famous dance performers and productions. As many of these scrapbooks were compiled by enthusiastic and appreciative audience members, they also record the emerging audience for dance, which placed Australia firmly on the touring schedule of many international performers in the early decades of the 20th century. The personal stories and early ambitions that led to the formation of our national companies are captured in collections relating to the history of the Borovansky Ballet, Ballet Guild, Bodenwieser Ballet, and the National Theatre Ballet. Costume and design are a predominant strength of these collections. Through them, we discover and appreciate the colour, texture and creative industry behind pivotal works that were among the first to explore Australian narratives through dance. These collections also tell stories of migration and reveal the diverse cultural roots that have helped shape the training of Australian dancers, choreographers and designers in both classical and contemporary dance styles. The development of an Australian repertoire and the role this has played in the growth of our dance culture is particularly well documented in collections assembled collaboratively with companies such as The Australian Ballet, Sydney Dance Company, and Chunky Move. These companies are at the forefront of dance in Australia and as they evolve and mature under respective artistic directors, we work closely with them to capture each era and the body of work that best illustrates their output through costumes, designs, photographs, programmes, posters and flyers. The stories that link these large, professional companies to a thriving local, contemporary dance community of small to medium professional artists here in Melbourne will also be told. In order to develop a well-balanced and dynamic view of Australian dance history, we are building the archive through meaningful collecting relationships with contemporary choreographers, dancers, designers, costume makers and audiences. I will conclude my overview with a discussion of the challenges of active collecting with limited physical storage and digital space and the difficulties we face when making this archive accessible through exhibitions and online in a dynamic, immersive and theatrical way.
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Broinowski, Alison. "Australia, Asia and the arts". Asian Studies Association of Australia. Review 12, n.º 1 (julho de 1988): 18–23. http://dx.doi.org/10.1080/03147538808712535.
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Trinh, Huong Thu. "The Heildelberg School in forming Australianness". Science and Technology Development Journal 17, n.º 4 (31 de dezembro de 2014): 62–73. http://dx.doi.org/10.32508/stdj.v17i4.1575.
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In 1788, English people settled down in Australia, cleared and cultivated the land, making a big turning point to this old continent. Australianness was still vague in these initial years of the white settlement. Heildelberg School, the first school in Australian art, which emerged in 1887, laid the foundation for Australia's visual arts history as well as forming the Autralianness with three mains characters: “strong, masculine labour”, “national myth” and “harsh land of unique nature diversity”. In this paper, the writer would like to introduce 7 masterpieces by three prominent Australian artists of the Heidelberg school: Tom Roberts, Frederic Mc.Cubbin, and Arthur Streeton.
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Hadok, John. "Performing Arts Healthcare in Australia—A Personal View". Medical Problems of Performing Artists 23, n.º 2 (1 de junho de 2008): 82–84. http://dx.doi.org/10.21091/mppa.2008.2016.
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In 2006, as part of a national regional-arts conference, I attempted to bring together health care workers with an interest in caring for performing artists. The plan was to gather in symposium, to share ideas and expertise, and inaugurate a network of practitioners across Australia. It was a good idea—at least I thought so at the time, and the generous experts who agreed to participate for free also seemed to think so. However, the exigencies of mounting a symposium in a regional city, in a field hitherto never organised in this country, with no finance, and only one assistant (albeit very capable!—Marilyn Bliss—to whom I am forever grateful) proved too much. After much lost money and sleep, and with a feeling of crushing defeat, I cancelled the project. As sometimes happens, the momentum has continued. From that quixotic project has grown a new organization, the Australian Society for Performing Arts Healthcare (ASPAH).
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Lummis, Geoffrey William, Julia Elizabeth Morris e Graeme Lock. "The Western Australian Art and Crafts Superintendents’ advocacy for years k-12 Visual Arts in education". History of Education Review 45, n.º 1 (6 de junho de 2016): 115–30. http://dx.doi.org/10.1108/her-12-2014-0045.
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Purpose – The purpose of this paper is to record Visual Arts education in Western Australia (WA) as it underwent significant change between 1967 and 1987, in administration, policy, curriculum and professional development. Design/methodology/approach – A narrative inquiry approach was utilized to produce a collective recount of primary Visual Arts teacher education, based on 17 interviews with significant advocates and contributors to WA Visual Arts education during the aforementioned period. Findings – This paper underscores the history of the role of Western Australian Superintendents of Art and Crafts and the emergence of Visual Arts specialist teachers in primary schools, from the successful establishment of a specialist secondary Visual Arts program at Applecross Senior High School, to the mentoring of generalist primary teachers into a specialist role, as well as the development and implementation of a new Kindergarten through to Year 7 Art and Crafts Syllabus. It also discusses the disestablishment of the WA Education Department’s Art and Crafts Branch (1987). Originality/value – The history of primary Visual Arts specialists and advocacy for Visual Arts in WA has not been previously recorded. This history demonstrates the high quality of past Visual Arts education in WA, and questions current trends in pre-service teacher education and Visual Arts education in primary schools.
