La dolce vita: creative re-imaginings of Italianicity

Contemporary exploration of identity and identity politics as it intersects with media, nation and society.

The contribution of creativity to human development in a new nation: a case study of Afalyca community art centre, Timor-Leste

This article describes the contribution of creativity to human development in the new nation of Timor-Leste, exemplified in a case study of community art centre Afalyca. By taking a creative approach to the challenges of life in his developing country, the young leader of this enterprise, Marqy da Costa, is realising his own potential more fully and offering enriching experiences to others. The impact of his centre on a range of stakeholders, including staff, participants and the wider community is discussed. For participants, the outcomes of their involvement include enjoyable opportunities for creative expression; valued recognition from national and international audiences; the broadening of life experience to encompass new possibilities for self-actualisation; skill development and income from employment and sales.

The factors that have contributed to Afalcya's creative achievements are examined. These include inspiration and assistance received from organisations and individuals in and outside of Timor, family support, and the age and gender of leaders. Also significant are founder Marqy's personal characteristics of artistic talent, social and language skills, love of learning, persistence and conciliatory approach to conflict. Barriers to the realisation of Afalcya's potential include lack of systemic recognition of the value of creativity for sustainable development, unsupportive bureaucracy and gender related restrictions of participation for women. The potential for similar initiatives to contribute to a positive future for Timorese people is explored.

Pauline Kael and the Western genre as critical displacement of self & nation: metaphorics and affects of 'taste' in American film criticism

Pauline Kael (1919–2001) is one of the most influential American film critics of the second half of the twentieth century. Many people are writing on her presently, with at least half an eye to her future cultural, political and historical importance. Certainly the full impact of Kael’s work, both within and beyond the borders of cinema (however defined), has not yet been established. This article unpacks the mechanisms and operations of ‘taste’ in Kael’s writings by using two notions drawn from Roland Barthes’ observations about another key figure of current cultural critique: Julia Kristeva. The comparison of Kael with Kristeva is not dwelt upon; instead, the article focuses on how Kael used the concepts of ‘taste’ and ‘dis-taste’ to draw her readership into a field of what might be termed ‘permanent dissent’. This article concludes by sketching out why Jewish-American Kael’s taste might endure, through the dual transition she occupies from a Cold War to a post-Cold War period, and from an era when cinema was the supreme, undisputed, screen artform, to the rise of the myriad screen technologies of the networked, Internet age.

Is it art or knowledge? Deconstructing Australian Aboriginal creative making

Abstract Australian Aboriginal symbols are visual forms of knowledge that express cultural intellect. Being classified by a Western interpretation of “art” devalues thousands of years of generational knowledge systems, where visual information has been respected, appreciated and valued. This article highlights how Aboriginal creativity has little concept of aesthetical value, but is a cultural display of meaning relating to Creational periods, often labelled as The Dreamings. With over 350 different Aboriginal Nations in Australia, this article focuses of the Dharug Nation, located around the northern Sydney area of New South Wales. The Dharug term for the Creational period is Gunyalungalung—traditional ritualized customary lores (laws). These symbols are permanently located within the environment on open rock surfaces, caves and markings on trees. Whilst some symbols are manmade, others are made by Creational ancestral beings and contain deep story lines of information in sacredness. Therefore, creative imagery engraved or painted on rock surfaces are forms of conscious narratives that emphasise deep insight.Keywords: Aboriginal Art; Australia; visual knowledge; culture; traditional; symbols

Reinventing Liberty : Nation, Commerce and the British Historical Novel from Walpole to Scott /

Sir Walter Scott is often regarded as the first historical novelist. Reinventing Liberty challenges this view by returning us to the rich range of historical fiction written in the late 18th and early 19th century. For the first time placing these works in the context of British politics and British history writing, this book redefines the historical novel, revealing a genre which seeks to manage political change through historiographical experimentation. It explores how historical novelists participated in a contentious debate concerning the nature of commercial modernity, the formulation of political progress and British national identity. Ranging across well-known writers, like William Godwin, Horace Walpole and Frances Burney, to lesser-known figures, such as Cornelia Ellis Knight and Jane Porter, Reinventing Liberty uncovers how history becomes a site to rethink Britain as ‘land of liberty’. Reading Scott in relation to this tradition, Reinventing Liberty demonstrates the genre’s troubled role in the construction of the myth of Britain as a nation of gradual, safe political change.

Unsettling Histories: Representation and Indigenous Creative Art Praxis in Official Indian Residential School Redress

This dissertation offers an investigation of the role of visual strategies, art, and representation in reconciling Indian Residential School history in Canada. This research builds upon theories of biopolitics, settler colonialism, and race to examine the project of redress and reconciliation as nation and identity building strategies engaged in the ongoing structural invasion of settler colonialism. It considers the key policy moments and expressions of the federal government—from RCAP to the IRSSA and subsequent apology—as well as the visual discourse of reconciliation as it works through archival photography, institutional branding, and commissioned works. These articulations are read alongside the creative and critical work of Indigenous artists and knowledge producers working within and outside of hegemonic structures on the topics of Indian Residential School history and redress. In particular the works of Jeff Thomas, Adrian Stimson, Krista Belle Stewart, Christi Belcourt, Luke Marston, Peter Morin, and Carey Newman are discussed in this dissertation. These works must be understood in relationship to the normative discourse of reconciliation as a legitimizing mechanism of settler colonial hegemony. Beyond the binary of cooptation and autonomous resistance, these works demonstrate the complexity of representing Indigeneity: as an ongoing site of settler colonial encounter and simultaneously the forum for the willful refusal of contingency or containment.

The State of the Nation Debate as part of the democratic parliamentary ritual: Rajoy and Rubalcaba discourse analysis, 2014

In this article we analyze the Debate on the State of the Nation 2014. The methodology consists in coding the speeches of the prime minister, Mariano Rajoy (PP) and the then opposition leader Alfredo Perez Rubalcaba (PSOE) through extracting word clouds, branched maps and word trees that have shown the most common concepts and premises. This preliminary analysis of two dimensions, quantitative and qualitative, makes it much easier and viable subsequent discourse analysis where we focus on the different types of arguments in the communicative act: claim/solution, circumstantial premises, goal premises, value premises, meansgoal premises, alternative options/addressing alternative options.