School of Historical and Philosophical Studies - Theses
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ItemFrom 'babes in the wood' to 'bush-lost babies': the development of an Australian image( 2002)In this thesis I argue that the image of a child lost in the bush became a central strand in the Australian colonial experience, creating a cultural legacy that remains to this day. I also argue that the way in which the image developed in Australia was unique among British-colonised societies. I explore the dominant themes of my thesis - the nature of childhood, the effect of environment upon colonisers, and the power of memory - primarily through stories. The bush-lost child is an image that developed mainly in the realms of ‘low’ culture, in popular journals, newspapers, stories and images including films, although it has been represented in such ‘high’ cultural forms as novels, art and opera. I have concentrated on the main forms of its representations because it is through these that the image achieves its longevity. (For complete abstract open document)
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ItemExhibiting visual culture: narrative, perception and the new museum( 2002)This thesis maps a recent emergence or shift in museological discourse. It focuses on the moment where the discourses of narrative, cinema, and museums come together visibly and publically in relation to the built environment which hosts them, and the experience they offer. In Australia, this moment may be identified as emerging in 1995 with the Museum of Sydney, reaching a critical mass in 1998 with the developmental plans for the Melbourne Museum, Federation Square, and National Museum of Australia, and reaching its most satisfactory and effective manifestation in 2001, with the opening of the National Museum of Australia. This thesis considers these (and other) museum projects to look at how and why this emergence or shift came about. It is interested more in the processes of development than with the respective outcomes, which it may as yet be too early to evaluate fully. As such, this thesis evaluates the production and reception of recently developed museums that embody this shift. It is concerned with the ways that these developments present themselves rhetorically, architecturally and through their exhibitions, and with the type of experience that they aim to offer visitors. They tend to represent this experience as unique, immersive, and postmodern, and the thesis argues that these museums share a similarity based on their cross-disciplinary approach to self-representation, and other key factors. Because of this, the thesis presents a close exploration of these signifiers of ‘newness’, asking why these are privileged by the contemporary museum, and looking to see whether this trope of newness itself has a historical chronology, or a predecessor in earlier museums. It also looks at how the effect of newness is conceptualized, designed, and produced. The thesis contends that the ‘new’ museum presents itself as being a primarily interdisciplinary institution that is concerned with replicating and developing connections across disciplinary fields, rather than according to an historical chronology. However, despite this denial of historical relationships, the ‘new’ museum’s attention to a conceptual and thematic acuity can itself be historicized. Although the museum is not produced according to concerns for historical or traditional accuracy, the cross-disciplinary focus that it champions as an innovative signifier of its ‘newness’ itself has roots in earlier examples of museums and other cultural experiences (that include reading and cinema-going). As such, the primary historical allegiance that is shared by the cross-disciplinary impulse, and by the museums which champion this, is with early modernity. Characteristics associated with the new technologies and experiences of modernity (from cinema and other technologies, to the Crystal Palace, to new modes of writing and narrative form) are all valued by ‘new’ twenty first century museum projects, and many of the technologies and approaches to textuality that they also present. Locating the origins of cross-disciplinarity at the moment of an emergent modernity, the thesis deconstructs the concepts, specifically privileged by the ‘new’ museums, in order to look at the ways that these concepts also engage with each other, and to consider how and why they have been incorporated into these museum projects at all. In order to do this, the thesis is divided into three sections, ‘Narrative’, ‘Cinema’, and ‘Museums’, with each Part providing a discussion of each discipline in isolation. Part Three, ‘Museums’, looks at ways in which recent museum projects have attempted to combine these discrete areas, and it also contends that the appropriation efforts have varying degrees of success in this activity. (Part abstract)
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ItemFraming Fitzroy: contesting and (de)constructing place and identity in a Melbourne suburb( 2002)This thesis examines the ways in which Melbourne's 'worst suburb', Fitzroy, was constructed, both physically and culturally, from the Great Depression of the 1930s until the gentrification of the suburb in the early 1970s. The thesis argues that an array of institutions, extending from social welfare and slum reform groups to the media and a variety of policing agencies, relentlessly constructed Fitzroy as the site of social evil in Melbourne. It examines the variety of texts, both written and visual, that were utilised to construct a singular and negative representation of Fitzroy that legitimated particular forms of intervention. The thesis critiques and contests this representation through an analysis of the lives of those who lived in Fitzroy in the period covered by this thesis and by using a variety of original sources, including the testimonies of those who lived and worked in Fitzroy. It is a central argument of this thesis that Fitzroy was a place of complexity, vitality and cultural value for those who lived there.