School of Historical and Philosophical Studies - Theses

Permanent URI for this collection

Search Results

Now showing 1 - 10 of 12
  • Item
    Thumbnail Image
    Morality of politicians in a democracy
    McArdle, Clare ( 2008)
    This thesis argues that one way of understanding the morality of politicians is from the perspective of their role morality, which is derived from their representative role in a democracy. The thesis argues that politicians' role morality is to advocate for their constituents in a way that upholds democratic values and the institutional arrangements required to give effect to democratic values. The thesis sets out the values underlying a democracy and argues that the traditional view of the nature of representation, as either a delegate and/or a trustee, does not provide an adequate understanding of the role of the representative. The delegate and/or trustee model assumes some form of `contactual' arrangement between representative and citizen whereas representation in a democracy is more like an ongoing relationship where citizens continue to exercise their sovereignty through an active interrelationship with their representatives. This way of viewing the role of the democratic representative places a greater responsibility on the political representatives to see their role as facilitating citizens' self government through an open, deliberative process in the Parliament. It is difficult to determine how well politicians uphold democratic values because of the competitive views as to how democratic values ought to be translated into institutional form. In order to see how well politicians are fulfilling their role morality of upholding democratic values, some other sort of criteria are required which may help in making such assessments and which do not rely on partisan views. Two sets of criteria are developed - one set is derived from the deliberative nature of representation and the other set is embedded in the idea of institutional accountability. These sets of criteria are applied in three different stories in order to assess the action of politicians but also to point to areas for practical reform which may support politicians to fulfil their role morality.
  • Item
    Thumbnail Image
    A holding situation : volunteering in the post-social order
    Martin, Fiona ( 2001)
    The following is an empirical study of volunteers who work in a humanitarian capacity for a local volunteer-run programme called the Open Family Youth Bus. The study questions what motivates and sustains a commitment of this kind from the point of view of the people who engage in it, outlining the repertoire of meanings that volunteers draw on to make sense of their work. At the same time, it is an analysis of humanitarian volunteer work as a social phenomenon, a particular response to certain contemporary social problems, imbricated in current processes of structural change that redefine the responsibilities of everyday social subjects to address these problems. By exploring Open Family volunteers particular approach to helping others, this thesis interprets some of the complex configurations of inequality in the contemporary social imagination and illustrates the shape and scope of popular perceptions of "doing something" about it.
  • Item
    Thumbnail Image
    With my needle: embroidery samplers in colonial Australia
    Fraser, Margaret Eleanor ( 2008)
    This thesis examines a group of more than one hundred needlework samplers stitched in the Australian colonies during the nineteenth century. It uses them as documents of social history to examine the lives of individual girls and women during that time, and to trace changing expectations of girls, especially in the later decades of the century. Although there are many individual stories that can illuminate certain aspects of Australian history such as migration, settlement, and death and mourning, these samplers are most useful as documents in the examination of girls' education and the social expectations transmitted through the education system. It addresses the contradiction between the sampler's continuing presence in girls' schooling and the increasing irrelevance of the skills embodied in it. The thesis argues that needlework samplers retained their place in girls' education well into the twentieth century because of their significance as symbols of feminine accomplishment. They were physical expressions of a definition of respectability that was based on the `feminine ideal' of the nineteenth century and allayed anxiety about girls' involvement in formal schooling.
  • Item
    Thumbnail Image
    “A very unfortunate circumstance”: the colonial evolution of defining British sovereignty emanating from murdercases in New South Wales, 1790 –1836
    Chaves, Kelly Kathleen ( 2005-11)
    Governor Arthur Phillip did not magically extend British sovereignty over the continent of Australia when he read his orders to the assembled convicts and members of the military in January 1788. To the international community, this act of declaratory sovereignty claimed Australia for Britain. Gaining practical legal authority over the indigenous population, however, took years and a number of court cases to obtain. The British established their sovereignty over the Australian Aborigines by integrating them into the British legal system. This legal incorporation eventuated in stages. Three important stages were: first in 1790, when the British attempted to punish Aborigines for the murder of white men, secondly in 1827, when the British tried to punish white settlers for the deaths of indigenes, and lastly in 1836 when the British decided to punish indigenes for murders committed amongst themselves. Previous colonial experience influenced British officials’ dealing with the indigenous population of Australia. Many of the colonisers who settled in Australia, Britain’s penultimate colony, had lived in other parts of the British Empire. This prior colonial experience shaped the views and outlooks of legal policy towards the Aborigines.
