Beyond the analogon; the "transfer of the referent" : the relationship between the external world experienced through culturally generated perceptual models constructed in the human mind, and the transfer of these images, via visual language, onto referen

Within 20th. Century art, the concept of the ‘normative’ image, as an attribute of things, has been challenged. As a consequence, paintings must now picture the ‘real’ world in other ways, incorporating knowledge and meaning beyond the analogon. Such descriptive representations were revealed as paradigmatic, rather than incontrovertible fact. Dependent on pre-conceived notions of stereotypicality, these descriptive images relied on surface illumination. My thesis explores images of things in the world as culturally inspired and information based. I examine paintings and sculptures of other cultures, such as black African, and other historical periods such as the Medieval, which reveal metonymously the basis for variations in representations of the ‘real’ world. The new enhanced representations which Modern artists created in their work were denigrated as deviant from the absolute ‘normative’ or regarded as distortions for purely mannerist and stylistic reasons. Postmodern research has reassessed them as multiple or extended imagings in whose facture new knowledge and human responses can be incorporated. These new forms of representation can be regarded as theoretical constructs rather than stylised depictions of appearance. In this way referents are transferred through the mind onto objects and vistas in the real world to align with our developed view of the physical world and better our understanding of humanity’s symbiotic relationship with nature.

Intersection of autonomy and social control : negotiating teenage motherhood

Contrary to popular belief, teenage mothers are a declining proportion of birthing women; however they receive much negative public attention. Of particular public concern is the high cost of supporting teenage mothers, in terms of financial, health and welfare resources. Historically, the typical founding mother of white Australia was single, but post-war changes in the family structure incorporated the expectation that children be born into two-parent households with the male as the breadwinner. Policy changes in the seventies saw the introduction of the Sole Parents Pension which meant that many birthing teenage women could choose to keep their infants rather than have a clandestine adoption or an enforced marriage. The parenting practices of teenage mothers have been criticised for being less than optimal, and mother and child are reported as being disadvantaged cognitively, psychosocially, and educationally. One widespread nursing service which provides support for new mothers in Victoria is the Maternal and Child Health Service; however, teenage mothers appear reluctant to use such services. Why this should be so became an important question for this research, since little is known about the parenting practices of teenage mothers. This study therefore sought to explore mothering from the perspective of five sole supporting teenage mothers each of whom had a child over six months of age. The research methodology took an interpretive ethnographic approach and was guided by feminist principles. The data were collected through repeated interviewing, participant observation, informal discussions with key informants, field notes and journalling. Data analysis was aided by the use of the software, program NUD-IST. It was found that the young women in this study each chose to give birth with full realisation that their existence was dependent on the Welfare State. Unanticipated, however, were the many structural barriers which made their lives cataclysmic, but these reinforced their determination to prove themselves worthy and capable mothers. The young women negotiated motherhood through a range of social supports and through maternal practice. Unquestionably, their social dependency on the welfare system forced them into marginal citizen status. Moreover, absolute and intrinsic poverty levels were experienced, brought about by inadequate welfare payments. Formal support agencies, such as the Maternal and Child Health nurses were rarely approached to provide childrearing support beyond the initial months following birthing, since the teenagers' basic needs such as shelter, food and clothing took precedence over their parenting needs. Additionally, some nurses were perceived to hold judgmental attitudes towards teenage mothers. It was far easier to forestall confrontation with nurses and the other 'older' women clientele by avoiding them. Thus XI they turned to charitable agencies who provided a safety net in the form of emergency supplies of money, food, or equipment. Informal networks of friends provided alternative modes of support when family help failed to materialise. The children, however, provided the young women with an opportunity to transform their lives by breaking free of the past, and by creating a new, mature existence for themselves. Despite being abandoned by family, friends, lovers and society, in the privacy and isolation of their own homes, they attempted to provide a more nurturing environment for their children than they themselves had received. Each bestowed unconditional maternal love on the child and were rewarded through the pleasures of watching their children grow and develop into worthwhile individuals. The children became the focus of their attention and their reason for living. In the course of their welfare dependency, the young women became public property, targets of surveillance, and were subjected to stigmatising and condescending public attitudes wherever they went. In this way, it was evident that they were an oppressed group, but each found ways of resisting. Rather than focussing on their oppressive or disabling lives, or dwelling on their disadvantaged status, the young women sought their identities as mature women through motherhood and by demonstrating that they could do this important job well. Through motherhood their lives had meaning and a sense of purpose. The thesis concludes that motherhood in the teenage years is difficult. However, if appropriate supports are made available, teenage mothers need be no different from non-teenage mothers. But with state resources shrinking, and their own resources limited, teenage mothers are disadvantaged. In some ways, this study showed that all levels of support were inadequate, although those provided through the charitable organizations were seen to be the most appropriate. This reflects the current policy of economic rationalism adopted by most Western liberal democracies in the 1980s and 1990s and no less by the former Keating Labor Government in Australia.

