Is near to . . . and is . . . distant from : exegetical manoeuvres in Janet Frame’s The Carpathians

This paper argues that Janet Frame’s 1988 novel, The Carpathians, can be read as a series of manoeuvres operating at the frontiers of exegesis and fiction. The overall effect of these manoeuvres is to interrogate the conditions of an exegetical (or literary critical) engagement with Frame’s writings. In particular, The Carpathians drills down into the metaphorics of one of the key notions of literary criticism: critical distance. Critical distance is a catch phrase of exegesis, as well as of literary criticism, because it serves to appropriately position the exegete (like the literary critic) as both near to and distant from the object of study: the literary text. However, Frame’s fictional/Scientific concept of the Gravity Star deconstructs the metaphorics of distance and, by extension, critical distance itself, by suggesting a para-doxical relationship of propinquity and remoteness. The Gravity Star is ‘both relatively close and seven billion light years away.’ Thus, Frame introduces chaos into language and logic, with the dual effect of undermining exegetical activity (which depends on the  metaphorics linked to critical distance) and of creatively multiplying the meanings of The Carpathians. In this way, Frame’s novel replaces conventional exegesis with creative exegesis. My paper also looks at the games Frame plays, in this novel and in Towards Another Summer (2007), with Roland Barthes’s notion of the ‘death of the Author.’ Like critical distance, the Author is a prop for exegesis that certain manoeuvres of writing can undermine, thus allowing the literary text to reproduce itself on an interior plane.

Postmodernist-feminism and education : a textual performance

This dissertation is performed as a self-reflexive postmodernist-feminist text that is rather like a work in progress. The relationship between feminismS and postmodernismS is investigated to reveal some of the possibilities that might result from their conjunction, whilst some critical disjunctions which may need to be bridged are recognised. Throughout this dissertation, I have explored how, as well as challenging traditional paradigms of gender, postmodernist-feminism acts to challenge traditional views of meaning, knowledge and text, and, further, how this challenge opens up possibilities for all those entrapped by the paradigms of power, whether outside or Inside. When 'reality' and 'knowledge' are revealed as constructions (not unlike fiction), new possibilities of/for postmodernist-feminist multilinearity emerge. This text practises, then, what I have nominated as three important areas of postmodernist-feminism: jouissance (pleasure and playfulness as in feminist poetics); bricolage (making the text work as a one-off); and deconstruction (an admission that the text is neither seamless nor AUTHORitative). In doing so, it emphasises the practice of what Roland Barthes calls 'writerly-reading', in which the reader is revealed as having power over the text according to the way(s) s/he enters it. In this praxis I suggest that the writer may also abdicate AUTHORity over the text by what I have called 'readerly-writing'. Taking up Gregory Ulmer's challenge to construct a 'mystory', it is my story of my journey as a woman, parent, writer mid teacher who is becoming a certified scholar. My lifelong practical interest in education thus reaches a theoretical self-understanding in this text, which is itself a praxis. Thus I introduce the practice of a non-seamless horizontality in which reflections and stories show themselves to be temporal and cultural constructions. The implications of this for school/educational experiences are central to this praxis.

Spinoza/space/speed/sublime: Problems of philosophy and politics in the post-colonial fiction of Gerald Murnane

