Hasil untuk "History of Oceania (South Seas)"

Jeremy Coote

Jordi Codó Martínez

As in other aspects of society (politics, economics), the film industry appears to be undergoing a process of decentralization (still in its infancy) by which Asia is, if not overtaking, at least matching its level of influence with that of European and American powers. Much of the impetus shifting this balance corresponds to China. The spectacular growth of China‟s domestic market is concentrating a substantial part of the global film business within this Asian giant, resulting in the still sector leader, the United States, conditioning its production in order to maximize profits in that territory. Resolute internationalization policies are also helping Chinese companies gain a foothold in Western countries conditioning film content there, although paradoxically their audiences remain unwilling to consume cinema that is culturally foreign. This essay will attempt to explain how all this has occurred.

Martin Renes Cornelis

Editorial Introduction

Bill Philips

There is something about the poetry of Elizabeth Campbell that syncopates like an idling Harley Davidson. In the poem “destiny”, written mainly in lines of fourteen to sixteen syllables, the urge to settle into a steady iambic rhythm is constantly frustrated, only to return again to its regular beat before once again hopping sideways in distinctive fitfulness.

Margaret Trail

The overarching interest of this paper is in articulating the affective conditions of football’s play. It undertakes this through a consideration of the sonorous dimension of football, mapping its sounds across a framework borrowed from recent writings on sound-art and sonic geography. Specifically it considers a continuum articulated by Will Scrimshaw (in relation to sound art exploring spatial notions), between sounds-of-place and sound-as-a-place. It then places sounds produced in football-play across this continuum, to see whether football’s sonic practices can be more finely articulated through doing so, and might in turn shed light on its affective conditions.

Andrea Roxana Bellot

Although the Malvinas/Falklands War (1982) was relatively short and did not involve a great number of losses, it stands as an important blow in the collective memory of the two nations involved: Great Britain and Argentina. For the British, it was the last “colonial” war and one which allowed Margaret Thatcher to stay in power for almost a decade after the British victory. For the Argentine, it was the only war fought and lost in the twentieth century and it brought about the fall of the dictatorship. This paper will summarise the course of events related to the war, showing how the war implied a major nationalist project for both nations since national honour and national dignity were at stake. By making use of historical publications, this paper will also explore how and why some pacific solutions were ignored before the war broke out, as well as the failure of diplomatic negotiations in putting an end to the conflict.

Tom Drahos

The following analysis of the Australian Outback as an imagined space is informed by theories describing a separation from the objective physical world and the mapping of its representative double through language, and draws upon a reading of the function of landscape in three fictions; Joseph Conrad’s novella Heart of Darkness (1899), Greg Mclean’s 2005 horror film Wolf Creek and Ted Kotcheff’s 1971 cinematic adaptation of Kenneth Cook’s novel Wake in Fright2. I would like to consider the Outback as a culturally produced text, and compare the function of this landscape as a cultural ‘reality’ to the function of landscape in literary and cinematic fiction.

Britta Kuhlenbeck

This paper examines how spatial concepts of a region change over time and focuses on the Pilbara region in Western Australia as an example. Spatial concepts of ‘old space’ and ‘new place’ are employed to demonstrate how space gets re-written in the course of time. Re-writing of spatial concepts implies ontological shifts. By juxtaposing ‘old space’ and ‘new place’ concepts, questions of cultural values, the meaning of place – and of a region’s identity – can be explored. In the Pilbara region a specific cultural clash of Indigenous and non-Indigenous perceptions and use of space is evident. This paper theorises the culture and identity of the Pilbara region spatially. It employs the concept of spatiality that is one element in the ‘trialectic model of being’, as suggested by Henri Lefebvre, which consists of spatiality, historicality and sociality. Arguably, knowledge of ‘old space’ and ‘new place’ can enrich and inspire Australian culture, enhance cross-cultural understanding and break new ground in establishing a unique reconciliatory and conservation ethic

M.S. Suárez Lafuente

Dorothy Hewett´s poetry follows a complex architecture, a structure which encompasses her personal beliefs and the guiding lights that consciously and unconsciously led her life, while it also draws and deploys core elements from the literary tradition of Western culture. The primary image that pervades her poems is the garden, which is either the place where many of her poems occur or a significant component in others. Hewett´s garden retains several of the characteristics of the primordial garden, such as innocence, abundance and placid solitude, but it also partakes of its Romantic nuances, which, after all, are the same as in Eden but enhanced by feeling and intensity. The garden as literary locus sets the pace of Hewett´s poetry in that it links myth-making with literary tradition, the pillars that sustain the body of her poetic reality. This triangle, myth, tradition and reality, incorporates the main topics that the Australian writer inscribes in her work, and, while each corner retains its thematic substance, it also reflects the other two, thus giving unity to the whole poetic process. As Bruce Bennett pointed out as early as 1995, "place, appropriately conceived, is a meeting ground of mental, emotional and physical states and as such is a suitable focus for the literary imagination" (Bennett: 19).

