Universiti Sains Malaysia and the engagement with sustainability and civil society within globalization

According to some commentators, the dynamics and forces of globalization have lead to a radical rethink in respect to the role of the university in contemporary society. This rethink has taken several guises. For some it involves the radical privatization of universities. For others it involves the democratization of  universities. Universities exist therefore in a globalized world that is increasingly interconnected and where space and time are increasingly narrowed and  accelerated. Within these broad phenomenons’s neo-liberal globalization entails the increasing need to produce profit and the expansion of the logic of neo-liberal hegemony in education in the guise of reframing education as a service industry. The contradictions that characterize Malaysia s engagement with globalization at a national level manifest in debates over globalization and Higher Education. The most pertinent issue in regards to this relates to the problem of sustainability. In the context of neo-liberal globalization sustainability contradicts the fundamental essence of consumption. The idea of human beings as first and foremost  consumers of things is a normative ideal at odds with the concept of a  sustainable future. At a very basic philosophical level the concept and normative project of neo-liberal capitalism and globalization is tied to a concept of individual possessiveness and consumption that radically challenges cultures that do not share such possessively individualistic precepts. Marketization in Malaysian universities must be tempered by also connecting universities to civil society in such a way that tempers both extremes of the state and market and allows a more sustainable relationship between the social frameworks within which it operates.

The female nude

This thesis argues that a sense of personal power, agency and self-worth can be regained through art practice and will cite examples of this process by artists and others who are outside the parameters of hegemony. The author's experience as a female artist is discussed within the context of historical and contemporary art practices that focus mainly on representations of the female nude, and therefore follows the notion that the personal is political.

Radical conservative experiment in New South Wales education

This study, written from the perspective of a parent activist, articulates the 'battle of ideas' or struggle 'around the truth' of public education in New South Wales since the conservative Greiner government came to power in 1988 and instituted the 'new right' agenda. Political control is theorised in the light of debates about hegemony, power, ideology and truth. Documents what happened in 'consultations' about educational reform between the Ministers and their appointees on on the one hand, and the public education lobby, on the other.

From despotism to democracy : reporting Iraq's January 2005 election in the Australian and Middle Eastern print media

It is only in recent times that the magnitude of Ancient Mesopotamia’s contribution to language, agriculture, modern thought and urbane society has begun to be understood. Most relevant to this study is the governance of Mesopotamia’s early city-states by a political system that Jacobsen has termed ‘Primitive Democracy’ where “…ultimate political power rested with a general assembly of all adult freemen” (Jacobsen, 1977; 128). Yet, despite this, the coverage of Iraq in the Western media since its creation at the end of the First World War and particularly since the first Gulf War, has tended towards Orientalism (Said, 1978) by trivialising this nation and thereby reinforcing the hegemony of the West over the ‘backward, barbaric’ East.

This paper examines this issue further by comparing and contrasting the representations of the Iraqi election of January 30, 2005 in four of Australia’s leading daily newspapers (The Australian, The Courier-Mail, The Age and The Sydney Morning Herald) with four Middle Eastern English language papers (The Daily Star from Lebanon, Andolu Agency and Dunya both based in Turkey, and the eponymous Kuwait Times). In essence, it finds that while the Australian media posits democracy as a Western concept and asserts a discourse of US hegemony, the Middle Eastern papers are more contemplative, focusing on the impact that this election could have throughout the region.

Iraq's December 2005 election : reporting democratisation in the Australian and Middle Eastern print media

Throughout the coverage of Iraq since the Iran-Iraq War of the 1980s and especially since September 11, the Western mainstream Media have eschewed key historical and contextual data about Iraq, thereby serving to reduce and homogenize the complexity of the issues surrounding the region and the conflicts therein. In so doing, the media has tended towards Orientalism (Said, 1978) by trivialising Iraq and its people and thereby reinforcing the hegemony of the West over the ‘backward, barbaric’ East. Building on earlier research (Isakhan, 2005a), this paper further examines the reductive and homogenising reporting of Iraq in the Western media by using both quantitative and qualitative assessment methods to compare and contrast the discursive practices used to construct the Iraqi election of December 15, 2005 in Australia’s leading daily newspapers with newspapers from the Middle East. In essence, it finds that while the Australian media propagates Orientalism through its one-eyed coverage, the Middle Eastern papers are more contemplative, focusing on the impact that this election could have throughout the region.

