Place-taking and place-making in waterfront renewal, Australia

Waterfront and port zones around the world have long been subject to change, as they have variously been used for trade, waste disposal, leisure and most recently for urban re-imagining, spectacle and lifestyle housing. While such a narrative has been well explored in the urban studies literature, another element of port development – its relation to imperialism and colonisation has not. In the case of colonized countries – such as Australia, but also Canada, the United States and across Africa and Asia – waterfronts were often the entry points of imperial occupancy and key sites for colonial trade and industry. Contestation over how to value and use these sites is integral to their constitution as landscapes, as place taking becomes part of their place making. It will be argued, using case studies drawn from Adelaide and Melbourne in Australia that these sites register a range of culturally-specific imprints connected to the colonisation process. For Indigenous Australians, sea country was indistinguishable from land, but subsequent assessments have seen land demarcated from the ocean, water defiled and obliterated, slums designated but then redeveloped and the Indigenous present rendered benign through its symbolic re-presentation. This post-colonial reading will correlate the divide between land and water with those who have the imperial and class power to define this elemental boundary to add a new dimension to studies of waterfronts.

Performing the 1950s New Australian

As a tentative beginning to locating a particularly local Australian brand of a post-colonial materialist (formalist) cinema this paper contextualises the recycling and re-samplings of mainstream industrial cinema that I have recently undertaken. I aim to place this practice within emerging discourses of hybridity, crossing-borders and a Global Cinema. This research speaks to my earliest experiences of migration into Australia, of becoming Australian, unfolding in my 50s childhood and enunciates the pressures my parents’ migration placed on them. The focus of this work articulates the somewhat emptied and gutted voice of the New Australian, a 50s term for the assimilated migrant (CAB 1948) of which the Dutch were considered exemplar performers, good white New Australians, who neatly left their Dutch identity at the door but who never-the-less witnessed the ambiguities of the ideologies they implicitly embraced.

A journey through places: politics of spatial location in the stories of South Asian diaspora in Australia

In this paper, I analyse the post-colonial and post-modern experiences in the light of questions and issues concerning the spatial identities or locations that the diasporans carry. By politics of spatial location, I mean a migrant's positions within power hierarchies created through geographic, historical, political, economic and other socially stratifying factors in the new homeland. This paper is mainly concerned with the theoretical ways in which a shift is accelerated in Australia's literary landscape by the South Asian diasporic writers who produce and cover the dynamics of politics of location in different contexts. It also focuses on South Asian diaspora's widely agreed ‘ability to recreate their cultures in diverse locations’. I conclude that these stories are not just of spaces but also of a promising future for the South Asian diaspora in Australia.

Said and representations of the 'Other'

Arup Kumar Sen’s (EPW, March 13, 2004) tribute to Said’s Orientalism, stresses on the post-colonial nature of Said’s analysis. However, I would also like to add to this a question on the powerful interpretative legacy of Said’s philosophy in terms of race and representations of the ‘other’.

Catholic girls: the mother-daughter nexus

This paper examines Catholic girlhood, womanhood and the mother–daughter
relationship, and its socio-historical construction within a range of disparate
discourses. The aim of the paper is to deconstruct dominant patriarchal
constructions and images of femininity, particularly those embedded within the
doctrine of Catholicism. Moreover, the paper intends to reveal traces of maternal
connections and relations which are often hidden by more dominant discourses.
Rather than providing a historical account of Catholic girlhood, the object is to tell
a perspectived story of the local and contextual experiences of growing up and
being educated to be a ‘good Catholic woman’ in suburban Melbourne, Australia
in the 1920s and 1960s. In telling the story it is hoped that other women can
momentarily engage with this narrative of Catholic girlhood and the mother–
daughter relationship.

'O que é o "subalterno" da filosofia da religião? / What Is the “Subaltern” of the Philosophy of Religion?