Sean Brawley, Chris Dixon

Donna Lee Brien

Today, food writing makes up a significant proportion of the texts written, published, sold and read each year in Australia. While the food writing published in magazines and cookbooks has often been thought of as providing useful, but relatively banal, practical skills-based information to its readers, relatively recent reassessments suggest that food writing is much more interesting and important than this. In the contemporary context, when the mere mention of food engenders considerable anxiety, food writers play a number of roles beyond providing information on how to buy, store, prepare and serve various provisions. Instead, contemporary food writers engage with a range of important issues around food production and consumption including sustainable and ethical agriculture, biodiversity and genetic modification, food miles and fair trade, food safety and security, and obesity, diabetes and other health issues. In this, Australian food writers not only provide comment on any important issues in progress, they are also, I suggest, forward-thinking activists, advocating and campaigning for change. This paper focuses on prominent Australian food writer Margaret Fulton’s career in the 1960s to begin to investigate her work as an activist: that is, one who advocates and campaigns to bring about change.

María Isabel Seguro

Affection is perceived as something natural, pre-existing Culture and, therefore, free form discursive constructions. However, insofar as reality is mediated, if not given existence by language, human relationships are inevitably fashioned by narratives. Romance fictions and in particular heterosexual, interracial love stories have been used in U.S. popular culture as a means of promoting American democratic values of racial harmony at home and abroad. This will be exemplified by analyzing James A. Michener’s 1953 novel Sayonara together with Joshua Logan’s 1957 film adaptation.

Josep Mª Camí

Jaume Vallverdu

Barcelona 1954. Director of the Sculpture Department at the University of Barcelona, he has been teaching Fine Arts since 1985. He won the city of Martorrell ( Barcelona)first prize for sculpture. He has had important solo exhibitions in Barcelona, Vitoria in Spain and Andorra.

Vin D'Cruz

Mariela Garibay

Lima, 1976 She is currently engaged in completing her Ph.D.at Barcelona University, Spain, and will complete by Fall 2009 Doctoral program in Public Space and Urban Regeneration. B.F.A. (Bachelor in Fine Arts), Pontific Catholic University of Peru, 2004

Victòria Medina, Théophile Koui

The mask is a sign of cultural identity par excellence in the Wê society of the Ivory Coast and plays a very important role in traditional ceremonies. Its meaning, if we frame it in the ritual social and religious context, can only be understood by this particular African community. The mask constitutes the bridge between the visible and the invisible world. It is unique – and used as a specific language in its diverse representations– it makes communication between both universes possible. It is the connection between the world of the Gods and human beings. Beyond the religious or magical motivations, the mask is a receiver of vital forces; its wearer, assumes an identity different from his own which is expressed by means of long standing ceremonial rites. In the present preliminary work we will discuss: (1) the specificity of the concept of the mask among the Wê, (2) the esoteric and religious role of the Wê mask as an element of communication and (3) its relation with the collective beliefs and the cult to the ancestors.

Carles Serra Pagès

Recently, Husserl’s phenomenology of the “life-world” has been given special emphasis in those areas of the social sciences that are concerned with the crisis of values and meaning in our contemporary world. Husserl conceived the concept of “life-world” as a final introduction to his system of transcendental phenomenology, the project of a lifetime. As Husserl puts it in The Crisis of the European Sciences and Transcendental Phenomenology (7), phenomenology is not only the act of “senseinvestigation” (Besinnung), but also the universal “coming to self-awareness” (Selbstbesinnung) of humanity in a reflective manner, and herein precisely lies humanity’s responsibility towards itself. Husserl expected phenomenology to be the ultimate universal science, destined to ground all human achievements in the soil of the “life-world” (33-34). But can Husserl’s phenomenology accomplish this task effectively outside the horizon of Europe, and outside the context of a critique of modern science and technology? So as to try to answer this question, our aim will be to introduce some key concepts and notions that characterize Husserl’s phenomenology of the “life-world” or philosophy of genesis in the context of Aboriginal identity in Australia. For this purpose, we will offer a reading of Sally Morgan’s My Place, an autobiographical novel which narrates the personal quest of a woman of Aboriginal descend to find her roots and identity in a Westernized world. In the course of our analysis, we will describe in what ways some of Husserl’s notions related to the life-world are hindered in postcolonial contexts, and whether a phenomenological analysis can provide a means of reconcilement. Finally, we will also ask ourselves about the possibility of a phenomenological idea of history that respects the idiosyncracies of historicity.

Isabelle Auguste

2007 marked the 40th anniversary of the 1967 Referendum. Back on May 27th 1967, more than 90% of Australian eligible voters said “yes’ to two changes of the Australian Constitution considered discriminatory to Aboriginal people. This event is often considered as the first stage of Reconciliation in Australia. 2007 also marked the 10th Anniversary of the release of the Bringing Them Home Report that highlighted the forced removal of Aboriginal children from their family as part of an assimilation policy. From 1997, the issue of an apology became a sine qua non condition to Reconciliation. It was an important element of the recommendations the Council for Aboriginal Reconciliation submitted to Parliament in 2000. But, Liberal Prime Minister John Howard, in office for more than ten years, refused to say the word “sorry” on the basis that Australians of today are not responsible for the actions of the past and that guilt is not hereditary. His focus was on what is called “practical reconciliation”. Some changes are now on the way as Labor leader, Kevin Rudd, who defeated him at the last federal election in November 24th 2007, has promised to make a formal apology to the stolen generation. Why is it important to say “sorry”? At a time of dramatic developments in Indigenous Affairs, this paper deals with the significance of an apology for Reconciliation in Australia.

Joan Navarro

Barcelona, Spain. May 20, 1974. He lives and works at Barcelona. He is a Professor at the Escola Massana de Barcelona His work has been exhibited in renowned group exhibitions in Spain and his work has been bought by private collectors in Spain and Japan.