Metaphoric use of the mountain symbol in painting

This paper consists of two parts. The focus of Part I is the symbol of the mountain and its metaphoric use in art history and in the mythology of many cultures. Part II links an examination of twentieth century contemporary artists and relevant issues, the mythology and historical references covered in Part I and the paintings that make up the body of the thesis. The study is concerned with the role of the symbol and the form of its interpretation in the expression of ideas and images that are relevant to it. These themes have been developed in order to place the paintings in a context of continuity and establish iconographic links with the past. One particular site has been chosen through which to examine the symbolic associations between the mountain and the metaphoric quest. The metaphor of pilgrimage to the site and of searching for a lost unity is implicit in this process. The realisation reached at the summit confirms the significance of this journey. Each painting is discussed and linked with the themes that are relevant to it, linking the research recorded in Part I with the execution of the paintings, aiming at a synthesis of theory and practice.

The National Museum of Scotland : a symbol for a new Scotland?

The National Museum of Scotland (forthwith 'Museum') opened to critical acclaim on St Andrew's Day 1998 (see McKean 2000). The timing of the opening was culturally and politically symbolic, taking place on the patron saint of Scotland's day, whilst falling between the devolution referendum for, and the opening of, the reinstated Scottish Parliament. The museum offers a representation of Scotland, one which is negotiated by its creators and visitors alike. Given that national identity is a slippery concept subject to fluidity and change (Hall 1992), the image of stability and authority of a museum, which has been compared to the reification of a church (Horne 1984), offers us an interesting site for developing our understanding of how national identity is constructed.

Australia’s unknown soldier: a powerful symbol of loss and faith

The tomb of the unknown soldier in the Hall of Memory at the Australian War Memorial might seem to the casual visitor the timeless and natural symbolic centre of the memorial. But it was not always so: it was only in 1993 that the body of an unknown Australian soldier was repatriated and entombed here.

Writing, English and digital culture

In their out-of-school lives, young people are immersed in rich and complex digital worlds, characterised by image and multimodality. Computer games in particular present young people with specific narrative genres and textual forms: contexts in which meaning is constructed interactively and drawing explicitly on a wide range of design elements including sound, image, gesture, symbol, colour and so on. As English curriculum seeks to address the changing nature of literacy, challenges are raised, particularly with respect to the ways in which multimodal texts might be incorporated alongside print based forms of literacy. Questions focus both on the ways in which such texts might be created, studied and assessed, and on the implications of the introduction of such texts for print based literacies.

This paper explores intersections between writing and computer games within the English classroom, from a number of junior secondary examples. In particular it considers tensions that arise when young people use writing to recreate or respond to multimodal forms. It explores ways in which writing is stretched and challenged by enterprises such as these, ways in which students utilise and adapt print based modes to represent multimodal forms of narrative, and how teachers and curriculum might respond. Consideration is given to the challenges posed to teaching and assessment by bringing writing to bear as the medium of analysis of, and response to, multimodal texts.

Ontology of building in war and reconstruction

Post-war cities epitomise both a disjuncture and resonance between the end of the nation-state, on the one hand, and a preoccupation with reinventing the city through building, on the other. Programs of 'reconstruction' and 'remaking a city' are preceded by destruction: a destructive force has altered the face of the city, buildings have been destroyed and damaged, their ordered and ordering materiality is eroded, and the city is no longer an image of an idealized symbol of unity and identity. Belying the mythical power of architecture as a material and symbolic force, is also its fragility. Architecture can be monumentally erected and can have a presence and persistence that inspires awe and wonder, but it can also, just as easily be de-erected, demolished, destroyed. It can be de-constructed in a way that the literal sense of the term signals its symbolic frailty. Perceiving the symbolic as intrinsically tied to the physical articulation and presence of the architectural edifice, both reveals and conceals that the symbolic is also tied to fantasy, memory and fiction. Drawings that precede construction are projections of an idealized image of something that does not yet exist, and photographs that remain after a building is demolished are representations of a past realist that is now fictional.