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Wagner, Robin. "What Munn Missed: The Queensland Schools of Arts". Queensland Review 20, n.º 2 (30 de outubro de 2013): 187–202. http://dx.doi.org/10.1017/qre.2013.20.
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American Librarian Ralph Munn's historic tour of Australian libraries in 1934 is well documented. Along with Ernest Pitt, Chief Librarian of the State Library of Victoria, he spent nearly ten weeks travelling from Sydney and back again, visiting libraries in all the state capitals and many regional towns throughout the country. Munn's trip was funded by the Carnegie Corporation of New York, which was then, through its Dominions fund, turning attention to philanthropic opportunities in the Antipodes. The resulting report, Australian Libraries: A Survey of Conditions and Suggestions for their Improvement (commonly referred to as the Munn–Pitt Report) is often credited with initiating the public library movement in Australia.
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Mulcock, Jane, e Natalie Lloyd. "Human-Animal Studies in Australia: Current Directions". Society & Animals 15, n.º 1 (2007): 1–5. http://dx.doi.org/10.1163/156853007x169306.
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AbstractIn 2004, Natalie Lloyd and Jane Mulcock initiated the Australian Animals & Society Study Group, a network of social science, humanities and arts scholars that quickly grew to include more than 100 participants. In July 2005, about 50 participants attended the group's 4-day inaugural conference at the University of Western Australia, Perth. Papers in this issue emerged from the conference. They exemplify the Australian academy's work in the fields of History, Population Health, Sociology, Geography, and English and address strong themes: human-equine relationships; management of native and introduced animals; and relationships with other domestic, nonhuman animals—from cats and dogs to cattle. Human-Animal Studies is an expanding field in Australia. However, many scholars, due to funding and teaching concerns, focus their primary research in different domains. All authors in this issue—excepting one—are new scholars in their respective fields. The papers represent the diversity and innovation of recent Australian research on human-animal interactions. The authors look at both past and present, then anticipate future challenges in building an effective network to expand this field of study in Australia.
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Pollock, Benjin. "Beyond the Burden of History in Indigenous Australian Cinema". Film Studies 20, n.º 1 (maio de 2019): 36–53. http://dx.doi.org/10.7227/fs.20.0003.
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How Indigenous Australian history has been portrayed and who has been empowered to define it is a complex and controversial subject in contemporary Australian society. This article critically examines these issues through two Indigenous Australian films: Nice Coloured Girls (1987) and The Sapphires (2012). These two films contrast in style, theme and purpose, but each reclaims Indigenous history on its own terms. Nice Coloured Girls offers a highly fragmented and experimental history reclaiming Indigenous female agency through the appropriation of the colonial archive. The Sapphires eschews such experimentation. It instead celebrates Indigenous socio-political links with African American culture, ‘Black is beautiful’, and the American Civil Rights movements of the 1960s. Crucially, both these films challenge notions of a singular and tragic history for Indigenous Australia. Placing the films within their wider cultural contexts, this article highlights the diversity of Indigenous Australian cinematic expression and the varied ways in which history can be reclaimed on film. However, it also shows that the content, form and accessibility of both works are inextricably linked to the industry concerns and material circumstances of the day. This is a crucial and overlooked aspect of film analysis and has implications for a more nuanced appreciation of Indigenous film as a cultural archive.
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Jones, Stephen. "Synthetics: A History of the Electronically Generated Image in Australia". Leonardo 36, n.º 3 (junho de 2003): 187–95. http://dx.doi.org/10.1162/002409403321921389.
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This paper takes a brief look at the early years of computer-graphic and video-synthesizer–driven image production in Australia. It begins with the first (known) Australian data visualization, in 1957, and proceeds through the compositing of computer graphics and video effects in the music videos of the late 1980s. The author surveys the types of work produced by workers on the computer graphics and video synthesis systems of the early period and draws out some indications of the influences and interactions among artists and engineers and the technical systems they had available, which guided the evolution of the field for artistic production.
Teses / dissertações sobre o assunto "Arts – Australia – History"
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Farmer, Margaret Art College of Fine Arts UNSW. "Terra Alterius: land of another". Awarded by:University of New South Wales. School of Art, 2007. http://handle.unsw.edu.au/1959.4/29574.
