Kristevan aesthetics, performativity and the production of situated knowledge

In this paper, I will draw on the work of Julia Kristeva to argue that performativity can be understood in terms of a materialist ontology that underpins creative production and the knowing subject. To understand this, we need to examine the relationship between individual history, biology and culture and processes through which creative practice attributes value by translating psychic representations of affect and drive into verbal and visual signs. Kristeva's aesthetics does not plunge us into an obscure metaphysics, but provides a model for articulating material-discursive practices that emerge from corporeal responses. Enactments, predicated by desire give rise to agency and judgement allowing practice to test theory through the production of situated knowledge.

Kristeva's psychoanalytical position reveals the necessity of linking material and individual practices of art with the social through language and interpretation. Material-discursive practices can only acquire meaning through their relationship between the speaking subject and addressees. Art itself provides us with the means for discovering the knowledge it produces. In and through material practice, the work of art is capable of transferring back to the artist as viewer, structures of meaning that have hitherto been hidden. In practice, this involves a constant movement between the biological self (the self as 'other') and the social self, the ego. In artistic research, it can be said that the first addressee is the artist her/himself, as social other. Constant movement between the two in creative practice can thus be understood as a performative production of knowledge.

Giorgio de Chirico and the idea of enigmatic imagery : the innocence of becoming

My paintings emerge from within a context best explained by reference to Nietzsche's perspectivism. That is an intellectual attitude that deprivileges rationalism and accommodates scepticism or unknowing as an acceptable starting point From this standpoint art/language can be seen as being in a state of becoming rather than as representing a state of being. This thesis aims to demonstrate, not only by a philosophical encounter with Giorgio de Chirico's work: ie. his use of myth, his Nietzschean perspectivism and his enigmatic interpretation of figuration, that the most helpful context and understanding of my work can be realied. De Chirico's art, like Nietzsche's philosophy seeks in its processes to explore the possible unity of Dionysian aesthetic force with the Apollonian. Neither Nietzsche nor de Chirico considered within a post-Socratic world that this unity was realizable. Nevertheless they both share in their respective art forms a need to represent the relentless struggle to enact the disjunction of the two aesthetic forces in a secular world. The artist’s enigmatic imagery is characterized by a consideration of appearance and reality and it is for this reason that the work was selected as a model for investigating the nature of enigma. His use of seemingly straightforward, ordinary images suggests a sense of accessibility, yet at the same time they are irreducible to knowing and my own image-making was greatly expanded by investigating these concerns. I am not arguing that de Chirico was influenced by Nietzsche but instead that Nietzsche's philosophical point of view and his use of poetic language to express these views lay in discovering the qualities and substance of the Dionysian spirit As well as working within a Nietzschean world-view set out in The Birth of Tragedy, de Chirico has also drawn on the Italian unification, specifically the Risorgimento and the lineage of these political and mythical figures were endemic to his art and they interface the with his use of the Apollonian-Dionysian disunity first explored by Nietzsche. The focus of the exegesis will be to present the poetic and philosophical use made of the latter in de Chirico’s art It is anticipated that this philosophical encounter with the aesthetic, social and political world of de Chirico will, not only assist in interpreting his life's work anew, but will also provide a context in which my paintings of enigma might be interpreted.

Mermaids and sirens as myth fragments in contemporary literature

This thesis examines three works: Margaret Atwood's The Robber Bride and Alias Grace, and Angela Carter's Nights at the Circus. All three novels feature female characters that contain elements or myth fragments of mermaids and sirens. The thesis asserts that the images of the mermaid and siren have undergone a gradual process of change, from literal mythical figures, to metaphorical images, and then to figures or myth fragments that reference the original mythical figures. The persistence of these female half-human images points to an underlying rationale that is independent of historical and cultural factors. Using feminist psychoanalytic theoretical frameworks, the thesis identifies the existence of the siren/mermaid myth fragments that are used as a means to construct the category of the 'bad' woman. It then identifies the function that these references serve in the narrative and in the broader context of both Victorian and contemporary societies. The thesis postulates the origin of the mermaid and siren myths as stemming from the ambivalent relationship that the male infant forms with the mother as he develops an identity as an individual. Finally, the thesis discusses the manner in which Atwood and Carter build on this foundation to deconstruct the binary oppositions that disadvantage women and to expand the category of female.