  • Item
    Thumbnail Image
    From idol to artform: missionaries and material culture in the Pacific
    MCGILL, ESTHER ( 2012)
    In Hawai’i the introduction of woven cloth and sewing circles led to the development of a distinctive form of quilting. In Arnhem Land in Australia the transition to a market economy through the promotion of local art and craft production led to the material transformation of bark painting from objects of temporary use to artefacts of permanent significance. In both of these cases missionaries played a key, though often unintentional, role in the development of these artforms. This thesis is an exploration of Indigenous creativity and purpose combining with missionary influence on Pacific material culture. Particular focus is made of the development of quilting in Hawai’i in the nineteenth-century and bark painting at Yirrkala in the twentieth-century, culminating in Lili’uokalani’s 1895 ‘Queen’s Quilt’ and the 1963 Painted Bark Petition. During periods of social change, transformations occur in material culture produced by a society. Exploring the relationships between missionaries and Indigenous peoples through artistic expressions of the time illuminates many aspects of these relationships otherwise restricted to European-dominated accounts. Material culture is used as an historical source material to explore cultural changes and corresponding notions of authenticity, as expressed through missionary and museum collections. This thesis is concerned with the two-way nature of cultural exchanges, with particular reference to the art produced through these relationships, art that is both aesthetically beautiful and socially powerful. Queen Lili’uokalani’s Crazy Quilt and the Yirkaala bark petitions both appropriated aspects of European culture in order to create new objects of significant cultural, political, and social importance, and were generated out of missionary-Indigenous relationships.
  • Item
    Thumbnail Image
    Deviant motherhood in the late nineteenth century: a case study of the trial and execution of Frances Knorr and Emma Williams for child murder
    Yazbeck, Barbara ( 2002)
    The 1890s saw the rise of a pro-natalist movement in Australia that focused on child saving and the emergence of the 'ideal mother' stereotype. Moves by the medical profession and women's organizations to educate women to become 'ideal' mothers were coupled with proscriptive attempts by law enforcement agencies and the judiciary to criminalize 'bad' mothers. Within this period Frances Knorr and Emma Williams became the archetypal 'deviant mother' when they were executed only months apart for crimes involving child murder. They were to be the only women ever hanged for such crimes in Victoria. This thesis aims to problematize these executions by looking at the ways in which nineteenth century Victorian society operated to construct these women's criminality. The thesis will argue that the growth of government intervention and regulation throughout the 1890s, beginning with the introduction of the Infant Life Protection Act in Victoria in 1890, engendered a climate whereby women were increasingly told to embrace motherhood as their sole vocation. 'Maternal instinct' became a central part of a woman’s identity. Advocates of maternal love succeeded in elevating the quality of the relationship between a mother and her child to a social and moral good. Moreover, the demonization of women such as Knorr and Williams was necessary to a process that saw the eventual idealization of the mother as 'the angel of the home' and 'the mother of the Empire'. Hence, whilst the State's preoccupation with regulating motherhood, pregnancy and birth was aimed at all classes, it was women of the lower working class who came under ever increasing scrutiny and who were the most likely to become scapegoats in a campaign to find and eradicate the 'bad' mother archetype. Above all, the trials and executions of these two women provided a site for the discursive production of femininity, motherhood and female criminality. The 1890s were a time of contesting notions of motherhood and womanhood. The newspapers, the judiciary and the Slate all engaged in the process which rendered the women under examination here, as deviant. Taking a Foucauldian approach, these women's bodies became the sites on which discourses concerning motherhood and womanhood were enacted. Furthermore, notions of gender become central to a process of criminalization in which both Knorr and Williams were depicted as less feminine because of their crimes. As a result the 'criminal' mother of the twentieth century was born.
