Minerva Elements Records

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    Shame and Stigma: Investigating Teacher Awareness, Understanding and Response
    Maguire, Alanna Kate ( 2023-07)
    This research has taken an interdisciplinary approach to exploring teachers’ awareness, understanding and response to shame and stigma occurring in the classroom. Shame is an affective experience of failure by comparison, where the research suggests stigma causes shame (Lewis, 1998). A review of the research literature showed that teacher perspectives of students’ shame and stigma was an under researched phenomenon. Situated within Social Constructivism, and making use of qualitative methods, specifically semi-structured interviews, this research has made four contributions to knowledge on shame and stigma in schools. First, that teacher understanding of shame can be narrow, and that sometimes teachers unknowingly use language that can minimise their students' experience of shame and stigma. Second, while possessing limitations, the Compass of Shame could be used as a tool to ameliorate this issue by helping teachers to identify and name their students’ affective experience through their behaviour. Third, the data showed that teachers were blocked from acting in support of their students due to performativity pressures related to neoliberal education. Finally, drawing on the Positioning Theory framework, this study revealed that students’ experience can be analysed to understand how shame and stigma were circulated and reproduced to the detriment of equity of access to the classroom environment.
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    Larrikins, Listeners and Lifeline: inside Australian comedy chatcast The Little Dum Dum Club
    Knowles, Matilda ( 2022)
    Australian comedy chatcast The Little Dum Dum Club (2010 – present) is a loosely structured weekly podcast hosted by two stand-up comedians and good mates Tommy Dassalo and Karl Chandler. Each episode usually features one to three guests, often also stand-up comedians, who casually chat with Chandler and Dassalo and joke about their lives and the world around them. In this thesis I establish how hosts, guests and listeners of comedy chatcasts co-create their performance conventions by collaboratively and often unwittingly combining a range of social norms, stand-up comedy techniques and conversational skills. Understanding how these conventions are created and shared shows how comedy chatcasts influence host and listener behaviour in podcast-related spaces and in their broader lives. As I demonstrate, comedy chatcasts have influence even when the intention of the hosts and guests is only to be funny. The comedians in The Little Dum Dum Club are always looking for the joke, and the humour is often insult-based and puerile. These are contemporary larrikin performances, involving taking the piss out of one another, themselves and authority in an egalitarian way, a shared self-deprecation that also encompasses a sense of mateship. Rather than uncritically reiterating these dominant conventions of white Australian masculinity, however, the comedic performances in the podcast both represent and critique them. The performance conventions of comedy chatcasts create a “safe space” in which comedians can humorously explore ideas and respond to changing cultural norms in a way that does not radically reshape them but does suggest opportunities for intervention and evolution. The impact of this is clear, for instance, in the meaningful but humorous discussions of suicidality on the podcast and how joking about lived experience reframes flippant suicide jokes to lessen shame and promote help-seeking behaviour among listeners and comedians. Listeners likewise have a set of conventions which enable them to perform their fandom of the comedy chatcast. Building on podcast scholarship about intimacy and parasocial relationships, I show how listeners attempt to replicate the mateship form of friendship performed on the podcast using its jokingly abusive comedy style. For listeners of The Little Dum Dum Club, successfully performing their listenership requires navigating a series of at times conflicting conventions which are often at odds with broader norms of appropriateness and do not necessarily find a willing audience. Podcasts have niche global audiences and conventions need to be interpreted and performed to receptive audiences in order to be successful. The Little Dum Dum Club is unique in its content, but not in its construction. This thesis shows how comedy chatcasts as new media enable analysis of the shifts in and discussions of our cultural norms that happen in non-radical, flexible and playful ways. Through such analysis, we can see how comedy chatcasts can be influential in minor and major ways for those involved.
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    UNWRAPPING AUTHENTICITY: Skill development + perception / conception development
    Friedman, Noemi ( 2022)
    The music that has always meant the most to me has taught me something new about the world, about life, or about myself. It has a brilliance about it, a depth, an innate beauty. The music that has touched me the most has an inherent authenticity, and authenticity touches people. It does not have to be a serious or earnest work; it can be fun, whimsical, or curious. But there remains an underlying integrity, a truthfulness, and a musical communication that lies beyond superficiality, gimmick, or sterile intellectualism and I hope to believe that humans are hard-wired to know when communication is authentic. As a listener, I seek music where there is genuine coherence between the artist and that which they express in their work. As a music maker and practitioner, the continual extension of my technical skills, knowledge, and analysis is essential. However, so too is pondering, deep listening, and observation of oneself and the world, as well as the development of what I would like to say. Whilst technique and research assist a composer to present a work with clarity, poignancy, and potency, they are not the point in and of themselves. So, whilst I extend my technical and analytical music skills, I also seek to clarify and extend my ability to perceive and conceive an integral point of view. Authenticity requires interrogation of one’s perception, broad enquiry, and leaning on one’s own life experiences. I believe that perception is as important a skill to develop in music as it is in the visual arts. I create as I perceive. I am a witness to my life and to my times. Each creative has a chance to deliver a refracted vision of life as we experience it; as we share our version of reality, so too does the collective understanding of life broaden and flourish. This initiates an important feedback loop, where flourishing ideas nourish the community, which then, in turn, nourish new creative endeavours. For this composer, authenticity means witnessing and expressing the corner of reality I inhabit; my culture, my experiences, my observations, and history-in-the-making during my life and times. I locate my music with this compass.