Biography and the project of labour history: Marxist anticipations and Australian examples

The popularity of biography among the general public and historians has been despite a theoretical ambivalence among historians about the validity of the project. This has particularly been the case for labour historians who aspire to write the history of a class rather than that of individuals. This article identifies two divergent traditions within labour biography, broadly defined as reflection on the role of the individual in historical movements. One, uniting traditional Marxists and labourists, regards individuals as no more than the symbol of a class. Examples are Karl Kautsky and in Australia Fin Crisp. Another, unites activist revolutionaries and revisionist social democrats, and argues that the individual can make a difference. Examples include Trotsky and in Australia the young Evatt and Gordon Childe. Political disillusionment encouraged both Childe and Evatt to move towards the determinist position. This article suggest that recent discussions of the inherently divided nature of the self may offer an alternative to both these positions.

Loss, grief and representation: "Getting on with it"

This paper is concerned with the social, spiritual and expressive ways of dealing with the pain of grief over loss of objects, of relationships, of persons, of the self. Dominant twentieth century medical and clinical models have assumed that grief will be "resolved" when survivors reach the point where they can emotionally detach themselves from the dead person. Freudian psychoanalysis sees mourning as a process necessary for survival It enables the bereaved to grieve by "letting go" of and "breaking the attachment" to the lost person or object. By contrast, melancholia involves the refusal to let go, sometimes leading to pathological outcomes. The melancholic figure, in popular perception, is often identified as a romantic symbol of the connection between insanity and creative genius. This paper argues that there is an interim space between detachment and pathological immersion. Contrary to detachment being necessary for creative remodelling of the experience of death through art-making, our psychological preservation actually requires continuity, not detachment, and the construction of biographical narratives of all kinds is a fundamental mechanism for restoring a sense of meaning and place for the dead and lost in the ongoing trajectory of self-narrative.

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.

The domain layer for mixed-initiative interaction in generative design

The design space exploration formalism has developed data structures and algorithms of sufficient complexity and scope to support conceptual layout, massing, and enclosure configurations. However, design remains a human enterprise. To support the user in designing with the formalism, we have developed an interaction model that addresses the interleaving of user actions with the formal operations of design space exploration. The central feature of our interaction model is the modeling of control based on mixed-initiative. Initiative is sometimes taken by the designer and sometimes by the formalism in working on a shared design task. The model comprises three layers, domain, task, and dialogue. In this paper we describe the formulation of the domain layer of our mixed-initiative interaction model for design space exploration. We present the view of the domain as understood in the formalism in terms of the three abstract concepts of state, move, and structure. In order to support mixed initiative, it is necessary to develop a shared view of the domain. The domain layer addresses this problem by mapping the designer's view onto the symbol substrate. First, we present the designer's view of the domain in terms of problems, solutions, choices, and history. Second, we show how this view is interleaved with the symbol-substrate through four domain layer constructs, problem state, solution state, choice, and exploration history. The domain layer presents a suitable foundation for integrating the role of the designer with a description formalism. It enables the designer to maintain exploration freedom in terms of formulating and reformulating problems, generating solutions, making choices, and navigating the history of exploration.

Writing, digital culture and English curriculum

In their out-of-school lives, young people are immersed in rich and complex digital worlds, characterised by image and multimodality. Computer games in particular present young people with specific narrative genres and textual forms: contexts in which meaning is constructed interactively and drawing explicitly on a wide range of design elements including sound, image, gesture, symbol, colour and so on. As English curriculum seeks to address the changing nature of literacy, challenges are raised, particularly with respect to the ways in which multimodal texts might be incorporated alongside print based forms of literacy. Questions focus both on the ways in which such texts might be created, studied and assessed, and on the implications of the introduction of such texts for print based literacies. This paper explores intersections between writing and computer games within the English classroom, from a number of junior secondary examples. In particular it considers tensions that arise when young people use writing to recreate or respond to multimodal forms. It explores ways in which writing is stretched and challenged by enterprises such as these, ways in which students utilise and adapt print based modes to represent multimodal forms of narrative, and how teachers and curriculum might respond. Consideration is given to the challenges posed to teaching and assessment by bringing writing to bear as the medium of analysis of, and response to, multimodal texts.