School of Historical and Philosophical Studies - Theses
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ItemCreating space to listen: museums, participation and intercultural dialogue( 2018)This thesis examines the emergence, practice, and social meaning of intercultural dialogue as participatory programming in museums. While intercultural dialogue takes many forms in museums, the thesis focuses on projects that invite participants to create digital content in response to one another on topics related to identity, cultural diversity, and racism. The thesis presents a central case study of a contemporary anti-racist museum project – ‘Talking Difference’ – produced by the Immigration Museum in Melbourne, which facilitated, documented, and presented dialogue between participants. It draws on the personal experience of the author as a previous staff member on Talking Difference, as well as written and visual documentation, interviews with project staff, and analysis of content produced. Engaging with the field of museum studies, the thesis argues that dialogue projects like Talking Difference have come to prominence as museums adapt their traditional governmental role to contemporary societies where engagement with institutions is characterised by reflexivity and participation. Given this, the thesis argues that participatory programs should challenge the idea that museums can provide neutral forums for dialogue. Instead, dialogic museum practice may be more transformative if museums embrace their role of promoting social justice as third parties in the dialogue they facilitate. This entails not only encouraging participants to produce affecting personal accounts but also facilitating engagement with the complex social and historical contexts within which these accounts emerge. To this end, museums should prioritise listening, and facilitate the negotiation of conflicting perspectives in addition to providing platforms for their co-presentation. In acknowledgement of the field of practices within which such work takes place, the thesis argues that these interventions should be part of a broader suite of efforts to decolonise museum practice.
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ItemA networked community: Jewish immigration, colonial networks and the shaping of Melbourne 1835-1895( 2015)Current scholarship on empire considers those Britons engaged in processes of colonisation as culturally homogeneous, but this view negates their cultural complexity. From the first forays of the Port Phillip Association, Jewish settlers and investors have been attached to Melbourne. Although those settling in Melbourne were themselves predominantly British, they brought with them not only the networks of empire, but also the intersecting diasporas of European Jewry and the new and expanding English-speaking Jewish world. This thesis considers how the cosmopolitan outlook and wide networks of the Jewish community helped shape Melbourne.
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ItemA culture of speed: the dilemma of being modern in 1930s Australia( 2003)This thesis explores the reaction of Australians living in Melbourne in the 1930s, to changes in technology, social organisation, and personal attitudes that together constituted what they saw as innovations in modern life. Taking the Victorian Centenary of 1934 as a starting point, it analyses the anxieties and excitements of a society selfconsciously defining itself as part of a progressive potion of the western world. They reflected on the place of the city as locus of modernity; they analysed what appeared to be the quickening pace of human communications. They knew increasing leisure but deprecated the concomitant condition of boredom. They were concerned whether modernity was disease. They faced the ambiguities of the racial exclusivity of Australian modernity, centred in part on their ambivalence about Aborigines as Australians, but also incorporating long-held fears of populous Asian neighbours. They were not Britons, but their concerns for “men, money and markets”—and defence—kept the British connection uppermost. They participated in competing visions of the meanings of the past, and the directions of the future. Modern life, it seemed, was accused of overturning fundamental, and natural, race and gender norms, sapping the vital force of white Australia. Spurred by the increasing likelihood of a major conflict at the decade’s end, and drawing on much older and deepseated anxieties in Australia’s past, pessimists predicted a future where the technologies of modernity would make Australia vulnerable to attack. Australians in Melbourne, however, were excited about modernity and not just anxious. People were prepared to take risks, to seek novel experiences, and the reasons for this probably stemmed from the same causes that made other people turn away from the new to find comfort in the familiar. Modernity, in terms of changing mental processes as much as in its technological dimension, offered the chance for Melburnians to escape the often grim realities of life in the 1930s. Despite clearly expressed uncertainties, interwar Australians had committed themselves to a project of modernity.
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ItemFactory girls: gender, empire and the making of a female working class, Melbourne and London, 1880-1920( 2007)Between 1880 and 1920, something remarkable happened among the women and girls who worked in the factories of the British Empire. From being universally represented as the powerless victims of industrial capitalism, women factory workers in the cities of Melbourne and London burst onto the stage of history, as bold, disciplined and steadfast activists and demanded their rights, not merely as the equals of working-class men, but as the equals of ladies. The proletarian counterpart of that other subversive fin de siecle type, New Woman, the factory girl became visible at a time when the nature of femininity was being hotly contested, and coincided with the growing militancy of the organised working-class. Her presence in the streets, economic autonomy and love affair with the new mass culture, represented a radical challenge to conventional bourgeois ideas of how women should behave. Her emergence as a new social actor also coincided with a crisis of confidence in Empire, radical disillusionment with the project of modernity and a growing unease about the consequences of urban poverty. As middle-class anxieties proliferated, so surveillance of the factory girl intensified. In this way, female factory workers came under the scrutiny of missionaries, medical men, demographers, social workers, socialists and sociologists. This study traces the role of female factory workers in the emergence of a transnational movement for working-class women's rights. As more women entered the factories in search of independence, their shared experience of exploitation emboldened and empowered them to demand more. During this period, increasing numbers of female factory workers in both cities thus confounded the stereotype of female workers as submissive, shallow and innately conservative, by organising and winning strikes and forming unions of their own. Such explosions of militancy broke down trade unionist prejudice against women workers and laid the foundations of solidarity with male unionists. They also forged of a new model of working-class femininity; based not on the pale imitation of gentility, but one which expressed a profoundly modern sensibility. In the process, women workers fashioned a new political culture which articulated their common interests, and shared identity, as members of a female working class. Yet the rise of working-women's militancy also coincided with the mature articulation of a racialised labourism and the rise of male breadwinner regimes. As the white populations of Empire were re-configured as one race with a common imperial destiny, the corresponding preoccupation with the white settler birth rate, increased hostility and suspicion of women workers. The first decades of the twentieth century thus saw the solidification of a regulatory apparatus which sought to police and discipline young working women in preparing them for their racial destiny as mothers. The contemporaneous demand of the labour movement for a family wage worked to further marginalise wage-earning women, and ultimately reinforced the sexual division of labour.
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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.