This article takes account of the ‘spontaneity’ of the post-colonial fiction of Gerald Murnane within the ‘dominating space’ of the philosophy of Spinoza. My use of Paul Carter’s terms here is strategic. The compact of fiction and philosophy in Murnane corresponds with the relationship of spontaneity to the dominating organization of desire in Carter’s rendering of an Aboriginal hunter. Carter’s phrase “‘a figure at once spontaneous and wholly dominated by the space of his desire’” worries Ken Gelder and Jane M. Jacobs, who suggest that it subjugates the formation of Aboriginal desire (incorporating spontaneity) to impulses of imperialism. The captivating immanence of Spinoza’s philosophy in Murnane’s fiction, which I will demonstrate with various examples, puts pressure on the fiction to occupy the same space as the space of the philosophy. Here is a clue to why Murnane’s post-colonial thematics have been little explored by critics with an interest in post-colonial politics. The desire of Spinoza’s philosophy creates a spatial textuality within which the spontaneity of Murnane’s fiction, to the degree that it maximizes or fills the philosophy, is minimized in its political effects. That is to say, the fiction shifts politics into an external space of what Roland Barthes calls “resistance or condemnation”. However, the different speeds (or timings) of Murnane and Spinoza, within the one space, mitigate this resistance of the outside, at least in respect of certain circumstances of post-coloniality. It is especially productive, I suggest, to engage Carter’s representation of an Aboriginal hunter through the compact of coincidental spaces and differential speeds created by Murnane’s fiction in Spinoza’s philosophy. This produces a ceaseless activation of desire and domination, evidenced in Murnane’s short story ‘Land Deal’, and indexed by a post-Romantic sublime. What limits the value of Murnane’s fiction in most contexts of post-colonial politics, is precisely what makes it useful in the matter of Carter’s Aboriginal hunter.

Pauline Kael and the Western genre as critical displacement of self & nation: metaphorics and affects of 'taste' in American film criticism

Pauline Kael (1919–2001) is one of the most influential American film critics of the second half of the twentieth century. Many people are writing on her presently, with at least half an eye to her future cultural, political and historical importance. Certainly the full impact of Kael’s work, both within and beyond the borders of cinema (however defined), has not yet been established. This article unpacks the mechanisms and operations of ‘taste’ in Kael’s writings by using two notions drawn from Roland Barthes’ observations about another key figure of current cultural critique: Julia Kristeva. The comparison of Kael with Kristeva is not dwelt upon; instead, the article focuses on how Kael used the concepts of ‘taste’ and ‘dis-taste’ to draw her readership into a field of what might be termed ‘permanent dissent’. This article concludes by sketching out why Jewish-American Kael’s taste might endure, through the dual transition she occupies from a Cold War to a post-Cold War period, and from an era when cinema was the supreme, undisputed, screen artform, to the rise of the myriad screen technologies of the networked, Internet age.

A Jamesonian theory of theological practice: a critical response to the work of Roland Boer

In a conjuncture marked by the “resurgence of religion,” the problem of historical materialism’s relation to religious ideologies has acquired a new urgency. The work of Roland Boer, recently awarded the Deutscher Prize for his magnum opus on Marxism and Theology poses this question from a surprising perspective. While his main claim is that religious influences in Marxist theory represent a sort of theological unconscious in historical materialism, at the same time Boer also advances an original Marxist interpretation of the Abrahamic religions, especially Christianity. This line of research, which extends from his dissertation on Jameson and Jeroboam through to his most recent work on The Sacred Economy, proposes that theology is a reflective representation of the social totality. In this article, I criticise Boer’s valorisation of theology as a practical discourse that is post-ideological but non-theoretical, and conclude by indicating an alternative.

On Roland Boer’s Marxism and theology

This piece aims to provide a synoptic introduction to Boer’s claims in the five volumes of Marxism and Theology. Obviously, such an account must miss many important nuances across the host of critical readings Boer assembles, guided by his broadly Jamesonian manner of reading the texts with a view to their biblical and theological claims. Nevertheless, by aiming at a synoptic view of a truly compendious contribution to scholarship, it is hoped that the piece will provide assistance to readers, and encourage them to test their own intuitions and thoughts against the original texts. The final part of the article stands back from this ‘‘standing back’’: and asks questions concerning Boer’s treatments of biblical criticism, with and/or against theology; and concerning the role of what might be called (even despite Boer’s own protests) a kind of ‘‘secularised’’ Calvinism in Boer’s work and its interest in a post-Marxian politics of grace.