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What would Australia be like if it had been recognised as terra alterius, ???land of another???, by the British, rather than claimed and treated as terra nullius, ???land of no-one???? This question was posed by the exhibition Terra Alterius: Land of Another, which comprised works by Gordon Bennett, Barbara Campbell-Allen, Julie Dowling, Shaun Gladwell + Michael Schiavello, Jonathan Jones, Joanne Searle, Esme Timbery, Freddie Timms, Lynette Wallworth, Guan Wei and Lena Yarinkura, created or nominated in response to the theme. This thesis describes the concept of terra alterius and the exhibition Terra Alterius: Land of Another. It considers the utility of the concept terra alterius, whether the exhibition achieved its ambition to explore the political and social terrain of a reconciled Australia, and, briefly, whether the concept of terra alterius might be useful to other ???terra nullius??? countries. It argues that the curatorial strategies ??? the ???What if???? re-imagination of Australia???s past, multiplicity of vision and active creation, grounding of the exhibition in affect (in response to Aboriginal painting), and working within Indigenous protocols ??? were effective, and that the exhibition was a useful means of exploring the relationships between Indigenous and non-Indigenous Australians. Comparisons with the exhibition Turn the Soil curated by Kevin Murray and the ???retrospective utopia??? W.H. Oliver argues has been created for New Zealand by the Waitangi Tribunal provide insight into the nature of the reconciled Australia presented in the exhibition and what might be achieved by a counterfactual exhibition. From these comparisons, it is argued, first, that the exhibition points to a disjuncture between Australia???s ongoing official, psychological and legal terra nullius and the approaches and relationships present in Australian society (characterised as a performance of Bloch???s utopian function); and secondly, that a counterfactual exhibition, because it is not bound to the factual, causal or narrative qualities traditionally attributed to history, is able to explore the future in a way that contains rather than denies the past. Although the concept of terra alterius is seen as having played a crucial role in the realisation of the exhibition, it is questioned whether the concept???s utility extends beyond Australia.
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Joern, Albert. "The repositioning of traditional martial arts in Republican China". Thesis, McGill University, 2013. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=114301.
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In this thesis, I discuss how practitioners of martial arts in the Republican era of China were engaged in a process of reinventing what embodied the field of martial arts during a time when physical culture was treated as an instrument of nation-building in response to colonial discourses and the process of modernization. Martial arts were repositioned from being a loosely associated field of practice for people who engaged with a set of combative skills that focused on weapons training that championed archery and spear fighting, towards being a recreational activity with a formalized body of knowledge, skills and practices imbued with a Chinese sense of identity suitable for the modern class of urban and educated Chinese citizens. It is my belief that these efforts were a very important factor in why the practice of martial arts today is so closely associated with concepts of self-cultivation. This repositioning of Chinese martial arts was driven by a schism between the traditionalists who defended the beliefs and practices from the imperial age of China, and the modernists who saw the complete adoption of Western technologies and concepts as the only course for the modernization of China. Due to the shifting politics around education, understandings of the body and its representation in society, the efforts to preserve traditional practices were complicated through the dynamics related to identity and state power. The field of martial arts was criticized by reformists and modernists such as those involved with the New Culture Movement, who argued that China needed to embrace scientific notions of the Western nations and abandon "feudal superstitions." Within this context, the field of traditional Chinese martial arts was stigmatized by associations with the failed Boxer Rebellion, the diversity of practices and the secrecy that existed between different schools of practice. In response to the modernity movements that criticized the traditional systems of belief that martial artists drew upon to substantiate their systems of practice as a recreational pursuit, associations such as the Jingwu Tiyu Hui and the Zhongyang Guoshuguan were formed according to Western institutional models as part of the effort to unify and "modernize" Chinese martial arts. The teachers and administrators involved with these institutions wanted to preserve the practice of martial arts, and to accomplish this they had to develop new ways to systemize the training methods, essentially reinventing them by promoting them to a new generation of students in a format that had never existed before.À travers cet essai, j'examine la façon dont les pratiquants d'arts martiaux dans l'ère républicaine de la Chine étaient impliqués dans le but de réinventer ce qu'incarnait le domaine des arts martiaux à une époque où la culture physique était traitée comme un instrument de construction de la nation en réponse au discours colonial et au processus de modernisation. Les arts martiaux ont été repositionnés à partir d'un ensemble de personnes indirectement associés qui se livraient à un ensemble de combats et qui concentraient leurs compétences sur des entraînements aux armes encourageant le tir à l'arc et le combat à la lance, afin de devenir une activité de loisir avec un corps formalisé de connaissances, de compétences et de pratiques imprégnées avec une identité chinoise adapté à la classe moderne urbaine et de citoyens chinois éduquée. Ceci est ma conviction que ces efforts ont été un facteur très important dans la raison pour laquelle la pratique des arts martiaux aujourd'hui est si étroitement associée aux concepts de la culture de soi.Ce repositionnement des arts martiaux chinois fut motivé par le schisme entre les traditionalistes qui défendaient leurs croyances et leurs pratiques de l'époque impériale de la Chine, et les modernistes qui, eux, ont vu l'adoption complète de technologies et de concepts occidentaux comme le seul mouvement bénéfique à la modernisation de la Chine. En raison de la politique à travers l'éducation, la compréhension du corps et de sa représentation dans la société, les efforts visant à préserver les pratiques traditionnelles ont été compliquées par la dynamique liée à l'identité et le pouvoir de l'état. Le domaine des arts martiaux a été critiqué par les réformistes et les modernistes incluant ceux qui furent impliqués dans le « New Culture movement», qui a fait valoir que la Chine devait embrasser des notions scientifiques des pays occidentaux et abandonner leurs «superstitions féodales. » Dans ce contexte, le domaine des arts martiaux traditionnels a été stigmatisé par des liens avec la révolte des Boxers, la diversité des pratiques et la discrétion qui existait entre les différentes écoles de pratique.En réponse aux mouvements de modernité qui ont critiqué les systèmes de croyances traditionnels dont les pratiquants d'arts martiaux ont fait appel à l'appui de leurs systèmes pour justifier leur pratique comme une forme de loisir, des associations telles que les Jingwu Tiyu Hui et le Zhongyang Guoshuguan ont été formés selon les modèles occidentaux institutionnels dans le but d'unifier et de , en quelque sorte , moderniser les arts martiaux chinois. Les enseignants et les administrateurs concernés par ces institutions voulaient préserver la pratique des arts martiaux, et pour ce faire ils ont dû développer des nouvelles façons de systématiser les méthodes de formation, les réinventer en les promouvant à une nouvelle génération d'étudiants sous une forme qui n'avaient jamais existé auparavant.
