School of Historical and Philosophical Studies - Theses
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ItemAustralian new left politics, 1956-1972( 2009)A study of the Australian New Left might not immediately appear pertinent to contemporary society. Adherents of New Right economics have been, until recently, unshakable in their global ascendancy over the past three decades. From Russia to Tanzania, discourses of neo-liberalism have become so deeply entrenched in world politics and trade that they have been adopted by the transitional states of Eastern and Central Europe, along with other less developed countries in the international system, despite the fact that all have very different cultural histories and levels of economic development. There have been few exceptions, with one example Hugo Chavez's Venezuela. The discrediting during the global oil crisis of the mid-1970s of the post-WWII orthodoxy of Keynesian economics, social democracy and the Welfare State has played its role in this paradigm shift. More pertinent to the radical left may be that the legacy of Soviet Communism's 'terrors and errors' still looms large in the consciousness of socialist thought, provoking disagreement over what can be salvaged from the cadaver of Marxist theory. The increasing specialisation and integration of world marketplaces since the 1960s has also led to questions over whether the notion of a working class - so essential to Marx's utopian revolution - still exists at all. The rise of 'identity politics' and the relativism of postmodernist thought, seen as at the cutting edge of academic theory since the 1970s, have represented further challenges to those desiring to rebuff the entrenched global logic of consumer capitalism. Capitalism is the only 'meta-narrative' left uncontested by postmodernists, while other ideologies - such as Marxism, feminism and even the discipline of history - are criticised for their failure to adequately address the realities of difference within the groups (i.e. workers, women) that they focus upon. This thesis re-examines a time when the left commanded a degree of mainstream popularity; when hundreds of thousands of Australians took to the streets to protest against the government, and when, however briefly, Marxist sympathisers constituted respectable numbers in academic circles, to ascertain what lessons, if any, might be learnt for 'socialist humanist' campaigns today. The anti-globalisation campaigns of the past decade and recent concerns regarding climate change represent hope as starting points for contemporary mass radicalism. Recently, I travelled beside a thoughtful and articulate man in his late fifties who had been a student at the University of Western Australia during the early 1970s. He had been acutely aware of radicals at other campuses such as Monash at this time, and laughed dismissively that student activists were still saying the same things nowadays. While my travelling companion was amused that contemporary student radicals continue to subscribe to what he sees as archaic and refuted ideas and philosophies, I believe that this constancy is due to the fact that New Left criticism remains highly applicable today.
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ItemGlory boxes: femininity, domestic consumption and material culture in Australia, 1930-1960( 2009)This thesis investigates glory boxes as cultural sites of consumption, production, femininity, sexuality, economy and transnationalism between 1930 and 1960 in Australia, a period of considerable economic and social change. Glory boxes were the containers and collections kept and accumulated by many young single women in anticipation of their future married and domestic lives. The nature and manifestations of the glory box tradition have uniquely Australian qualities, which had its roots in many European and British customs of marriage preparation and female property. This study explores a number of facets of women's industrial, communal, creative and sexual lives within Australian and international historical contexts. These contexts influenced glory box traditions in terms of industrialisation, changing consumer practices, the economics of depression and war, and evolving social definitions of femininity and female sexuality. Glory boxes provide an effective prism through which to scrutinise these broad social and economic developments during a thirty year period, and to highlight the participation of young women in cultural practices relating to glory box production in preparation for marriage. Oral testimony from migrant and Australian-born women, the material culture of glory boxes and the objects collected, and popular contemporary magazines and newspapers provide important documentation of the significance of glory box practices for many Australian women in the mid-twentieth century. Glory boxes track twentieth-century shifts in Australia in terms of a producer and consumer economy at both collective and individual levels. They reveal the enduring social expectations until at least the 1960s that the role of women was seen as primarily that of wives, mothers and domestic household managers. Nonetheless, a close investigation of the meanings of glory box collections for women has uncovered simultaneous and contradictory social values that recognised the sexual potential of women, while shrouding their bodies in secrecy. This thesis suggests that a community of glory box practitioners worked through a variety of collective female environments which crossed time, place, generation and culture. It demonstrates the impact of the act of migrating on glory box practices which were brought in the luggage and memories of many post-war migrant women to Australia. These practices were maintained, adapted and lost through the pragmatics of separation, relocation and acts of cultural integration. This research has identified the experiences of young single women as critical to expanding understandings of the history of domestic consumption in Australia, and the gendered associations it was accorded within popular culture. It has also repositioned the glory box tradition as an important, widely practised female activity within feminist historiography, by recognising its legitimacy as female experience, and as a complex and ambivalent symbol which defies simplistic interpretations.
