Connected but not online: a snapshot of generation Y in Australia

Much has been written in the United States about Generation Y and it adoption of, and attitudes towards, media and digital communication technologies.  But relatively little is known about this generation's attitudes to these things in Australia.  This paper provides a snapshot of media and technology use by year 2 and 3 public relations and journalism majors at Deakin University in Australia.  It is based on a survey conducted in March 2006 at the university's Waurn Ponds campus in Victoria.  Because of the nature of the sample, it should be noted that this is a snapshot of one group of students.  It is not possible to extrapolate these findings to other groups in other states or countries around the world.  That is the role of further research.  This survey does provide a revealing snapshot of one group of students at one place in time.  All of the students studied have a mobile phone and all have fast access to the Internet at university.  Almost all have access to the Internet at home (two thirds via broadband).  But they spend far less time on the Internet compared with their counterparts in the United States.  Almost all are avid consumers of broadcast news.  They prefer the print forms of books and magazines.  Yet they appear to be indifferent to the form of the newspaper they consume - print or online are equally acceptable.

Rethinking empowerment: a postmodern reappraisal for emancipatory practice

This article is concerned with the implications of the postmodern challenge to critical theory for the practice of empowerment. How do we conceptualize empowerment from a postmodern perspective? It is argued that the modernist concept of power upon which empowerment rests, can have unintended disempowering effects. By conceptualizing power as a commodity, identities are forced into a powerful–powerless dualism which does not always do justice to diverse experiences. Thus we can sometimes contribute to dominance in spite of our liberatory intentions. It is argued that social workers need to become more aware of the self-disciplining and self-regulatory processes involved in professional work to address the social relations of power embedded in professional practices. Foucault's analysis of how marginalized knowledges are affected by dominant cultural practices suggests a redefining of empowerment as the insurrection of subjugated knowledge. The implications of this redefinition for practice is illustrated by reference to work with indigenous people in Australia.

Globalizing heritage: world heritage as a manifestation of modernism and the challenge from the periphery

Government efforts to protect monuments and sites of cultural heritage value have gone on for many centuries. The distinctive new chapter that
the 20th Century brought to cultural heritage protection was the establishment of a globalized effort over and above the work of nation states, This led to a new cultural heritage bureaucracy at the international level, the development of new sets of 'universal' standards, and a new set of places deemed to be of world heritage significance, All of this was done in the spirit of goodwill and optimism that infused the modem movement and that made possible the establishment of the so-called Bretton Woods organizations such as the United Nations as well as the parallel organizations specifically dealing with Cultural Heritage - UNESCO, ICOMOS, ICOM and ICCROM, In recent decades cultural relativists have challenged the drive towards uniformity implicit in the global activities of the modernist organizations, and various parts of the periphery have reacted against aspects of the global cultural heritage approach, The Venice Charter is no longer regarded as the single, universal way to conserve heritage places. It has been replaced or supplemented in large parts of the world by alternatives and modifications such as the Nara Document and Burra Charter. If it is no longer acceptable to provide a universal answer to the question of how do we identify and save heritage, the challenge of the 21st Century is to make the most of the complexity of standards that now exists.

Place, progress and memory : McGlashan and Everist at Geelong College

Building in an historical setting engages the problem of progress and authentic dialogue between tradition, contemporaneity and visions of a future. Since 1960, McGlashan and Everist have been the sole architects for Geelong College's Talbot Street campus, established in 1871. They have designed its master plans and all new buildings and alterations to the existing eclectic stock. As modernists with a task providing no opportunity for stylistic coherence in an age of universality, the architects were caught between protecting the College's perceived authenticity by continuing its historicist links with English collegiate architecture on the one hand, and their own modernist ethic on the other. Adopting what Frampton has called in his essay, 'Critical Regionalism', an 'arriere-garde' position (an 'identity-giving culture' rather than reversion to the past or to the 'Enlightenment myth of progress'), the architects avoid overt display of nostalgic historicism, modernist tectonics and populism. This paper asks whether and to what extent they have been capable of an authentic dialogue. Have they created an existential place in an 'architecture of resistance' as Frampton would have it, attending sufficiently to 'identity-giving culture' and the future? What is the role of implacement in the problematic of 'progress' in this context and how might it have affected a particular approach and the outcome?

The media and the development of the tourism industry during the 20th and 21st centuries: an analysis of four noteworthy cases

The aim of this paper was to explore the role of the media within the context of tourism, specifically with regard to how the media has influenced the activities and perceptions of the tourism sector. In this paper, the term ‘media’ is referred to as mass communication, specifically with regard to newspapers, magazines and broadcasting. It is important to gain a better understanding of the ways in which the media has interacted with the tourism sector, as this information can provide practitioners and academics with insights as to how the media can best be employed to benefit stakeholders of the tourism industry. Lessons can be learned from the past so that the experience gained from it can contribute to best practice in the future. In this way, strategies can be developed to minimise the vulnerability of the tourism sector to damaging or erroneous portrayals of it and its activities in the media.
The case study method was used to explore the role of the media within the context of tourism. Four case studies provided insights on this topic. The four case studies were selected based on their diversity, within the context of the tourism sector, and because they covered a considerable period of time. These variables provided the researchers with a wide-ranging perspective on the topic.
The paper firstly focuses on the 1920’s Waiters’ Strike in the resort town of San Sebastián, Spain, and discusses the role of the media in relation to this event. The second case investigates the use of the media as a destination-marketing tool and reflects on an early manipulation of this process by the German authorities in the documentary Olympia, a film produced for the summer Olympics in 1936. The third case study reports on the manner in which the media has created tensions between connoisseurs of fine food and drink and hospitality industry professionals, and its subsequent implications on service quality. The final case investigates the role of the media in reducing demand for hospitality services in Melbourne on New Year’s Eve 2000.
Through an analysis of these diverse, but important case studies, it can be seen that the media has had, and continues to have, an impact on the development of the tourism industry in both positive and negative ways. The limitations of this research are discussed and recommendations are made for further research that will assist in developing a more comprehensive typology of the media’s role in tourism.

