Television’s greatest hits : compiling a television studies canon

You’ve got a thirteen week course to take students through the most important programs in television history. The programs should be the most popular, the most successful, the most important, giving students a sense of what audiences like, what is possible in the medium, and what counts more generally as a successful television program. The course is based around screenings of the programs. Which programs are you going to choose?

Canon fodder : young adult literature as a tool for critiquing canonicity

Young adult literature is a tool of socialisation and acculturation for young readers. This extends to endowing ‘reading’ with particular significance in terms of what literature should be read and why. This paper considers some recent young adult fiction with an eye to its engagement with canonical literature and its representations of young people reading. Wider possibilities of using such novels in secondary English classes are discussed, particularly in the context of critiquing literary canons and the social hierarchies they are used to legitimate.

It's complicated: Romancing the [male] modernist canon

This research project proposes a model of dialogue between the [predominantly male] modernist canon and models of feminist resistance. Employing a practice based methodology that utilises humour as a method for ironic deconstruction as well as a feminist methodology of revision, critique, and dialogic exchange; the resulting body of work disrupts and augments the modernist canon. Making intimate relationships explicit, the artworks explor collaborative and faux-llaborative processes to form a series of tentative gestures that refute notions of mastery and control. The accompanying exegesis contextualises this work by placing the research and the outputs amongst the field.

(Ap)pointing the canon Rousseau's Émile, visions of the state, and education

Jean-Jacques Rousseau’s Émile, ou de I’Education (Émile, or on Education) has been described by Rousseau scholars in latter twentieth century English-language philosophy as an educational classic. In 1995 Robert Wokler argued that together with Montesquieu, Hume, Smith, and Kant among his contemporaries, Rousseau had exerted the most profound influence on modern European intellectual history, “perhaps even surpassing anyone else of his day." For Wokler Émile is “the most significant work on education after Plato’s Republic.” Earlier in 1977, Allan Bloom questioned why Émile had not been the subject of analysis in philosophy relative to the rest of Rousseau‘s work, for “Émile is truly a great book, one that lays out for the first time and with the greatest clarity and vitality the modern way of posing the problems of psychology.” Bloom also saw Émile as “one of those rare total or synoptic books... a book comparable to Plato’s Republic, which it is meant to rival or supersede” and argued that Rousseau himself was at the source of a new tradition: “Whatever else Rousseau may have accomplished, he presented alternatives available to man more comprehensively and profoundly and articulated them in the form which has dominated discussion since his time." Even Peter Gay’s earlier commentary on John Locke and education in 1964 could not escape this central positioning of the text. The significance of Locke’s Some Thoughts on Education is weighed in relation to its impact on Rousseau‘s Émile. For Gay, the latter is “probably the most influential revolutionary tract on education that we have.”

Modern landscape

Landscape is a perennial source of conceptual material for most creative disciplines, and, arguably, everything else, but it is always irritating to landscape architects how it is seized on by architects when their own canon is boring them or their language of form is getting a bit straight. What is frustrating is that while landscape architecture attempts to come to terms with factors, systems and nuances of situations that may result in form, there is a tendency in architecture to make icons of generic 'natural' archetypes. This is not to say that landscape architecture has yet developed a strong formal language that engages with these nuances, just that the struggle with them is at its root, and this struggle with specificity in the face of generic-ness is a noble one. In the face of this, to see architecture describe a 'new' and 'innovative' interest in landscape in 'the ground' seems like a diversion: surely there must be innovation in a real, articulate and sophisticated understanding of the architectural canon.

The trouble with English

So much has been made over the crisis in English literature as field, as corpus, and as canon in recent years, that some of it undoubtedly has spilled over into English education. This has been the case in predominantly English-speaking Anglo-American and Commonwealth nations, as well as in those postcolonial states where English remains the medium of instruction and lingua franca of economic and cultural elites. Yet to attribute the pressures for change in pedagogic practice to academic paradigm shift per se would prop up the shaky axiom that English education is forever caught in some kind of perverse evolutionary time-lag, parasitic of university literary studies. I, too, believe that English education has reached a crucial moment in its history, but that this moment is contingent upon the changing demographics, cultural knowledges, and practices of economic globalization.

Cultural Science and Methodological Challenge!

