Breath : allegory, knowledge practices, youth at-risk

Youth and risk are artefacts of expertise, constructed at the intersection of a wide range of knowledges about Youth and so-called Youth issues: an intersection marked by institutionalised, scientific representations of education, family, the life course, risk, and so on. In this paper I suggest that the messiness of human experiences and existence requires knowledge practices in the social sciences that can rethink what counts as truth. These interests – which are grounded in the knowledge practices that frame the work being undertaken in a large scale, qualitative investigation of the cultural drivers shaping the alcohol practices of 14 to 24 year old Australian’s - will be addressed through a discussion of the ways in which Tim Winton’s (2008) new novel Breath can be read as an allegorical tale about the terror of being ordinary: and of the teenage years as being a time in a life in which the fear of being ordinary compels Winton’s key characters to seek out, sometimes stumble upon, and embrace that which promises to make their’s a life less ordinary. In these recollections risk is something that breathes energy and purpose into lifeworlds that are dominated by the institutionalised ordinariness of family, school, and work.

Breath and the truths of youth at risk : allegory and the social scientific imagination

The ways that we have invented for knowing young people are governmentalised. This governmentalisation produces powerful incentives to conform to the rule-bound and institutionalised knowledge practices that institutions, government departments, corporations, and NGOs understand as being capable of telling truths about young people and about risk. I argue that knowledge practices in the social sciences should trouble what counts as truth, as evidence, and the ways in which these truths can be produced.

These interests will be examined through a discussion of the ways in which Tim Winton's novel Breath can be read as an allegorical tale about the terror of being ordinary: and of the teenage years as being a time in a life in which the fear of being ordinary compels Winton's key characters to seek out, sometimes stumble upon that which promises to make their's a life less ordinary. Here risk is something that breathes energy and purpose into lifeworlds that are dominated by the institutionalised ordinariness of family, school, and work. As an allegorical tale told from the vantage point of hindsight, Breath unsettles what it is that the social sciences can tell us about youth (as becoming) and risk (as mitigated by prudential foresight).

Playful learning : Melville's artful art in Moby-Dick

It remains one of the great ironies of American literary history that Melville's Moby-Dick struggled so long for critical and popular recognition. It is a peculiar text (but, then, so are Hawthorne's novels), a romance of the whale fishery that involves such explorations of language itself, of words, metaphor, symbol, allegory and the processes (and significance) of narrative construction. This article analyses its 'peculiarities' as fundamental indicators of Melville's 'playful art' to argue the usefulness of a concept of 'play' to its appreciation. That Moby-Dick is allusive and multi-layered is well known. But for what apparent purpose and to what effect? Here, a claim is made that Melville simultaneously constructs and deconstructs meaning by demonstrating that things ('in complex subjects') never come simply or singly. The later Barthes and Derrida become part of this ship's crew and Moby-Dick is a postmodernist novel avant la lettre.

