Australia’s Lily Brayton: Performer and theatre artist

Recognition is the aim of this account of an artist who is now remembered largely for her beauty, her wide iconic fame achieved by mass distribution of her image via photography and postcards, and her professional association with a internationally prominent producer who was also her husband. It is however a historically situated study, confining itself to readings of the kind of theatrical, social and cultural work performed by Brayton's presence in a rapidly-modernising Australia during the period between Federation in 1901 and the first World War, which event marks a disjuncture in the patterns of entertainment and cultural discourse in the new nation. Pre-war Australian theatre and vaudeville managements competed vigorously to secure the most acclaimed artists, seeing it as a kind of service and duty to boost their country's prestige along with their own coffers. Meanwhile, local playwrights and producers promoted a burgeoning repertoire of Australian dramas and films which played alongside the imported products in a complex network of cultural codes and affects.

Economic Analysis of the Driot de Suite - The Artist's Resale Royalty

The paper reviews Droit de Suite legislation which will provide that living artists and the estates of recently dead artists will receive a percentage royalty on resales of their work.

Tradesperson or artist? A critical exploration of chefs' job satisfaction and turnover

The interest in experiential and embodied aspects of brand and other product usage is under-represented in tourism orientated research, which generally falls to develop a contextualised understanding of the relationships between products and consumers, and within this in particular, considerations of individuality and self, embodiment, emotion and sensation. Aiming to `reverse the causality' (Lannon and Cooper 1983:201) of consumption focused tourism research, in this paper, I draw on the tourism experiences of Audrey, a participant in a larger study to reveal how, rather than just `consuming', tourism consumers interpret the meaning and values in a wide range of products and objects, weaving individual, rich, sensory, embodied experiences which are informed by the interactions and relationships with activities and products, and by their own personalities, past experiences and aspirations. Audrey is highly conscious of her self and of elsewhereness, hers are fragile, self-indulgent, tactile experiences which offer the freedom to step out of everyday life roles into other time and situational spheres where environment, objects and sensory stimulation are paramount. [ABSTRACT FROM AUTHOR]

Rich task implementation: modernism meets postmodernism

School renewal', 'productive pedagogies', 'rich tasks', 'New Basics', 'key learning areas'--these are some of the discourses of change in selected Queensland schools. This paper will report on teaching as an insider/outsider in a school's Health and Physical Education department during a time of intense pressure for structural, curriculum and pedagogical shifts. As a teacher/researcher, I spent ten weeks in a government secondary school attempting to implement rich tasks as well as collect data using formal and informal interviews, field note, and document analyses, with a focus upon teachers', students' and administrators' sense of change processes and outcomes. It is suggested that the processes of, and barriers to, curriculum change in this context are best explained in terms of tensions between modernist and postmodernist phenomena.

Young children, adolescents and alcohol - Part II: Reputation enhancement and self-concept

The research reported builds on our earlier work (Houghton, Carroll, & Odgers, 1998) which explored young children's and adolescents' views pertaining to knowledge and awareness of alcohol and alcohol-related issues. In this second study 640 (286 male and 354 female) school students randomly selected from five primary schools and five high schools in Perth, Western Australia participated. Data were obtained using The Which Group picture booklet questionnaire which comprises five parts and utilises illustrations (drawn by a professional children's artist) to gather information about children's and adolescents' orientations towards alcohol risk social situations, reputation enhancement, self-concept, and other related issues. Of the sample, 73% of males and 70.6% of females had tried alcohol, with beer being consumed most often. Significantly more participants in higher Year levels had tried alcohol. Over 90% said they drank at a party. Multivariate analysis revealed that nine of the 11 dependent variables contributed to the significant main effect of alcohol risk group, of which three were self-concept variables and six were reputation enhancement variables. It appears that individuals with the highest levels of orientation to alcohol risk believe that they are liked by their families, are physically attractive and have greater confidence in themselves. They also have higher levels of Admiration of Alcohol Related Activities and also of prosocial activities. While striving to attain a non-conforming reputation these individuals also wish to be ideally perceived by others as conforming. Gender and Age differences are investigated.

