Stories from the stone age

An exploration of the revolutionary period of prehistory that began when humans abandoned the nomadic hunting and gathering existence they had known for millennia to take up a completely new way of life the decisive move to farming and herding the ration of permanent settlements and the discovery of metals setting the stage for the arrival of the worldʼs first civilisation. Stores from the Stone Age ask some intriguing questions. Why did some of our ancestors never become farmers at all? Why do some still continue hunting and gathering despite their contact with farming people and advanced technologies? How and why did our paths become uniquely shaped after emerging as a species from a single genetic family in Africa? Based on extensive research, Stories from the Stone Age takes us on a journey where we get to live alongside our ancestors as they cross between the Old and the New Worlds and into Civilisation. The series utilises detailed re-enactments and short interviews with key archaeological experts.

Choice: personal stories about abortion

Abortion has been available in Australia since the early 1970s and several generations of women have freely accessed abortion in that time. And yet it seems that talking openly about it remains one of the last taboos. The program attempts to break through that barrier and, in doing so, contribute to the ongoing debate that continues to surround this highly contentious issue. Director, Don Parham has built the narrative of The Choice around six stories with people from diverse backgrounds and various ages. These people share their most intimate thoughts about what it was like to be suddenly confronted with an unwanted or unplanned pregnancy. Their stories reveal the varied and complex circumstances in which people struggle to work through their options and make, what is, for most, a difficult choice.

Carrot tops : stories for the very young

A book review of Joan Wyatt's book Carrot tops : stories for the very young (9780434975006)

Intertextual turns in curriculum inquiry : fictions, diffractions and deconstructions

This thesis is based primarily on work published in academic refereed journals between 1994 and 2003. Taken as a whole, the thesis explores and enacts an evolving methodology for curriculum inquiry which foregrounds the generativity of fiction in reading, writing and representing curriculum problems and issues. This methodology is informed by the narrative and textual 'turns' in the humanities and social sciences - especially poststructuralist and deconstructive approaches to literary and cultural criticism - and is performed as a series of narrative experiments and 'intertextual turns'. Narrative theory suggests that we can think of all discourse as taking the form of a story, and poststructuralist theorising invites us to think of all discourse as taking the form of a text; this thesis argues that intertextual and deconstructive readings of the stories and texts that constitute curriculum work can produce new meanings and understandings. The thesis places particular emphasis on the uses of fiction and fictional modes of representation in curriculum inquiry and suggests that our purposes might sometimes be better served by (re)presenting the texts we produce as deliberate fictions rather than as 'factual' stories. The thesis also demonstrates that some modes and genres of fiction can help us to move our research efforts beyond 'reflection' (an optical metaphor for displacing an image) by producing texts that 'diffract' the normative storylines of curriculum inquiry (diffraction is an optical metaphor for transformation). The thesis begins with an introduction that situates (autobiographically and historically) the narrative experiments and intertextual turns performed in the thesis as both advancements in, and transgressions of, deliberative and critical reconceptualist curriculum theorising. Several of the chapters that follow examine textual continuities and discontinuities between the various objects and methods of curriculum inquiry and particular fictional genres (such as crime stories and science fiction) and/or particular fictional works (including Bram Stoker's Dracula, J.M. Coetzee's Disgrace, and Ursula Le Guin's The Telling). Other chapters demonstrate how intertextual and deconstructive reading strategies can inform inquiries focused on specific subject matters (with particular reference to environmental education) and illuminate contemporary issues and debates in curriculum (especially the internationalisation and globalisation of curriculum work). The thesis concludes with suggestions for further refinement of methodologies that privilege narrative and fiction in curriculum inquiry.

Teachers' stories of change : an interpretive study of behavioural studies teachers' experiences of change in Tasmanian schools and colleges 1984-1994

Major changes in teachers’ work in Tasmania occurred in the decade 1984-1994. Understanding of those changes has, to date, primarily come from the perspective of educational administrators. A different perspective on the changes comes from the stories told by teachers of Behavioural Studies, teaching grades 11 and 12 in government and non-government schools. Twenty teachers participated in taped interviews or videorecorded focus groups. Their stories were transcribed and analysed using an adapted form of grounded theory to explicate the meaning(s) of the changes for these teachers. Interpretation of the teachers' stories has also been framed by understandings drawn from narrative studies of teachers and their work. The core analytic category of the teachers’ stories of educational change is the conflict between the ideologies of teacher professionalism and economic rationalism. The major themes of the teachers’ stories are systemic and administrative change, control, histories of the Behavioural Studies subject, workload, students and stress.

Visual narratives in the children's picture story book : an investigation of the extent to which the formal structuring of a visual narrative retrieves a pastiche of past experiences and images which in turn shapes and redirects the story

Throughout this research, the notion that illustrators of children's books embark on two types of activity has been reinforced at every turn. On one hand the artist acknowledges the external world by organising images of actions and events in the contexts of place and time. This process involves bringing ideas into a physical form and demands the structuring of characters, settings, and story development. Planning and decisions are informed by imperatives that recognise the need for conventions of articulation and communication to a particular target audience. These then become a mayor priority of bookmaking and are constantly impacted on by publishers1 demands and ethical constraints. The other perspective sees the illustrator as expresser where the core of visual narratives for children celebrates the potency of imagination. Here dreams, fantasies, memories and the unconscious become the conduits to shaping sequential images. The artist is engaged not simply in visually telling a story, but rather telling facets of his or her own story. This exegesis traces the evolution of my own picture story book Eddie's Fantastic Fortnight published by Five Mile Press Publishers in tandem with the insights and reflections of five of Australia's most prominent illustrators. It examines whether the structure invested in a visual narrative liberates expressive response, ascribing to the premise that bookmaking plays an informing role to imagination. Equally it adopts the alternative position which asserts that the essence of children's books is indeed fantasy, memory and dreams. This proposition views imagination and inspiration as the primary catalyst around which illustrators build their narrative. In the often lengthy processes of bookmaking, these considerations constantly shift. I have attempted to explore and reveal these mobile and ever changing priorities, not only in my own work, but also through leading exponents in the field.