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.

L. Bernard Hall and the feminine in Australian painting 1885-1935

This thesis draws on images to explore the processes by which an individual - Lindsay Bernard Hall - and a categorical concept - the feminine - became devalued in Australia's national tradition. It celebrates Hall's contribution to Australia's cultural heritage and the significance of his art in the visual record of modernising womanhood.

Murder and art : the causal links

The central focus of the thesis is to make clear certain links the author perceives between the criminal temperament and the artistic temperament. Concentrates on a small selection of these artists and attempts to come to terms with their preoccupation with dark subject matter.

The staging of identity in other/s' spaces

Exploring the framing of identity within different modes of representation, particularly Australian art, the thesis built on poststructural discussions of inside/outside power relations, conceptualising art as a political tool for the staging of identity, not only for the subjects inside the artwork, but also the viewer, and marginalised artist/author.

Fusionscape: Corangamarah Art Prize

Pre-selected finalist in Art Award

The films of John Hughes: a history of independent screen production in Australia

ABSTRACTIn The Films of John Hughes: A history of independent screen production in Australia filmmaker and academic John Cumming tells the ongoing story of Hughes’ work illustrating the delicate balance of individual, collective and corporate agendas that many contemporary artists need to negotiate. This story begins in the 1960s with a generation of intelligent, socially engaged young people who challenge established power structures, conventions and stereotypes in art, politics and the media. Experiments were being made with grassroots democracy, with new social formations and new ways of seeing and communicating. The book also pays attention to earlier periods of cultural and political activism that captured Hughes’ imagination in the 1970s and became the subject of a number of his films over a period of nearly forty years. Through these films Cumming traces the outline of post-war film culture and production in Melbourne from the 1940s and sets this history within the context of international trends in independent filmmaking throughout the 20th Century and into the 21st.The work of an independent filmmaker has always included a great deal more than directing films. Working in an artisanal mode, he or she often performs, or has a hand in, every aspect of craft at the same time as engaging in discussion and organisation around the wider sphere of screen culture and industry. In addition to having proficiency as a producer, photographer, sound recordist, editor, distributor and exhibitor of films, there is research, organisation, lobbying, entrepreneurship and mentoring to be done. As an independent producer-director, John Hughes has engaged in all of these activities – often simultaneously. He is also a scholar, writer, organiser, activist and teacher. As a television bureaucrat he was both eminent and innovative, and through his filmmaking he has become a leading historian of Australian documentary cinema. ‘… that view – that art and politics are inherently at odds – is still lurking around. It is at the heart of cultural conservatism; and John Hughes’s film-making, from the 1970s to the present, confounds its proponents. His cinema is at once crowded, detailed, elegant and absolutely lucid; at the same time, it is shot through with political and historical understandings.’ Sylvia Lawson, ‘Such a Bloody Wonderful Place’, Inside Story, 28 April 2013.

Plasma Steroid Dynamics in Late- and Near-term Naturally and Artificially Conceived Bovine Pregnancies as Elucidated by Multihormone High-resolution LC-MS/MS

Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)

Foreign Surrogate Motherhood: mater semper certa erat

This Article compares the conflicting approaches to resolve the questions surrounding surrogate motherhood in a domestic context and then addresses some of its transnational implications, especially the recognition of foreign surrogacy judgments. It argues that not every case of foreign surrogacy involves the circumvention of the forum's prohibition of surrogacy and that courts need to take this into account when applying the public policy exception. It further argues that the adoption of the child by the commissioning parents should be seen as an alternative and adequate solution to the limping legal parenthood that would otherwise arise from the non-recognition of a surrogacy judgment.