'More things in heaven and earth ...': The theological aufhebung of Roland Boer

Abstract: A great philosopher once wrote that 'some books are to be tasted, others to be swallowed, and some few to be chewed and digested'. The five volumes of Roland Boer's magisterial series Marxism and Theology may well be all three. Certainly, there is too much in the series to be digested in any one review study. Nevertheless, in what follows, we will attempt in small measure the impossible: first setting out the basic methodological and exegetical claims of the series as we see them (I), before commenting on what we take to be Boer's own theses, constructed on the basis of this remarkable, almost-Baconian 'natural history' of Marxist and post-Marxist texts on theology (II). In Part III, taking up some of the essay's opening, framing remarks, we will pose some reflections on the significance of Boer's study and its place within the widely touted 'return to religion' today, as well as the peculiar physiognomy and reasons for this 'return'.

Sonic technologies of postmodernity and the grain of the voice in Robert Lepage’s Lipsynch

This paper unpacks the relationships between the human voice and sound technologies by re-reading and re-evaluating Roland Barthes seminal essay, ‘The Grain of the Voice’ an oft cited but frequently misunderstood text, in the light of Robert Lepage’s Lipsynch (Canada, 2012). This production explicitly uses analogue and digital sound technologies to reveal the complexities and contradictions operating within the sonic economy of the performance with particular reference to the way it uses digital dubbing, miming, voice-overs and lip-reading to unsettle assumptions about the connections between the language, speech and the human voice. The paper will also unsettle any simple understanding of the voice as the locus of identity, and uncover the manner in which sonic digital technologies enable us to better apprehend ‘the body in the voice as it sings, the hand as it writes, the limb as it performs’ (Barthes, 185) while remaining sceptical about the existence of a primordial, unconstructed body.

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.

Trading in open marketplace using trust and risk

In this paper, we propose buying and selling models for agents to trade in the open multi-agent marketplace. Unlike auctions, we take into account of the fact that agents trading in such open environments has to maximize their profits and at the same time, protect themselves from fraud and deception. We attempt to address this issue by incorporating the element of trust and risk management into our proposed buying and selling model. During buying, agents learn to select their partners based on the trustworthiness of the potential partner as well as its personal risk attitude. During selling, agents learn to increase the chances of winning a deal by adjusting their profit rate, which is a measure that considers both trust and risk. The novelty of this proposal is that it ensures agents continuing to seek maximum expected utility in a dynamic trading environment. Our experimental results confirm the feasibility of our approach.

Reconciling colonial memories in Korea and Japan

The Republic of Korea and Japan share a tumultuous history, but arguably no period has caused greater trauma in bilateral relations than the twentieth century. After Japan’s four-decade long colonial occupation of Korea, the two countries took two decades just to establish diplomatic relations. Subsequent interactions have remained seriously compromised by the memory of colonialism. This article reviews the tensions behind the tempestuous bilateral relationship, focusing on the depiction of Japan’s wartime past in school textbooks. We advance three suggestions for reconciliation: viewing reconciliation not as the restoration of a harmonious pre-conflict order, but as an ongoing, incomplete process; expanding promising bilateral dialogues; and accepting that there will always be differences between Korea and Japan, most notably with regard to representations of the past. Rather than being an inevitable source of conflict, these differences should contribute to an ongoing process of negotiation between the two neighbors.

Investigation of telomere lengths measurement by quantitative real-time PCR to predict age

Currently DNA profiling methods only compare a suspect’s DNA with DNA left at the crime scene. When there is no suspect, it would be useful for the police to be able to predict what the person of interest looks like by analysing the DNA left behind in a crime scene. Determination of the age of the suspect is an important factor in creating an identikit. Human somatic cells gradually lose telomeric repeats with age. This study investigated if one could use a correlation between telomere length and age, to predict the age of an individual from their DNA. Telomere length, in buccal cells, of 167 individuals aged between 1 and 96 years old was measured using real-time quantitative PCR. Telomere length decreased with age (r = −0.185, P < 0.05) and the age of an individual could be roughly determined by the following formula: (age = relative telomere length −1.5/−0.005). The regression (R2) value between telomere length and age was not, vert, similar0.04, which is too low to be use for forensics. The causes for the presence of large variation in telomere lengths in the population were further investigated. The age prediction accuracies were low even after dividing samples into non-related Caucasians, males and females (5%, 9% and 1%, respectively). Mean telomere lengths of eight age groups representing each decade of life showed non-linear decrease in telomere length with age. There were variations in telomere lengths even among similarly aged individuals aged 26 years old (n = 10) and age 54 years old (n = 9). Therefore, telomere length measurement by real-time quantitative PCR cannot be used to predict age of a person, due to the presence of large inter-individual variations in telomere lengths.