The The 18th-19th centuries orientalist preoccupations with mythology and ancient perennis lacked both a critical-theoretical sensitivity to historiography anchored in radical historical consciousness and a deep sense of philosophical argumentation, as distinct from discerning mythic patterns of textual (intra-textual or internal) disputation and its interpretative ramifications from another felicitous perspective, usually theology mitigated by whatever remains ‘modern’ in the arts. Philosophy of Religion on the other hand remained heavily straddled in the rigors of logic, reason, analysis, dialectic, reason, reductio, aggressive refutation, within established frameworks drawing from the other branches of philosophy, namely, again, logic, epistemology, ontology and metaphyics. This paper presents a view 'from below' to demonstrate and argue how philosophy o religion must change in the post-colonial era and pay more attention to indigenous patterns of theological thinking and critiquing of Western enlightenment-centred philosophy of religion. It is in Portuguese though.

Partially digested

program Notes: Projecting the untrammelled intensities of human experience via an array of photo-chemical, optical and vocal means. To convey the force of feeling symptomatic of everyday life under post colonial capitalism in the space of the transplant, de Bruyn harnesses the energies of multiple 16mm projectors, hand-made filmstrips and his own, somewhat disturbing vocalised stream of consciousness. This is materialism stripped back, bleached, bitten, chewed, partially digested and possibly rejected; discarded.

Stepping out of our comfort zones: pre-service teachers' responses to a critical analysis of gender/power relations in sexuality education

This paper discusses pre-service teachers' responses to a critical analysis of gender/power relations using examples from a final assessment for an intensive elective unit called Teaching Sexuality in the Middle Years. This unit critically examines gender/ power relations, the production of difference, heteronormativity and pleasure and desire, employing a feminist post-structural framework. Despite the focus on critical thinking, reflection and interrogating structural inequalities in this unit some students were resistant or unable to engage with this approach in their assessments, although appearing to do so in workshops. We consider the broad range of sexuality education discourses mobilised by this unit to try to make sense of what looks like resistance but may be something more complex and difficult to negotiate. The paper ends with a consideration of some of the implications of this approach for practice.

Thermal modernity and architecture

This paper develops the concept of thermal modernity in order to offer a more detailed understanding of air conditioning and the historical role it has played in transforming urban and built space. An analysis oriented by the insights of Science and Technology Studies stresses how the international ascendancy of air conditioning has been contingent upon certain socio-political forces and cultural changes that occur at the local level. The productive example of Singapore - often referred to as the air-conditioned nation - is given to reveal the entanglements between indoor comfort provision, economic development and post-colonial nation-building. At a broader level, the paper points towards the importance of understanding air conditioning's impact on the spread of international modernism in analytically expansive ways, such that we can more fully appreciate how it has acted to remodel the built environment at different scales and reconfigure indoor and outdoor relationships.

Consuming postcolonial shopping malls

Through a naturalistic inquiry, we interpret shopping malls in India as post-colonial sites in which young consumers deploy the West in an attempt to transform their Third World identities. Shopping malls in former colonies represent a post-colonial hybridity that offers consumers the illusion of being Western, modern, and developed. Moreover, consumption of post-colonial retail arenas is characterised as a masquerade through which young consumers attempt to disguise or temporarily transcend their Third World realities. This interpretation helps us to offer insights into transitioning retail servicescapes of the Third World, which in turn helps to improve extant understanding of consumer identity and global consumer culture.

Heritage in times of rapid transformation: a tale of two cities - Yangon and Hanoi

Myanmar is opening up to the world after fifty years of military rule and heading into times of rapid economic, social, and political transformation. There is some indication that the changes taking place in Myanmar will parallel those faced in Vietnam twenty-five years ago when it, too, emerged from a period of isolation and opened up to global investment, tourism, and intellectual influences. One of the similarities is likely to be in the growing awareness and use of cultural heritage as a political, economic, and social asset. In all states, capital cities are pivotal in the transformative processes and governments make use of heritage as part of nation-building strategies. This chapter opens up consideration of the role of heritage in times of rapid transformation in Yangon and Hanoi – respectively the colonial and post-colonial capitals of Myanmar (until November 2005) and Vietnam. Important cultural and political differences between the two national contexts are noted and questions asked about what Yangon might learn from the Vietnamese transformation experience.

