Feminist poetics : symbolism in an emblematic journey reflecting self and vision

My thesis tilled Feminist Poetics: Symbolism in an Emblematic Journey Reflecting Self and Vision, consists of thirty oil paintings on canvas, several preparatory sketches and drawings in different media on paper, and is supported and elucidated by an exegesis. The paintings on unframed canvases reveal mise en scčnes and emblems that present to the viewer a drama about links between identities, differences, relationships and vision. Images of my daughter, friends and myself fill single canvases, suites of paintings, diptyches and triptychs. The impetus behind my research derives from my recognition of the cultural means by which women's experience is excluded from a representational norm or ideal. I use time-honoured devices, such as, illusionist imagery, aspects of portraiture, complex fractured atmospheric space, paintings and drawings within paintings, mirrors and reflective surfaces, shadows and architectural devices. They structure my compositions in a way that envelops the viewer in my internal world of ideas. Some of these features function symbolically, as emblems. A small part of the imagery relies on verisimilitude, such as my hands and their shadow and my single observing eye enclosed by my glasses. What remains is a fantasy world, ‘seen’ by the image of my other eye, or ‘faction’, based on memories and texts explaining the significance of ancient Minoan symbols. In my paintings, I base the subjects of this fantasy on my memories of the Knossos Labyrinth and matristic symbols, such as the pillar, snake, blood, eye and horn. They suggest the presence of a ritual where initiates descended into the adyton (holy of holies) or sunken areas in the labyrinth. The paintings attempt a ‘rewriting’ of sacrality and gender by adopting the symbolism of death, transformation and resurrection in the adyton. The significance of my emblematic imagery is that it constructs a foundation narrative about vision and insight. I sought symbolic attributes shared by European oil painting and Minoan antiquity. Both traditions share symbolic attributes with male dying gods in Greek myths and Medusa plays a central part in this linkage. I argue that her attributes seem identical to both those of the dying gods and Minoan goddesses. In the Minoan context these symbols suggest metaphors for the female body and the mother and daughter blood line. When the symbols align with the beheaded Medusa in a patriarchal context, both her image and her attributes represent cautionary tales about female sexuality that have repercussions for aspects of vision. In Renaissance and Baroque oil painting Medusa's image served as a vehicle for an allegory that personified the triumph of reason over the senses. In the twentieth century, the vagina dentata suggests her image, a personified image of irrational emotion that some male Surrealists celebrated as a muse. She is implicated in the male gaze as a site of castration and her representation suggests a symbolic form pertaining to perspective. Medusa's image, its negative sexual and violent connotations, seemed like a keystone linking iconographic codes in European oil painting to Minoan antiquity. I fused aspects of matristic Minoan antiquity with elements of European oil paintings in the form of disguised attribute gestures, objects and architectural environments. I selected three paintings, Dürer's Setf-Portrait, 1500, Gentileschi's Self-Portrait as the Allegory of Painting, 1630 and Velazquez's Las Meniruis, 1656 as models because 1 detected echoes of Minoan symbolism in the attributes of their subjects and backgrounds. My revision of Medusa's image by connecting it to Minoan antiquity established a feminist means of representation in the largely male-dominated tradition of oil painting. These paintings also suggested painting techniques that were useful to me. Through my representations of my emblematic journey I questioned the narrow focus placed on phallic symbols when I explored how their meanings may have been formed within a matricentric culture. I retained the key symbols of the patriarchal foundation narratives about vision but removed images of violence and their link to desire and replaced it with a ritual form of symbolic death. I challenged the binary oppositional defined Self as opposed to Other by constructing a complex, fluid Self that interacts with others. A multi-directional gaze between subjects, viewers and artist replaces the male gaze. Different qualities of paint, coagulation and random flow form a blood symbolism. Many layers of paint retaining some aspects of the Gaze and Glance, fuse and separate intermittently to construct and define form. The sense of motion and fluidity constructs a form of multi-faceted selves. The supporting document, the exegesis is in two parts. In the first part, I discuss the Minoan sources of my iconography and the symbolic gender specific meanings suggested by particular symbols and their changed meanings in European oil painting, I explain how I integrate Minoan symbols into European oil paintings as a form of disguised symbolism. In the second part I explain how my alternative use of symbolism and paint alludes to a feminist poetic.