Efficacy and safety of vertebroplasty for treatment of painful osteoporotic vertebral fractures: a randomised controlled trial [ACTRN012605000079640]

Background: Vertebroplasty is a promising but as yet unproven treatment for painful osteoporotic vertebral fractures. It involves radiographic-guided injection of various types of bone cement directly into the vertebral fracture site. Uncontrolled studies and two controlled quasi-experimental before-after studies comparing volunteers who were offered treatment to those who refused it, have suggested an early benefit including rapid pain relief and improved function. Conversely, several uncontrolled studies and one of the controlled before-after studies have also suggested that vertebroplasty may increase the risk of subsequent vertebral fractures, particularly in vertebrae adjacent to treated levels or if cement leakage into the adjacent disc has occurred. As yet, there are no completed randomised controlled trials of vertebroplasty for osteoporotic vertebral fractures. The aims of this participant and outcome assessor-blinded randomised placebo-controlled trial are to i) determine the short-term efficacy and safety (3 months) of vertebroplasty for alleviating pain and improving function for painful osteoporotic vertebral fractures; and ii) determine its medium to longer-term efficacy and safety, particularly the risk of further fracture over 2 years.

Design: A double-blind randomised controlled trial of 200 participants with one or two recent painful osteoporotic vertebral fractures. Participants will be stratified by duration of symptoms (< and ≥ 6 weeks), gender and treating radiologist and randomly allocated to either the treatment or placebo. Outcomes will be assessed at baseline, 1 week, 1, 3, 6, 12 and 24 months. Outcome measures include overall, night and rest pain on 10 cm visual analogue scales, quality of life measured by the Assessment of Quality of Life, Osteoporosis Quality of Life and EQ-5D questionnaires; participant perceived recovery on a 7-point ordinal scale ranging from 'a great deal worse' to 'a great deal better'; disability measured by the Roland-Morris Disability Questionnaire; timed 'Up and Go' test; and adverse effects. The presence of new fractures will be assessed by radiographs of the thoracic and lumbar spine performed at 12 and 24 months.

Discussion: The results of this trial will be of major international importance and findings will be immediately translatable into clinical practice.

Trial registration: Australian Clinical Trial Register # [ACTRN012605000079640]

Ethnomusicological study of music makers in an Australian military band

This dissertation reports on a study of music making in a band of the Australian Army Band Corps. The thesis of the dissertation is how the world views of the soldier-musicians of the Australian Army Band, Kapooka, are constructed in the context of their work in military music performance. In arguing this thesis, the author provides a brief history of military music in Australia, and - demonstrates how rank and military discipline intersect with music making in the lived experience of the soldier-musicians; - explores how the dichotomy between music making as a craft and music making as art is resolved in a setting where the employer regards music making as a trade, while the soldier-musicians strive to meet artistic goals; - demonstrates how successful music making and successful soldiering are both forms of work which depend upon effective collective action; - demonstrates that while military bands play the widest repertoire of musical styles of any Western music ensemble, the styles converge toward a homogenous, eclectic, military band performance style: and - explores how military music, which may have limited intrinsic interest, in certain ceremonial settings may link with other visual and auditory symbol systems to generate profound meaning both for the soldier-musicians themselves and for their audiences. The study examines the processes by which the world views of soldier-musicians are shaped by the institutional context in which they work, as they participate in a music tradition which has been a powerful agent in the shaping of Australian patriotic traditions. The study uses a naturalistic participant observation methodology. The author worked as an honorary guest civilian member of the band’s trombone section to collect data in the form of fieldnotes and interviews. Data analysis and interpretation was made according to the tenets of grounded theory. Evidence in the form of first hand accounts from the perspective of the researcher and from the soldier-musicians themselves is employed to generate both emic and etic understandings. An understanding of a music culture from the participant's point of view is a central concern of the study.