Attualità del divieto assoluto di procreazione medicalmente assistita eterologa in Italia e prospettive di superamento

La presente ricerca si fonda su un’attenta ed approfondita analisi della normativa vigente in Italia in materia di procreazione medicalmente assistita (P.M.A.), con particolare riferimento al divieto assoluto di P.M.A. eterologa, di cui all’art. 4, comma 3, L. 19 febbraio 2004, n. 40, consentita invece – sia pure con la previsione di limitazioni differenti – nella quasi totalità dei paesi europei. Dopo aver esaminato la “questione etica” del ricorso alle tecniche di fecondazione assistita e le normative vigenti in Europa in materia di P.M.A. eterologa, il presente lavoro analizza i profili civilistici della L. n. 40/2004 ed i conseguenti dubbi interpretativi che la normativa italiana pone in materia di fecondazione eterologa, con specifico riguardo al consenso prestato dai coniugi o conviventi, al divieto di disconoscimento di paternità e di anonimato della madre ed, infine, al diritto del nato da fecondazione eterologa di conoscere le proprie origini biologiche. Ne consegue che, in una materia che coinvolge la sfera più intima e personale della vita privata e familiare, quale quella della P.M.A., il legislatore avrebbe dovuto intervenire con misura, individuando soluzioni ragionevoli ed equilibrate nel rispetto della pluralità di etiche contrapposte ed interessi in conflitto. Attraverso una capillare analisi della recente giurisprudenza nazionale ed europea, la presente ricerca mira, dunque, a valutare possibili prospettive di superamento del divieto assoluto di P.M.A. eterologa previsto dalla L. n. 40/2004. I risultati a cui la presente indagine ha consentito di pervenire dimostrano quanto sia opportuna l’adozione in Italia di un “modello liberale”, in cui sia lecita anche la fecondazione eterologa (con la previsione di limiti e condizioni volti a tutelare primariamente il superiore interesse del nascituro), onde consentire l’adeguamento al nuovo concetto di “genitorialità” ormai prevalente e l’arresto del cd. “turismo procreativo”.

Prioritising prevention strategies for patients in antiretroviral treatment programmes in resource-limited settings

Expanded access to antiretroviral therapy (ART) offers opportunities to strengthen HIV prevention in resource-limited settings. We invited 27 ART programmes from urban settings in Africa, Asia and South America to participate in a survey, with the aim to examine what preventive services had been integrated in ART programmes. Twenty-two programmes participated; eight (36%) from South Africa, two from Brazil, two from Zambia and one each from Argentina, India, Thailand, Botswana, Ivory Coast, Malawi, Morocco, Uganda and Zimbabwe and one occupational programme of a brewery company included five countries (Nigeria, Republic of Congo, Democratic Republic of Congo, Rwanda and Burundi). Twenty-one sites (96%) provided health education and social support, and 18 (82%) provided HIV testing and counselling. All sites encouraged disclosure of HIV infection to spouses and partners, but only 11 (50%) had a protocol for partner notification. Twenty-one sites (96%) supplied male condoms, seven (32%) female condoms and 20 (91%) provided prophylactic ART for the prevention of mother-to child transmission. Seven sites (33%) regularly screened for sexually transmitted infections (STI). Twelve sites (55%) were involved in activities aimed at women or adolescents, and 10 sites (46%) in activities aimed at serodiscordant couples. Stigma and discrimination, gender roles and funding constraints were perceived as the main obstacles to effective prevention in ART programmes. We conclude that preventive services in ART programmes in lower income countries focus on health education and the provision of social support and male condoms. Strategies that might be equally or more important in this setting, including partner notification, prompt diagnosis and treatment of STI and reduction of stigma in the community, have not been implemented widely.

