The culture of contemporary writers' festivals

This thesis examines the culture of contemporary writers’ festivals in an international context. In the last five decades writers’ festivals have emerged in cities across the world, and during this time they have expanded their literary discussions and debates to include numerous other topics of broad interest to society. To examine the expanded popularity and function of writers’ festivals, this thesis establishes a new vantage point for theorising the content now typically generated by these events using concepts in urban festivals and public culture research. Importantly, the new vantage point addresses the limitations of current commentary on writers’ festivals which routinely claim they trivialize literature, and more generally, contribute to the decline of public culture. The thesis presents two case studies: one on the Brisbane Writers Festival in Australia and the other on the International Festival of Authors in Toronto, Canada. The first case study, which focuses on the 2007 Brisbane Writers Festival, illustrates the many overlapping and often conflicting discourses as well as opinions productively discussed and debated at writers’ festivals. Key topic discussed and debated at the Festival include local topics about the host city—its history, literature and politics, as well as broader literary, political and celebrity culture topics. The diversity of topics discussed at the 2007 Brisbane Writers Festival is typical of the majority of writers’ festivals similarly located outside the largest geographic centres of global literary production and circulation, and designated as ‘peripheral’ festivals in this research. The second case study on Toronto’s International Festival of Authors examines the ways in which the 2006 Festival almost exclusively focussed on literary and celebrity culture discourses, and promoted itself on these terms. The 2006 International Festival of Authors’ discussion and debate of a narrow range of topics is typical of the few writers’ festivals located in global centres of literary production and circulation, and unlike ‘peripheral’ festivals they are not experiencing the same growth in number or popularity. The aim of these ‘international’ Festivals is not to democratise their elite literary beginnings, but rather to promote ‘literature’ as a niche brand for quality writing that is valid on a global scale. This thesis will assert that while all writers’ festivals are influenced by the marketing desires of publishing companies, the aim of international writers’ festivals in marketing to a virtually and globally connected elite literary audience makes them more susceptible to experiencing declines in audience and author participation.

Case study of the National Museum (Action Peninsula) project

The Acton Peninsula project alliance is the first project alliance in building construction in the world. The project alliance is set out to achieve the best possible outcome for the project with all participants in the alliance sharing both risks and rewards. The construction of the National Museum of Australia and the Australian Institute of Aboriginal and Torres Strait Islander Studies, on Acton Peninsula in Canberra, will be a significant Australian architectural and construction achievement. The design and construction project team is committed to achieve outstanding results in all aspects of the design, construction and delivery of this significant national project. Innovation and creativity are valued, and outstanding performance will be rewarded.

The role of the board of directors in ensuring a culture of integrity

Corporate scandals are as old as the corporate form itself. Consider, for example, the controversies surrounding the role of one of the first modern corporations, the British East India Company, in the Bengal famine of 1770 and in the Chinese opium trade. Yet it is the increasing scale and scope of unethical acts carried out by individuals in the name, and interests, of corporations that continue to be concerning. Recent revelations surrounding the extent of bribery and covert surveillance used by News Corporation journalists in its British operations continue to shock the world and undermine confidence in that organiszation and journalists in general. Yet despite the systemic nature of many of these unethical activities, corporate leaders generally plead ignorance when transgressions come to light. During the enquity into the News Corporation scandal, Rupert Murdoch, the CEO and chairman, rejected the assertion that he was ultimately 'responsible for this whole fiasco' (House of Commons, 2011, Q.230). Instead, like many corporate leaders before him, Murdoch placed blame on the employees within the newspaper. His responses poses an increasingly important question: Do corporate leaders bear responsibility for the conduct of individuals within a corporation and, if so, why?

