Light the towel : narrative and the negotiated unconscious

This investigation is a practice-based inquiry. It takes place in the context of writing and editing a novel manuscript: The earth does not get fat (Prendergast 2012). The unpublished novel manuscript is a fractured narrative, a tale told in multiple first-person voices. One of the problems the writer encountered, as the novel developed, was a problem from the perspective of logic and continuity: the stories did not fit together in a linear way. As a result, the writer felt estranged from the writing and, at the same time, strangely familiar with it. Despite having produced the narrative, the writer felt that it was ‘other’. This paper summarises the writer's methodology; it explains the writer's attachment to this fractured style of telling. This fractured style is assessed within the context of the mind's ability to produce its effects without full consciousness. The analysis of authorial intention therefore focuses upon the influence of altered states of consciousness upon narrative material. In particular, the writer uses Andreas Mavromatis’ (1987) work on hypnagogia: described as ‘the unique state of consciousness between wakefulness and sleep’ to describe the experience of the operation of the unconscious in authorial intention.

Counter-revolution, order and international politics

Every social revolution has elicited some form of counter-revolutionary response from the international system. The impulse to reverse revolutionary transformation has much to tell us about the dynamics of social revolution as well as the nature of international order. The purpose of this article is to investigate the relationship between counter-revolution and international order. First it establishes a basic conceptual framework of international counter-revolution and argues that counter-revolution should be understood as more than just an active opposition to revolution and also examines the motives of counter-revolutionaries. Second, using two interpretations of the international system – those of Henry Kissinger and Raymond Aron – the article draws several conclusions about the international tendency to attempt to overturn revolution and concludes that there exist international systemic pressures, of a non-neorealist kind, which provide the basis for international order. These pressures not only produce order but, at certain times, impel states to counter radical transformations in parts of the world which seem, at first glance, to have little consequence for the functioning of international order.

Light the towel: narrative and the negotiated unconscious

The thesis consists of a creative component: a novel in multiple first-person voices, and a theoretical component: investigating the interaction between conscious and unconscious processes, in creative writing. The concept of alterity as ‘otherness’, at the heart of the theoretical inquiry, derives its momentum from the experience of the operation of the ‘other’ in the ‘I’ in narrative composition.

How style came to matter : do we need to move beyond the politics of representation?

In response to the increasing difficulties facing museums that attempt to work within a pluralist framework as a strategy for representing cultural diversity, this essay argues for the need to move beyond a characterisation of museum work as either progressive or conservative, pluralist or consensual. Central to my arguments is an attempt to extend our understanding of possible narrative structures in museums by focusing on questions of style as much as of content. I do this by looking back at two case studies in which questions around the political intent of narrative structures were determined as much by the form of the exhibition as by its content. This focus enables are cognition that fragmentary narrative styles are not by definition associated with alack of strong narratives. Quite the contrary. An alternative approach to exhibition making might therefore lie in an approach that moves away from eclecticism but does so not by returning to progressive, chronological narratives but by privileging an understanding of 'shared experience'. I attempt to open up what I mean by this term towards the end of the essay.

Style wars: revolution in the suburbs?

Is there a revolution occurring in the Australian suburb? From a brief examination of demographic, economic, political and aesthetic changes, it appears that the suburbs of the new century are very different from those of the last. With the demise of key underpinnings of the older suburban form—the sexual division of labour, particular family forms, localised communities and bucolic private gardens—has gone an end to official support of the expansive suburb and a major shift in their politics, planning, economies and relationship to the CBD and other centres. With falling household sizes has gone a seemingly contradictory trend toward larger houses on smaller blocks of land. In the context of these many changes along with urban containment and consolidation, this paper argues that there is a convergence occurring between the design of inner, middle and outer suburban dwellings. The negativity long heaped upon the suburban bungalow by the custodians of taste is being revisited. The style wars are easing, as suburban homes increasingly resemble those appearing in densified cities across the nation.

