Iran, war, displacement and my choice of Joan of Arc

This paper discusses the personal perceptions that have shaped my poetics in writing La Pucelle: an Epic of Joan of Arc as part of a PhD candidature in the School of Communication and Creative Arts, Deakin University.

A Bishop's wife in Torres Strait: Joan Davies 1930-49

Joan Davies’s relationship with her husband challenges the view that women performed in the merely private and subservient realm. Joan and her husband did not for long remain embedded in a domestic relationship of dominance and subordination. This Australian clergy marriage of the 1930s shows the development of a smooth harmony of interests, with the wife gaining from an experienced husband a new role and becoming his counsellor and organiser.

Students` performance and perception linked to the use of group and audience response systems (GARS) in large classes

This paper reports an investigation into the impact of Group and Audience Response Systems (GARS) on students’ learning outcomes, and perceptions of learning in large classes. Performance is compared between students who used the technology, and students who did not, based on progressive assignment and exam results. Perception is assessed based on an online survey questionnaire. The key findings of this study indicate that students who used the technology achieved, on average, 6.70% higher grades compared to those who did not. Further, use of the technology improved the overall achievement of students, on average, regardless of their perception of whether or not it would provide
an academic advantage. Key findings and future use of the technology are discussed.

Pucelle : the epic of Joan of Arc

A thesis comprising a creative component in the form of an epic about the history of Joan of Arc and an exegetical component concerned with redefining the epic genre and exploring the author's project.

Diversity and clonotypic composition of influenza-specific CD8+ TCR repertoires remain unaltered in the absence of Aire

TCR repertoire diversity is important for the protective efficacy of CD8⁺ T cells, limiting viral escape and cross-reactivity between unrelated epitopes. The exact mechanism for selection of restricted versus diverse TCR repertoires is far from clear, although one thought is that the epitopes resembling self-peptides might select a limited array of TCR due to the deletion of autoreactive TCR. The molecule Aire promotes the expression of tissue-specific Ag on thymic medullary epithelial cells and the deletion of autoreactive cells, and in the absence of Aire autoreactive cells persist. However, the contribution of Aire-dependent peptides to the selection of the Ag-specific TCR repertoire remains unknown. In this study, we dissect restricted (D^bNP₃₆₆%⁺CD8⁺) and diverse (D^bPA₂₂₄%⁺CD8⁺, K^dNP₁₄₇%⁺CD8⁺) TCR repertoires responding to three influenza-derived peptides in Aire-deficient mice on both B6 and BALB/c backgrounds. Our study shows that the number, qualitative characteristics and TCR repertoires of all influenza-specific, D^bNP₃₆₆%⁺CD8⁺, D^bPA₂₂₄%⁺CD8⁺ and K^dNP₁₄₇%⁺CD8⁺ T cells are not significantly altered in the absence of Aire. This provides the first demonstration that the selection of an Ag-specific T-cell repertoire is not significantly perturbed in the absence of Aire.

Sir Walter Scott in the western district, 1836-1851

A survey of 30 early settlement squatters in Victoria, using their letters, diaries and memoirs to compile a regional history of colonial readers. The resulting reader-responses support the emerging interpretations of Affective Reading, rather than more conventional strategies of literary criticism (New Historicism and Discourse Analysis).

Pre-choreographic elements: Scott deLahunta in conversation with Bertha Bermúdez

‘Pre-Choreographic Elements’ is a research project that evolved from the interdisciplinary project (Capturing) Intention initiated by dance company Emio Greco | PC and the Art and Development Research Group of the Amsterdam School of the Arts in 2005 (see article by Bermúdez in this issue, pp. 61–81.). ‘Pre-Choreographic Elements’ refers to the ‘pre-phase of choreography, where the content is being created, shaped and tested but not yet part of the selection and ordering process choreography implies’. In this dialogue, deLahunta talks to Bermúdez about the current state of this research.

Anne Scott Wilson : Video & photography exhibition

Solo Exhibition, Framed Photograhs and Video installations as part of the 'Head On Photography Festival'

Anne Scott Wilson : Insideout #2 exhibition

Solo Exhibition with catalogue essay by Elizabeth Day, video installation; inkjet prints; paintings

'Scott's aired a couple of things' : back to back theatre rehearse Ganesh versus the third Reich

 This chapter tracks the creation of Back to Back Theatre’s 2011 performance, Ganesh Versus the Third Reich, based on first-hand observation of the final stages in devising and refining the work. Ganesh traces two parallel narrative strands – that of an imagined journey of the Hindu God into the dark heart of Nazi Germany to reclaim the sacred Hindu symbol of the swastika, and the narrative which constantly threatens to engulf the Ganesh story – the fraught relations between a group of disabled artists and their non-disabled director as they negotiate the process of making the work.

The focus of this chapter is the development of a single scene from the performance work, Ganesh Versus the Third Reich, tracing it’s evolution through periods of creative development and rehearsal. The stark contrast between the working practices observed on the studio floor and the brutally knowing and parodic representation of power relations in rehearsal seen in the performance work testifies to the peculiar and productive self-reflexivity that generates the work of Back To Back Theatre. An account and analysis of both real and fictional rehearsals reveal how Back to Back’s creative processes position members of the ensemble “perceived to have intellectual disabilities” as entirely legitimate professional artists, while claiming the authority of ‘outsider artists’ to challenge perceptions and representations of disability.