Dora Lynnell Wilson (1883-1946) : a life in art

This thesis fills out Wilson's previously unresearched biography and argues for a reassessment of her standing as an important inter-war artist in Melbourne. The role of cultural gatekeepers in building and deconstructing artistic reputation is discussed, with examples of Wilson's art and an inaugural Catalogue of her known works.

Report of Captain A. B. Thomas, naval commandant on the Victorian Navy : from 1883 to 1886, together with regulations for permanent naval forces and naval brigade

Details the operations of the Victorian Navy for the period 1883 to 1886, including information on ships, training, stores, list of officers on the active and unattached list, list of ships including their armament, and the regulations under which the navy ran.

Spring 1883: Art Fair at the Windsor Hotel

Exhibition of three works by Patrick Pound as part of the Spring 1883 exhibition. Art works entitled: 'Spring Street' a collection of vintage postcards each showing the street the exhibition hotel is located on, the 'Collector' a collection of John Fowles' novel the 'Collector' in numerous editions, and 'The Apartment' a collage of a derelict apartment block. These works were exhibited by Hamish McKay Gallery.The brainchild of Melbourne gallerists Vasili Kaliman (Station), Geoff Newton (Neon Parc), and Vikki McInnes (Sarah Scout Presents), SPRING 1883, the exhibition took place at Melbourne’s historic Hotel Windsor from August 14-17, 2014.The fair drew on the traditions of New York’s hotel-based Gramercy Park Fair and presented the best of contemporary art practice from Australia, New Zealand, Europe, and the United States.“Providing a boutique site for dialogue and interaction between galleries, artists and collectors, the fair will create a new energy for the contemporary art market in Australia”

Legal systemology and the geopolitics of Roman law: a response to Stuart Elden’s critique of Carl Schmitt’s spatial ontology

This paper explores the production, destruction, and reproduction of the geopolitical spaces of Roman law in order to offer an analysis of Schmitt’s (selective) notion of Jus Publicum Europaeum and its relevance to the current “depoliticization” and “dejuridification” of the world. By adopting a historical and geopolitical approach that reaches the boundaries of legal systemology and political theology, the present contribution investigates the manipulative and instrumentalist use of the material object of Rome’s (universalist) competence, namely the “territory” as dominium of its political intervention, which was ultimately (and idealistically) aimed at avoiding the natural destiny of any living being: birth, maturity, and death. Attention is therefore paid to the Roman strategy of (ontological?) contamination of its mythical identity through the legal and sociopolitical administration and regulation of its geographical spaces in terms of (non-)cultural signification. Through the analysis of such concepts as “nomos,” “Großraum,” “Ortung,” and “Ordnung,” it is claimed that Schmitt voluntarily chose to identify the Jus Publicum Europaeum with the geopolitical order produced during the Age of Discovery and not with the “comprehensive” Roman spatial order. The reason for this choice may be identified in the distortive use of Rome’s social relations and political allegiances that lay at the core of its genealogical expansionism (and subsequent inevitable dissolution) since the conquest of Veius in 396 BC and the historical compromise between patrician nobility and plebeians in 367 BC.