School of Historical and Philosophical Studies - Theses
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ItemCommunicable Knowledge: Medical Communication, Professionalisation, and Medical Reform in Colonial Victoria, 1855-66( 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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ItemSocial and scientific factors in the development of Melbourne's early water supply( 1981)The research towards this thesis commenced in 1978 during a period of sabbatical leave from Melbourne State College. I would like to thank the College Council for the opportunity to consult material at the British Library and the Wellcome Institute, London. In my often fruitless searches for material I have been grateful for the knowledge and goodwill of many librarians and archivists. I would like to particularly acknowledge the assistance of Mr. R. Price, Wellcome Institute, London; Miss A. Tovell, Australian Medical Association library, Melbourne; Miss W. Johns, Melbourne and Metropolitan Board of Works Library; and the reference staff of the La Tribe Library and the Victorian Public Records Office. My supervisor Miss D. Dyason introduced me to the history of public health. Her expertise and wide knowledge were utilised extensively throughout this project. I will always be grateful to Ingrid Barker for her ability to translate my endless rough drafts and marginal notes into a typed manuscript. Finally, I wish to dedicate this thesis to my wife, Dawn, who more than anyone else encouraged me to continue my part-time studies and finally complete this research.
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ItemMcCrea, a matter of paradigms( 1980)
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ItemSpectacular! Spectacular!: Cole's book arcade, Melbourne: 1863 to 1927( 2008)This thesis will investigate Cole's Book Arcade, which operated in Melbourne's Bourke Street from 1863 to 1927. Cole's Book Arcade provides a case study with which to interpret social and cultural practices occurring in the context of Melbourne's retail and entertainment environment during the late nineteenth and early twentieth centuries. Cole's Book Arcade was a product of its time and location. The thesis argues that the Arcade is an example of how Melbourne's citizens experienced modernity and leisure in the city during this historic period. It is necessary to define the boundaries of this case study. The thesis will also employ the definitions and practicalities of public history to examine the place of the Cole's Book Arcade story within The changing face of Victoria exhibition at the State Library of Victoria. The notions of cultural landscape, modernity, leisure, the New-World city, urban history and material culture will be employed to consider the significance of the entertainment and entrepreneurial environment of Cole's Book Arcade. Since the early settlement of colonial Melbourne, Bourke Street had been a popular destination for city dwellers to find entertainment. By the late nineteenth-century, modern cultural landscapes were emerging within New World cities. E.W. Cole was an entrepreneur who tapped into the commercial interests of a general public who embraced the popular leisure activities with shopping as their focus. This case study of Cole's Book Arcade will provide the historical record with greater knowledge of the personalities and places responsible for motivating these processes and outcomes.
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Item"The friendly games"?: The Melbourne Olympic Games in Australian culture 1946-1956( 1989)Melbourne is making a concerted bid to obtain the centenary 1996 Olympic Games. While much of its bid is occupied with explanations of the city’s ability to meet the International Olympic Committee’s (IOC) requirements, it is underpinned by a common theme that the city possesses a unique quality of “Friendliness”. (For complete abstract open document)
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ItemBodies in revolt: a look at three Melbourne based performance artists( 1995)This thesis considers the work of three locally based performance artists; Jill Orr, Linda Sproul and Stelarc. Their performance work will be discussed with specific reference to the ways in which the human body is used and signified. Performance art is an anti-formalist practice which addresses embodied existence by placing 'the body' at the fore of the performance event. I will explore the themes which arise out of the selected performances by these well known performance artists, and in particular, I will demonstrate that the lived human body is continuously produced and reproduced through enactments, rendering essentialist notions of sex, gender and identity outdated. The human body is viewed as always and already mediated by the social and the cultural as well as the biological. The following discussion will also unleash an attack on a western philosophical tradition which has cast the body as a fixed and purely natural entity.