Who wears the pants? The (multi) cultural politics of 'The sisterhood of the travelling pants'

Novels that prioritise the connectedness and strength of girls’ friendships without employing the pervasive trope of “mean girls”—those who typically divide in order to conquer other girls—are potentially empowering in their refusal to perpetuate limited and binary accounts of adolescent femininity. While Ann Brashares’ cult novel (now film), The Sisterhood of the Traveling Pants (2005a; originally 2002) appears to be representative of this textual shift, underpinning the overt call to value girls’ relationships is a deeply conservative, assimilationist narrative that relies on an acceptance of traditional patriarchal values. This article analyses the ways in which the novel appropriates “multicultural difference” to valorise, sustain and naturalise the central position and authority of patriarchy in the lives of young girls, regardless of their cultural heritage.

Memory, photography, and the politics of abuse : the ambiguous nature of photography

Critical commentary on Australian artist Bill Henson’s work including the series Untitled 1994-1995 which represented Australia at the Venice Biennale is frequently framed within the discourse of the ‘white cube’. Its contextualisation in predominantly art historical and formalist perspectives tends to operate as a mechanism that denies affective and embodied dimensions of meaning making. Much the same could be said of the work of Marian Drew who uses road kill in her photographic still life works. However, the ‘distancing’ in these works is also achieved through historical allusion, which at the same time reactivates the fl ow of emotional empathy and desire. In this paper, I ask the question: “What distinguishes the work of these two artists with media images of torture?”

My attempt to address this question will involve a narrative re-reading of selected works of Henson and Drew incorporating notions of affect, identification, memory and desire as processes which operate non-discursively, but which are inseparable from memory and lived experiences. This will permit a double exposure of the work of these artists. Within a psychoanalytical context, my re-reading will be used to extend an understanding of the now familiar press and Internet images of the torture of Iraqi prisoners.

As a metaphor for desire and ideology, photography operates within manifest and latent registers. I will argue that certain forms of photographic practice may be understood in terms of a politics of abuse — instantiating an uneven differentiation of power between actants, the winning (forcefully or otherwise) of consent or complicity, the silencing of refusal of resistance and/or the incriminating of the ‘victim’ — whilst at the same time upholding the claim of verisimilitude and aesthetic or ethical intent. Critical engagement with such practices is crucial to an understanding of the relationship between institutional discourses, trauma and abuse in contemporary society.

Career in writing : Judah Waten and the cultural politics of a literary career

This thesis examines the literary career of Judah Waten (1911-1985) in order to focus on a series of issues in Australian cultural history and theory. The concept of the career is theorised as a means of bringing together the textual and institutional dimensions of writing and being a writer in a specific cultural economy. The guiding question of the argument which re-emerges in different ways in each chapter is: in what ways was it possible to write and to be a writer in a given time and place? Waten's career as a Russian-born, Jewish, Australian nationalist, communist and realist writer across the middle years of this century is, for the purposes of the argument, at once usefully exemplary and usefully marginal in relation to the literary establishment. His texts provide the central focus for individual chapters; at the same time each chapter considers a specific historical moment and a specific set of issues for Australian cultural history, and is to this extent self-contained. Recent work in narrative theory, literary sociology and Australian literary and cultural studies is brought together to revise accepted readings of Waten's texts and career, and to address significant absences or problems in Australian cultural history. The sequence of issues shaping Waten's career in writing is argued in terms of the following conjunctions of theoretical and historical categories: proletarianism, modernity and theories of the avant-garde; the "e;migrant"e; writer and minority literatures; realism, political purpose and narrative self-situation; communism, nationalism and literary practice in the cold war; utopianism and the "e;literary witness"e; narrative of the Soviet Union; assimilationism, multicultural theory and the "e;non-Anglo-Celtic"e; writer; theories of autobiographical writing, and autobiography in Waten's career. The purpose of the thesis is not to discover a single key to Waten's writing across the oeuvre but rather to plot the specific occasions of this writing in the context of the structure of a career and the cultural institutions within which it was formed.

