Cultural aspects of classroom effectiveness: Overseas-educated students in Australian classrooms

Teachers who are new to the country often find themselves as 'the stranger' in their own classroom. Languages education is one area where such overseas-educated teachers are common. The study reported here investigated what cultural factors might influence the classroom performance of such teachers. The early classroom experience of beginning Japanese native speaker teachers and trainees was examined to this end.

Cultural Specific Training in Corruption Reporting for Pacific Island Journalists

Notes that very few journalists have formal training in corruption reporting. Discusses workshops held in 2000 and 2001 on the subject of corruption reporting for Pacific Island journalists. Explains the role of the media as an anti-corruption mechanism and the difficulty journalists face in identifying and sometimes stamping out corruption. Looks at the programs adopted and explains the responses of journalists.

Cultural frictions: John Romeril's The 'Floating World'

Hailed as an 'unruly masterpiece', John Romeril's The Floating World is one of the few 'new wave' Australian plays representing Australians and their Asian 'others' to be restaged periodically since its premiere in 1974. Paying particular attention to production of the play that have used Japanese theatre forms such as kabuki and bunraku, this article focuses primarily on the ways in which the significations of race have been interpreted by the critical establishment. The fascinating stage history of The Floating World is treated as a barometer of Australian theatre's response to the challenge of representing cultural conflict, during a period marked by public debate about the desirability, and inevitability, of Australia's political, economic and cultural 'enmeshment' with Asia.

Television and cultural studies: Unfinished business

This introductory article argues that the current state of debate on television within cultural studies is marked by considerable areas of theoretical and political uncertainty. The spread of deregulatory and privatizing public policies in relation to television, and the disarticulation of television from the idea of the national community and from the role of the citizen, have posed new problems for theorizing the relation between television and its audiences. In this article I survey a number of key areas of debate: the relation between television, the nation and the state; television and the citizen/consumer, television content and performance, and the likely future(s) of television.

The politics of reintegrating Australian Aboriginal and American Indian indigenous knowledge into resource management: The dynamics of resource appropriation and cultural revival

As the United States and Australia struggle with contemporary crises over competing uses of rapidly depleting natural resources, there are striking parallels between American Indian and Australian Aboriginal communities demanding a place at the management table and offering culturally based understandings of and solutions for the ecosystems at risk. These efforts to integrate indigenous knowledge into mainstream natural resource management are part of larger legal and political debates over land tenure, the locus of control, indigenous self-governance, and holistic ecosystems management.

Defining 'underwater cultural heritage'

The newly adopted United Nations Education, Scientific and Cultural Organization's Convention on the Protection of the Underwater Cultural Heritage provides the first universal protection regime for this value archaeological resource. A central difficulty in concluding this Convention was defining underwater cultural heritage. This article considers the development of the definition agreed upon and analyses its utility in providing for a pragmatic and effective protection regime.

'Why does cultural studies want history?'

Cultural studies has often been accused of maintaining too strong a focus on the contemporary and the immediate as a result of its primary interest in popular culture and the media. The role of history, such criticisms suggest, has been displaced by this contemporary emphasis. Nonetheless, much cultural studies work takes a principled stand on the necessity of historicising the products of its research. Consequently, it is worth asking, with British historian Carolyn Steedman--'why does cultural studies want history?' This article begins to answer that question through the discussion of some aspects of a specific research project within Australian cultural studies.