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ItemA friendly invasion of spectacular aliens: the design and function of contemporary art centres in the 21st century( 2009)This thesis examines the development of contemporary art centres at the beginning of the twenty-first century. Focusing on four recently built examples in Australia, Austria and the United Kingdom, it identifies four pervasive typological models driving the development of these centres during this period. Each of these models will be classified as representing a particular 'alien' space craft in relation to the city in which it has landed. By labelling each institution as such, this thesis will demonstrate both the ambiguous position that each of these centres occupy in regard to the urban/cultural landscape, as well as highlight the manifold responses available in the creation of these temporary contemporary spaces. The four aliens examined are classified as follows: The 'Hostile Alien' (Melbourne's Australian Centre for Contemporary Art): which occupies a peripheral location and operates from a perceived sense of oppositionality in regards to the city's mainstream institutions. The 'Assimilating Alien' (Vienna's Kunsthalle Wien): which assumes a variety of pavilion designs and attempts to integrate its form and function with the city's more established institutions. The 'Aspirational Alien' (BALTIC Centre for Contemporary Art in the English city of Gateshead): which is located within the shell of a disused industrial landmark and seeks to align itself with the upwardly-mobile ambitions of the region's wider culture-based urban regeneration policies. The 'Spectacular Alien' (The Kunsthaus Graz in South-Eastern Austria): which asserts presence via the glamour and theatricality of its conspicuous architecture and programming; using a variety of spectacular devices to attract attention to both itself and the region. Through a consideration of future trends in the development of these centres, this thesis will argue that the influence of these four typological models has influenced the design and function of contemporary art centres in the period immediately following their realisation.
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ItemSydney Dance Company: a study of a connecting thread with the Ballets Russes( 2009)This thesis addresses unexplored territory within a relatively new body of scholarship concerning the history of the Ballets Russes in Australia. Specifically, it explores the connection between the original Diaghilev Ballets Russes (1909- 1929) and the trajectories of influence of Russian ballets that visited Australia. This thesis addresses unexplored territory within a relatively new body of scholarship concerning the history of the Ballets Russes in Australia. Specifically, it explores the connection between the original Diaghilev Ballets Russes (1909- 1929) and the trajectories of influence of Russian ballets that visited Australia. This study sketches the origins of the Ballets Russes, the impact its launch made on dance in the West, and how it progressed through three distinguishable phases of influence. It summarises the important features of the visits to Australia of Russian ballet companies from Adeline Genee in 1913 to the culturally altering impact of the revived Ballets Russes companies over three extended tours between 1936 and 1940. It charts the formation of viable ballet companies in Australia, commencing with Kirsova in 1939 and Borovansky in 1940, to the Australian Ballet in 1962 and the Sydney Dance Company led by Murphy between 1976 and 2008. Drawing on distinctions between classical and contemporary dance, it attempts to demonstrate the groundwork of example established by the Russian ballet, and, particularly, the revived Ballets Russes visits up to 1940. Data for this thesis was drawn from a personal interview with Graeme Murphy, original documentary research in public collections in Australia, government and Sydney Dance Company archives, newspapers and secondary literature.