Aboriginal women and reconciliation in Australia : communication strategies and symbolism

This thesis explores the voices of Aboriginal women in the Reconciliation movement from 1991to 2001. It charts their success and failure, the power of the media and Reconciliation symbolism. Some of these women leaders retain a passionate commitment to Reconciliation while others have totally withdrawn from the process.

The devil in high heels : drugs, symbolism and Kate Moss

This paper contributes to critical voices on the issue of organisational responses to employee drug use. It does so by exploring symbolic readings of organisations’ relations with drugs and drug-taking. Our focus is recent coverage of, and organisational responses to, the UK tabloid media’s exposé of fashion supermodel Kate Moss’s alleged cocaine use. We consider that the celebrity endorsement in this particular case highlights the ambiguities created by the symbolic associations between the organisation and the ‘image’ projected by the celebrity. Overall, we use this case to explore symbolic relationships between drugs, sex, femininity and organisation. Through highlighting these connections, we question further the rationality of organisational responses to employee drug use and, utilising Derrida’s (1981) extension of Plato’s notion of the pharmakon, consider whether workforce drug testing might be fruitfully seen as a symbolic mechanism for scapegoating and sacrifice in order to protect the organisation’s (masculine) moral order.

The devil in high heels : drugs, symbolism and Kate Moss

This paper contributes to critical voices on the issue of organisational responses to drugs and employee drug use. It does so by exploring some of the symbolism residing at the heart of organisations’ relations with drugs and drug taking. Our focus is recent media coverage of, and organisational responses to, the UK tabloid media’s exposé of fashion supermodel Kate Moss’s cocaine use. We use this case to explore symbolic relationships between drugs, sex and femininity, and organisation. Through highlighting these symbolic connections we question further the rationality of organisational responses to the ‘spectre’ of drugs and the issue of employee drug use. We conclude by suggesting that workforce drug testing regimes might be fruitfully seen as mechanisms for scapegoating and sacrifice in order to protect the organizational moral order.

Politics, religion and morals: the symbolism of public schooling for the urban middle-class identity

Research points to sections of the middle-class repopulating the ‘ordinary’ urban public school and whilst there are key differences in how they are navigating public school choices, from ‘seeking a critical mass’ (Posey-Maddox, Kimelberg, and Cucchiara 2014) to resisting traditional methods of choice and going ‘against-the-grain’ (Reay, Crozier, and James 2013), or collectively campaigning for a brand new public school, the urban middle-class are developing contemporary methods to challenge the existing ways of thinking about middle-class choice. Drawing on this literature, this paper explores the symbolism of public schooling for relatively affluent choosers in the city of Melbourne, Australia. The positioning of public schooling as essentially secular and liberal indicates how the public school is valorised within the contemporary market place. Within a market that tends to under-sell the public school, the perceived lack of organized religion and progressivism may be the unique selling point for the cosmopolitan, globalized consumer.

Persian gardens: meanings, symbolism, and design

Culture and identity in a society can be represented in the architecture and the meanings intertwined with it. In this sense, the architecture and design are the interface for transferring meaning and identity to the nation and future generations. Persian gardens have been evolved through the history of Persian Empire in regard to the culture and beliefs of the society. This paper aims to investigate the patterns of design and architecture in Persian gardens and the meanings intertwined with their patterns and significant elements such as water and trees. Persian gardens are not only about geometries and shapes; but also manifest different design elements, each representing a specific symbol and its significance among the society. This paper seeks to explore Persian gardens in terms of their geometric structure, irrigation system, network construction and pavilions alongside design qualities such as hierarchy, symmetry, centrality, rhythm and harmony. In the second stage, the paper investigates the fundamental symbols and their philosophy in the creation of Persian gardens and in relation to the architecture and design.