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Haveric, Dzavid. "History of the Bosnian Muslim Community in Australia: Settlement Experience in Victoria". full-text, 2009. http://eprints.vu.edu.au/2006/1/Dzavid_Haveric.pdf.
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This thesis examines the settlement experience of the Bosnian Muslims in Victoria. Overall this research exploration takes places against background of the history of the immigration to Australia. The study covers migration patterns of Bosnian Muslims from post World War 2 periods to more recent settlement. The thesis provides contemporary insights on Bosnian Muslims living in a Western society such as Australia. The thesis excavates key issues about Islam and the Muslim communities in Western nations and argues that successful settlement is possible, as demonstrated by the Bosnian Muslim community. By adopting a socio-historical framework about settlement, the thesis reveals the significant, interconnected and complex aspects of the settlement process. Settlement of immigrants takes place within global, historical, economic, political, social and cultural elements of both the sending and receiving countries. Thus any study of settlement must examine theories and concepts on migration, settlement, religion, culture, integration and identity. The purpose for migration, the conditions under which migration takes place, the conditions of immigrant reception are fundamental in the context of Australia. Furthermore, Australia since the 1970s has adopted a policy of multiculturalism which has changed settlement experiences of immigrants. These elements are strongly analysed in the thesis both through a critical conceptual appraisal of the relevant issues such as migration, multiculturalism and immigration and through an empirical application to the Bosnian Muslim community. The theoretical element of the study is strongly supported by the empirical research related to settlement issues, integration and multiculturalism in Victoria. Through a socio-historical framework and using a ‘grounded theory’ methodological approach, field research was undertaken with Bosnian Muslim communities, Bosnian organizations and multicultural service providers. In addition, historical data was analysed by chronology. The data provided rich evidence of the Bosnian Muslims’ settlement process under the various governmental policies since World War 2. The study concluded that the Bosnian community has successfully integrated and adapted to the way of life in Australia. Different cohorts of Bosnian Muslims had different settlement patterns, problems and issues which many were able to overcome. The findings revealed the contributions that the Bosnian Muslim community has made to broader social life in Australia such as contribution to the establishment of multi-ethnic Muslim communities, the Bosnian Muslim community development and building social infrastructure. The study also concluded that coming from multicultural backgrounds, the Bosnian Muslims understood the value of cultural diversity and contributed to the development of Australian multiculturalism and social harmony. Overall conclusion of this research is that the different generations of Bosnian Muslims are well-integrated and operate well within Australian multiculturalism.
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Gibson, Lisanne, e L. Gibson@mailbox gu edu au. "Art and Citizenship- Governmental Intersections". Griffith University. School of Film, Media and Cultural Studies, 1999. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20030226.085219.
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The thesis argues that the relations between culture and government are best viewed through an analysis of the programmatic and institutional contexts for the use of culture as an interface in the relations between citizenship and government. Discussion takes place through an analysis of the history of art programmes which, in seeking to target a 'general' population, have attempted to equip this population with various particular capacities. We aim to provide a history of rationalities of art administration. This will provide us with an approach through which we might understand some of the seemingly irreconcilable policy discourses which characterise contemporary discussion of government arts funding. Research for this thesis aims to make a contribution to historical research on arts institutions in Australia and provide a base from which to think about the role of government in culture in contemporary Australia. In order to reflect on the relations between government and culture the thesis discusses the key rationales for the conjunction of art, citizenship and government in post-World War Two (WWII) Australia to the present day. Thus, the thesis aims to contribute an overview of the discursive origins of the main contemporary rationales framing arts subvention in post-WWII Australia. The relations involved in the government of culture in late eighteenth-century France, nineteenth-century Britain, America in the 1930s and Britain during WWII are examined by way of arguing that the discursive influences on government cultural policy in Australia have been diverse. It is suggested in relation to present day Australian cultural policy that more effective terms of engagement with policy imperatives might be found in a history of the funding of culture which emphasises the plurality of relations between governmental programmes and the self-shaping activities of citizens. During this century there has been a shift in the political rationality which organises government in modern Western liberal democracies. The historical case studies which form section two of the thesis enable us to argue that, since WWII, cultural programmes have been increasingly deployed on the basis of a governmental rationality that can be described as advanced or neo-liberal. This is both in relation to the forms these programmes have taken and in relation to the character of the forms of conduct such programmes have sought to shape in the populations they act upon. Mechanisms characteristic of such neo-liberal forms of government are those associated with the welfare state and include cultural programmes. Analysis of governmental programmes using such conceptual tools allows us to interpret problems of modern social democratic government less in terms of oppositions between structure and agency and more in terms of the strategies and techniques of government which shape the activities of citizens. Thus, the thesis will approach the field of cultural management not as a field of monolithic decision making but as a domain in which there are a multiplicity of power effects, knowledges, and tactics, which react to, or are based upon, the management of the population through culture. The thesis consists of two sections. Section one serves primarily to establish a set of historical and theoretical co-ordinates on which the more detailed historical work of the thesis in section two will be based. We conclude by emphasising the necessity for the continuation of a mix of policy frameworks in the construction of the relations between art, government and citizenship which will encompass a focus on diverse and sometimes competing policy goals.