Feminist poetics : symbolism in an emblematic journey reflecting self and vision

My thesis tilled Feminist Poetics: Symbolism in an Emblematic Journey Reflecting Self and Vision, consists of thirty oil paintings on canvas, several preparatory sketches and drawings in different media on paper, and is supported and elucidated by an exegesis. The paintings on unframed canvases reveal mise en scčnes and emblems that present to the viewer a drama about links between identities, differences, relationships and vision. Images of my daughter, friends and myself fill single canvases, suites of paintings, diptyches and triptychs. The impetus behind my research derives from my recognition of the cultural means by which women's experience is excluded from a representational norm or ideal. I use time-honoured devices, such as, illusionist imagery, aspects of portraiture, complex fractured atmospheric space, paintings and drawings within paintings, mirrors and reflective surfaces, shadows and architectural devices. They structure my compositions in a way that envelops the viewer in my internal world of ideas. Some of these features function symbolically, as emblems. A small part of the imagery relies on verisimilitude, such as my hands and their shadow and my single observing eye enclosed by my glasses. What remains is a fantasy world, ‘seen’ by the image of my other eye, or ‘faction’, based on memories and texts explaining the significance of ancient Minoan symbols. In my paintings, I base the subjects of this fantasy on my memories of the Knossos Labyrinth and matristic symbols, such as the pillar, snake, blood, eye and horn. They suggest the presence of a ritual where initiates descended into the adyton (holy of holies) or sunken areas in the labyrinth. The paintings attempt a ‘rewriting’ of sacrality and gender by adopting the symbolism of death, transformation and resurrection in the adyton. The significance of my emblematic imagery is that it constructs a foundation narrative about vision and insight. I sought symbolic attributes shared by European oil painting and Minoan antiquity. Both traditions share symbolic attributes with male dying gods in Greek myths and Medusa plays a central part in this linkage. I argue that her attributes seem identical to both those of the dying gods and Minoan goddesses. In the Minoan context these symbols suggest metaphors for the female body and the mother and daughter blood line. When the symbols align with the beheaded Medusa in a patriarchal context, both her image and her attributes represent cautionary tales about female sexuality that have repercussions for aspects of vision. In Renaissance and Baroque oil painting Medusa's image served as a vehicle for an allegory that personified the triumph of reason over the senses. In the twentieth century, the vagina dentata suggests her image, a personified image of irrational emotion that some male Surrealists celebrated as a muse. She is implicated in the male gaze as a site of castration and her representation suggests a symbolic form pertaining to perspective. Medusa's image, its negative sexual and violent connotations, seemed like a keystone linking iconographic codes in European oil painting to Minoan antiquity. I fused aspects of matristic Minoan antiquity with elements of European oil paintings in the form of disguised attribute gestures, objects and architectural environments. I selected three paintings, Dürer's Setf-Portrait, 1500, Gentileschi's Self-Portrait as the Allegory of Painting, 1630 and Velazquez's Las Meniruis, 1656 as models because 1 detected echoes of Minoan symbolism in the attributes of their subjects and backgrounds. My revision of Medusa's image by connecting it to Minoan antiquity established a feminist means of representation in the largely male-dominated tradition of oil painting. These paintings also suggested painting techniques that were useful to me. Through my representations of my emblematic journey I questioned the narrow focus placed on phallic symbols when I explored how their meanings may have been formed within a matricentric culture. I retained the key symbols of the patriarchal foundation narratives about vision but removed images of violence and their link to desire and replaced it with a ritual form of symbolic death. I challenged the binary oppositional defined Self as opposed to Other by constructing a complex, fluid Self that interacts with others. A multi-directional gaze between subjects, viewers and artist replaces the male gaze. Different qualities of paint, coagulation and random flow form a blood symbolism. Many layers of paint retaining some aspects of the Gaze and Glance, fuse and separate intermittently to construct and define form. The sense of motion and fluidity constructs a form of multi-faceted selves. The supporting document, the exegesis is in two parts. In the first part, I discuss the Minoan sources of my iconography and the symbolic gender specific meanings suggested by particular symbols and their changed meanings in European oil painting, I explain how I integrate Minoan symbols into European oil paintings as a form of disguised symbolism. In the second part I explain how my alternative use of symbolism and paint alludes to a feminist poetic.

Stone soup installation

This installation work sets out a number of proposals for future collaborations with the Southwest Victoria regions communities. Through a series of drawings/ diagram that focus on particular aspects of the region: stone walls, eel weirs. The concept for the work is taken from the folktale of travelers who come to a village asking for food and when denied, they make a magical stone soup which only need a few garnishes. in the end the traveler have enough soup for the entire village. this stands as a allegory of the way artist engage with community and induce cooperative activities a through the trickery of art practices by which all can partake and produce common, mutually beneficial experience.

Censorship, resistance and transformation in modern Indonesian literature

This paper investigates the way in which Indonesian literature has reflected violations of human rights in Indonesia in the last decade of the New Order (1990-1998). The regime was authoritarian and responded harshly to any challenge which could cause trouble to national stability. Some writers, such as Seno Gumira Ajidarma, used the power of allegory to resist this oppression. The three works examined here – ‘Saksi Mata’, ‘Pelajaran Sejarah’, and ‘Misteri Kota Ninggi’ – can be considered as a form of resistance literature.