Newstead House : the social history, culture and architecture of a bygone era

Historic house museums form a significant component of the built heritage and social history of a country. They vary from the elaborate mansions of the wealthy to modest dwellings of the working class. Regardless of the original owner's status in society these house museums are vital to an understanding of architecture, culture and society from a bygone era. The Newstead House, the oldest surviving residence, in Brisbane, is the first house to be designated a 'Historic House Museum' in Queensland. It is a representative example of a house that demonstrates the British colonial heritage of 19th century Australia. Originally a modest cottage, on 34 acres of land, the Newstead house was built by a Scottish migrant. The ownership of the house and land changed many times, during the period from 1847 to 1939. During this period a series of prominent residents of Brisbane either owned or rented this residence. They included, an officer of the Royal Navy, politicians, magistrates, merchant ship owners, and a Consul General of the United States of America. As a result, the house went through a series of renovations and extensions to accommodate the needs of its owners and their position in society. This paper aims to investigate the significance of historic museum houses in educating the community on aspects of social history, culture and architecture of 19th century Australia. It will focus on the heritage listed Newstead House as a case study to demonstrate the significance of the house as an artefact and an educational tool.

Culture in and culture of health promotion: tensions at the interface of Australian Indigenous health promotion

With persisting health inequalities across and between diverse populations, health promotion must consider its engagement with the culture concept in achieving better health for all. By way of a conversation between an Indigenous and non-Indigenous health promotion practitioner, this unique presentation will critically examine the cultural practice of health promotion for Indigenous Australians. Culture becomes the central tenant of this conversation – but not culture in the sense of something to “fix” to improve Indigenous health, or import to make mainstream practices “culturally appropriate”. Rather, the somewhat invisible culture of Australian health promotion practice itself is highlighted. The enthusiasm of mainstream health promotion practice for risk and reductionism supplants biological determinism with a cultural determinism that constructs culture as illness-producing. This is in contrast to Indigenous perspectives of culture in which it is described as integral to individual and community health and well-being. Whilst empowerment features strongly within global health promotion discourses, the preoccupation of health promotion with the inherent deficit/behavioural change approach is an all too convenient distraction from the broader structural factors impacting on the health of Indigenous Australians. That Indigenous Australians have not benefitted from successful public health policy interventions in the same way as the general population is in itself revealing of the culture of health promotion practice in Australia and it is somewhat ironic that the health promotion fraternity seems not to have questioned its own practice. This conversation aims to encourage health promotion practitioners, researchers and policy makers to interrogate the cultural assumptions of their own practice and of the public health system they are part of and consider how to embed and empower the voices and experiences of those who are ‘culturally othered’ within health promotion practice.

Mapping Australian journalism culture : results from a survey of journalists’ role perceptions

Research on journalists’ characteristics, values, attitudes and role perceptions has expanded manifold since the first large-scale survey in the United States in the 1970s. Scholars around the world have investigated the work practices of a large variety of journalists, to the extent that we now have a sizeable body of evidence in this regard. Comparative research across cultures, however, has only recently begun to gain ground, with scholars interested in concepts of journalism culture in an age of globalisation. As part of a wider, cross-cultural effort, this study reports the results of a survey of 100 Australian journalists in order to paint a picture of the way journalists see their role in society. Such a study is important due to the relative absence of large-scale surveys of Australian journalists since Henningham’s (1993) seminal work. This paper reports some important trends in the Australian news media since the early 1990s, with improvements in gender balance and journalists now being older, better educated, and holding more leftist political views. In locating Australian journalism culture within the study’s framework, some long-held assumptions are reinforced, with journalists following traditional values of objectivity, passive reporting and the ideal of the fourth estate.

Playing "Nordic": The Women of Niskavuori, Agri/Culture, and Imagining Finland on the Third Reich Stage

