Career in writing : Judah Waten and the cultural politics of a literary career

This thesis examines the literary career of Judah Waten (1911-1985) in order to focus on a series of issues in Australian cultural history and theory. The concept of the career is theorised as a means of bringing together the textual and institutional dimensions of writing and being a writer in a specific cultural economy. The guiding question of the argument which re-emerges in different ways in each chapter is: in what ways was it possible to write and to be a writer in a given time and place? Waten's career as a Russian-born, Jewish, Australian nationalist, communist and realist writer across the middle years of this century is, for the purposes of the argument, at once usefully exemplary and usefully marginal in relation to the literary establishment. His texts provide the central focus for individual chapters; at the same time each chapter considers a specific historical moment and a specific set of issues for Australian cultural history, and is to this extent self-contained. Recent work in narrative theory, literary sociology and Australian literary and cultural studies is brought together to revise accepted readings of Waten's texts and career, and to address significant absences or problems in Australian cultural history. The sequence of issues shaping Waten's career in writing is argued in terms of the following conjunctions of theoretical and historical categories: proletarianism, modernity and theories of the avant-garde; the "e;migrant"e; writer and minority literatures; realism, political purpose and narrative self-situation; communism, nationalism and literary practice in the cold war; utopianism and the "e;literary witness"e; narrative of the Soviet Union; assimilationism, multicultural theory and the "e;non-Anglo-Celtic"e; writer; theories of autobiographical writing, and autobiography in Waten's career. The purpose of the thesis is not to discover a single key to Waten's writing across the oeuvre but rather to plot the specific occasions of this writing in the context of the structure of a career and the cultural institutions within which it was formed.

Second person : a point of view? The function of the second person pronoun in narrative prose fiction

