From profiles to rich tasks : the situated nature of 'authenticity' in the context of reforming curriculum and assessment practices

Outcome based education that has dominated Australian education in the 1990s is under review in the early years of the twenty first century. The available historical 'texts' produced during the first half of the 1990s, which include the national Statements and Profiles, and the state Curriculum and Standards Frameworks, provide us with documents that we can engage with not simply for 'history's sake', but with an opportunity to, in the words of the feminist author Dorothy Smith, 'displace[s] the analysis from the text as originating in writer or thinker, to the discourse itself as an ongoing intertextual process' bringing into view the social relations in which texts are embedded and which they organise' (1990, p. 161-2). Most Australian states and territories have now commenced significant situated, local curriculum renewal and reform. This renewed interest in curriculum offers insights into the character of recent assessment practices in Australia, recognising the tensions inherent in assessment practices and authentic assessment models. This paper explores, by way of an overview of the broad curriculum and assessment practices adopted in Australia over the past twenty-five years, the situated nature of 'authenticity' in the context of curriculum and assessment practices and how as teacher educators we are responding through our everyday work.

Racialized urban America and Holocaust film : negotiating the limits of representation

Sidney Lumet’s influential film The Pawnbroker (1964) is one of the earliest films to consider the encounter between Holocaust narratives and low-income, urban American racial minorities. As much concerned with contemporary ‘race relations’ in the United States as it is with the Nazis’ persecution of Europe’s Jews, the film intertwines the story of Holocaust survivor Sol Nazerman with the social tensions of 1960s America, represented in his relationship with the young Puerto Rican shop assistant Jesus Oritz. The film stylistically juxtaposes raw footage of concentration camp existence with dismal images of New York slum life. Against these backdrops, the protagonist’s climactic ‘silent scream’ emblematically merges the repressed trauma of the survivor with the filmmaker’s interest in race relations, a theme that has undergone various transformations in a number of films since. One film that contemporizes this encounter is Richard LaGravenese’s Freedom Writers (2007). As opposed to the tragic outcome of the pawnbroker’s induction into urban America, here the Holocaust is a redemptive tool that permits inner-city Black and Latino youth to contextualize their own suffering. After reading The Diary of Anne Frank, this group of ‘at-risk’ sophomores to inspired to collaborate on an ultimately successful effort to bring Miep Geis, the woman who sheltered Anne Frank, to speak at their high school. Foregrounded by the 1992 Los Angeles riots, gentiles teacher Erin Gruwell and savior Miep Geis transform the Holocaust from an amplified parallel of American slums into an event that permits the children of American postcoloniality to triumph in spite of their socio-economic circumstances. Underlining the tension between the Jewish specificity and unprecedented nature of the Holocaust, and the need to generate Holocaust narratives that intersect with intrinsically racialized American narratives, such films have significant implications for how collective memories of suffering are constructed and contested.

Flash-floods : genre subversion and the abject erotic in Dorothy Porter’s The monkey’s mask and El Dorado

When discussing her verse novels, Dorothy Porter explicitly stated that she loved to ‘write bad’. This paper will argue that it was Porter’s engagement with the verse novel form and genre subversion, most notably seen with her detective and crime thriller verse novels The monkey’s mask and El Dorado, that allows for a destabilisation of traditionally established genre conventions, which in turn provide a narrative foundation for Porter’s use of abject erotic imagery.

In both The monkey’s mask and El Dorado there are several types of ‘bodies’ to be examined: the body of the verse narrative, the bodies of the characters subjected to crime, the body of poetry that is referred to as evidence, and the abject eroticised body. Extending upon the studies of Rose Lucas (1997) and Fleur Diamond (1999), this paper contends that it is Porter’s engagement with the abject erotic, as informed by Julia Kristeva’s (1982) theory of the abject and Johanna Blakley’s (1995) discussion of the abject in relation to eroticism, that allows Porter to subvert the phallocentric limitations upheld through the crime fiction genre and offer an alternative representation for lesbian sexuality and desire.

Dorothy Gordon

Perhaps due to her later fame as the newspaper columnist and controversial radio personality known as “Andrea,” the early film career of Dorothy Gordon has been largely overlooked. Certainly her significant celebrity in Australia in the 1 960s overshadowed her comparatively lesser achievements as a silent cinema extra, actor, screenwriter, and art director. The recognition of her contribution to the Australian film industry is further diminished by the loss of her major work as star of Raymond Longford’s Hills of Hate (1926). In addition, her reputation as an entertaining raconteur fond of telling tall stories, especially about herself, leav es much room for doubt about the recorded detail of her early career in both Holly wood and Australian silent films.

Experimental study of damage evolution in cuboid stirrup-confined concrete

This paper presents an experimental study on cuboid stirrup-confined concrete specimens under uniaxial monotonic loading and cyclic loading. The effects of stirrup volume ratio, stirrup yield strength, and concrete strength on damage evolution of the stirrup-confined concrete were investigated. The experimental results showed that the strength and ductility of concrete are improved by appropriate arrangement of the stirrup confinement. Firstly, with the increase of the stirrup volume ratio, the damage evolution of concrete can be relatively restrained. Secondly, higher stirrup yield strength usually leads to larger confining pressures and slower damage evolution. In contrast, higher concrete strength leads to higher brittleness, which accelerates damage evolution. Based on the experimental data, a plastic strain expression is obtained through curve fitting, and a damage evolution equation for stirrup-confined concrete is proposed by introducing a confinement factor (C). The comparisons results demonstrated that the proposed damage evolution curve can accurately describe the experimental results.