Liberty in key works of John Locke and John Stuart Mill

The ideas of liberty presented in the important works of John Locke and John Stuart Mill, The Second Treatise of Government (1689) and On Liberty (1859), are often viewed as belonging to the same conceptual tradition, that of English liberalism. This thesis is an articulation of the diversity between the theories of liberty expressed by Locke and Mill in the Second Treatise and On liberty. \ am aiming to provide a corrective to the tendency to ignore or to gloss over very significant differences between the two men. The work concentrates on the philosophical aspects of each theory of liberty, arguing that they differ in four respects. These are; definitions of liberty; justifications of liberty; how much liberty and for whom they recommend it, and finally, who they believe threatens liberty and how this threat is to be curbed. It is the purpose of this thesis to show that in terms of these areas Locke and Mill are pursuing different ends. I conclude that Locke and Mill present strikingly different theories of liberty and cannot be thought of as belonging to the one conceptual tradition in terms of the definition, the justification, the prescription and the threat to liberty. Ultimately, I question the value of including Locke and Mill in the one conceptual tradition of liberty solely on the basis that they argue ‘freedom from.’

Water's edge and the water's edge writing

Thesis consists of a novel and an exegesis with bibliography. There is no title page or abstract provided by the author.

Inspiration and mimesis in Plato's criticism of poetry

Plato criticizes poetry in several of his dialogues, beginning with Apology, his first work, and ending with Laws, his last. In these dialogues, his criticism of poetry can be divided into two streams: poetry is criticized for either being divinely inspired, or because it is mimetic or imitative of reality. However, of the dialogues which criticize poetry in these ways, it is not until Laws that Plato mentions both inspiration and mimesis together, and then it is only in a few sentences. Furthermore, nowhere in the dialogues does Plato discuss their relationship. This situation has a parallel in the secondary literature. While much work has been done on inspiration or mimesis in Plato’s criticism of poetry, very little work exists which discusses the connection between them. This study examines Plato’s treatment - in the six relevant dialogues - of these two poetic elements, inspiration and mimesis, and shows that a relationship exists between them. Both can be seen to relate to two important Socratic-Platonic concerns: the care of the soul and the welfare of the state. These concerns represent a synthesis of Socratic moral philosophy with Platonic political beliefs. In the ‘inspiration’ dialogues, Ion, Apology, Meno, Phaedrus and Laws, poetic inspiration can affect the Socratic exhortation which considers the care of the individual soul. Further, as we are told in Apology, Crito and Gorgias, it is the good man, the virtuous man - the one who cares for his soul - who also cares for the welfare of the state. Therefore, in its effect on the individual soul, poetic inspiration can also indirectly affect the state. In the ‘mimesis’ dialogues, Republic and Laws, this same exhortation, on the care of the soul, is posed, but it is has now been rendered into a more Platonic form - as either the principle of specialization - the ‘one man, one job’ creed of Republic, which advances the harmony between the three elements of the soul, or as the concord between reason and emotion in Laws. While in Republic, mimesis can damage the tripartite soul's delicate balance, in Laws, mimesis in poetry is used to promote the concord. Further, in both these dialogues, poetic mimesis can affect the welfare of the state. In Republic, Socrates notes that states arc but a product of the individuals of which they are composed Therefore, by affecting the harmony of the individual soul, mimesis can then undermine the harmony of the state, and an imperfect political system, such as a timarchy, an oligarchy, a democracy, or a tyranny, can result. However, in Laws, when it is harnessed by the philosophical lawgivers, mimesis can assist in the concord between the rulers and the ruled, thus serving the welfare of the state. Inspiration and mimesis can thus be seen to be related in their effect on the education of both the individual, in the care of the soul, and the state, in its welfare. Plato's criticism of poetry, therefore, which is centred on these two features, addresses common Platonic concerns: in education, politics, ethics, epistemology and psychology.

Assessing cultural and linquistic appropriateness of the Rose Angina questionnaire in three ethnic groups

Introduction. Meeting the needs of migrant groups in Europe requires cross-culturally valid questionnaires, a substantial challenge to researchers. The Rose Angina Questionnaire (RAQ) is an important measure of coronary heart disease prevalence. It consists of seven items that collectively yield a diagnosis of angina. It has been shown to perform inconsistently across some ethnic groups in Britain. This study aimed to assess the need for modifying the RAQ for cross-culturally valid use in the three main ethnic groups in Scotland.

Methods. Interviews were carried out with Pakistani Punjabi speakers (n=26), Chinese Cantonese speakers (n=29) and European-origin English speakers (n=25). Bilingual project workers interviewed participants and provided translation and commentary to the English-speaking researcher. Participants were asked about general and cardiovascular health beliefs and behaviours, and about attitudes to pain and chest pain. They were also asked to comment on their understanding of an existing version of the RAQ in their language.