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    An analysis of evaluative reasoning in education program evaluations conducted in Australia between 2014 – 2019
    Meldrum, Kathryn Janet ( 2022)
    The Australian government spends millions of dollars every year on grants that support new and innovative programs in the education sector. For example, in the 2020- 2021 Australian budget, financial support for interventions in the primary and secondary school sectors equalled more than $72.9 million dollars. Usually, and in order to account for spending the money, granting bodies ask for an evaluation of the intervention. One of the key activities of evaluation is to determine the value, merit or worth of a program. This is achieved by reaching an evaluative conclusion/judgement about the educational intervention that is credible, valid, and defensible to stakeholders. The defensibility of an evaluative conclusion/judgement relies partly on legitimate and justified arguments. In evaluation, legitimate arguments are made using the logic of evaluation. Justified arguments are made using evaluative reasoning. However, the reasoning process underpinning the logic is doubly important because readers need to be convinced of the credibility, validity, and defensibility of the evaluative conclusion/judgement. This study investigated the presence of a legitimate and justified evaluative conclusion/judgement in publicly available education evaluations conducted in Australia between 2014-2019. Using the systematic quantitative analysis method and new integrated logic of evaluation and evaluative reasoning conceptual framework, this study found that only four of the 26 evaluations analysed provided a legitimate and justified evaluative conclusion/ judgement about program value. The remaining 22 ‘evaluations’ were categorised as research because while they provided descriptive facts about the intervention, they did not ascribe value to it. The findings highlight the need for more credible, valid, and defensible evaluations of educational programs, achieved in part by using evaluative reasoning, as they provide an evidence-base for decision-making and for ensuring that quality education is available to all members of society.
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    P. R. Stephensen and Transnational Fascism: From Interwar Adoption to Postwar Survival and Transmission
    Parro, Joseph Yeno Bromham ( 2021)
    This thesis examines Percy Reginald ‘Inky’ Stephensen (1901 – 1965), Australian author, publisher, authors’ agent, and political activist, in relation to the transnational fascist phenomena of the twentieth century. It challenges previous characterisations of Stephensen as an Australian nationalist first and a fascist second, who retired from political activism after the war. It utilizes the historiographical frameworks of transnational fascism and historical network analysis to position Stephensen within the history of fascism: first as it spread over the globe in the interwar period through complex multidirectional processes of transfer, adoption, adaptation, and recontextualization; and then in the survival of fascism, and its transmission to new generations of actors, through marginalized mutually-re-enforcing subcultural networks after 1945. Fascism as it emerged in Europe deeply resonated with Stephensen’s nationalist vision of a racially homogenous white Australia, and his desire for a cultural and political revolution that would rescue European culture from the decadent liberal-democratic forces that were driving its decline. Australia’s history as a British colony, in particular the violent process of colonization, complicated fascist understandings of violence for Stephensen, but Hitler’s self-declared war against a racial Jewish-Communist enemy became a foundational component of Stephensen’s support for the White Australia Policy. After Stephensen’s release from internment, he played a significant role in the survival and transmission of fascism in Australia by providing emotional and ideological encouragement, validation, and support for like-minded actors, and serving as a conduit for material, information, and ideas in an internationally-connected extreme-Right network that existed in the political margins. Stephensen remained committed to the cause he had adopted prior to internment, and demonstrated an ability to edit his message for different post-war audiences, without compromising his belief in an international Jewish-Communist conspiracy that posed an existential threat to white nations. This thesis contributes to understanding not only the impact that fascism had in Australia, but also the processes by which fascism spread in the interwar period and survived in a hostile post-war environment.