Futures dreaming outside and on the margins of the western world

In this article, we challenge the hegemony of western science fiction, arguing that western science fiction is particular even as it claims universality. Its view remains based on ideas of the future as forward time. In contrast, in non-western science fiction the future is seen outside linear terms: as cyclical or spiral, or in terms of ancestors. In addition, western science fiction has focused on the good society as created by technological progress, while non-western science fiction and futures thinking has focused on the fantastic, on the spiritual, on the realization of eupsychia-the perfect self. However, most theorists assert that the non-west has no science fiction, ignoring Asian and Chinese science fiction history, and western science fiction continues to 'other' the non-west as well as those on the margins of the west (African-American woman, for example). Nonetheless, while most western science fiction remains trapped in binary opposites-alien/non-alien; masculine/feminine; insider/outsider-writers from the west's margins are creating texts that contradict tradition and modernity, seeking new ways to transcend difference. Given that the imagination of the future creates the reality of tomorrow, creating new science fictions is not just an issue of textual critique but of opening up possibilities for all our futures.

Criticizing groups from the inside and the outside: An identity perspective on the intergroup sensitivity effect

Research on group criticism has demonstrated that criticisms are received less defensively when made by an ingroup member than when made by an outsider (the intergroup sensitivity effect). Three experiments tested the extent to which this effect is driven by social identity concerns or by judgments of how experienced the source of the criticism is. In Experiments I and 2, Australians who criticized Australia (ingroup critics) were met with less defensiveness than were foreigners who criticized Australia (outgroup critics), regardless of the amount of experience the foreigner had with Australia. Furthermore, the effects of speaker type on evaluations were mediated by perceptions of the extent to which the criticisms were intended to be constructive but not by perceptions of experience. Finally, Experiment 3 indicated that although experience does not help outgroup critics, a lack of experience can hurt ingroup critics. Recommendations are provided as to how people can reduce defensiveness when making group criticisms.

A voice unknown: Undercurrents in Mussorgsky's 'Sunless'

Mussorgsky's Sunless cycle is aesthetically and stylistically an anomalous member of his oeuvre. Its notably effaced, pared-down, and withdrawn qualities present challenges to critical interpretation. Its uniqueness, however, renders it a crucial work for furnishing the fullest possible picture of Mussorgsky as a creative artist. The author of its texts, Golenishchev-Kutuzov (whose relationship with Mussorgsky at the time of its writing possibly extended beyond the platonic) has been identified by recent scholarship as an essential eye-witness for those to whom Stasov's populist characterization of the composer does not ring entirely true. Golenishchev-Kutuzov believed that in Sunless Mussorgsky first revealed his authentic artistic self. According to Golenishchev-Kutuvoz, Mussorgsky regarded his signal achievement in Sunless to have been the eradication of all elements other than feeling. In other words, he had thrown off the stylistic shackles imposed by the aesthetics of realism and relied entirely on intuitive harmonic invention as the sole conveyor of a purely subjective, affective meaning in the cycle. This hypothesis forms the point of departure for an investigation of select numbers of the cycle. Analysis reveals that the affective aspect is riot the only significant element operative. Alongside remnants of the realist style, there is evidence, of varying degrees of subtlety, for a knowing use of symmetrical pitch organization. Mussorgsky not only adapted the usual referential attachments of symmetrically based chromaticism-typically found in Russian operas of the second half of the nineteenth century-he also, through extremely simple but effective means, synthesized the intuitive harmonic and rational symmetrical elements of the cycle's pitch organization so that the latter emerges seamlessly out of the former. This remarkable synthesis ensures the cycle's uniformity of tone while also allowing for a reading that extends beyond the generally affective to the symbolically more specific. This symbolic level of reading offers several interpretative possibilities, one of which may refer even to the relationship of the poet and the composer. Irrespective of such potentials for interpretation, the most significant achievement in the cycle remains the synthesis of the intuitive/affective and rational/symbolic elements of its organization. Songs 1, 2, 3, and 6 of the cycle are considered in detail.

'You can criticize because you care': Identity attachment, constructiveness, and the intergroup sensitivity effect

Criticism of one's group (e.g. nation, gender, or organization) is typically received in a less defensive way when it stems from another ingroup member than when it stems from an outsider (the intergroup sensitivity effect). We present two experiments demonstrating that this effect is driven not by group membership per se, but by the extent to which critics are perceived to be psychologically invested in the group they are criticizing. In Experiment 1 (N = 117), Australian participants were exposed to criticisms of their country from either other Australians (ingroup critics) or non-Australians (outgroup critics). Furthermore, the ingroup critics were described as having either strong or weak attachment to their Australian identity. Ingroup critics were only received more positively than outgroup critics when they appeared to have a psychological investment in the group. In Experiment 2 (N = 96) we show how outgroup critics (Asian-Australians) can overcome defensiveness among Anglo-Australians by locating themselves within a shared, superordinate identity (Australian). Implications for communication within and between groups are discussed.