Indigenous communities and new media : questions on the global digital age

Purpose – The purpose of this paper is to look at some of the issues surrounding access to and the use of new media technologies, and questions why this is an area of study that receives a marginal focus in academic work.
Design/methodology/approach – Drawing on previous literature in the area of information and communications technology (ICT) adoption and social exclusion, this paper combines the methodological frameworks adopted by hegemony research and more general studies of new media.
Findings – The paper discusses the impacts of new media use by Indigenous communities, within the framework of discussions about a “global Digital Age”. The paper also briefly looks at the social
implications of new media adoption.
Originality/Value - It questions the assumption that adoption and use of new media is for the "good" or "benefit" of all. It will be of value to researchers of ICT adoption by Indigenous communities.

Expanding the horizons of accounting education : incorporating social and critical perspectives

This paper examines a case of accounting education change in the context of increased interest in ethical, social, and environmental accountability, presenting a reflexive case study of a new university accounting subject incorporating social and critical perspectives. Foundational pedagogical principles and key aspects of curriculum are outlined. The pedagogy draws on the integration of humanistic and formative education (principally based on Gramscian and Freirean approaches) and deep and elaborative learning. Two key aspects of curriculum and pedagogy are analysed. First, a curriculum based on a broad conception of accounting and accountability as power-laden social processes, drawing on a range of research literature. Second, the adoption of an authentic, supportive, and collegial team teaching approach. Students’ feedback relating to identified issues is presented. The paper contributes to the renewal of the social and ethical worth of accounting education, concluding that deep accounting educational change encompasses both the content and practice of classroom activity and changes in the self-consciousness of staff and students.

Today's university : mimicry versus creativity

There are significant dilemmas associated with the contemporary way in which convergence to neo-liberal ideology and norms coheres to support an economic view of ‘development’ and ‘modernization’ that seriously threatens values integrity in what Samir Amin refers to as ‘peripheral’ societies. Recognizing this issue leads us to look more deeply at the problems of convergence and divergence from neo-liberal hegemony and norms when we engage issues of institutional reform and to what extent we can map out an alternative way of engaging globalization that allows the maintenance of creative values integrity and dignity. The core argument of this paper is that the problem of creativity in higher education is related to our struggle against isomorphic mimicry. If we are to challenge or ameliorate the influences of convergent isomorphism in higher education, upon what theoretical basis can we begin our discussion?

Language, experience and professional learning (what Walter Benjamin can teach us)

This essay raises questions about how language educators might construct and further develop their epistemology of practice in and through the situations in which they work from day to day. The occasion for this paper is our work as guest editors of a special issue of L-1: Educational Studies in Language and Literature, when we invited L1 teachers to reflect on the role that language plays in their professional learning, whether it be in the form of conversations with peers, reflective writing, or by other means. We begin this essay by locating our reflections within our current policy context, namely the standards-based reforms that have come to dominate educational thinking around the world, offering a brief critique of the values and attitudes embedded within them. We then outline a philosophical framework as an alternative to the world-view reflected by such reforms, focusing specifically on the work of Walter Benjamin. In the final sections, we review our work as guest editors of the special issue of L-1, reflecting on what we have learned from the papers we have assembled for this issue, and locating our learning within the philosophical framework that we have drawn from Benjamin. We argue that it is timely for language educators to articulate the assumptions that inhere within their work, in contradistinction to the common sense embedded in standards. Thus we might begin to reconceptualise the relation between language, experience and professional learning in opposition to the hegemony of standards.