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    “Biographical Milestones”: Interpreting Sixty Years of Larry Sitsky’s Stylistic Evolution in Australia (1959–2019) Through a Comparative Analysis of His Solo Flute Works
    Shon, Stephanie Athina ( 2021)
    This thesis interprets the stylistic evolution of Australian composer, Larry Sitsky, by categorising his compositions (1959–2019) into five distinctive ‘periods’. An analysis of Sitsky’s six solo flute works composed between 1959 and 2019 provides a framework for this examination. The near-equidistant placement of the solo flute works within Sitsky’s compositional timeline renders them useful milestones from which to analyse his creative evolution. The underpinning research question asks what identifies the stylistic characteristics of Larry Sitsky’s works across his compositional evolution, as seen through the prism of his six works for solo flute? This research draws upon historical and descriptive musicological methodologies and uses case studies and analysis as the main tools. The stylistic periods are identified through an analysis of the distinguishing compositional influences, devices, and styles used in Sitsky’s compositions at various stages in his career and explores how these characteristics were influenced by extramusical stimuli and contemporaneous compositional developments. Sitsky’s compositional evolution reveals a process of constant and conscious transformation across five periods. First, Sitsky’s “Early Mature Period”, dating from 1959 to 1962, is characterised by his efforts to embrace a more modern idiom in his earliest mature compositions. Second, the “Modernist Period” from 1963–1969 exhibits his exploration of Modernist compositional techniques such as serialism, aleatoricism, and musique concrete. The composer’s adoption of Expressionism and engagement with Asian and mystic stimuli is observable in the “Mystic Expressionism Period” which dates from 1970–1982. Sitsky’s fourth period, the “Armenian Period” traverses the years 1983–1986 and includes a series of works for solo instruments inspired by Armenian folk-music. Fifth, the “Late Mature Period” reveals a neo-romantic though eclectic synthesis of earlier compositional experiments from the years 1987–2019. By exhibiting the characteristics of the five chronological periods, Sitsky’s flute works embody a microcosm of his compositional oeuvre. This thesis also identifies distinctive stylistic qualities that contribute to a ‘Sitskian’ aesthetic, such as: an Expressionistic character, chant topics and portamento; chromatic or bitonal ‘smudging’; irregular rhythms and polymetre; mosaic and episodic forms or improvisatory structures; small recurring chromatic cells; decorative fioritura; the portrayal of a musical progression from one ‘state’ to another; and, the use of non-programmatic extramusical springboards inspired by mystical or mythological sources. By drawing upon an historical examination of Sitsky’s compositional trajectory and artistic context in Australia from the late 1950s until 2019, this thesis situates Sitsky’s compositional periods in relation to several sociocultural developments. While existing scholarship on this composer has explored aspects of his compositional language, none provide a detailed explanation or contextual overview of the compositional shifts. This thesis addresses a scholarly lacuna by clearly identifying the characteristics and context of Sitsky’s stylistic evolution. It also addresses a gap in scholarly engagement with Australian flute music. By connecting the musical analysis to related historical and social aspects, this thesis offers a many-dimensioned illumination of an aspect of this era of art music composition in Australia.
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    Communicable Knowledge: Medical Communication, Professionalisation, and Medical Reform in Colonial Victoria, 1855-66
    Orrell, Christopher Edward Gerard ( 2020)
    This thesis examines the process of medical professionalisation in colonial Victoria from 1855-66. During this eleven-year period the medical profession of colonial Victoria were able to create Australia’s first long lasting medical societies and medical journal, found the first medical school, and receive legislative support of their claims to exclusive knowledge of medicine. The next time an Australian colony would have these institutions created would not be for another 20 years. This thesis examines these developments through a framework of communication, primarily from the medical community itself. Communication was central to the process that resulted in the creation of the above listed institutions. Here communication is examined as the driving force behind the two processes of professionalisation: the internal, community creating and boundary forming aspect; and the external process through which the community gains external recognition of their claims. For Victorian practitioners during the period of this study the internal process drives the creation of the societies, the journal, and the medical school, whereas the external process is typified by the campaign for ‘Medical Reform’ that sees the community engage in agitation for legislative backing of their conception of medicine as science over other alternate medicines. Communication was not isolated within the colony. As such the place of the Victorian medical community as a node within transnational networks of knowledge exchange is examined. As Victoria was better integrated into these networks than its colonial neighbours, an examination of the involvement of said flow of information in the creation of professional communities is considered an important part of this analysis. Behind these processes of community creation, I trace a thread of disunity sparked by professional differences. Highly publicised arguments over differences in medical opinion play out in the colonial press. This comes to a head at the end of the period of study. Despite their focus on communication the medical community ignores the role their public conduct plays in this process. The end result is that, while they were able to create these lasting institutions, their public conduct saw the public’s opinion of them stay low through to the end of the century.
