School of Historical and Philosophical Studies - Theses
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ItemPhenomenologies of the lived body : Husserl, Stein, Merleau-Ponty and Marcel on embodiment( 2005)On the topic of embodiment, the phenomenological tradition in philosophy departs significantly from the standpoint of the dominant philosophical tradition. Rather than approaching embodiment through the framework of the 'mind/body problem', its method is to adopt the subject's point of view and ask what the phenomenon of embodiment is like for the subject experiencing it - for instance, what is it like to be a body? And what is it like to have one? Sometimes this query is formulated as 'what is it correct to say about' the role of the body in personhood - for instance, is it more correct to use the word 'have' or the word 'be' to express my relationship to my body? However, the inquiry is not principally a linguistic one: it is an inquiry into our experience of embodiment, in its relation to other things in the world and to consciousness. It is the phenomenologists' acknowledgement of the subject-inquirer's point of view on embodiment that renders their approach a particularly appropriate one for this topic. Accordingly, in this study I have chosen to investigate the theories of phenomenological philosophers. This research project thus consists of a comparative study of four phenomenological philosophers on the topic of embodiment (the body-person relationship): Edmund Husserl, Edith Stein, Maurice Merleau-Ponty, and Gabriel Marcel. In addition, I look at some remarks Ludwig Wittgenstein in his later writings makes about the language of embodiment, and investigate how the issues raised there may condition the conclusions drawn from these phenomenological studies of the body. I also investigate how feminist critiques of phenomenology may affect our examination of issues of embodiment and prompt us to further investigate the nature of embodiment. In response, I argue that the 'lived body' schema is compatible with more specific accounts of embodiment and that the phenomenologists are aware of and cautious about their use and interpretation of the language of embodiment.
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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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ItemEmotional histories: contemporary Australian historical fictions( 2007)Historical fictions are everywhere and nowhere in contemporary Australian historical discourses. Whilst historical films and novels are ubiquitous in Australian cultural production, they are largely ignored by the historical profession. Although historians occasionally weigh into public debates about particular novels or films - and those surrounding Kate Grenville's The Secret River are a recent case in point - they rarely engage in sustained critical analysis of texts or genre on their own terms. Rather than continue this marginalisation, this thesis considers the historical representations of contemporary Australian historical fictions. Through a series of close readings, I examine what is happening to Australia's pasts within these texts. I argue that in their narratives, characterisations, landscapes and atmospheres, Australia's historical fictions represent the past with feeling - they tell "emotional histories". Accordingly, in the chapters of this thesis I chart the historical mobilisation of melancholy, grief, anger, guilt, hope and love that takes place within a number of historical films and novels released and published in Australia at the turn of the twenty-first century. In doing so, this thesis seeks to interrogate the implications of the attachment - and detachment - of particular emotions to and from particular pasts in contemporary Australian historical discourses.
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ItemZazou, Zazou Zazou-hé: a youth subculture in Vichy France, 1940-44( 2007)In the late 1930s, French singer Johnny Hess launched his career in the cabarets ofParis. In 1939, he released the hit song “Je Suis Swing”. The catchy chorus proclaimed: “Je suis swing, je suis swing, dadou dadou je m'amuse comme un fou, je suis swing, je suis swing, zazou zazou zazou-hé”. In the winter of 1941, an eccentric group of young people began to gather in cafes on the Champs-Elysées and in the Latin Quarter of Nazi occupied Paris. They called themselves Zazous. This thesis is a history of the Zazou youth subculture in press, film and literature. It uses contemporary popular culture to explain a socio-cultural phenomenon which emerged under the Vichy regime and the Nazi Occupation. Three case studies each introduce a different representation of the Zazous. The first case study is the caricature of the Zazou in the collaborationist press. The second case study is Richard Pottier's 1942 film Mademoiselle Swing. The third case study is the Zazou as literary subject in Boris Vian's Cent Sonnets and Vercoquin et le plancton. In reading the Zazou through a cultural prism, each chapter details a different element of the subculture's function within the "parent" culture. The collaborationist press were writing for supporters of the Vichy regime and actively promoting the values of the National Revolution. Mademoiselle Swing was a popular representation seeking a wide, perhaps even a mass, audience. Boris Vian wrote his novel and poetry from within the subculture itself; his intended audience was familiar. These case studies reveal as much about the Vichy regime as they do the Zazous: the subculture is a mirror in which Occupation culture is reflected. The Zazous posed real ideological problems for Vichy. However, in reacting so vehemently, the regime in fact magnified the Zazous' social influence. In examining the Zazous, not only does a defined "world" of youth emerge, but we also uncover the incoherent nature of the Vichy regime. The thesis also traces a chronological evolution of the Zazous from “Je Suis Swing” in 1939 to their effective dissolution with the introduction of the Service du Travail Obligatoire (STO) in the winter of 1942-43.