The theatrical censorship of the Third Reich considered the playwright's race and politics alongside the content of the drama. Given the political stigma of its "leftist" author, it is rather surprising that Hella Wuolijoki's Niskavuoren naiset opened in 1938 at the Staatliches Schauspielhaus in Hamburg. The play ran for fourteen performances before being closed by the Reichsdramaturgie, apparently at the instigation of Finnish critics. Yet this was not the end of the play's or its author's fortunes in the Third Reich, as the possibility of staging the play was raised several times over the next four years, coming to a close in 1942. Playing "Nordic" examines the ideological and theatrical background of this extended "cultural performance," as a means to reopening and reconstructing the work of the 1938 Die Frauen auf Niskavuori. Written by a Finnish, northern, "Nordic" author, and preoccupied with the dynamics of rural culture in an increasingly urbanized world, Niskavuoren naiset was understood in the Third Reich to illustrate and reinforce the racial, agri/cultural themes of Blut und Boden ("veri ja maa"). Playing "Nordic" examines this thematic relationship in three phases. The first phase uses archival materials to investigate the Reichsdramaturgie's understanding of the play and its author, and its ongoing discussion of Wuolijoki from 1937 to 1942. Play evaluator Sigmund Graff's description of Niskavuoren naiset as hamsunartig, or "Hamsun-esque," inspires the second phase of the dissertation, which first elaborates the meanings of Blut und Boden through a reading of contemporary "racial" theory and anthropology, and then assesses the representation of Finland within this discourse, one of the dominant cultural paradigms of the Third Reich. Imaging Finland for German audiences, the play stood among analogous, continued efforts to represent Finland and the rural life in the Third Reich, colored by Blut und Boden: art and agricultural exhibitions, essays and propaganda literature, mass demonstrations of the peasantry. This wider framework for the performance of "Finland" materializes the abstract or theoretical program of Blut und Boden in its everyday performed meanings; as such it provides the essential background for reading the Hamburg production of Die Frauen auf Niskavuori, which sustains the third and final phase. The German translation and the Hamburg photographic record are compared with the Helsinki premiere to assess the impact of Blut und Boden on the representation of Wuolijoki's play in the Third Reich. The journalistic critical response illuminates the effect that the dramatic complex of rural and racial values - generically identified as Bauerndrama in the Third Reich - had on the reception of the play; at the same time, both visual and critical documents also suggest possible moments of theatrical dissent in the Hamburg production. Playing "Nordic" undertakes a documentary and cultural reading of the changing theatrical meanings of Wuolijoki's Niskavuoren naiset as it crossed the frontier from Finland to the stage of the Third Reich. It also provides a model for the ways theatrical signification operates within a network of cultural and ideological meanings, suggesting the ideological work of theatrical production depends on, reinforces, and contests that tissue of values. Although Finnish criticism of Niskavuoren naiset has assumed the play's Blut und Boden resonance contributed to Wuolijoki's success in the Third Reich, this study shows a considerably more complex situation. This revealing production dramatizes the changing uses of plays in a politicized national and transnational context. As part of the framing of "Nordic" identity on the wider stage of the Third Reich, Die Frauen auf Niskavuori exemplifies the conjunction of concurrent - sometimes independent, sometimes interlocking - "racial" and national ideologies.

Production and conservation of nutrient-rich small fish (SIS) in ponds and wetlands for nutrition security and livelihoods in South Asia: Proceedings of a World Bank/SAFANSI funded regional workshop on small fish and nutrition, Dhaka, Bangladesh, 1st - 2nd March 2014

Small indigenous fish species (SIS) are an important source of essential macro- and micronutrients that can play an important role in the elimination of malnutrition and micronutrient deficiencies in the populations of many South and Southeast Asian countries. Of the 260 freshwater fish species in Bangladesh, more than 140 are classified as SIS and are an integral part of the rural Bangladeshi diet. As many SIS are eaten whole, with organs and bones, they contain high amounts of vitamins and minerals, including calcium, and iron and zinc. Some SIS, such as mola, are also rich in vitamin A. SIS are often cooked with vegetables and a little oil, so they contribute to the food diversity of the rural poor.SIS are recognized as a major animal-source food group, contributing to improved food and nutrition security and livelihoods of the people of South and Southeast Asia. The purpose of this workshop is to bring together policy makers, extension agents, researchers, non-governmental and development organizations to share knowledge about small fish, their contribution to better nutrition, production technologies, and strategies for wider dissemination of pond culture and wetland based-production and conservation technologies. The workshop is expected to generate ideas for further research and development of sustainable technologies for production, management and conservation of SIS for the benefit of the people of Bangladesh as well as the South and Southeast Asian region.

