Rhizome / MyZone : the production of subjectivity in dance

[No Abstract]

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.

An investigation into the origins of the British romantic tradition in art, its subsequent thematic legacy and its influence upon my own work

This study is comprised of a written exegesis and a folio of paintings and drawings. It explores the view that Romanicism in Britain survived its historical period and continues to influence contemporary British artists. Concentrates upon the prominence given by the Romantics to symbols, most commonly located in nature, which express spiritual impulses and ideas related to human destiny and feelings.

Identity as radical alterity : critiques of Eurocentrism, coloniality and subjectivity in contemporary Australian and Latin American poetry.

This article presents a comparative analysis of Australian and Latin American contemporary poetry which is informed by theories of Eurocentrism derived from contemporary Latin American critical thought.

‘Else-where’ : essays in art, architecture, and cultural production 2002-2011

“Else-where”: Essays in Art, Architecture, and Cultural Production 2002–2011 is a synoptic survey of the representational values given to art, architecture, and cultural production at the closing of the twentieth century and the opening of the twenty-first. Written primarily as a critique of what is suppressed in architecture and what is disclosed in art, the essays are informed by the passage out of post-structuralism and its disciplinary analogues toward the Real (denoted over the course of the studies as the “Real-Irreal,” or “Else-where”). The essays collected in “Else-where” cross various disciplines (inclusive of landscape architecture, architecture, and visual art) to develop a nuanced critique of a renascent formal regard and elective exit from nihilism in art and architecture that is also an invocation of the highest coordinates given to the arts – that is, formal ontology as speculative intelligence itself, or the return of the universal as utopian thought “here-and-now.”

David Bowie: dancing with madness and proselytising the socio-political in art and life

A longstanding, successful and frequently controversial career spanning more than four decades establishes David Bowie as charged with individual agency. The notion of ‘agency’ here refers particularly to the ‘ability of people, individually and collectively to influence their own lives and the society in which they live’ (Germov and Poole, 2007: 7). That Bowie has influenced many lives is undeniable to his fans. He has long demonstrated an avid curiosity for the enduring patterns of social life which is reflected in his art. Bowie’s opus contains the elements of ideological narratives around sexual (mis)adventure, expressivity, and; resistance to ‘normative’ behaviour. He requisitions his audiences, through frequently indirect lyrics and images, to critically question sanity, identity and essentially what it means to be ‘us’ and why we are here. Here, in this context, ‘dancing with madness’ assumes an intimate relationship, even if brief, where ideas and emotions come passionately together for the purpose of creative expression much like the intertwining and energetic performance of the partner dance Tango. As such, ‘dancing’ is argued here to be an appropriate descriptor for how Bowie has engaged with creative cultural forms but not meant to be self-conscious nor indicate superficiality or ignorance. The idea of madness for its part is a theme in many of his compositions, for example the original album cover for The Man Who Sold the World (1971)  depicts an asylum and includes the song ‘All The Madmen’ and Aladdin Sane (1973)—a lad insane--are but two examples. This paper argues that Bowie’s frequently astute contemplations, manifest through his art over a period now spanning more than forty years, continues to draw fans of like mind to his work with the result that he has a legitimate claim to influence and affect.

Citizenship for the future - educating the adolescent in 1960s Australia

This paper explores the planning of adolescent subjectivity in Australian education during the 1960s and 70s in relation to citizenship formation. Citizenship encompasses questions about social values and subjectivity - the kind of people adolescents will become. Debates in Australian education during this time convey ambivalence towards modernity and change, with adolescents both exhorted to abide by existing social values, and to embrace the future of changed values. The paper first maps some of the dominant concerns about managing adolescents and their (desirable or lacking) capacities, set against a claimed collapse in social and personal values and the responsibility of schools to prepare adolescents for future citizenship. Second, key ideas that underpinned these debates - notably the future, role and socialization, and forms of reasoning derived from social psychology – are examined from a genealogical or Foucauldian perspective. Finally, the paper, as a part of an attempt to understand the history of the present, briefly raises some questions in relation to contemporary initiatives and concerns about citizenship and social values education.