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Ren, Wei. "The Writer's Art: Tao Yuanqing and the Formation of Modern Chinese Design (1900-1930)". Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:17465116.
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The dissertation examines the history of modern design in early 20th-century China. The emergent field of design looked to replace the specific cultural and historical references of visual art with an international language of geometry and abstraction. However, design practices also, encouraged extracting culturally unique visual forms by looking inward at a nation’s constructed past. The challenge of uniting these dual, and seemingly contradictory, goals was met in a collaborative book cover design project between Lu Xun (1881-1936), China’s most influential modern writer, and Tao Yuanqing (1893-1929), a painter who transformed ancient motifs into a transnational vocabulary of modern design.
As the title suggests, the dissertation provides a history of modern Chinese design in four chapters, with the Lu Xun-Tao Yuanqing collaboration at its core. The investigation begins with the moment of culmination, wherein Lu Xun and Tao Yuanqing’s intersubjective dynamic allowed for evocative yet inscrutable book cover designs to be created. In the new medium of design, the writer’s anxiety regarding the inadequacy of language converged with the artist’s desire for ambiguity in art. The critical analysis then moves back to earlier instances of design and examines how the history of design in China was inflected by the World Exposition, Japan, art education, and commercial art. The inquiry finally moves forward to the discussion of Tao Yuanqing’s art and design’s relationship with a range of discursive fields in aesthetics and literary criticism, including modern notions of beauty, childlikeness, empathy, the native soil movement, cosmopolitanism, symbolism, and ambiguity in art. This part reveals how Tao Yuanqing’s innovations ironically endorsed while simultaneously subverting contemporary interpretive efforts.History of Art and Architecture
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McPherson, Ailsa School of Theatre Film & Dance UNSW. "Diversions in a tented field : theatricality and the images and perceptions of warfare in Sydney entertainments 1879-1902". Awarded by:University of New South Wales. School of Theatre, Film and Dance, 2001. http://handle.unsw.edu.au/1959.4/18264.
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This thesis examines the theatricality which accompanied the establishment, development and deployment of the colonial army in New South Wales during the last two decades of the nineteenth century. It investigates the transfer to the colony of the military ethos of the Imperial power, and explores the ways in which performances of military spectacle, in both theatrical and paratheatrical contexts, were interpreted by the colonists. The primary sources for the research are the Sydney press and the Mitchell `Australiana' collection of the State Library of New South Wales. The framework of the argument is presented in five chapters. The first, Displaying, investigates the relationship between civilians and the military forces at training camps, and then the performances of sham fights. The second, Committing, explores the attitudes of civilians and soldiers at the departures of New South Wales troops to the Soudan and Boer Wars. Informing, thirdly, investigates how the Imperial military ideology was conveyed through performance, and how this information was interpreted in the colony. Accommodating analyses songs and theatre performances which first reflected colonial anticipations at the commitment to conflict and then attempted to accommodate the actuality of the experience. Lastly, Desiring, explores the colonists' endeavours to invent traditions which satisfied the discrepancy between their hopes and their experiences of Imperial war. This thesis asserts that the colonial reinterpretation of military ideology was influenced by concepts both of service to the Imperial power and of national identity. The interplay between these influences led to the colonists' idealising the Imperial association. This ideal was not demonstrated in the practice of association. The result of this experience was a defining of the differences between colonial and Imperial perceptions, rather than a reinforcement of their similarities. Much of the exploration of thesis also prepares the ground for a fuller cultural understanding of the issues at play in the final emergence of the Anzac tradition at the engagement of colonial soldiers against Turkish troops at Gallipoli in April, 1915.
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James, Pamela J., University of Western Sydney, of Arts Education and Social Sciences College e 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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Ritchie, Samuel Gordon Gardiner. "'[T]he sound of the bell amidst the wilds' : evangelical perceptions of northern Aotearoa/New Zealand Māori and the aboriginal peoples of Port Phillip, Australia, c.1820s-1840s : a thesis submitted to the Victoria University of Wellington in fulfilment of the requirements for the degree of Master of Arts History /". ResearchArchive@Victoria e-Thesis, 2009. http://researcharchive.vuw.ac.nz/handle/10063/928.