Wealth Wise and Culture Kind

Meyrick, Robert, 'Wealth Wise and Culture Kind', In: 'Things of Beauty: What Two Sisters did for Wales', (Cardiff: National Museum Wales Books), pp.96-111, 2007 RAE2008

The Great War on the small screen: Representing the First World War in contemporary Britain

In Britain since the 1960s television has been the most influential medium of popular culture. Television is also the site where the Western Front of popular culture clashes with the Western Front of history. This book examines the ways in which those involved in the production of historical documentaries for this most influential media have struggled to communicate the stories of the First World War to British audiences. Documents in the BBC Written Archives Centre at Caversham, Berkshire, the Imperial War Museum, and the Liddell Hart Centre for Military Archives all inform the analysis. Interviews and correspondence with television producers, scriptwriters and production crew, as well as two First World War veterans who appeared in several recent documentaries provide new insights for the reader. Emma Hanna takes the reader behind the scenes of the making of the most influential documentaries from the landmark epic series The Great War (BBC, 1964) up to more recent controversial productions such as The Trench (BBC, 2002) and Not Forgotten: The Men Who Wouldn't Fight (BBC, 2008). By examining the production, broadcast and reception of a number of British television documentaries this book examines the difficult relationship between the war's history and its popular memory.

The Great War on the small screen: televisual narratives of the First World War.

In Britain since the 1960s television has been the site where the Western Front of popular culture has clashed with the Western Front of history. This talk will examine the ways in which those involved in the production of historical documentaries for this most influential media have struggled to communicate the stories of the First World War to British audiences. From the landmark epic series The Great War (BBC, 1964) up to more recent controversial productions such as The Trench (BBC, 2002) and Not Forgotten: The Men Who Wouldn't Fight (BBC, 2008), Emma Hanna will give an overview of the production, broadcast and reception of a number of British television documentaries to examine the difficult relationship between the war's history and its popular memory. [From the Author]

The Reception of Byzantium in European Culture since 1500

Studies on the reception of the classical tradition are an indispensable part of classical studies. Understanding the importance of ancient civilization means also studying how it was used subsequently. This kind of approach is still relatively rare in the field of Byzantine Studies. This volume, which is the result of the range of interests in (mostly) non-English-speaking research communities, takes an important step to filling this gap by investigating the place and dimensions of ‘Byzantium after Byzantium’.
This collection of essays uses the idea of ‘reception-theory’ and expands it to show how European societies after Byzantium have responded to both the reality, and the idea of Byzantine Civilisation. The authors discuss various forms of Byzantine influence in the post-Byzantine world from architecture to literature to music to the place of Byzantium in modern political debates (e.g. in Russia). The intentional focus of the present volume is on those aspects of Byzantine reception less well-known to English-reading audiences, which accounts for the inclusion of Bulgarian, Czech, Polish and Russian perspectives. As a result this book shows that although so-called 'Byzantinism' is a pan-European phenomenon, it is made manifest in local/national versions.
The volume brings together specialists from various countries, mainly Byzantinists, whose works focus not only on Byzantine Studies (that is history, literature and culture of the Byzantine Empire), but also on the influence of Byzantine culture on the world after the Fall of Constantinople.

Moving beyond the rhetoric of provocation: the French and World War II in the novels of the Hussards (1949-1954)

In the immediate aftermath of the Second World War, only those who had opposed the Germans or were perceived to have done so could freely express themselves. Soon, however, three young writers clearly leaning to the right of the political spectrum – Antoine Blondin, Roger Nimier and Jacques Laurent – dared to challenge their narratives in a series of provocative novels published between 1949 and 1954. Quickly referred to as the Hussards after the publication in 1952 of a famous essay by Bernard Frank, these writers momentarily occupied the literary space left vacant by their older peers. Without denying the provocative, political and subversive dimensions of the Hussards’ war novels, this article will argue that their success was mainly due to the fact that they were largely in line – and not in contradiction – with the ‘horizon of expectations’ of their time (Jauss, 1982).

A World Drawn: An Introduction to the art of Julian Opie (for a Polish Audience)

Essay in a monograph associated with the exhibition Julian Opie: Sculptures, Paintings, Films at the Museum of Contemporary Art in Krakow, Poland, 18 October 2014 to 25 January 2015. Slyce attempts to re-examine the lineaments of Opie's practice for a new and broader audience. During which, he calls attention in the writing to the processes of its commissioning and early request to do so for a 'Polish audience'. He attempts to bring to light some of these often invisible moves in the commissioning of catalogue essays, while also re-examining Julian Opie's practice in light of its established reception in Britain.