Visual narratives in the children's picture story book : an investigation of the extent to which the formal structuring of a visual narrative retrieves a pastiche of past experiences and images which in turn shapes and redirects the story

Throughout this research, the notion that illustrators of children's books embark on two types of activity has been reinforced at every turn. On one hand the artist acknowledges the external world by organising images of actions and events in the contexts of place and time. This process involves bringing ideas into a physical form and demands the structuring of characters, settings, and story development. Planning and decisions are informed by imperatives that recognise the need for conventions of articulation and communication to a particular target audience. These then become a mayor priority of bookmaking and are constantly impacted on by publishers1 demands and ethical constraints. The other perspective sees the illustrator as expresser where the core of visual narratives for children celebrates the potency of imagination. Here dreams, fantasies, memories and the unconscious become the conduits to shaping sequential images. The artist is engaged not simply in visually telling a story, but rather telling facets of his or her own story. This exegesis traces the evolution of my own picture story book Eddie's Fantastic Fortnight published by Five Mile Press Publishers in tandem with the insights and reflections of five of Australia's most prominent illustrators. It examines whether the structure invested in a visual narrative liberates expressive response, ascribing to the premise that bookmaking plays an informing role to imagination. Equally it adopts the alternative position which asserts that the essence of children's books is indeed fantasy, memory and dreams. This proposition views imagination and inspiration as the primary catalyst around which illustrators build their narrative. In the often lengthy processes of bookmaking, these considerations constantly shift. I have attempted to explore and reveal these mobile and ever changing priorities, not only in my own work, but also through leading exponents in the field.

'Smart' technologies in early years literacy education: a meta-narrative of paradigmatic tensions in iPad use in an Australian preparatory classroom

With the revolution that has taken place in the functionality and uptake of portable networked ‘smart’ technologies, educators are looking to see what potential applications such technologies might have for school education. This article reports on a study into the use of portable personal computing devices in the early years of schooling. Specifically, it focuses on emerging patterns of use of Apple iPads in an Australian Preparatory (first year of compulsory schooling) classroom across the first year of implementation of these devices. We draw on student and teacher interviews and classroom observation data to provide a research meta-narrative of the intentions, practices and reflections of a ‘first year out’ teacher, and to discuss points of tension found in the contested space of early years literacy education, which are highlighted when potentially transformative technologies meet institutionalized literacy education practices. Our findings suggest that the broader policy and curriculum context of early years literacy education, and institutionalized practices found in this space, are potentially at odds with teacher-held intentions to transform learning through technology use, particularly with respect to tensions between print-based traditions and new digital literacies, and those between standards-based classroom curricular and more emancipatory agendas.

Democracy: critiquing a Eurocentric history

This paper sets out an ambitious critique of contemporary political scientists, political historians and others concerned with the history of democracy. It argues that overwhelmingly the history of democracy relies on an overtly Eurocentric narrative that emphasizes the keystone moments of Western civilization. According to this narrative, democracy has a clear trajectory that can be traced from ancient experiments with participatory government in Greece and to a lesser extent in Rome, through the development of the British parliament, the American Declaration of Independence and the French Revolution, and then finally onto the triumphant march of the liberal model of democracy across the globe over the last 200 years, particularly under Western tutelage. Histories of democracy that focus exclusively on these events not only privilege Europe and its successful colonies, but also miss the broader human story of the struggle for and achievement of democracy.This presents us with a distinct challenge. For those whose heritage does not include a direct link to Greek assemblies, the American Congress or the French Revolution, the ‘standard history of democracy’ provides a distant and exclusive narrative, which limits one’s ability to embrace democracy. This paper concludes by noting that, as democracy spreads out across the world today, political scientists not only need to break down the intellectual orthodoxy that democracy has exclusively Western roots, but also to embrace a more global view of democracy as a political practise that has been present at various times and in sometimes unfamiliar ways in the complex histories and rich cultural traditions of most of the people of the earth.