  • Item
    Thumbnail Image
    Governing airspace: techniques for aviation surveillance and regulation in a liberal age
    Kneebone, Leslie ( 2001)
    This thesis examines Australian aviation regulation in order to explicate a theory about how airspace is governed. My central argument is that airspace is both the object and product of strategies for governing air safety. I explore the development of these strategies over two time periods of Australian aviation, in order to demonstrate that airspace as an object has changed and that this change has enabled and necessitated different governmental styles. Chapter one focuses on the period of Australian aviation regulation between the early 1920s and late 1930s, in which I demonstrate that disciplinary modes of governance were predominant. Throughout this period aircraft flew higher and faster, and air accident rates increased, culminating in the Kyeema airliner disaster of 1938. Following this disaster, aviation administrators relocated ‘air safety’ as the predominant responsibility of ‘disciplined pilots’, and sought to established administrative centres on the ground that would become the loci of air safety responsibility. I discuss how early twentieth century aviation administration produced aerodromes as centres for making air-spatial calculations on the ground, in order to make the aerodrome the central locus of responsibility for air safety. More specifically, I show how governance was achieved through the use of ‘flight maps’ and the consolidation of ‘checking officers’. In chapter two, I examine recent developments in the administration of air safety in Australia. I show that the splitting of the 'regulatory' and 'investigative' functions of the aviation administration, in 1988, enabled new and different methods for producing airspace as the object of governance throughout the 1990s. I argue that the new regulatory body, created as a result of this split, produced advanced cartographic methods for surveying and regulating airspace. In the Same period, the new investigative body that was also created increased its surveillance capacity over airspace by enacting a reporting culture among pilots in which pilots could candidly transport 'personal observations' of air-spatial phenomena to a reporting program. These regulatory and investigative programs were complementary: together they sought to extend the knowledge of airspace for the purpose of governing air-spatial relations and identifying preventative strategies to ensure air safety. In the third chapter I discuss how the complementary programs, outlined in the second chapter, produced airspace in different ways that resulted in political and industrial tension between statutory bodies and pilot groups. In particular, I examine an experimental period of airspace reform that took place in 1998. The experiment was prematurely terminated amidst safety concerns and political tension. I argue that during the experiment, different methods were used by the regulator and investigator, producing incommensurable results concerning the nature of airspace and, consequently, of air safety. I conclude that in this case study, the governmental centres of calculation, and knowledge (air) spaces, have been co-produced. Further, I show that as the Australian aviation administration sought to consolidate airspace as a governmental object, complementary measures for achieving this task often produced contradictory results.
  • Item
    Thumbnail Image
    Some aspects of the federal political career of Andrew Fisher
    Humphreys, Edward William ( 2005)
    Andrew Fisher was prime minister of Australia three times. During his second ministry (1910-1913) he headed a government that was, until the 1940s, Australia's most reformist government. Fisher's second government controlled both Houses; it was the first effective Labor administration in the history of the Commonwealth. In the three years, 113 Acts were placed on the statute books changing the future pattern of the Commonwealth. Despite the volume of legislation and changes in the political life of Australia during his ministry, there is no definitive full-scale biographical published work on Andrew Fisher. There are only limited articles upon his federal political career. Until the 1960s most historians considered Fisher a bit-player, a second ranker whose main quality was his moderating influence upon the Caucus and Labor ministry. Few historians have discussed Fisher's role in the Dreadnought scare of 1909, nor the background to his attempts to change the Constitution in order to correct the considered deficiencies in the original drafting. This thesis will attempt to redress these omissions from historical scholarship. Firstly, it investigates Fisher's reaction to the Dreadnought scare in 1909 and the reasons for his refusal to agree to the financing of the Australian navy by overseas borrowing. It will consider the proposition that Andrew Fisher, while wanting an Australian Navy, was not prepared to go to foreign lenders for finance, believing that, overall, Australia was rich enough to pay for her defence without burdening future generations with debt. Secondly it enquires into his attempts in his second ministry of 1910-1913 to correct the Constitution, by referenda, in the areas of trade, commerce, and labour in order to be able to carry out the fighting platform of the Labor Party.
  • Item
    Thumbnail Image
    The private face of patronage: the Howitts, artistic and intellectual philanthropists in early Melbourne Society
    Clemente, Caroline ( 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.
  • Item
    Thumbnail Image
    Virtualisation: the convergence of virtuality and digitality in contemporary Australian art and architectural representation
    GARDNER, ANTHONY ( 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’.