Mark Oliphant’s adventures in atomic wonderland

Australian physicist Mark Oliphant came to hold two oppositional views, both pro and anti nuclear weapons research. This, together with the dimensions of his ‘larger than life’ personality, impacted on his scientific reputation in the fall-out of Australia’s ‘McCarthyism’. Despite his bullying the Americans into funding the A-Bomb project, the atomic juggernaut unleashed on the world caused Oliphant to rethink his role as a scientist. Oliphant clashed with American hegemony and the Menzies Government’s duplication of the ‘Reds under the Bed’ paranoia in Australia in the 1950s. His outspokenness on the danger of nuclear proliferation found him out of step with the changed political climate of the Cold War. Drawing on neglected archival material and using a Brechtian theatrical mode, my play Ion Man’s Adventures in Atomic Wonderland investigates the tragic dimensions of a man who never fully understood, as Thomas Kuhn explained (The Structure of Scientific Revolutions), that scientific research is determined as much by politics and ideology as by the desire to understand the world.

RGB Wattle Park chalet

New technologies have arguably displaced the hegemony of painting within the hierarchies of contemporary art. Projectors and other digital imaging technologies in particular continue to expand the contemporary artist’s aesthetic and conceptual possibilities beyond canvas, paper, and stone. Yet painting - the practice of smearing coloured mud about - far from being superseded, simply continues to cannibalise these powerful technologies extruding them into its own analogue processes. Whether intentionally or as an by-product of this cannibalisation, painting tends to create a critical distance in which the tacit aspects of these technologies – their representational language and ‘special effects’ - are made fully visible. Of course 'easel' painting practices persist not only to critique new technologies. Rather new technologies inevitably fold back into the now souped-up vocabularies of contemporary painting, expanding the medium’s physical boundaries, formal strategies, and modes of display.

YGR Fontainebleau

New technologies have arguably displaced the hegemony of painting in the hierarchies of contemporary art. Projectors and other digital imaging tools in particular continue to expand the artist’s aesthetic and conceptual possibilities beyond canvas, paper, and stone. Yet painting, (the practice of smearing coloured mud about) far from being marginalised, simply continues to cannibalise these new technologies extruding them into its own analogue processes. Whether intentionally or as a by-product of this cannibalisation, painting creates a critical distance in which the tacit aspects of these technologies – their representational language and ‘special effects’ - are made fully visible. Of course ‘traditional’ easel painting practices persist not just to critique new technologies. Digital imaging technologies inevitably feed back into the souped-up vocabularies of contemporary painting, expanding the medium’s physical boundaries, formal strategies, and modes of display. The work for this project explores the ways in which projection and virtual geographical mapping invite new configurations for the practice of landscape painting.

YGR Warrandyte

New technologies have arguably displaced the hegemony of painting in the hierarchies of contemporary art. Projectors and other digital imaging tools in particular continue to expand the artist’s aesthetic and conceptual possibilities beyond canvas, paper, and stone. Yet painting, (the practice of smearing coloured mud about) far from being marginalised, simply continues to cannibalise these new technologies extruding them into its own analogue processes. Whether intentionally or as an by-product of this cannibalisation, painting creates a critical distance in which the tacit aspects of these technologies – their representational language and ‘special effects’ - are made visible. Of course ‘traditional’ easel painting practices persist not just to critique new technologies. Digital imaging technologies inevitably feed back into the souped-up vocabularies of contemporary painting, expanding the medium’s physical boundaries, formal strategies, and modes of display. The work for this project explores the ways in which projection and virtual geographical mapping invite new configurations for the practice of landscape painting.

Beginning again: a response to Rosen and Christie

Genre theory has been around for a long time now. The exchange between Michael Rosen and Frances Christie recently featured in Changing English is the latest in a series of exchanges between advocates of genre and their critics over the past three decades or so. Our aim in this response-essay is not to weigh up the merits of the cases made by Rosen and Christie. Rather, we want to think about how individual teachers might confront the hegemony of genre theory and the harmful effects we believe it is having on language education.

Our starting point is Lisa’s own professional practice, as she enacts it from day to day at a state secondary school in the south-eastern suburbs of Melbourne, one of the most ethnically diverse regions in Australia. We draw on Lisa’s journal to construct a sense of the time and place, as well as samples of students’ writing that she gathered in the course of a year with her Year 7 class, in order to gain a better understanding of her work as an English teacher.

How does this material compare with ‘all the genre work done over some 25–30 years’ by the genre theorists? What ‘knowledge’ will she be able to construct on the basis of the classroom observations that she made over that time? What should we make of the fact that her world is not the same as the world as genre theorists conceive it?