The processes of digitization and deregulation have transformed the production, distribution and consumption of information and entertainment media over the past three decades. Today, researchers are confronted with profoundly different landscapes of domestic and personal media than the pioneers of qualitative audience research that came to form much of the conceptual basis of Cultural Studies first in Britain and North America and subsequently across all global regions. The process of media convergence, as a consequence of the dual forces of digitisation and deregulation, thus constitutes a central concept in the analysis of popular mass media. From the study of the internationalisation and globalisation of media content, changing regimes of media production, via the social shaping and communication technologies and conversely the impact of communication technology on social, cultural and political realities, to the emergence of transmedia storytelling, the interplay of intertextuality and genre and the formation of mediated social networks, convergence informs and shapes contemporary conceptual debates in the field of popular communication and beyond. However, media convergence challenges not only the conceptual canon of (popular) communication research, but poses profound methodological challenges. As boundaries between producers and consumers are increasingly fluent, formerly stable fields and categories of research such as industries, texts and audiences intersect and overlap, requiring combined and new research strategies. This preconference aims to offer a forum to present and discuss methodological innovations in the study of contemporary media and the analysis of the social, cultural,and political impact and challenges arising through media convergence. The preconference thus aims to focus on the following methodological questions and challenges: *New strategies of audience research responding to the increasing individualisation of popular media consumption. *Methods of data triangulation in and through the integrated study of media production, distribution and consumption. *Bridging the methodological and often associated conceptual gap between qualitative and quantitative research in the study of popular media. *The future of ethnographic audience and production research in light of blurring boundaries between media producers and consumers. *A critical re-examination of which textual configurations can be meaningfully described and studied as text. *Methodological innovations aimed at assessing the macro social, cultural and political impact of mediatization (including, but not limited to, "creative methods"). *Methodological responses to the globalisation of popular media and practicalities of international and transnational comparative research. *An exploration of new methods required in the study of media flow and intertextuality.

Must see TV : mapping an Australian mediasphere

Australian National Cinema and Australian Television Culture. These two books, magisterial accounts of Australian media cultures, are very different. The first analyses (according to its cover blurb) 'the distinct and diverse nature of Australian cinema'; the second offers 'a picture of Australian television'. The books share an author.2 Despite this, their objects of study are constituted very differently. The first is replete with examples of particular films, analyses of their representational strategies, and links to the social context of production. The second addresses almost no programs and those that are mentioned appear only in passing. There is no analysis of any particular television text. The difference between these books cannot be explained in terms of authorial fickleness: rather, it represents the different ways in which television and film have been constructed as objects of study. While film has a recognised canon and a tradition of close textual analysis, in the study of television the programs themselves have tended to vanish - as they do in Australian Television Culture. Most academic work on Australian television is not interested in its programs. Writers have tended to find other aspects more rewarding: industries, institutions, ownership, legislation, technology and production.3 Australian Television Culture is part of this tradition; and an example of how such work, done well, can be a useful contribution to understanding the medium.

Keeping House : a novel and novel companion

The creative work of this study is a novel-length work of literary fiction called Keeping House (published as Grace's Table, by University of Queensland Press, April 2014). Grace has not had twelve people at her table for a long time. Hers isn't the kind of family who share regular Sunday meals. As Grace prepares the feast, she reflects on her life, her marriage and her friendships. When the three generations of her family come together, simmering tensions from the past threaten to boil over. The one thing that no one can talk about is the one thing that no one can forget. Grace's Table is a moving and often funny novel using food as a language to explore the power of memory and the family rituals that define us. The exegetical component of this study does not adhere to traditional research pedagogies. Instead, it follows the model of what the literature describes as fictocriticism. It is the intention that the exegesis be read as a hybrid genre; one that combines creative practice and theory and blurs the boundaries between philosophy and fiction. In offering itself as an alternative to the exegetical canon it provides a model for the multiplicity of knowledge production suited to the discipline of practice-led research. The exegesis mirrors structural elements of the creative work by inviting twelve guests into the domestic space of the novel to share a meal. The guests, chosen for their diverse thinking, enable examination of the various agents of power involved in the delivery of food. Their ideas cross genders, ages and time periods; their motivations and opinions often collide. Some are more concerned with the spatial politics of where food is consumed, others with its actual preparation and consumption. Each, however, provides a series of creative reflective conversations throughout the meal which help to answer the research question: How can disempowered women take authority within their domestic space? Michel de Certeau must defend his "operational tactics" or "art of the weak" 1 as a means by which women can subvert the colonisation of their domestic space against Michel Foucault's ideas about the functions of a "disciplinary apparatus". 2 Erving Goffman argues that the success of de Certeau's "tactics" depends upon his theories of "performance" and "masquerade" 3; a claim de Certeau refutes. Doreen Massey and the author combine forces in arguing for space, time and politics to be seen as interconnected, non-static and often contested. The author calls for identity, or sense of self, to be considered a further dimension which impacts on the function of spatial models. Yu-Fi Tuan speaks of the intimacy of kitchens; Gaston Bachelard the power of daydreams; and Jean Anthelme Brillat-Savarin gives the reader a taste of the nourishing arts. Roland Barthes forces the author to reconsider her function as a writer and her understanding of the reader's relationship with a text. Fictional characters from two texts have a place at the table – Marian from The Edible Woman by Margaret Atwood 4 and Lilian from Lilian's Story by Kate Grenville. 5 Each explores how they successfully subverted expectations of their gender. The author interprets and applies elements of the conversations to support Grace's tactics in the novel as well as those related to her own creative research practice. Grace serves her guests, reflecting on what is said and how it relates to her story. Over coffee, the two come together to examine what each has learned.

Doing new things with texts : multimodality and Mao’s Last Dancer

This paper describes a senior, multimodal task developed by Shauna O’Connor and the English staff at Brigidine College after consultation in the form of media workshops with Anita Jetnikoff. Gunther Kress (2006) suggested recently that due to the affordances of media platforms such as Web 2.0, “we need to be doing new things with texts”. The year 11 unit’s Finding a Voice parent text was the memoir, Mao’s last Dancer. The summative assessment task morphed over time from an ‘identity portrait’, into ‘a multimodal, first person narrative’.

