School of Culture and Communication - Research Publications
Permanent URI for this collection
Search Results
1 - 3 of 3
-
ItemAustralian cultural studies: theory, story, history( 2005)In a forthcoming paper on the History of Theory Ian Hunter calls for a space for historical reflection on the so-called ‘moment of theory’, and goes on to describe his argument as being indicative of ‘a particular way of undertaking intellectual history’. Let me posit, perhaps against the grain of Ian’s intentions, that ‘historical reflection’ and ‘intellectual history’ constitute distinct sub-sets of the history of philosophy. Historical reflection, which is central to the Hegelian critique of the self-becoming of philosophy, is excluded from contemporary analytic philosophy by its rigorous refusal of historical time as the condition or context of thought. Intellectual history is what is then left over when the history of philosophy is disconnected from the space in which philosophy actually happens, and in that sense is quite different from the historical reflection in which a past is connected, with whatever discontinuities and complexities, to the present that reflects on it. Intellectual history is histoire; historical reflection is discours.
-
ItemWhen historic time meets Julia Kristeva’s women’s time: the reception of Judy Chicago’s The Dinner Party in Australia( 2008)One of the first visual arts events of the 1988 bicentennial year was the staging of The Dinner Party (1979), a monumental artwork by the North American artist Judy Chicago at the Melbourne Exhibition Buildings. Completed in 1979, The Dinner Party has become emblematic of a particular form of feminist art practice: namely that which makes visible the body of women in both a literal and metaphoric sense. An enormous installation, The Dinner Party is a triangular table setting at which places are laid for the women that are missing from conventional historic narratives. The place settings include elaborate crockery with each plate adopting vaginal imagery that evokes particular characteristics of each woman's historic contribution.While attracting extremely high visitor numbers whenever the work is exhibited, the artwork itself has been widely criticised. The Melbourne exhibition of this work was no exception. However on this occasion there was an added dimension to the criticism: a parochial resistance to the importation of a foreign artwork. In this paper I explore this specific instance of border crossing in feminist art practice, and the claims made by many Australian art critics that superior work was being produced by local women artists. These arguments involved assertions that The Dinner Party’s visual aesthetic was dated, that Australian artists had adopted a similar imagery prior to Chicago and that whatever impact the work might have had in 1979, by 1988 it could only be regarded as a relic.
-
ItemThe romance of exchange: Sir Gawain and the Green Knight(Brepols Publishers, 1991)