Memory biases in left vs. right implied motion

People remember moving objects as having moved farther along in their path of motion than is actually the case; this is known as representational momentum (RM). Some authors have argued that RM is an internalization of environmental properties such as physical momentum and gravity. Five experiments demonstrated that a similar memory bias could not have been learned from the environment. For right-handed Ss, objects apparently moving to the right engendered a larger memory bias in the direction of motion than did those moving to the left. This effect, clearly not derived from real-world lateral asymmetries, was relatively insensitive to changes in apparent velocity and the type of object used, and it may be confined to objects in the left half of visual space. The left–right effect may be an intrinsic property of the visual operating system, which may in turn have affected certain cultural conventions of left and right in art and other domains.

Tuberculosis in HIV programmes in lower-income countries: practices and risk factors

BACKGROUND: Tuberculosis (TB) is a common diagnosis in human immunodeficiency virus (HIV) infected patients on antiretroviral treatment (ART). OBJECTIVE: To describe TB-related practices in ART programmes in lower-income countries and identify risk factors for TB in the first year of ART. METHODS: Programme characteristics were assessed using standardised electronic questionnaire. Patient data from 2003 to 2008 were analysed and incidence rate ratios (IRRs) calculated using Poisson regression models. RESULTS: Fifteen ART programmes in 12 countries in Africa, South America and Asia were included. Chest X-ray, sputum microscopy and culture were available free of charge in respectively 13 (86.7%), 14 (93.3%) and eight (53.3%) programmes. Eight sites (53.3%) used directly observed treatment and five (33.3%) routinely administered isoniazid preventive treatment (IPT). A total of 19 413 patients aged ≥16 years contributed 13 227 person-years of follow-up; 1081 new TB events were diagnosed. Risk factors included CD4 cell count (>350 cells/μl vs. <25 cells/μl, adjusted IRR 0.46, 95%CI 0.33–0.64, P < 0.0001), sex (women vs. men, adjusted IRR 0.77, 95%CI 0.68–0.88, P = 0.0001) and use of IPT (IRR 0.24, 95%CI 0.19–0.31, P < 0.0001). CONCLUSIONS: Diagnostic capacity and practices vary widely across ART programmes. IPT prevented TB, but was used in few programmes. More efforts are needed to reduce the burden of TB in HIV co-infected patients in lower income countries.

Correcting mortality for loss to follow-up: a nomogram applied to antiretroviral treatment programmes in sub-Saharan Africa

Background The World Health Organization estimates that in sub-Saharan Africa about 4 million HIV-infected patients had started antiretroviral therapy (ART) by the end of 2008. Loss of patients to follow-up and care is an important problem for treatment programmes in this region. As mortality is high in these patients compared to patients remaining in care, ART programmes with high rates of loss to follow-up may substantially underestimate mortality of all patients starting ART. Methods and Findings We developed a nomogram to correct mortality estimates for loss to follow-up, based on the fact that mortality of all patients starting ART in a treatment programme is a weighted average of mortality among patients lost to follow-up and patients remaining in care. The nomogram gives a correction factor based on the percentage of patients lost to follow-up at a given point in time, and the estimated ratio of mortality between patients lost and not lost to follow-up. The mortality observed among patients retained in care is then multiplied by the correction factor to obtain an estimate of programme-level mortality that takes all deaths into account. A web calculator directly calculates the corrected, programme-level mortality with 95% confidence intervals (CIs). We applied the method to 11 ART programmes in sub-Saharan Africa. Patients retained in care had a mortality at 1 year of 1.4% to 12.0%; loss to follow-up ranged from 2.8% to 28.7%; and the correction factor from 1.2 to 8.0. The absolute difference between uncorrected and corrected mortality at 1 year ranged from 1.6% to 9.8%, and was above 5% in four programmes. The largest difference in mortality was in a programme with 28.7% of patients lost to follow-up at 1 year. Conclusions The amount of bias in mortality estimates can be large in ART programmes with substantial loss to follow-up. Programmes should routinely report mortality among patients retained in care and the proportion of patients lost. A simple nomogram can then be used to estimate mortality among all patients who started ART, for a range of plausible mortality rates among patients lost to follow-up.