Sherlockian adolescence for the twenty-first century : Conan Doyle’s ‘six dirty little scoundrels’ and contemporary children’s literature

Young adult literature is a socialising genre that encourages young readers to take up very particular ways of relating to historical or cultural materials. Recent years have seen a boom in Sherlockian YA fiction inviting reader identification either with the Baker Street Irregulars or an adolescent Holmes. In works by Anthony Read, Andrew Lane, Tracy Mack & Michael Citrin, and Tony Lee, the Sherlock canon provides a vocabulary for neo-Victorian young adult fiction to simultaneously invoke and defer a range of competing visions of working childhood as both at-risk and autonomous; of education as both oppression and emancipation; and of literary-cultural history as both populist and elitist. Such tensions can be traced in Conan Doyle’s own constructions of working children, and in the circulation of the Sherlock stories as popular or literary fictions. Drawing both on the Sherlock canon and its revisions, this paper reads current YA fiction’s deployment of Conan Doyle’s fictional universe as a tool for negotiating contemporary anxieties of adolescence.

The SAGE Handbook of Criminological Research Methods

Conducting research into crime and criminal justice carries unique challenges. This Handbook focuses on the application of 'methods' to address the core substantive questions that currently motivate contemporary criminological research. It maps a canon of methods that are more elaborated than in most other fields of social science, and the intellectual terrain of research problems with which criminologists are routinely confronted. Drawing on exemplary studies, chapters in each section illustrate the techniques (qualitative and quantitative) that are commonly applied in empirical studies, as well as the logic of criminological enquiry. Organized into five sections, each prefaced by an editorial introduction, the Handbook covers: • Crime and Criminals • Contextualizing Crimes in Space and Time: Networks, Communities and Culture • Perceptual Dimensions of Crime • Criminal Justice Systems: Organizations and Institutions • Preventing Crime and Improving Justice Edited by leaders in the field of criminological research, and with contributions from internationally renowned experts, The SAGE Handbook of Criminological Research Methods is set to become the definitive resource for postgraduates, researchers and academics in criminology, criminal justice, policing, law, and sociology.

Paranoid prizing : mapping Australia’s Eve Pownall Award for information books, 2001-2010

Each year, the Children’s Book Council of Australia (CBCA) administers a number of Book of the Year Awards, including the Eve Pownall Award for Information Books. The books chosen by the CBCA constitute a contemporary canon of Australian children’s literature, and serve to both shape and reflect current educational policies and practices as well as young Australians’ sense of themselves and their nation. This paper reads a selection of award-winning Australian non-fiction children’s literature in the context of colonialism, curriculum, military myths, and Aboriginal perspectives on national history and identity.

Marking out the pitch : Defining the soccer fiction genre

The fiction of football, or soccer as it is commonly known in both the US and Australia, has a long and deep history. Despite this, there is still academic uncertainty as to whether it qualifies description as a distinct fictive genre. This paper seeks to address this question. It brings a genre analysis approach to the football fiction canon. Starting with definitions of what constitutes football fiction and genre, the paper goes on to distinguish and aggregate common trends, tensions and divergences and identify emerging and popular movements within football fiction. The paper will then assess football fiction’s status as a discrete genre.

Review : "Not Quite Hollywood" -- Mark Hartley

Synopsis and review of the Australian documentary Not Quite Hollywood (Mark Hartley, 2008). Not Quite Hollywood might just as accurately have been titled Not Quite Australian Cinema. The film begins from the premise that the vast range of films it covers have been unduly overlooked by critics, historians and scholars of the Australian cinema despite often enormous box office success. Much of the blame for the marginalisation of these films is placed at the feet of former Sydney Film Festival director and long-time film critic for The Australian newspaper David Stratton, well-known to Australian audiences as one half of the ‘David and Margaret’ couple who have dominated film reviewing on Australian television for many years. Stratton’s books on the Australian film revival The Last New Wave (1980) and The Avocado Plantation (1990) are said to have set the tone for later writers by reviling or simply ignoring many of the films produced in Australia in the 1970s and 1980s in favour of a canon of films and directors deemed more culturally and artistically worthy. Perhaps predictably, Not Quite Hollywood swings the other way. The back-slapping, anecdotal, revisionist history told through the many interviews with key figures from the time is only occasionally interrupted by Bob Ellis and Phillip Adams, who are only slightly uncomfortably cast as defenders of the mainstream views. The interviews and clips from the films are interspersed with the fan-boy enthusiasms of Quentin Tarantino whose geek-chic profile and encyclopaedic knowledge of exploitation and genre cinema are milked to the full. In sharp contrast, Ellis’s scorn for these filmmakers and their films is total, but it is his withering and slanderous assessments of the characters, talents and practices of producers like Antony I Ginnane and John Lamond that leavens this sometimes stodgy stew of selfcongratulation...