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Lees, Jennifer Anne. "Eisteddfoditis : the significance of the City of Sydney Eisteddfod in Australian cultural history 1933-1941 /". View thesis, 2003. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20051109.114852/index.html.
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Thesis (Ph.D.) (Communication & Media) -- University of Western Sydney, 2003.A thesis submitted in requirement for the degree of Doctor of Philosophy - Communication & Media, University of Western Sydney, 2003. Bibliography : leaves 350-372.
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St, Leon Mark. "Circus & nation : a critical inquiry into circus in its Australian setting, 1847-2006, from the perspectives of society, enterprise and culture". University of Sydney, 2007. http://hdl.handle.net/2123/1702.
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PhDIn Australia, like most countries, circus has been an element, at times a very important element, in the mosaic that constitutes its popular culture. An outgrowth of the circus as recast in a modern form in London in the 18th century, an Australian circus profession has existed almost continuously since 1847. Australia’s circus entrepreneurs took the principal features of English, and later American, circus arts and management and reworked these features to suit their new antipodean context. The athletic, intellectually undemanding nature of its equestrian-based entertainments harmonised with the emerging patterns of modern Australia’s way of life. In time, Australia produced renowned circus artists of its own, even artists capable of reinvigorating the concept of circus in the very countries from which their art had been derived. Since their transience and labours, indeed their very existence, were somehow tangential and inconsequential to mainstream Australian society, Australia’s circus people did not attract tokens of recognition in story and verse as did shearers, drovers, diggers and other identities of the Australian outback. Their contribution to Australia’s social, economic and cultural development has been largely overlooked. Despite its pervasive role in Australia’s cultural life over more than 150 years, examples of academically grounded research into Australian circus are few. The primary aim of this study is to demonstrate the major themes evident in Australia’s circus history, in terms of society, enterprise and culture, between 1847 and 2006. None of these areas, of course, is exclusive of the others, especially the first and last named. These deliberations are framed within the broader influences and events apparent in Australian society and history. Implicit within this demonstration is the notion that circus, whatever its characteristics and merits as an artform, has been, and continues to be, a ‘barometer’ of social, economic and cultural change in Australia.
Livros sobre o assunto "Arts – Australia – History"
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Geoffrey, Serle, ed. The creative spirit in Australia: A cultural history. Richmond, Vic: W. Heinemann Australia, 1987.
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Australia, Art Gallery of South. Australian decorative arts: 1820s-1990s : Art Gallery of South Australia. Adelaide: Art Gallery of South Australia, 1996.
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Gardiner-Garden, John. Arts policy in Australia: A history of Commonwealth involvement in the arts. Canberra: Dept. of the Parliamentary Library, 1994.
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Cochrane, Grace. The craft movement in Australia: A history. Kensington, NSW, Australia: New South Wales University Press, 1992.
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Erickson, Dorothy. Gold & silversmithing in Western Australia: A history. Crawley, W.A: UWA Pub., 2010.
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Pioneers of modernism: The arts and crafts movement in Australia. Carlton, Vic: Miegunyah Press/Melbourne University Publishing, 2008.
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Burn, Ian. Art--critical, political. Nepean, N.S.W: University of Western Sydney, 1996.
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Thompson, Judith. Crafts of South Australia: The first hundred years. Adelaide: Art Gallery of South Australia, 1986.
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The art movement in Australia: Design, taste and society 1875-1900. Carlton South, Vic: Miegunyah Press, 2000.
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Kirby, Sandy. Artists and unions: A critical tradition : a report on the Art & Working Life Program. Redfern, NSW: Australia Council, 1992.
Encontre o texto completo da fonteCapítulos de livros sobre o assunto "Arts – Australia – History"
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Russ, Vanessa. "Australian Aboriginal Art Inside/Out". In A History of Aboriginal Art in the Art Gallery of New South Wales, 146–76. Names: Russ, Vanessa, author.Title: A History of Aboriginal Art in the Art Gallery of New South Wales / Vanessa Russ.Description: New York : Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9781003128014-5.
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Russ, Vanessa. "Modernism and an Australian Aboriginal Art Collection". In A History of Aboriginal Art in the Art Gallery of New South Wales, 74–110. Names: Russ, Vanessa, author.Title: A History of Aboriginal Art in the Art Gallery of New South Wales / Vanessa Russ.Description: New York : Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9781003128014-3.
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Russ, Vanessa. "Curatorship in the AGNSW and Australian Aboriginal Art". In A History of Aboriginal Art in the Art Gallery of New South Wales, 111–45. Names: Russ, Vanessa, author.Title: A History of Aboriginal Art in the Art Gallery of New South Wales / Vanessa Russ.Description: New York : Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9781003128014-4.
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Yılmaz, Recep, e Fatih Mehmet Ciğerci. "A Brief History of Storytelling". In Advances in Media, Entertainment, and the Arts, 1–14. IGI Global, 2019. http://dx.doi.org/10.4018/978-1-5225-5357-1.ch001.