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ItemHer self portrayed: Australian women's self-portraits between the wars 1918-1939( 2001-12)The subject of this dissertation is female self-portraiture in Australia of the interwar years, 1918 to 1939. The primary concern of this thesis is to consider self-portraiture as a conceptual process. Self-portrayal is understood as an act of cultural invention rather than an unmediated access to an essential core self. It is this invention and what is entailed in the process of self-imagining, rather than any formal analysis of the style, which is of greatest concern. The thesis examines the challenges faced by Australian interwar women in using an aesthetic convention designed to champion 'the artist' - a masculinist paradigm. The misogynist values encoded in traditional self-portrait iconography mediated the process of self-imagining form women. Thus, in seeking to portray the ‘self’, women were forced to devise strategies to deal with the exclusion integral to self-portrait traditions. It is the argument of this thesis that the exclusions formalised through self-portrait iconography provided a microcosm of the broader historical marginalisation of women in the 1920s and 1930s. Seen this way, Australian interwar female self-portraiture is a register of the wider struggle by women to work for equal pay, to accommodate new forms of femininity and to exercise their rights as citizens. the thesis presents historically based interpretations of works by women artists who worked in high, commercial and modernist art arenas. Such a diverse range allows for an inter-disciplinary approach in which Australian female self-portraiture will be examined from multiple perspectives – historical, philosophical, sociological, psychoanalytical, literary and cultural.
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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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ItemMind, mania and science: psychiatry and the culture of experiment in mid-twentieth century Victoria( 2002)Psychiatry developed from the practices of nineteenth century medical practitioners based in asylums, transforming itself by the second half of the twentieth century into a specialty operating from many more places and equally concerned with temporarily disturbed “normal” people as with individuals with intractable conditions or an intellectual handicap. By the middle of the twentieth century, psychiatry in Victoria, Australia, was the site of a vigorous debate about the nature of mental illness and the appropriate way to investigate it according to the precepts of science. Using archival materials and patient records, I examine efforts by three competing schools of psychiatric thought - the biological, social and psychotherapeutic - to align themselves with scientific medicine via several emerging fields, including clinical trial research. I suggest that the biological school had an initial edge and I explain in what form academic and religious support was forthcoming for it. I also consider the influence of celebrated Melbourne psychiatrist, John Cade, whose research on lithium influenced the alignment process. The struggle for science's imprimatur was crucial to psychiatry's transition during the twentieth century. Having once been detached from medicine's main currents and remote from the community gaze, it gained increased recognition within the field of medicine. This transition was not without some cost however. In learning how to re-invent their care, study and treatment of people with disordered mentality, psychiatrists chose to privilege certain sorts of knowledge and to downgrade aspects of their healing art.