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ItemTwentieth century stained glass in Melbourne churches( 1997)This present study is intended to supplement the documented knowledge on Melbourne's church stained glass and to examine the major threads that run concurrently through the century: the continuation of nineteenth century images, techniques and themes and the influence of modernism on stained glass. It seemed appropriate to chronologically follow from Down's closing date of 1910, subsequently revised to cover the early years of the century and to close with the flurry of activity surrounding the Bicentennial Year, 1988. (From introduction)
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ItemThe private face of patronage: the Howitts, artistic and intellectual philanthropists in early Melbourne Society( 2005)This thesis investigates a case of upper-middle class, private patronage in Melbourne, focusing on three decades between 1840 and 1870. Evidence points to the existence of a lively circle of intellectual and artistic activity around the Quaker family of Dr Godfrey Howitt and his wife, Phebe, from the Midlands who arrived at the Port Phillip District in 1840. The presentation of a group of fine, rare colonial water-colours and drawings to the National Gallery of Victoria by a direct Howitt descendant, Mrs James Evans in 1989, was the point of inspiration for this subject. Godfrey Howitt, one of the first experienced medical practitioners in the colony, had much in common with the Superintendent of Port Phillip. Their friendship gave the Howitts entrée into the uppermost social circles of the colony. Financially, the family prospered due to Howitt's professional practice which insulated them against economic downturns and provided a steady accumulation of wealth. While as a Quaker, Phebe Howitt had little background in the fine arts, she began to exercise patronage in support of her artist friends, most of who arrived with the gold rush in 1852. With it came Godfrey Howitt's elder brother, William, a famous English author. In London in 1850, William and Mary Howitt's daughter, the feminist painter and writer, Anna Mary, had become engaged to Edward La Trobe Bateman. A brilliant designer and cousin of Superintendent La Trobe, Bateman introduced the young, still struggling Pre-Raphaelite artists with whom he was closely associated, to the English Howitts. Arriving in Melbourne in 1852, William was followed shortly afterwards by Bateman and two artists, including the Pre-Raphaelite sculptor, Thomas Woolner. The gold rush also attracted Eugene von Guérard, and Nicholas Chevalier in due course. In 1856, as a guest of the Howitts' on her first Victorian visit, Louisa Anne Meredith, writer, botanical artist and social commentator, was introduced to their artistic and literary circle. The Howitts' friendship with these artists thus took on a very different hue from the normal patterns of patronage. Beyond commissioning works of art from artists returning empty handed from the gold fields, Phebe Howitt supported them in other ways until suffering a catastrophic stroke towards the end of 1856. During that period, the founding of the new Victorian colony's cultural institutions became a source of official artistic commissions for the first time. Through friends in influential positions like Justice Redmond Barry and Godfrey Howitt, Bateman was employed in various design projects for new public buildings and gardens. With the purchase of Barragunda at Cape Schanck in 1860, Godfrey Howitt assumed a central role as patron. In making the house available to Bateman and his artist friends, he and his daughter, Edith Mary, repeated the unusual degree of patronage formerly exercised by Phebe Howitt before her illness. By 1869, Woolner, Bateman and Chevalier had departed the colony and from 1870, von Guérard was taken up with the National Gallery of Victoria. Although succeeding generations of the family maintained contact with all the artists in their circle, by Godfrey Howitt's death in 1873, the prime years of Howitt patronage had passed.
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ItemRupert Bunny's symbolist decade: a study of the religious and occult images 1887-1898( 1998)The late 19th century, Australian-born artist, Rupert Bunny has not been sufficiently acknowledged as a Symbolist figure. This study of his religious and occult works (the most explicit manifestation of the Symbolist preoccupation) shows how they engage with the Symbolist discourse of the day, both in France and in Britain. In the 1880s and 1890s there was a resurgence in religious belief and a general interest in religion, magic and the occult. Bunny began to paint images of the spiritual world, and a distinct occult thread, either from esoteric religions or classical myth, appears beside the Christian legends of the saints and bible stories. His depictions of the occult world are little known, as only photographic and literary evidence remains of rare paintings such as La Tentation de st. Antoine, and a group of works on paper housed at the Museum of Art, The University of Melbourne, is unpublished. The iconography of these works of Satanism, the Catholic occult, and ancient Greek and Nordic myths of death is examined in their contemporary context. However, like his contemporary Maurice Denis, Bunny's flutter with the occult is confined to his youthful period. In the new century, after a brief engagement with a more dramatic and naturalistic religious image, based on the Old Masters such as Rembrandt and Titian, he returns to the images of beautiful women at leisure which drew critical acclaim for him. Bunny's British cultural heritage has largely been ignored, yet his paintings fit more easily into the broad Symbolist canon if read in such a context. Paintings such as Les' roses de ste. Dorothee and the Burial of St. Catherine of Alexandria are analysed through their iconography, style and fresh contemporary critical sources which allows them to be reintegrated into the broader Symbolist dialectic. Although Bunny was a cosmopolitan by birth and education the question of nationalism arises as rival critics in France and Britain encouraged him to choose either Paris or London, and to paint a relevant style and subject. Bunny sought recognition as an artist in the conservative venues of the Royal Academy and the Société des Artistes français and his style reflects this context. Clearly, he did not engage with the radical Symbolism seen in the private images of Odilon Redon; nor did he lose touch with the sculptured form of the human body. However, Bunny was genuinely a Symbolist in his subject matter and it is hoped that through this study of his religious and occult work a broad reassessment of his oeuvre in the Symbolist decade will begin.