Infanticide and anti-imperialism in Pasolini's Medea

Euripides’ Medea has been reinvented several times in the twentieth century. While some modern Medeas reiterate conservative tropes of the monstrous feminine or the evil of the cultural Other, the infanticidal figure of Medea is also open to more politically progressive usages. Indeed, several modern versions of Medea are overt in their politicisation of the problems of colonialism and/or institutionalised gender dissymmetry: the Medeas of Pier Paolo Pasolini, Heiner Müller, Christa Wolf, and more recently the indigenous Australian version by Wesley Enoch, for example, enact resistance to the interpretative closures that construct Medea as a caricature of the evil Other. But what lends the Euripidean narrative to such politicisations? And what role does the infanticide have in modern politicisations of the narrative?

To answer these questions, the paper examines Pier Paolo Pasolini’s 1969 film Medea from his Trilogy of Life series. Focussing on Pasolini’s representation of Medea’s signature act, maternal infanticide, the paper outlines the complex ways in which this motif is integral to the film’s contestation of imperialist ideologies, values and practices, and its affiliations with Marxist and feminist criticism. Drawing upon theories of subjectivity and postcolonial discourse, the paper argues that the infanticide motif is politically enabling precisely because it exalts the politics of the ways in which subjectivity is defined. That is, the apparent blessing of the sun god over Medea’s murderous act speaks to the ways in which subjectivity is formed by the symbolic order: a point recalling Medea’s earlier articulation that society systematically demonises and oppresses foreigners and women. The films representation of infanticide, then, can be read in the light of the narratives politicisation of the discourses that define subjectivity and the hegemonic practices that subjugate and dominate the subaltern. So, while Medea’s infanticide is sometimes dismissed as a demonising representation of the cultural and sexual Other, it can also be read as the key to understanding Medea’s political radicality, drawing attention to the discourses of rights-bearing subjectivity in both its ancient and modern incarnations.

Pasolini’s project of anti-colonialism, however, is fraught with certain paradoxes. To politicise the predicament of imperial subjugation, Pasolini’s Medea places the burden of authenticity on the cultural and sexual Other, on Medea - and on Medea’s culture of origin, Colchis. In this way, Pasolini’s Medea mobilises the problematic discourses of ‘First World’ modernity that define the ‘Third World’ as the carrier of the symbolic burden of authenticity as well as of ‘the sacred.’ Pasolini’s Medea thus offers an overly schematic and abstract representation of the relationship between coloniser and colonised. However, Pasolini’s Medea is not simply or finally a reification of these discourses; rather it strategically mobilises them – just as it strategically mobilises the monstrous act of infanticide – to make its political point.

Kant, or the crack in the universal : Slavoj Zizek's politicising the transcendental turn

This paper examines Slavoj Zizek’s reading of Immanuel Kant. Its undergirding argument is that Zizek’s work as a whole- up to and including his politically radical statements, which have become more and more prominent since 1997- is conceivable as a project in the rereading of the Kantian ‘Copernican Revolution’ via Lacanian psychoanalysis. Critics now agree that Zizek’s orienting aim is to write a philosophy of politics, as more recent texts, like The Ticklish Subject make clear. (Kay, 2003; Sharpe, 2004; Dean 2006) If Zizek’s philosophy is ultimately a philosophy of politics, however, Zizek’s political philosophy is grounded in a wider post or ‘neo’-Kantian philosophy of subjectivity.
The essay has three major parts. Part I gives Zizek’s reading of Kant on the subject of apperception. Part II recounts Zizek’s pivotal reading of Kant on the sublime, which he ties closely to the problematics of the ‘Transcendental Dialectic’ of the first Critique. Part III then examines Zizek’s conception of subjectivity in terms of the faculties (and especially the faculty of imagination) that Kant argues are involved in the transcendental constitution of objects in the first half of The Critique of Pure Reason.
In the Conclusion, the force of the paper’s subtitle—‘Politicising the Transcendental Turn’—will become manifest. I lay out three principles of Zizek’s ‘neoKantian/Hegelian’ ontology. These also make clear how his philosophy of political agency is grounded in this apparently suprapolitical or solely philosophical reading of Kant.

Revelationary art of Joyce Lorraine Sullivan : an artist's experience of her inner dimensions, an inner journey of discovery

[No Abstract]