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ItemIndigenous representation in Australia's frontier and foreign wars( 2005)This thesis investigates the evolving perception of Australian identity and its impact on the commemoration of Indigenous soldiers. Structured around three case studies, this thesis follows a chronological timeline of commemorative practices characteristically colonial in its presentation of Indigenous Australian communities. The first chapter focuses on colonial constructions of national identity and its influences on the legacy of Captain Reginald Saunders, the first Aboriginal Australian to be commissioned as an officer in the Australian Army. Referencing his 1960s biography and textual memorial, The Embarrassing Australian by Harry Gordon, this thesis argues that it is only through the language of assimilation that Saunders was accepted as an "Australian" and appropriately commemorated for his military achievement. The second chapter highlights evolving perceptions of Australian history and national identity and the impact of Indigenous soldier commemoration within the Australian War Memorial. While the Memorial initially disregarded the Indigenous Australian contribution to the war effort, it has since evolved to acknowledge their role within its galleries. The final chapter looks at museums and their representation of Indigenous soldiers during the Frontier Wars. The portrayal of Indigenous soldiers, either as savages or warriors, among the museum displays and storyboards reflect how the nation chooses to publicly commemorate them. The methods adopted by museums reveal their rejection or acceptance of the Indigenous story of European colonization. By showing how forms of representation are tied to historical moments in regards to Indigenous soldiers and linking these commemorative trends with Australian national identity this research both adds to the body of literature on Australian commemoration and foreshadows an evolving trend where perceptions of "nation" are increasingly willing to embrace an Indigenous past into its definition.
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ItemVirtualisation: the convergence of virtuality and digitality in contemporary Australian art and architectural representation( 2001)This thesis critically examines ‘the virtual’ and ‘virtualisation’, as it was used in Australian visual culture and its discourse between 1997 and 2001. The thesis focuses on Melbourne’s Federation Square project, and its representation, during the period of the Square’s construction, and specific non-digital works by Mathieu Gallois and Callum Morton. ‘Virtualisation’, in this thesis, is located at the convergence of two concepts: digitality and virtuality. Rather than confuse the two, as does much digital theory and practice, this thesis reflects upon and separates the two discourses. It then attempts to analyse the ways they converge in recent Australian art. This thesis works outwards from writings by Brian Massumi, Anna Munster and especially Pierre Levy. It argues that virtualisation represents a key aesthetic in Australian visual culture in the late- 1990s. Virtualisation requires that we focus on the virtual experience and perception of art - and on concepts such as affective response - that is signified by, and intelligible through, such operations as electronic interactivity and digital hypertext. By focusing on viewer response, this thesis challenges particular studies of the effects of digital media on non-digital visual culture. These effects have hitherto been limited to issues of form and imagery. Viewers can only see this phenomenon in the work of artists such as Patricia Piccinini, Stelarc and Megan Walch; they do not, themselves, experience ‘virtualisation’. This thesis wishes to put viewers and their perceptions back in the picture. The consequences of my argument are that space, self and the act of perception require reconsideration. Digitality is affecting ‘real’ space beyond the digital print, the computer terminal and the Internet. It affects subjectivity, and awareness of self within very real virtualities. We become cyborgian, but through neither technological prostheses nor computerised clothing. We become cyborgian in the acts of perception and inter-personal negotiation. However, virtualisation is complicated by other, socio-cultural, factors. Can this reconsideration of self be dissociated from contemporary commercial interests in the technologisation of the self and space? Is virtualisation a potentially liberative aesthetic? This thesis considers specific Australian concerns, including Australian cultural policies and artists’ theories of relational aesthetics in the 1990s. I ultimately argue that virtualisation amounts to a commercial aesthetic. Federation Square proffers the ‘realisation’ of architectural and commercial determinations of self, rather than ‘virtualisation’ of the self. Mathieu Gallois’ art, despite its initial deconstruction of the ‘realisation’ of commercial potentiality, proposes a naïve performativity that ultimately reifies the commercialist underpinnings of virtualisation. And though Morton's models frustrate that same performative, they also rely upon commodification for their success. This thesis concludes by doubting whether virtuality is possible in a period of hyper-commercialism and highly-determined cultural experiences. The aesthetic of' virtualisation proposed in this thesis remains problematic and fragile in its actualisation, or at least on the digital ‘ground’.