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The aim of this chapter is to examine the history of storytelling. This brief history includes the concept of storytelling from myths to the digital era. In the first part of the chapter, the origins of storytelling in primitive communities and its development in later periods are examined. In the second part of the chapter, the development process of digital storytelling is explained. According to this, traditional storytelling has gained a new form called digital storytelling which started with a workshop in 1993 by Dana Atchley. One year later, the Center for Digital Storytelling (CDS) was established in Berkley, CA. The Center for Digital Storytelling has organized workshops and partnered with organizations around the world to hold projects on story facilitation, digital storytelling and other forms of digital media production and since 1993, it has helped more than 20,000 people to share their own stories. Though the digital storytelling movement started in North America, it has also spread in Europe, Australia, Asia, Africa and South America. The movement has found a place in the world of today.
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Jacques, Sabine. "Parody—Nature and Definition". In The Parody Exception in Copyright Law, 1–37. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198806936.003.0001.
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This chapter provides an overview of the nature and definition of parody in the context of copyright law. The Court of Justice of the European Union (CJEU) has introduced two requirements that must be satisfied before a work may be considered a ‘parody’: firstly, it must ‘evoke an existing work while being noticeably different from it’, and secondly, it must ‘constitute an expression of humour or mockery’. The chapter first traces the origin and history of parody in the arts, including music, before discussing the relationship of parody with concepts such as satire, caricature, and pastiche. It then examines why a parody exception has been considered necessary in copyright law. The chapter goes on to analyse the legal evolution of parody in France, Australia, Canada, the United States, and the United Kingdom, showing that the existing international human rights framework may influence the definition of parody in intellectual property law.
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Butler, Rex, e A. D. S. Donaldson. "On the Possibility of Another Australian Art History". In The Australian Art Field, 44–55. Routledge, 2020. http://dx.doi.org/10.4324/9780429061479-6.
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Roberts, Patrick. "Into the Woods Early Homo sapiens and Tropical Forest Colonization". In Tropical Forests in Prehistory, History, and Modernity. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198818496.003.0008.
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Popular philosophical associations of tropical forests, and forests in general, with an inherent ancestral state, away from the stresses, pollution, and technosphere of modern life, are nicely summarized by Murakami’s quote above (2002). Given the probable origins of the hominin clade in tropical forests, this quote is also apt from an evolutionary standpoint. Yet, somewhat surprisingly, tropical forests have frequently been considered impenetrable barriers to the global migration of Homo sapiens (Gamble, 1993; Finlayson, 2014). As was the case with the focus on ‘savannastan’ in facilitating the Early Pleistocene expansion of Homo erectus discussed in Chapter 3 (Dennell and Roebroeks, 2005), the movement of H. sapiens into tropical regions such as South Asia, Southeast Asia, and Australia has tended to be linked to Late Pleistocene periods when forests contracted and grasslands expanded (Bird et al., 2005; Boivin et al., 2013). Alternative narratives have focused on the importance of coastal adaptations as providing a rich source of protein and driving cultural and technological complexity, as well as mobility, in human populations during the Middle and Late Pleistocene (Mellars, 2006; Marean, 2016). The evidence of early art and symbolism at coastal cave sites such as Blombos in South Africa (Henshilwood et al., 2002, 2011; Vanhaeren et al., 2013) and Taforalt in North Africa (Bouzouggar et al., 2007) is often used to emphasize the role of marine habitats in the earliest cultural emergence of our species. Indeed, for the last decade, the pursuit of rich marine resources (Mellars, 2005, 2006) has been a popular explanation for the supposed rapidity of the ‘southern dispersal route’, whereby humans left Africa 60 ka, based on genetic information (e.g., Macaulay et al., 2005), to reach the Pleistocene landmass that connected Australia and New Guinea (Sahul) by c. 65 ka (Clarkson et al., 2017). In both of these cases, the coast or expanses of grassland have been seen as homogeneous corridors, facilitating rapid expansion without novel adaptation.
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Targowski, Andrew. "The Future of Civilization". In Information Technology and Societal Development, 395–418. IGI Global, 2009. http://dx.doi.org/10.4018/978-1-60566-004-2.ch017.
