Art, pain, children: utopian and dystopian discourses in picture books

It is often assumed that picture books are intended for young children and that they are therefore mainly concerned with safe and reassuring stories, say, about home and family, friends and starting school. There are many picture books which fit within this category, but the form itself, a 32-page format which developed during the 1960s from illustrated books, has always been peculiarly open to experimentation and has enlarged its audience to include older children and adults. Unlike the novel, the picture book is not weighed down by the practices and conventions of the past; and the combination of verbal and visual texts makes for a particularly complex genre as it constructs ideas through dialogical relations between words and pictures.

Dead, done for and dangerous: teaching editing students what not to do

The most difficult aspect of teaching editing at a university tutorial is imparting to students a sensitivity to the appropriate relationship between the editor and author and, more particularly, between the editor and the author's work. Students are tempted to see themselves as critics or assessors of the author's work rather than assistants in the writing process. This paper discusses where teaching editing is difficult in a classroom, arguing that such difficulty is a symptom of both problems experienced in the editing profession and limitations of university teaching.

Narcissism

Reflects on the hidden history and banal peculiarities of the human form.

Experiential learning in practice as research: context, method, knowledge

Creative arts research is often motivated by emotional, personal and subjective concerns; it operates not only on the basis of explicit and exact knowledge, but also on that of tacit and experiential knowledge. Experience operates within in the domain of the aesthetic and knowledge produced through aesthetic experience is always contextual and situated. The continuity of artistic experience with normal processes of living is derived from an impulse to handle materials and to think and feel through their handling. The key term for understanding the relationship between experience, practice and knowledge is 'aesthetic experience', not as it is understood through traditional eighteenth century accounts, but as 'sense activity'.

In this article, I will draw on the work of John Dewey, Michael Polanyi and others to argue that creative arts practice as research is an intensification of everyday experiences from which new knowledge or knowing emerges. The ideas presented here will be illustrated with reference to case studies based on reflections, by the artists themselves, on successful research projects in dance, creative writing and visual art.

A question of genre : de-mystifying the exegesis

In this paper I wish to draw together two on-oing debates which are being played out, at least in part, in TEXT. These debates concern the nature of research for the discipline of Creative Writing and those dealing with problems associated with awarding and assessing research higher degrees - MAs, MA(Hons), MPhils and PhDs. In particular I wish to suggest that the combination of these two debates sheds considerable light on the nature and role of the research higher degree's exegesis which accompanies the creative product.

Experiential learning in practice as research : context, method, knowledge

Creative arts research is often motivated by emotional, personal and subjective concerns; it operates not only on the basis of explicit and exact knowledge, but also on that of tacit and experiential knowledge. Experience operates within in the domain of the aesthetic and knowledge produced through aesthetic experience is always contextual and situated. The continuity of artistic experience with normal processes of living is derived from an impulse to handle materials and to think and feel through their handling. The key term for understanding the relationship between experience, practice and knowledge is ‘aesthetic experience’, not as it is understood through traditional eighteenth century accounts, but as ‘sense activity’. In this article, I will draw on the work of John Dewey, Michael Polanyi and others to argue that creative arts practice as research is an intensification of everyday experiences from which new knowledge or knowing emerges. The ideas presented here will be illustrated with reference to case studies based on reflections, by the artists themselves, on successful research projects in dance, creative writing and visual art.

Teaching narrative journalism and the APN Professional Development Program

This paper extends the familiar concept of ‘journalism-as-storytelling’ into a description of some of its practical applications in a university and industry partnership resulting in a commercial training arrangement in early 2007. It describes the APN/USQ Professional Development Program for newspaper employees (with no formal journalism qualification) and exemplifies how print journalism courses may be adapted to teach narrative writing techniques. It demonstrates how foundation skills in journalistic practice may be incorporated into an adapted teaching model, suggesting that “the basics” of narrative writing should not be thought of as discrete components of journalism education. This argument is further supported by the description of a robust pedagogical approach informed by Mezirows’ transformative learning theory for a cross-disciplinary knowledge base.

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.

Welcome to the real world

The novel 'Welcome to the real world' and its exegesis 'Gaps in reality' explore the changing ideas of what it means to be a parent and the member of an extended family in Australia today. Through fiction and critical theory the thesis reflects on the evolving values within contemporary society.

Bye, bye the Appler

This thesis, which consists of a novel and an exegesis comprising two related essays on the themes of motherhood and autism, explores the importance and relevance of fiction in representing the anguish, its causes and the unknowability of a mother and her (possibly) autistic child. The problems of language discovered in this relationship were found to intersect with parallel issues in the realm of creative writing.

Masculinity and young adult fiction

The thesis 'Masculinity and young adult fiction' analyses the forces that shape the construction of masculinity within young adult texts. The core of the thesis is a creative novel 'Broken glass' which deals with the consequences of masculine mythology within the context of a small town.

Leavings : a novel and exegesis

In the novel, Billie, a painter living on the Hawkesbury River, remembers her life in Italy and England in a search for family and identity. The exegesis investigates the prophetic figure of the Sibyl from a writer's perspective, exploring notions of writing, research, creativity, authority and textual longevity.

Teaching journalism students and regional reporters how to work with cultural diversity

This paper examines the effectiveness of a set of curriculum materials developed for a Reporting Diversity and Integration Project tailored for Australian journalists and journalism students. The materials take a problem-based learning (PBL) approach to a hypothetical case study that involves Muslim netballers being banned from competition because they want to wear headscarves during play. Deferring to ideas developed by Russian psychologist, Leo Vygotsky, we proposed a few ‘scaffolding’ strategies to support student learning. The material was trialed with 30 first-year Deakin University journalism students and 30 regional journalists. The responses showed that both groups felt the materials we added to the curriculum resources, which provided information on Muslim women and the headscarf, affected how they would write the story. They also thought it was important to provide this kind of information for readers. This paper argues that providing cultural information in an accessible format for students and journalists in newsrooms should be integral to education and training materials designed to improve media coverage of cultural diversity issues.