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    Facing the Music: d/Deafness, Music and Culture in Australia
    Hedt, Alex Louise ( 2020)
    “Capital-D” Deaf culture transcends the medical diagnosis of deafness as deficit to celebrate a positive cultural-linguistic identity. Shared sign languages and the lived experience of d/Deafness have fostered uniquely Deaf creative practices, including musical ones. Internationally, scholars have examined music-making within this community and amongst those who identify as audiologically, or lowercase-d, deaf. Despite a thriving Deaf arts scene in Melbourne, however, the local evolution of d/Deaf musical practice remains poorly understood. Who makes the music that d/Deaf Australians encounter, and why? How might Australian Sign Language (Auslan) combine with other local socio-economic factors to shape d/Deaf music access, understanding and production? This thesis initially uses archival research to construct the first history of music in Melbourne’s Deaf community from 1884 to the present day, positioning musical practices within a narrative of institutionalisation and resistance which offers context for today’s Deaf arts. Subsequent chapters present an ethnography of musical and cultural practice amongst d/Deaf Australians, examining how music features in arts and cultural practices led by Deaf people, how it is made accessible through Auslan interpretation, and the ways in which growing up d/Deaf in Australia shapes attitudes to music. Interviews with Deaf community members and allies—Auslan interpreters, Teachers of the Deaf and d/Deaf music fans—and participant-observation at d/Deaf accessible and Deaf-led events reveal that music has considerable value to d/Deaf Australians. This value is located not in the musical works themselves, but in the opportunities they provide for advocacy, education, social interaction and identity formation. The latter part of the thesis problematises the distinction between physical and cultural deafness in the Australian context, carving out a space for liminal deaf identities through the lens of betweenity. In doing so, the work invites broader conceptions of musical accessibility. By situating Australia on a global map of d/Deaf and disability music scholarship, this thesis paves the way for further research.
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    Exploring the oral health curriculum in Australian pharmacy schools
    Chuanon, Janet Janjira ( 2019)
    Introduction Poor oral health continues to be prevalent in Australia despite ongoing advancements in oral health knowledge and care. Without innovative strategies to improve the oral health of the population, the quality of life for an increasing number of Australians will be negatively affected as poor oral health extends beyond the mouth and can affect general health and well-being. Beyond the dental clinic setting, pharmacists have been recognised in the literature to have an important role in oral health care. The potential to expand the role of pharmacists as oral health advisors has also been acknowledged. While previous studies explored the knowledge and opinions of pharmacists regarding oral health, no research has been completed to explore the extent of oral health content that is currently included in Australian pharmacy schools’ curricula or on the knowledge and opinions of the pharmacy students who are about to graduate as health professionals. Aim The aim of this study was to investigate the knowledge, attitudes and perceptions towards the role of pharmacists in oral health among final year pharmacy students in Australia, and to investigate the extent of the oral health content in Australian pharmacy curricula. Methods A cross sectional study of pharmacy students across 8 Australian pharmacy courses was undertaken using an anonymous online survey. In addition, semi-structured interviews were conducted with pharmacy course coordinators or convenors to discuss the oral health content in their course curricula. Survey results were analysed using SPSS software (SPSS 25.0, Chicago Il, USA) and the findings summarised using descriptive statistics. Phone interviews were recorded, transcribed verbatim and analysed thematically. Results A total of 45 pharmacy students across the nation completed the online survey. Almost half of the students (48.9%) reported that oral health was not included in their course. Many believed that pharmacists have an important role in oral healthcare, however only 38.9% perceived that pharmacists were appropriately trained to provide oral health education. Most students (91.7%) believed that professional relationships between pharmacists and dental practitioners could be improved, and that pharmacists had the potential to be more involved with preventing oral health issues (86.1%). Three main themes emerged from the course convenor interview study: (1) That pharmacists have a role in oral healthcare, (2) That oral health is being taught in pharmacy courses, however each did so in a varied manner, (3) Lack of space in course curricula is the key barrier for further inclusion of oral health care content in pharmacy courses. Conclusion Overall, the findings of this study provide evidence that the oral health content in pharmacy curricula in Australia is inconsistent, with students indicating that they wanted more education on oral health topics. Both students and course convenors recognised that pharmacists have an important role in oral healthcare. Therefore, pharmacy courses in Australia should consider expanding the coverage of oral health content to provide graduates with the confidence and skills they need to improve the oral health of the community.
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    Poetic narrative: new visions of documentary photography
    Stolz, Nathan ( 2018)
    The research focuses on narratological possibilities in the so-called photographic series within documentary photography. Instead of causal, plot-based links, it considers other interrelations between images, invoking a linking principle outside canonical narrative forms. The research ultimately investigates a poetic logic, of which the photographic series is an articulation, distinct from apparent rationality, as a way by which the world, or worlds are exposed beyond mere recording, using questions constellated around notions of national identity as an example of this methodology.