Results. No dominant themes in the cultural construction of health, pain or cardiovascular knowledge emerged that may significantly influence RAQ response between language groups. Problems were encountered with the Punjabi and Cantonese translations of the RAQ. For example, the translation for “chest” was interpreted by some Pakistani and fewer Chinese women to mean “breasts”. “Walking uphill” was translated in Chinese as “walking the hill”, without stipulation of the direction, so that some Cantonese speakers interpreted the question as meaning walking downhill. In addition, many Chinese interpreted RAQ items to be referring to breathlessness rather than chest pain due to ambiguous wording.

Conclusion. Existing Punjabi and Cantonese versions of the RAQ should be modified before being used in multi-ethnic surveys. Current versions are unlikely to be yielding data that is comparable across groups. Other language versions also require similar investigation to study the cardiovascular health of Europe’s migrant groups.

Population monitoring of language and cognitive development in Australia : the Australian early development index

The Australian Early Development Index (AEDI) is a population measure of child development. The AEDI measures Language and Cognitive Development, Social Competence, Emotional Maturity, Physical Health and Wellbeing, and Communication Skills and General Knowledge. In Australia these data are collected by teachers for children in their first full time year of schooling. The aim of this paper is to aid people's understanding and interpretation of population measures such as the AEDI. With a greater awareness of the merits and complexities of population data clinicians and allied health professionals can play a vital role in aiding communities and policy makers to interpret and act upon the data in an intelligent way. This paper is primarily descriptive providing background information on the development and use of the instrument utilizing one of the 5 developmental domains (Language and Cognitive Development) as an example. The results show a complex relationship between children residing in differing socio-economic regions, children with English as their primary or secondary language and children who are able or not able to effectively communicate in English.

Women as consumers of a male domain : Australian Rules Football and its female fans

Looked at from a global perspective, sports are mostly male preserves. Those played by women seldom attract a large spectatorship and the numerous at-ground viewers of men’s play mostly are men. An exception is Australian Rules Football (AFL), a male sport that since the 19th century has drawn a considerable female following, with women accounting for about half of the ‘live’ crowds. From single-person and focus group interviews conducted with female AFL fans, we examine how women voice their support for a sport characterised by hyper-masculinity in players’ on-field and off-field behaviours, in the organisation and control of the sport, and in the ‘natural’ authority credited to men’s voices in commentary and interpretation of it. Given their marginalisation in AFL and in sports generally, what do women fans gain from their avid support of AFL and how does this influence the construction of their identities as women? We examine these issues from a perspective supporting the idea of multiple, fragmented identities.

Teaching like an artist : the pedagogic identities and practices of artists in schools

This article reports findings from an ethnographic study of the arts curriculum and pedagogy in a British primary school. The policy context for the study is the school's involvement in promoting creative partnerships between teachers and artists. The pedagogies of three different artist-led projects are analysed, using a Bernsteinian framework, and are characterised in relation to notions of 'competence' and 'performance' pedagogies. These characterisations are then used to consider the impact of the artists' pedagogies on teachers in the school, and the extent to which the different pedagogies promote inclusion. Broad conclusions are drawn about the relative difficulty of adopting competence pedagogies in the current educational culture of British schools; more specific conclusions are drawn about the importance of time, text, discourse and interpretation in arts pedagogies.

Rope dancer : a novel and accompanying essay

The thesis combines a novel and a critical essay. The novel tells of a group of people in Melbourne, some of whom write, party, have sex, take drugs, go climbing and die. The essay discusses four aspects of the novel: climbing fiction, Nietzsche in literature, place and fiction and character as hero.

Nowhere : novel and exegesis

The thesis is a work of original creative fiction, in which an agoraphobic writer liberates himself from his prison using his writing. The novel employs metafictional techniques and a bifocal narrative. The exegesis explores creativity and originality in modern literature, using both the thesis and contemporary criticism.

Error analysis in translation : a case study of the Turkish-English language pair

Examines translation errors made by Turkish stream students from a three-year, full-time interpreting and translating degree course. Attempts to find out how students progress towards the curriculum objectives and how well they translate as their studies progress. The significance of errors in translation and teaching translation skills are also discussed.

The work of death in Brontë's and Dickinson's poetry

Death determines distinctly different, almost inverse, responses and outcomes for Emily Dickinson and Emily Brontë. Death is an imaginative poetic solution for Dickinson, demonstrating her belief that art is the only way to transcend death. But death is the ultimate solution for Brontë, for whom freedom of the imagination leads to mystical unity and continuity.