Drawing and the subjectivity of the 'other'

Scenes of the Aboriginal family sitting around a table in the film The Fringe Dwellers present the boy quietly drawing, while other members of the family are engaged in discussion. The boy is less visible, more passive and contemplative, and his subjectivity is suggested rather than explored in the film. He repeats the same activity and the same inward concentration. My hypothesis is that the boy's subjectivity and agency are projected elsewhere, towards an imaginary field beyond the film's structure and beyond the social reality of the film's outside. What is the aboriginal boy drawing? In one scene, is a glimpse of his 'projection', he draws a house. The boy is mesmerised and pre-occupied by his drawing. We have seen the mystery of this preoccupation in images of heroic modernist architects (Le Corbusier, Frank Lloyd Wright, Oscar Niemeyer come to mind) presenting a connection between the hand of the architect and his sketch as an essential gift in the making of a 'master architect'. Through this visual association, the 'Aboriginal boy drawing' is associated with the field of 'a universal human subject' and the essay investigates how his practice might participate in new subjective positions across disciplines. Through his inscriptions, the Aboriginal boy expresses more than a wish: he articulates and inhabits another dwelling, an imaginary dwelling of a subjectivity and 'identity' beyond the black and white divide. The boy, however, is not a 'master', making his drawing a subversive and risky practice.

New social orders: reconceptualising family and community in utopian fiction

A study focusing on family and community as they are represented in seven utopian/dystopian fictions written for children and young adults by Australian, American, Canadian, and British writers is illustrated. These novels depict reflections of how various notions of new social orders have impacted on children's literature and how this affects the utopian/dystopian strain, present in children's literature.

Editorial

In the way that submissions to journals sometimes observe a strange synchronicity, this issue commences with three essays focusing on film. Relatively little work has been carried out on the ideologies of films designed specifically for children or of that large body of films regarded as family viewing, and which cater both to child viewers and also to the adults who accompany them. The three ‘film’ essays we present here apply a variety of theoretical and methodological frames to films which in the main fit within the second of these categories—family films.

Editorial

When The Who sang about teenage angst in the 60s, their rock anthem ‘Talking about my Generation’ captured the divide between youth and beyond. Today, another divide – the digital divide – speaks to the issues of access, capital, and input that follow digital technologies. Like the earlier ‘me generation’, the new millennium D(igital) generation remains enigmatic, its members variously praised for their technological wizardry, criticised for their self-absorption, and pathologised for their unsociability. The D generation does not comprise youth alone, but the young are more exposed than others to the influence of new media and digital technologies. And like previous youth generations, they are often viewed as degenerate. A cybernetic degeneration symbolising society’s fears and cultural anxieties concerning the dehumanising prospects of technology appears most vividly in arguments about youth (Green & Bigum’s ‘aliens in the classroom’ [1993] is an apt description in this respect). Such negative rhetoric presents a dystopic view that tempers the more utopian, but equally reductionist visions of new technologies.

Editorial

This issue of Papers presents four essays canvassing a diverse range of theoretical and textual interests. Beverley Pennell’s ‘Ozzie Kids Flee the Garden of Delight: Reconfigurations of Childhood in Australian Children’s Fictions’ tracks shifts in how childhood is conceptualised in contemporary Australian fiction for children, using as focus texts Joanne Horniman’s Sand Monkeys and Odo Hirsch’s trilogy of ‘Hazel Green’ books. This essay argues that cultural discourses around children and childhood have shifted from an emphasis on adulthood and childhood as distinct and separate domains of experience, and from the idealisation of childhood as it manifested in Romantic textuality, to a blurring of boundaries between children and adults. In Australian texts, Pennell sees this shift as incorporating an increasing democratisation of power relations between adults and children, and an appreciation of the diversity of child populations. This essay invites comparative studies which explore the extent to which representations of childhood in Australian texts are similar to those evident in other national literatures for children.

Editorial

In this issue of Papers we farewell Gillian Adams from our Advisory Committee. Gillian has been a referee since 2001, and she has resigned
because she plans to concentrate on ancient and medieval literature for children and thus will not be able to maintain her practice of reading
contemporary material. We thank Gillian for her interest in Papers and for her insightful reviewing of essays submitted for publication, and we wish her well for her ventures into ancient and medieval material, on which she has already published several notable essays.

In dialogue with A.D. Hope: dialogue three: politics and poetics of Australian literature

[Hope was largely responsible for the inclusion of Australian Literature as a separate subject of study in universities. Yet his role in debates on modernism in the Australian context was controversial and he remains one of the main figures who fought for a particular kind of poetry that he saw some modernist methods, experiments, and theories destroying. Dialogue Three aims to hear his side of the story as Hope has become, in many circles, the embodiment of what is euphemistically called ‘the dead white male,’ a title attributed to him long before his actual death in July 2000. Is it the case that Hope’s opposition to ‘free verse’ or his view that men and women know separate metaphysical worldviews or his poetic focus upon European philosophical and literary traditions are sexist, obsolete, or reactionary?
See Dialogue One for details of the following exchange.]