School of Culture and Communication - Theses
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ItemVariations of difference(University of Melbourne, 2009)
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ItemThe Forty-seventh r�nin and an existential guide to travel(University of Melbourne, 2008)
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ItemTemporality and Australian narratives of racial science; or, thesis as lynch mob(University of Melbourne, 2008)
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ItemSeparatism to soap opera ; lesbian communities and the community gaze in cinema and television.(University of Melbourne, 2008)
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ItemThe billycan in Australian poetry(University of Melbourne, 2007)
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ItemSonic intersections : subjectivity within punk aesthetics(University of Melbourne, 2007)
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ItemRevealing the light: stained glass and the art of John Trinick( 2008)Australia has an important legacy of stained glass, but there has been limited scholarship undertaken on the artists who have chosen to specialise in the medium. One artist to whom this applies is John Trinick (1890-1974). Educated at Melbourne's National Gallery School, Trinick immigrated to England in 1920 and went on to execute over fifty stained glass window schemes in that country. He regularly exhibited his work at the Royal Academy of Arts and had a collection of his stained glass drawings acquired by the Victoria and Albert Museum. Despite these achievements, he has not received recognition for his work in either England or in his place of birth, Australia. The significance of Trinick's contribution to stained glass design will be demonstrated in this thesis through an examination of the John Trinick Study Collection held at the Ian Potter Museum of Art at the University of Melbourne. This Collection consists of seventy-five works, the majority of which are large-scale stained glass cartoons for the windows Trinick produced. This thesis represents the first time the Collection has been examined in depth. The thesis assesses how Trinick can be positioned within Australian stained glass history. It will be argued that as part of the wider University of Melbourne Art Collection, the John Trinick Study Collection has been given a renewed meaning, providing researchers with a different insight into the development of the medium in Australia. The important links that the Collection reveals between Trinick and fellow stained glass artists, Napier Waller (1894-1972) and Christian Waller (nee Yandell) (1894-1954) are also assessed. The thesis is divided into four chapters. Two chapters focus on the biographical details of the artist's life. These chapters argue that Trinick's introduction to the Arts and Crafts Movement while he was a student in Melbourne and his initial employment in some of England's leading Arts and Crafts stained glass studios had a lasting impact on the type of stained glass artist he was to become. The other two chapters focus on the John Trinick Study Collection as a case study to assess the collection management and curatorial challenges that these types of collections pose. A series of recommendations is then put forward as to how these problems can be addressed in relation to the management and care of the John Trinick Study Collection. Trinick is one of the forgotten practitioners of Arts and Crafts stained glass. The many years he spent as an Anglo-Australian artist working in England have contributed to his neglect within Australian art circles. It is hoped that this study will reveal his skills as a stained glass artist and introduce his work to a new audience.
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ItemObject lessons: public history in Melbourne 1887-1935( 2000-05)The thesis studies history-making in Melbourne’s central civic sphere, from its emergence in the 1880s to its decline in the 1930s. It identifies public history’s major themes and forms, and the relationships between them, based on four main cases of history-making: the articulation of the past and history in Melbourne’s 1888 Centennial International Exhibition; the historical backgrounds, development, unveilings and partial after-lives of Sir Redmond Barry’s statue, unveiled in Swanston Street in 1887, and the Eight Hours’ Day monument, unveiled in Carpentaria Place in 1903; and history-making around Victoria’s 1934-1935 Centenary Celebrations, with special emphasis on the Shrine of Remembrance and a detailed study of Cooks’ Cottage.
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ItemCommunity cultural development-a policy for social change?( 2003-02)This is to certify that the thesis comprises only my original work except where indicated in the preface; due acknowledgment has been made in the text to all other material used; the thesis is 30,000 words in length, inclusive of footnotes, but exclusive of tables, maps, appendices & bibliography.This thesis explores the area of Community Cultural Development (CCD) through a longitudinal Case Study. It postulates that the potential long-term outcomes of a successful CCD process, including the creation of communities and networks, as well as continuing cultural development for the participants, are frustrated by arts policy and funding. The analysis of the Case Study is contextualised by an examination of the history of CCD in Australia and the cultural policy framework for the funding of CCD projects.This thesis addresses the following question: Do the long-term outcomes - of creating networks, creation of communities and continued cultural development - succeed? It is hypothesised that CCD can achieve social change through two types of long term outcomes. The two types of long-term outcomes are - personal level outcomes and community level outcomes. Both levels of outcomes are examined in relation to the Case Study.However, the cultural policy framework for CCD does not support long-term CCD. It is problematic on many levels - funding, evaluation, and the infrastructure support of CCD. It is asserted that there is urgent need for a re-assessment on the way in which CCD is supported in Australia. And that this assessment examines whether the sector is in fact supportive of the aim of CCD - to effect social change.CCD is a process and an artform underpinned by a social change agenda. This research aims to further develop the academic body of work in the field of CCD, to create new questions, ideas and problems for further research to build upon.
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ItemYours faithfully; Werther for the English language stage( 2003)Although numerous English literary translations of Johann Wolfgang von Goethe’s ‘nobility in suicide’ - themed, epistolary, psychological and therefore “untheatrical” (Atkins 1949) novel Die Leiden des jungen Werthers (1774) have been published – none of the resultant English stage translations have ever been described as faithful to the original. The various obstacles to the creation of a faithful translation for the English language stage were analysed. The first obstacle is caution by Christian playwrights regarding the proscribed theme of nobility in suicide. Related to this is the second obstacle; the fear of producing ‘imitative’ suicides, which have been labelled ‘The Werther Effect’ by sociologists (Phillips 1974). Other obstacles are form-related rather than theme-related and include the absence of an authoritative English literary translation and the difficulties in translating to the stage the psychological and epistolary novel. With reference to Goethe’s three–tiered model of translation (translated by Lefevere 1977) and cinema academic Geoffrey Wagner’s ‘Three modes of adaptation’ (Wagner 1975) this writer has attempted to write a ‘prosaic’, ‘transpositional’ and unaugmented stage translation by identifying and addressing each of the obstacles, the hypothesis being that if these obstacles were systematically addressed and overcome, then an English language stageplay closely equivalent in meaning to the prominent ideas, themes and form of the novel – that is, a work arguably faithful to the novel – could be created. The research lead to the resultant creation The Sorrows and Sufferings of Young Werther; a Stageplay which is submitted as the creative work component (30%) of the writer’s Master of Creative Arts thesis at the University of Melbourne, Australia, in September 2003.