A mission divided race, culture and colonialism in Fiji’s Methodist mission

This book provides insight into the long process of decolonisation within the Methodist Overseas Missions of Australasia, a colonial institution that operated in the British colony of Fiji. The mission was a site of work for Europeans, Fijians and Indo-Fijians, but each community operated separately, as the mission was divided along ethnic lines in 1901. This book outlines the colonial concepts of race and culture, as well as antagonism over land and labour, that were used to justify this separation. Recounting the stories told by the mission’s leadership, including missionaries and ministers, to its grassroots membership, this book draws on archival and ethnographic research to reveal the emergence of ethno-nationalisms in Fiji, the legacies of which are still being managed in the post-colonial state today.

Paranormal politics and the romance of urban subcultures: youth mobility in Cassandra Clare’s and Melissa Marr’s fantasy texts

This essay examines the political and social significance of the intrusion of the supernatural into youth subcultures in two urban fantasy series: Cassandra Clare’s Mortal Instruments and Melissa Marr’s Wicked Lovely. Both series represent the idea of human youth mobility and social affiliation based on volition. The tolerant urban spaces through which their girl protagonists initially move accommodate a diversity of subcultural aesthetics. By contrast, the supernatural subcultures with which these girls become involved are fraught with conflict, and the mobility of their members is limited. Drawing on post-subcultural theory, we identify a tension between late modern and premodern social organization and political values in contemporary urban fantasy for young adults and compare how it is resolved in Clare’s and Marr’s texts.

Tenerbrosity scene 1

Tenerbrosity Scene 1, is a large format photographic artwork. The work visually explores memory through the recollection of incidents and the fragility of truth. This is situated within the practice of landscape photography in a post-colonial framework. In Scene 1 of 2, a woodland closed shot is presented for the audience. The scene was shot at night in a forest, and provides a focus on the details of trees and leaves, branches and an emerging blackness that surrounds the scene. The journey has taken a strange turn in Tenerbrosity, with suggestions of the strange and unfamiliar, like a fragment or a moment, attempting to pull everything back together, somehow..somewhere… The size of the work as a large unframed print on canvas, actively seeks a physical engagement with the audience via a centrality of vision. The artwork hangs a metre out from the wall and the work sways in the breeze, to ensure the audience is located at a site for the production of meaning and this captures a mixed reality, between artwork, vision, audience and experience. This is achieved to engage with the multi-sequential narratives surrounding traces of memories and decay visually and theoretically traversed throughout the series. This is part of the ongoing exploration of states of the in-between and forms the 1st in a series of 2 artworks. The work is exhibited in the Yarra Ranges, because the work explores the narratives of the decay of memory experienced in this location. Exhibiting here allows a cyclic dialogue with notions of place, home, longing and loss.

Tenerbrosity scene 2

Tenerbrosity Scene 2, is a large format photographic artwork. The work visually explores memory through the recollection of incidents and the fragility of truth. This is situated within the practice of landscape photography in a post-colonial framework. In Scene 2 of 2, a woodland closed shot is presented for the audience. The scene was shot at night in a forest, and provides a focus on the details of trees and leaves, branches and an emerging blackness that surrounds the scene. The journey has taken a strange turn in Tenerbrosity, with scene 2 suggesting a mirror or reflection, a duplicate of or duality in combination with Scene 1. The size of the work as a large unframed print on canvas, actively seeks a physical engagement with the audience via a centrality of vision. The artwork hangs a metre out from the wall and the work sways in the breeze, to ensure the audience is located at a site for the production of meaning and this captures a mixed reality, between artwork, vision, audience and experience. This is achieved to engage with the multi-sequential narratives surrounding traces of memories and decay visually and theoretically traversed throughout the series. This is part of the ongoing exploration of states of the in-between and forms the 2nd in a series of 2 artworks. The work is exhibited in the Yarra Ranges, because the work explores the narratives of the decay of memory experienced in this location. Exhibiting here allows a cyclic dialogue with notions of place, home, longing and loss.