Relocating the writer's voice - from voice to story and beyond

Voice has been a persistent and recurring metaphor in English teaching. Conceptually, it took centre stage in Australia in the 1980s through writing process pedagogies, where students were advised to find their own voices in writing, teachers were advised to listen to student voices, and a 'clear personal voice' in writing was regarded as the mark of an effective writer (Gilbert 1990, p. 61). Voice has also played a central role in a variety of critical and emancipatory pedagogies where it has been used as a motivation to write, as a mode of politicisation, and as a way to understand and disrupt patriarchy and other oppressive social formations.

They went home: racialised spaces in contemporary picture books

This paper discusses Michel de Certeau’s theories of spatialised power and of resistance, especially his characterisation of what he describes as ‘tactics’ by which marginalised groups resist the strategies by which those in power gain and maintain control, in relation to a group of settler society picture books: Edna Tantjingu Williams, Eileen Wani Wingfield and Kunyi June-Anne McInerney’s Down the hole (2000); the Papunya School Book of Country and History (2001); Chiori Santiago and Judith Lowry’s Home to Medicine Mountain (1998); George Littlechild’s This Land Is My Land (1993); and Allen Say’s Home of the Brave (2002). These texts thematise colonial and assimilationist policies in Australia, Canada and the United States which required that racialised groups of children should be removed from their homes and families and placed in institutions. I argue that the first four of these texts position child readers both to understand the dislocation and pain caused by government policies such as those which enforced the removal of the Stolen Generation in Australia, and to appreciate the tactics of resistance by which children evaded or subverted institutional power. Home of the Brave deploys the symbolism of an adult’s journey into the past to show how strategies of repression serve to protect individuals and nations from shame and guilt, and demonstrates the transformative effects which result when the past is scrutinized.

The child initiated pretend play assessment (ChIPPA) [kit]

"Assesses the spontaneous ability of children to organise their play and to pretend in play. Suitable for children who are developmentally delayed, are at risk of learning problems, have a specific diagnosis such as Downs Syndrome, Autism Spectrum Disorder, or Attention Deficit Hyperactive Disorder. Also suitable for children who have a physical disability and children who have been traumatized/neglected. Can be used in clinical settings, preschools, schools, early childhood settings and home"

Architectural expression of liturgy and doctrine in the Eastern churches of the fourth to sixth centuries: towards a theologically contextual typology

Many scholars of Byzantine architecture have theorised about the reasons for church form and structure, with most relating them to sources in pagan architecture or local traditional construction methods (Krautheimer, Crowfoot, Ward-Perkins, Mango and Hill); to aspects of provincialism, regional independence or location peripheral to empire (Megaw, Delvoye, Wharton), or to environmental constraints such as frequent earthquakes (Curcic). But just as the wording of the various creeds and ecumenical statements responded to aspects of contemporary non-orthodox beliefs or "heresies", so did the theological debate inform the liturgical practices and consequently church planning. It could be expected that these responses would also be reflected in the architectural approach to form and symbolism. Thus a contextual typological framework is proposed, based on the association of different architectural approaches to church planning and form in the 4th to the 6th centuries with the contemporary doctrinal disputes over the true nature of Christ.

"Our fingers were never idle" : women and domestic craft in the Geelong region, 1900-1960

This thesis is an exploration of women's domestic crafts in the Geelong region, between 1900 and I960, Through analysing oral testimony and the women's handicraft artefacts, the nature of the domestic production of handicrafts and the meanings the makers have constructed around their creations and their lives is illuminated. The thesis is organised around the themes of work, space, the construction of femininity, memory, time and meaning. The thesis argues that until recently, the discipline of history has privileged the experiences of men over those of women. It challenges the trivialising of women’s handicrafts. It also argues that within the restrictive social structures around them and within the confined nature of their situations, the women of my study asserted themselves to transform their environments and to improve their situations through labour in the home. In ‘making do’, recycling materials and creating functional and decorative needlework items for their homes and families, the women were often finding solutions to pressing practical and economic problems. Doing handicrafts was rarely just a passive way of filling in time. Rather, making and creating was for these women a multi-layered activity that similtaneously fulfilled a complex range of needs for themselves and their families. A multiplicity of deeply personal, aesthetic, familial, social, practical and economic needs were met in the making of domestic craft artefacts, whose symbolism reflected the values and meanings of the women's cultures, homes and families.