This thesis looks at the functions and effects of the ‘second-person’ pronoun in narrative prose fiction, with particular focus on the fluidity and ambiguity of the mode that I will call Protean-'you.' It is a mode in which it is unclear whether the ‘you’ is a character, the narrator, a reader/narratee, or no-one in particular—or a combination of these—so that readers find ‘second-person’ utterances at once familiar and deeply strange. I regard the ‘second person’ as a special case of narrative ‘person’ that, at its most fluid, can produce an experience of reading quite unlike that of reading traditional ‘first-‘ and ‘third-person’ narrative. Essentially, this unique experience comes about because Protean-‘you’ neglects to constitute the stable modes of subjectivity that readers expect to find within narrative textuality. These stable modes of subjectivity, modelled on what I will refer to as Cartesianism’s hegemonic notion of the self, have been thoroughly formalised and naturalised within the practices of ‘first-‘ and ‘third-person’ narrative. The Protean-‘you’ form of ‘second-person’ narrative, conversely, is a mode of narrative discourse that puts readers in a place of doubt and uncertainty, its unsettling equivocations forcefully disrupting accustomed, mimetic explanations of narrative and denying us access to the foundational, authorising subject of classical Cartesian thought. Rather than founding a notion of ‘second-person’ narrative and narrative ‘person’ generally on Cartesianism's ‘self-ish’ logic of unified, privatised identity, I turn to C.S, Peirce's notion of the semiotic self and to developments in post-structuralist thought. Essentially, the conception of subjectivity underpinning my arguments is Peirce's proposition that the self is to be conceived of not as a cogito, but as a sign by which the conscious entity knows itself. It is a sign, moreover, that is constantly being re-read, reinterpreted, so that identity is never self-complete. This reconception of subjectivity is necessary because 1 will argue that the effects of Protean-‘you’ arise in some part from a tension between Cartesianism's hegemony and what philosophical pragmatism and post-structuralism glimpse as the actual condition of the human subject—the subject as dispersed and contingent rather than unified and authoritative. Most discussions of ‘second-person’ narrative conceive of the mode in terms of implicit communicative relations, in some measure instituting Cartesianism's notion of the intentionalist self at the centre of literary meaning. I contrast the paradigmatic address model that arises from this conception against a model that approaches the analysis of ‘second-person’ narrative modality in terms of a referential function, that is, in terms of the object or objects referred to deictically by the ‘second-person’ pronoun. Two principal functions of ‘second-person’ textuality are identified and discussed at length. The first is generalisation, which is rarely dissipated altogether, a situation that contributes to the ambiguities of the pronoun's reference in much ‘second-person’ fiction. The second principal function is that of address, that is, the allocutionary function. Clearly, although stories that continually refer to a ‘you’ can seem quite baffling and unnatural, not all ‘second-person’ narratives unsettle the reader. In order to make the ‘second person's’ outlandish narratives knowable and stable, we bring to bear on them in our habits of reading whatever hermeneutic frames, whatever interpretive keys, come to hand, including a large number of unexceptional forms of literary and ‘natural’ discourse that employ the ‘second-person’ pronoun. These forms include letter writing and internal dialogue (i.e., talking to one's self), the language of the courtroom, the travelogue, the maxim, and so on. In looking at the ways in which the radicalising potentials of ‘second-person’ discourse are contained or recuperated, I focus on issues of vraisemblance and mimesis. Vraisemblance can be described as the ‘system of conventions and expectations which rests on/reinforces that more general system of ‘mutual knowledge’ produced within a community for the realisation and maintenance of a whole social world’. All of the forms of the vraisemblable are already instituted within social, cultural relations, so that what vraisemblance describes is the way we fit the inscriptions we read-that is, the way in which we naturalise what we read-into those given cultural and social forms. I also look at the conventionalising and naturalising work done by notions of mimesis in explaining relations between the world, our being in it, and texts, proposing that mimesis provides a principle buttress by which the good standing of the metaphor of ‘person’ is preserved in traditional and pre-critical modes of analysis. Indeed, the critic’s recourse to ‘person’ is in some measure always an engagement with mimesis. Any discussion that maintains that mimesis is in some way productive of meaning-which this thesis in fact does-must identify mimesis as a merely conventional category within practices of reading and semiosis more generally, and at the very least remove that term from its traditional position of transparent primacy and authority. Some of the most interesting and insightful arguments about ‘second-person’ narrative propose that the ‘second person’s’ most striking effects derive from the constitution of an ‘intersubjective’ experience of reading in which the subject positions of the ‘you’-protagonist, reader-narratee and narrator are combined into a fluid and indeterminate multiple subjectivity. Notions of intersubjectivity frequently position themselves as liberating the reader from Cartesianism's fixed, authoritative modes of subjectivity, Frequently, however, they tend implicitly to reinstate Cartesianism's notion of the self at the centre of textual practice and subjectivity. I look at Daniel Gunn's novel ‘Almost You’, at length in this context, illustrating the constant overdetermination of the ‘you’ and the novel's narrating voice, and demonstrating that this overdetermination leaves the origin of the narrative discourse, the identity of the narrator, and the ontological nature of both principal protagonists utterly ambiguous. The fluidity and ambiguity of Protean-‘you’ in ‘Almost You’ is discussed in terms of ‘second-person’ intersubjectivity, but with a view to demonstrating the indebtedness by the notion of intersubjectivity to Cartesianism's hegemony of ‘person’. I then turn to a discussion of what might be a more ‘old fashioned’ if perhaps ultimately more far-reaching approach to the ‘second person’s’ often startling ambiguities. This is Keats's notion of negative capability, a capacity or quality in which a person ‘is capable of being in uncertainties, Mysteries, doubts, without any irritable reaching after fact and reason.’ I suggest that Protean-‘you’ texts will license all of the readings of ambiguity and fluidity proposed in my discussion of ‘Almost You’, but conclude that the instances of indeterminacy illustrate no more than that: the fluidity and deep ambiguity, and thus, finally, the lack of coherence, of Protean-‘you’ discourse. This has particular implications for how we are to consider readers’ experiences of narrative texts. More fundamentally, it has implications for how we are to consider readers as subjects. I suggest that unstable, ambiguous instances of ‘second-person’ narrative can tear the complex and systematic embroidery of ideological suture that unifies Cretinism’s experience or sense of subjectivity, leaving the reader in a condition of epistemological and ontological havoc. I go on to argue that much of the deeply unsettling effect of Protean-‘you’ discourse anises because its utterances explicitly gesture towards Cretinism’s notion of self. Protean-‘you’ involves a sense of address that is much more pronounced than we are accustomed to facing when reading literary narrative, alerting us to the presence of inscribed anthropomorphic subjects. At the very same time, protean-‘you’ leaves its inscribed subjects indeterminate, ambiguous. This conflict generates a tension between the anticipation of the emergence of speaking and listening selves and our inability to find them. I go on to propose that Protean-‘you’ narrative's lack of coherence is also to be understood as the condition of narrative actuality generally, but a condition that is vigorously mediated against by dominant practices of reading and writing, hocusing my discussion in this respect on the issue of narrative ‘person,’ I argue that narrative ‘person’ is constituted within texts as an apparent unity, but that it is in fact, produced as unitary solely within the practice of making sense, that is, Within our habits of reading, and so is never finally unified. I propose that this is the case for ‘first-‘ and ‘third-person’ modes no less than for the ‘second.’ Where ‘second-person’ narrative at its most radical and Protean differs from conventional ‘first-‘ and ‘third-person’ narratives is the degree to which each has been circumscribed by practices of tantalization, containment and limit, and, in particular, Cretinism’s hegemony of ‘person.’ It may be that the most significant insights ‘second-person’ narrative has to offer are to be found within its capacity to reveal to the engaged reader the underlying condition of narrative discourse, and more generally, its capacity to reveal the actual condition of the human subject-a condition in which, exactly like its textual corollary of narrative ‘person,’ the self is glimpsed as thoroughly dispersed and contingent.