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The purpose of this chapter is the investigation whether human civilization has much of a future on the Earth. This investigation is partially based upon research by members of the Polish Academy of Arts and Sciences (Krakow), conducted in 1998-2002. The discoveries and applications of technology which led to our civilization are impressive. Archaeology and history teach us about it. However, in the Age of information-communication technology, it is apparent that technology may no longer merely support civilization but conquer it. In the past, civilization’s progress was slow. Centuries elapsed with no events meaningful to modern questions. Nowadays, civilization faces an impact from technology so tremendous as to disturb the fragile equilibrium between humans and the ecosystem. This raises many questions in respect of the future of civilization and its ability to survive despite many threats. Therefore, it is worthy to reflect on its future and duration. Can or even must it vanish due to the inevitable end of the solar system? In the short run, let us look at current problems of civilization, a very complex system composed of three components (Figure 17-1): • Human entities • Culture • Infrastructure The development of human civilization, as defined in this study1, has been proceeding as long as humans have lived in organized societies in favorable environments. According to accepted estimates, hominids began to live in the Earth about 6-5 million years ago. The development of more skillful mankind began about 200,000- 150,000 years ago, when modern man, Homo sapiens, was living in South-Eastern Africa2. From this location, Homo sapiens began to move to: South-Western Asia (50,000 years ago), Australia (50,000), Europe (40,000), New Guinea (40,000), Siberia (25,000), and North America (12,000) (Burenhult, 2003a). Modern men began to be more social first as hunter-gatherers, then when the Ice Age ended (-10,000) as farmers and town-dwellers (-9,000). Recorded historic civilization is about 6,000 years old (Burenhult, 2003b) and is associated with the rise of Mesopotamian civilization (includes Sumerian and Semitic people) (4,000 B.C.), followed by Egyptian (3,100 B.C.), Indus (2,500 B.C.), Sinic (1,500 B.C.), and so forth. At the beginning of the 21st century, humans (applying electronic information-communication tools based on unlimited memories and on friendly graphic user interfaces that require huge memories and processing speed) improve their symbols processing capability as humans were 60,000 years ago, when language was formed and decided about human socialization and organization through the rapid development of brain/mind as Homo verbalis2. The next leap took place in about 4,000 B.C. when Homo scriba applied INFOCO- 2 (manuscripts). Nowadays, we deal with the information-communication revolution or INFOCO revolution (Homo electronicus), which is the next challenge for civilization. It leads to the faster development of knowledge and wisdom; on the other hand, it may support projects which may first conquer and later destroy civilization. Does civilization, as a short cosmologic instance, have any chance of survival? Let us reflect on this possibility in the next sections.
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Greenhalgh, Michael. "Virtual Reality, Relative Accuracy: Modelling Architecture and Sculpture with VRML". In Images and Artefacts of the Ancient World. British Academy, 2005. http://dx.doi.org/10.5871/bacad/9780197262962.003.0006.
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This chapter evaluates current possibilities for the attainment of a realistic context over the web by attempting to match the basic requirements of art history scholarship and teaching against what is currently offered and what can be expected in the future. It surveys some ongoing research in the field from the perspective of an observer and a user. The first section of the chapter discusses virtual reality modelling language (VRML) and describes a project of the Supercomputer Group at the Australian National University. This project aimed to model, using VRML, the Buddhist stupa at Borobudur. The chapter also discusses a second project which deals with the Piazza de Popolo at Rome and the reasons why this project did not employ VMRL. The second section of the chapter examines some other ways in which an ordinary lecturer may use various simple technologies to conjure context, and with more flexibility, detail and accuracy that VRML can ever achieve.
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Peters, Debra P. C., e William H. Schlesinger. "Future Directions in Jornada Research: Applying an Interactive Landscape Model to Solve Problems". In Structure and Function of a Chihuahuan Desert Ecosystem. Oxford University Press, 2006. http://dx.doi.org/10.1093/oso/9780195117769.003.0022.
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The long history of research at the Jornada Basin (through the Agricultural Research Service [ARS] since 1912, New Mexico State University in the late 1920s, and joined by the Long-Term Ecological Research [LTER] program in 1981) has provided a wealth of information on the dynamics of arid and semiarid ecosystems. However, gaps in our knowledge still remain. One of the most perplexing issues is the variation in ecosystem dynamics across landscapes. In this concluding chapter to this volume, we propose a new conceptual model of arid and semiarid landscapes that focuses explicitly on the processes and properties that generate spatial variation in ecosystem dynamics. We also describe how our framework leads to future research directions. Many studies have documented variable rates and patterns of shrub invasion at the Jornada as well as at other semiarid and arid regions of the world, including the Western United States, northern Mexico, southern Africa, South America, New Zealand, Australia, and China (York and Dick-Peddie 1969; Grover and Musick 1990; McPherson 1997; Scholes and Archer 1997; see also chapter 10). In some cases, shrub invasion occurred very rapidly: At the Jornada, areas dominated by perennial grasses decreased from 25% to < 7% from 1915 to 1998 with most of this conversion occurring prior to 1950 (Gibbens et al. 2005; Yao et al. 2002a). In other cases, shrub invasion occurred slowly, and sites were very resistant to invasion; for example, perennial grasses still dominate on 12 out of 57 research quadrats originally established in black grama (Bouteloua eropoda) grasslands in the early twentieth century (Yao et al. 2002b). Soil texture, grazing history, and precipitation patterns are insufficient to account for this variation in grass persistence through time (Yao et al. 2002a). It is equally perplexing that although many attempts to remediate these shrublands back to perennial grasses have led to failure, some methods worked well, albeit with long (> 50 year) time lags (Rango et al. 2002; see also chapter 14). Although variations in vegetation dynamics and shrub invasion are the most well known, other lesser known aspects of arid and semiarid systems have been found to be quite variable as well.
Trabalhos de conferências sobre o assunto "Arts – Australia – History"
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Huang, Jian, Dongling Liang e Zhongheng Wei. "Reflection on the Training of General Medical Students in China from the Development History of General Medicine in Australia and Other Countries*". In Proceedings of the 6th International Conference on Education, Language, Art and Inter-cultural Communication (ICELAIC 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/assehr.k.191217.092.
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