School of Historical and Philosophical Studies - Theses
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ItemTerra nullius : Lacanian ethics and Australian fictions of origin( 2005)The fiction of terra nullius, that Australia was 'no-one's land' at the time of British colonisation, was confirmed in law in 1971. At precisely this moment it had begun to fail as the ballast of white Australian identity and the fulcrum of race relations between Indigenous and non-Indigenous. Where white Australia had historically produced a gap, an empty centre from which the white Australian subject could emerge, fully formed, there was now a presence. The emergence of the Aboriginal subject into this empty space inaugurated the anxiety of white Australia that has characterised the period from the 1970s to the present. During these decades of anxiety, the story of this nation's origin-the story of 'settlement'-has retained its pivotal part in the inscription and reinscription of national meanings. Each of the three novels analysed in the thesis is a fictional account of the story of 'settlement published during the closing decades of the twentieth century. Of all the contemporary Australian fiction written about 'settlement' and the race relations conducted in its midst, these texts have been chosen because each is emblematic of a particular national fantasy, and, as is argued in this thesis, a particular orientation, to the tale it tells. The structure of each fantasy-of the frontier, of captivity, of the explorer and of the Great Australian Emptiness- offers particular opportunities for the refantasisation of that national story. The thesis asks how each novel is oriented towards the national aim of not failing to reproduce a satisfactory repetition of the story of national origin and the inevitable failure of that project. All of these questions are framed by an overarching one: what is an ethics of interpretation? The thesis offers a Lacanian response. Interpretation, for Lacan, is apophantic; it points to something, or lets it be seen. It points beyond meaning to structure; it alms to show an orientation not to a 'topic' but to a place. Lacanian psychoanalytic theory offers an ethics of interpretation that includes and accounts for that which exceeds or escapes meaning, and it does this without rendering that excess irrelevant. That something remains constitutive yet enigmatic, making interpretation, in turn, not merely the recovery and rendering of meaning but also a process which seeks to understand the function of this enigmatic structural term. Through its theory of repetition and the pleasures that repetition holds, Lacanian theory offers an approach to analysing the pleasures for the non-Indigenous Australian reader in hearing again the fictions of the nation's founding. It now seems possible for a white Australian encountering any such retelling to ask how our pleasure is taken, and to see the intransigence of our national story, its incapacity to respond to its many challengers, as a particular mode of enjoyment that is too pleasurable to renounce. A Lacanian ethics of interpretation opens up the question: what are the possibilities of re-orientating ourselves in our relation to our founding story such that we did not simply repeat what gives us pleasure?
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ItemA critical history of writing on Australian contemporary art, 1960-1988( 2005)This thesis examines art critical writing on contemporary Australian art published between 1960 and 1988 through the lens of its engagement with its location, looking at how it directly or indirectly engaged with the issues arising from Australia's so-called peripheral position in relation to the would-be hegemonic centre. I propose that Australian art criticism is marked by writers' acceptances of the apparent explanatory necessity of constructing appropriate nationalist discourses, evident in different and succeeding types of nationalist agendas, each with links to external, non-artistic agendas of nation and politics. I will argue that the nationalist parameters and trajectory of Australian art writing were set by Australian art historian, Bernard Smith, and his book Australian Painting, 1788-1960 (1962) and that the history of Australian art writing from the 1960s onwards was marked by a succession of nationalist rather than artistic agendas formed, in turn, by changing experiences of the Cold War. Through this, I will begin to provide a critical framework that has not effectively existed so far, due to the binary terror of regionalism versus internationalism. Chapter One focuses on Bernard Smith and the late 1950s and early 1960s Australian intellectual context in which Australian Painting 1788-1960 was published. I will argue that, although it can be claimed that Australia was a postcolonial society, the most powerful political and social influence during the 1950s and 1960s was the Cold War and that this can be identified in Australian art criticism and Australian art. Chapter Two discusses art theorist, Donald Brook. Brook is of particular interest because he kept his art writing separate from his theories of social and political issues, focussing on contemporary art and artists. I argue that Brook's failure to engage with questions of nation and Australian identity directly ensured that he remained a respected but marginal figure in the history of Australian art writing. Chapter Three returns to the centre/periphery issue and examines the art writing of Patrick McCaughey and Terry Smith. Each of these writers dealt with the issue of the marginality of Australian art but neither writer questioned the validity of the centre/periphery model. Chapter Four examines six Australian art magazines that came into existence in the 1970s, a decade of high hopes and deep disillusionment. The chapter maps two shifts of emphasis in Australian art writing. First, the change from the previous preoccupation with provincialism to pluralist social issues such as feminism, and second, the resulting gravitation of individual writers into ideological alliances and/or administrative collectives that founded, ran and supported magazines that printed material that focused on (usually Australian) art in relation to specific social, cultural or political issues. Chapter Five concentrates on the Australian art magazine, Art & Text, and Paul Taylor, its founder and editor. Taylor and his magazine were at the centre of a new Australian attempt to solve the provincialism problem and thus break free of the centre/periphery model.