Australasia

Public relations (PR) in Australia has strong governmental roots from the 19th century, and it expanded along this route until the end of World War II when influences from the  US and then globalization led to expansion in practice, PR organizations and education. The vast distances in Australia between colonies and later, States of the federation, reinforced state and national governments’ roles in applying public information-style communication to reach the widespread population. This development was not in imitation of British models but of the need to inform convince and persuade the widely spread population.' Some scholars trace the development of New Zealand's public relations industry to the wartime and post-war efforts of military personnel. However, the use of strategies and tactics that are now recognized as part of a PR 'toolkit' occurred much earlier. They can be traced back to indigenous Maori culture and to the promotional techniques used in the mid-19th century to attract settlers to the new colony. Post-war. Public relations has developed along Anglo- merican lines with an emphasis on media relations and corporate communications.  

'Unconscionable mystification'? : rooms, spaces and the prose poem

Since the 19th century, when a number of French writers—most conspicuously Charles Baudelaire and Arthur Rimbaud—introduced what we may think of as the modern prose poem into European literature, prose poetry has been part of a significant debate about the contemporary usefulness of existing literary modes and genres. While early French practitioners partly used the form to subvert and problematise traditional poetic prosody, once this aim was achieved prose poetry remained a significant contemporary literary form, achieving wide acceptance. In the context of contemporary developments and manifestations of prose poetry, this article discusses John Frow’s comments that texts might “‘perform’ a genre, or modify it in ‘using’ it, or only partially realise a generic form, or … be composed of a mix of different genres” (2015: 11). It also discusses the authors’ Rooms and Spaces project, which explores—and exemplifies through its component of creative practice—ways in which prose poetry may be considered “poetic”; how the forms of prose poetry may be room-like and condensed; or open and highly suggestive (sometimes both at once); how prose poetry is intertextual and polysemous; and how prose poetry frequently conveys a sense of completeness despite tending to be fragmentary. Prose poetry may generically problematic but the authors suggest that this may make it an exemplary post-postmodern form of writing; and that reading prose poetry may provide significant insights into understanding how unstable genre boundaries really are.

Having sex with capitalism: parodic in-citation in the prose poem sequence

In his Spleen de Paris or Petits poèmes en prose [Little Prose Poems] Baudelaire (1869) forges an instrument of supple and radical potential, declaring the prose poem a ‘dangerous’ hybrid, which he wills elastic enough and staccato enough, to register the flows, jolts and distractions for the flâneur in the increasingly industrialised Paris. Here,by the mid-19th century, plate glass and gas lighting enable conspicuous consumption. Itis most strikingly the romantic-erotic and the relation between poet and his delicious, execrable wife, his inescapable, pitiless Muse (Baudelaire 1989: 177] that provides the nexus for radical questioning of the whole socio-political economy. Departing from Johnson’s Défigurations (1979) and using Irigaray’s (1984) hypothesis that the economy of sexual difference is the founding trope for the discursive and thus political economy of differences – of culture, ethnicity and class – this article first looks at theway Baudelaire activates the heterosexual relation as a site for social critique. It examines how Perec continues Baudelaire’s prose poetry experiment, offering, pre-May 1968, a revolutionary critique of desire by exploiting formal constraints to deconstruct still further the consumer subject of capitalism. It then investigates Brossard’s ‘hologrammatic’ challenge (1991) to patriarchal regimes of representation and the forms of desire they outlaw. Finally, it suggests how new work by Walwicz (2015)develops and displaces this radical inheritance.

He's not there: velvet goldmine and the spectral Bowie persona

In broad terms, this paper examines what I call Todd Haynes' 'hauntological' approach to the celebrity biopic. More specifically, it focuses on Velvet Goldmine (1998) and argues that Haynes represents Bowie's Ziggy Stardust persona as a series of phantoms in the Derridean sense. That is, figures that are both absent and present, material and immaterial— figures that affirm that no identity can ever be quite complete since the markers of identity are always enmeshed in a network of differences that can be continually re-coded. Haynes' original script contained several Bowie songs, which he was forced to replace when Bowie refused to give him permission to use the music (Bowie claimed he intended to make his own film about his Ziggy Stardust period). Undeterred, Haynes produced a movie that made no direct reference to Bowie by name, yet recoded Bowie's multiple personas and characters in a parallel cinematic world. Haynes' film invites the spectator to re-think Identity in terms of 'contamination' and 'inauthenticity'. He also establishes a genealogical connection between Oscar Wilde (one of the film's many spectres) and Bowie by making several allusions to the parallels between 19th century aestheticism and Glam Rock. In short, I argue that Haynes' film facilitates a critique of the idea that Bowie's shifting identity is merely a question of aesthetic choice, or an expression of any kind of cultural logic. Rather, I argue that the figure of the Derridean phantom offers a new way to read Velvet Goldmine, and to identify the cultural work performed by Bowie's Ziggy Stardust persona.

Exposure mediates transitions between bare and vegetated states in temperate mangrove ecosystems

The resilience of mangroves is dependent on their regeneration capacity. Patchy mid-19th century clearing dramatically affected this capacity, creating stable vegetated and unvegetated states in a fragmented temperate mangrove ecosystem. Mechanisms of mediation between states were tested by monitoring the survival and growth of planted mangrove seedlings and propagules on formerly forested bare mudflats and inside patches of existing forest. Survival (1 to 76%) and growth (-0.83 to 10.45 mm mo-1 increase in plant height) of seedlings was affected by (1) differing levels of exposure found at varying proximities to remnant forest and (2) differing inundation regimes both within and between sites that were randomly selected from locations that varied in aspect relative to prevailing winds. Increases in hydrodynamic energy within and between sites corresponded to a decrease in survival that was much more pronounced at locations that were exposed to prevailing winds. Growth rates were also generally lower at sites in exposed locations, but inundation regime was a more important determinant within sites, where growth was reduced at lower heights on the shore. Results suggest that stability of the bare mudflat state (caused by historical clearance of the mangrove forest) is dependent on level of exposure to hydrodynamic energy, and a return to a forested state is more likely where this exposure is lower. These results have implications for planning and implementing mangrove restoration projects and illustrate the role that physical factors can play in determining the resilience of disturbed temperate mangrove ecosystems.