Radical Tasmania: Rebellion, reaction and resistance: A thesis in creative nonfiction

Radical Tasmania is a political history of radicals in Tasmania theorised and narrated in creative nonfiction.Doctor of Philosoph

Gardner-Webb Review, Volume 7, 2014

Annual publication associated with the Life of the Scholar Multidisciplinary Conference. This publication presents selected essays written by undergraduate students at Gardner-Webb University

A bibliography of the traditional games of Australian Aboriginal and Torres Strait Islander peoples

Aboriginal and Torres Strait Islander peoples of Australia are recognised as being associated with some of the world's oldest continuing cultures. Over tens of thousands of years the first peoples of Australia adapted to a changing environment. They developed a unique way of life which involved a deep spiritual attachment to the land, a strong sense of community, and an ability to draw upon their traditions and the ability to respond to change. Games and pastimes of various descriptions have always been an integral part of the cultures of Australian Aboriginal and Torres Strait Islander peoples. Since the time of first European settlement a significant amount of information has been recorded about these. This bibliography has been produced to provide an awareness of traditional games undertaken by Australian Aboriginal and Torres Strait Islander peoples and to encourage further study of these as part of an understanding of the sporting heritage of Australia

Toward a general history of Australian musical composition: first national music, 1788-c.1860

This study is a first attempt at a history of musical composition in early colonial Australia. It demonstrates that the existing general literature gives an inadequate account of the role of composers, and the function and reception of locally composed music within colonial society. That such a study has not been undertaken earlier is due partly to a lingering historical prejudice that the music itself is not very interesting, and not very good; and partly to the intractability of musical and documentary sources. Since 2005, a National and State libraries initiative has built a freely accessible online archive of around 300 printed early colonial compositions; nevertheless, most of these prints were undated, and few of the works or composers featured in previous literature. Since 2008, another NLA initiative, Australian Newspapers 1803-1954, has solved the documentary problem, with its searchable online archive of the colonial press. Using both new resources, it has been possible for the first time to date almost all of the existing prints precisely, and to identify from press advertisements a further 140 prints that are presumed lost. Systematic searches also identified a large number of unpublished compositions previously unknown. Since manuscripts survivals from this period are rare, almost none of these works is still extant. However, their identification adds greatly to the understanding of the profile of composed music in the era and to the careers of individual composers. Whereas fewer than 50 individual works have been cited in previous literature on the period, an appendix checklist identifies 880. This new data is used to chronicle the early history of compositional activity in Australia, from the European takeover onward. While no attempt has been made to hypothesise prior creative activity, early European transcriptions of Indigenous song, characterised at the time as the authentic "Australian National Music", are one focus of the early chapters. Early colonial composed music, meanwhile, answered the immediate needs of the founding British colonial establishments, and later settler colonial society, mainly in dance music and songs. A first performance by professionals (theatre and concert artists, and military bands) was often followed by publication in sheet music format for the domestic market, complementing a limited supply of imported print music. Composers also regularly arranged and reorchestrated imported theatre music for local forces, and improvised. The press greeted new works as contributing to "colonial production" and social improvement. Contemporary commentators theorised that local conditions — geographic, climatic, social, and economic — would help form an Australian national music distinct from its British and European antecedents. The study argues that, responding creatively to colonial realities, composers indeed produced a body of music locally distinctive, modest in ambition, broad in appeal, and functionally supportive of social and national interests. Insufficient infrastructure to support advanced repertoire and larger forms effectively quarantined Australia from canonic influence until the 1860s, allowing a popular early-Romantic music culture to continue to flourish in isolation. The study provides the first bibliographic apparatus and historical framework to assist researchers, performers, and students in using the online materials. The online format prototypes a novel approach to delivering history in which live links to primary sources allow readers to engage with the author's discussion critically

Settling down in a Foreign Country : A Comparison between U.S. and German Immigration Policies and Their Consequences

Policies on immigration are still essential in politics and they more or less affect a nation’s economy, culture, and stability. Therefore, it is important to study immigration. I choose to compare the United States and Germany, because they are both democratic and federal states, but their immigration policies stem from two completely different models (heterogeneous vs. homogeneous, jus soli vs. jus sanguinis) due to different cognitions of national identity. Moreover, immigration policies in the two countries have become similar throughout the years for economic and political reasons, but policymaking still shows signs of the influences of different national identities. Through the comparison of immigration policies between the United States and Germany and their consequences, I intend to demonstrate that the national identity approach of immigration policy theory is the basis of policymaking in regard to immigration, and I expect to see if similar economic and political needs will result in similar immigration policies in the two countries, and if similar immigration policies have similar receptions in public or have similar impacts on societies which are based on different immigration policy models. Literature plays a large role in my research, because it represents some historical facts about the immigration situation as well as immigrants’ mentalities. I have chosen several literary works as examples to demonstrate the influences and consequences of immigration policy on natives and immigrants. For future studies, it is worth seeing if German national identity will gradually change as the population of non-ethnic Germans (in a political sense of German citizenship) grows. It is possible that the change in ethnic demography will affect the perception of German national identity in the long run in the same way that American national identity changed. The notion of German blood as part of the national identity will hinder this process, and thus I do not expect the change in the perception of German national identity to happen in the near future. If this perception ever changes, the German immigration policy might change accordingly, which will further demonstrate the national identity approach

Electronic Dance Music: From Deviant Subculture to Culture Industry

Utilizing a mixed qualitative research methods design, including interviews, ethnographic field work, and analyzing historical documents, I examine the Electronic Dance Music (EDM) subculture, since its inception in the late 80s as a deviant subculture. Previous studies of raves and other music subcultures focus almost exclusively on the role of popularity in transforming the subculture. In this research, I found, in the case of EDM at least, a more complicated process in which structural factors such as mass media, public officials (politicians and law enforcement), and major music corporations played a prominent role in the transformation. Media coverage focused on sensationalized cases of widespread drug use, while public officials responded by passing and enforcing legislation that forced EDM organizers into more legitimate venues. This change in venue brought them to the attention of the music industry, who saw a new opportunity to make money. By “rationalizing” the production, distribution, and consumption (especially via corporate advertising) of electronic dance music for profit, the original subcultural, even countercultural, values of PLUR (peace, love, unity, respect), solidarity, and authenticity were undermined. These changes resulted in the group being transformed into what Horkheimer and Adorno ([1944] 1972) called a culture industry. Electronic dance music is today dominated by large-scale entertainment corporations who employ a formulaic marketing strategy in the production of EDM events for a mass audience

Bibliography of Occult and Fantastic Beliefs vol.1: A - D

Neuss: Bruno Buike Editions 2017, 288 p. - E27 - please note registration under "fake author" / pseudonym: undercover-collective „Paul Smith“, alias - somewhere! - University of Melbourne, Australi

Maori and Aboriginal Women in the Public Eye

From 1950, increasing numbers of Aboriginal and Māori women became nationally or internationally renowned. Few reached the heights of international fame accorded Evonne Goolagong or Dame Kiri Te Kanawa, and few remained household names for any length of time. But their growing numbers and visibility reflected the dramatic social, cultural and political changes taking place in Australia and New Zealand in the second half of the twentieth century. This book is the first in-depth study of media portrayals of well-known Indigenous women in Australia and New Zealand, including Goolagong, Te Kanawa, Oodgeroo Noonuccal and Dame Whina Cooper. The power of the media in shaping the lives of individuals and communities, for good or ill, is widely acknowledged. In these pages, Karen Fox examines an especially fascinating and revealing aspect of the media and its history — how prominent Māori and Aboriginal women were depicted for the readers of popular media in the past