Incorporating design explanation within formal object-oriented method (FOOM)

Requirements engineering is a commencing phase in the development of either software applications or information systems. It is concerned with understanding and specifying the customer's requirements of the system to be delivered. Throughout the literature, this is agreed to be one of the most crucial and, unfortunately, problematic phases in development. Despite the diversity of research directions, approaches and methods, the question of process understanding and management is still limited. Among contemporary approaches to the improvement of the current practice of Requirements Engineering, Formal Object-Oriented Method (FOOM) has been introduced as a new promising solution. The FOOM approach to requirements engineering is based on a synthesis of socio-organisational theory, the object-oriented approach, and mathematical formal specification. The entire FOOM specification process is evolutionary and involves a large volume of changes in requirements. During this process, requirements evolve through various forms of informal, semi-formal, and formal while maintaining a semantic link between these forms and, most importantly, conforming to the customer's requirements. A deep understanding of the complexity of the requirements model and its dynamics is critical in improving requirements engineering process management. This thesis investigates the benefits of documenting both the evolution of the requirements model and the rationale for that evolution. Design explanation explains and justifies the deliberations of, and decisions made during, the design activity. In this thesis, design explanation is used to describe the requirements engineering process in order to improve understandability of, and traceability within, the evolving requirements specification. The design explanation recorded during this research project is also useful in assisting the researcher in gaining insights into the creativity and opportunistic characteristics of the requirements engineering process. This thesis offers an interpretive investigation into incorporating design explanation within FOOM in order to extend and advantage the method. The researcher's interpretation and analysis of collected data highlight an insight-driven and opportunistic process rather than a strictly and systematically predefined one. In fact, the process was not smoothly evolutionary, but involved occasional 'crisis' points at which the model was reconceptualised, simplified and restructured. Therefore, contributions of the thesis lie not only in an effective incorporation of design explanation within FOOM, but also a deep understanding of the dynamic process of requirements engineering. The new understanding of the complexity of the requirements model and its dynamics suggests new directions for future research and forms a basis for a new approach to process management.

Computational simulation of gas flow and heat transfer near immersed object in fluidised bed

To improve the understanding of the heat transfer mechanism and find a reliable and simple heat-transfer model, the gas flow and heat transfer between fluidised beds and immersed object surfaces was numerically simulated based on a double particlelayer and porous medium model. The velocity field and temperature distribution of gas were discussed to analyse the heat transfer process.

In the tracks of Blinky Bill : How Sam the koala led news journalists into an Australian literary tradition

The world was captivated when footage of a badly burnt koala taking water from a Victorian Country Fire Authority volunteer was taken with a mobile phone and broadcast to the world on YouTube in February 2009. When the story of ‘Sam the Koala’ was subsequently adopted by traditional broadcast and print media, recombinant themes were used to construct her story – from heroism, patriotism, villain v victim - even romance was incorporated to entertain and create audience appeal. This paper explores how ‘Sam the Koala’ became a defining news story in the coverage of Victoria’s Black Saturday bushfires and examines the power of narrative when cross pollination occurs between new and traditional media in the production of news. It is argued that Sam’s story is evidence of journalists adopting new approaches to storytelling in a bid to retain their legitimacy as the authoritative voice of news and information in an increasingly technologically driven society.

On the simultaneous estimation of optical flow and object state

This thesis focuses on the enhancement of differential optical flow techniques. The framwork of differential optical flow has been built upon to improve object motion estimation within a video stream or image sequence. This augmentation comes in the form of a combined optical flow and object state estimation method (SEOS)

Prototyping real-time systems using Petri net and object-oriented models

The objective of the research for this thesis is to develop techniques in order to build an executable model of a real-time system. This model is to be used early in the development of the system not only to detect errors in the specification of the system but also to validate expectations of the developer as to the operation of the system. A graphical specification of a real-time system called the transformation schema was chosen to be used to build the model. Two executable models of a real-time system are described.

The roles of object-image relative motion and static depth information in the perception of heading

Investigates visual information that enables human to effectively guide their movement through the environment. This problem is fundamental to the study of human behaviour, since survival is contingent upon the acquisition of resources that lie in different locations throughout the environment.

Novel spectral descriptor for object shape

In this paper, we propose a novel descriptor for shapes. The proposed descriptor is obtained from 3D spherical harmonics. The inadequacy of 2D spherical harmonics is addressed and the method to obtain 3D spherical harmonics is described. 3D spherical harmonics requires construction of a 3D model which implicitly represents rich features of objects. Spherical harmonics are used to obtain descriptors from the 3D models. The performance of the proposed method is compared against the CSS approach which is the MPEG-7 descriptor for shape contour. MPEG-7 dataset of shape contours, namely, CE-1 is used to perform the experiments. It is shown that the proposed method is effective.