This study analyses certain aspects of the relationship between culture and technology by using the example of the 35mm still photographic camera. Methodologically, the study integrates two perspectives in communication theory, namely diffusion of innovation and cultural studies. The study consists of five segments. First, the need for technological innovation is defined in terms of developing social formations. Secondly, the history of photographic research and development is traced in terms of various models of industrial development, and in terms of the horizontal and vertical integration of manufacturing. The commercialization of the camera is treated in relation to the history of markets, and their disturbances by war and other political developments. Next, the study provides an analysis of specialty magazine advertising as it relates to the 35mm camera. Finally, the adoption and utilization of this new technology are discussed in terms of the competing interests of various social formations in modern society.

Soviet literature of the twenties and thirties is examined in the present study in its relationship to other verbal genres, primarily, the speeches of Party leaders, newspaper rhetoric and political posters. The first four chapters of the dissertation focus on such topics as the reception of Marxist-Leninist discourse by peasants and workers as well as its representation in fiction; the refraction of official discursive formulas in characters' speech and the dialogization of Party rhetoric; the integration of political documents into fiction and their structural function. Particular attention is paid to the way the contamination of Party rhetoric by substandard language and its contextual defamiliarization lead, depending on the overall authorial intention, either to a parodic subversion of official cliches or to the internalization of didactic discourse and the enhancement of its communicative effectiveness. / The theme of industrialization is examined in the last two chapters of the thesis in its dialectic interaction with various Neo-Rousseauist conceptions, which either reflect the authors' own ambivalence about socialist construction, or constitute a rhetorical device used in order to reinforce dialogically industrialist ideology.

Thesis (M.A.)--University of Hawaii at Manoa, 2001 / Pacific Islands Studies

This Professional Doctorate in Midwifery explores the development of maternity services in New Zealand subsequent to legislative changes in 1990 enabling midwives to provide the same services as doctors and access the same funding for the provision of care for childbearing women. The papers in this portfolio describe and analyse challenges faced by New Zealand midwives in achieving their full potential as autonomous health professionals and the strategies they developed to survive within a healthcare environment that despite changes, remained medicalised. Throughout this portfolio, a theoretical framework based on complexity theory provides a lens for critique of the varying challenges to midwifery development and strategies to progress the profession. The seven papers that make up this portfolio were developed and written over a five-year period from 1999 to 2003. During this time I was involved in various activities supporting midwifery in New Zealand, including the establishment of a postgraduate midwifery programme and participation in the refocusing of both the New Zealand College of Midwives and the Midwifery and Maternity Provider Organisation. These activities took me to various parts of the country, enabling me to maintain contact with midwives from a variety of settings. The first paper sets the scene for the portfolio by exploring the socio-political context of contemporary midwifery in New Zealand. The second paper tracks the emergence of a theoretical framework out of Complexity theory and presents a set of principles, which guide the critique of midwifery services and professional development, explored in the subsequent papers. Part Three documents the development of a contextual scanning tool, used to analyse the organisation of maternity care by midwives in rural settings. Part Four presents the findings of the scan and strategies for consolidating the role of midwives as key providers of maternity services in rural localities. Part Five documents the development of a programme for optimising midwifery leadership within the health sector, while Part Six explores the risks and opportunities for midwives with the development of clinical governance strategies by District Health Boards. Part seven focuses on strategies to increase the potential for midwives to consolidate, maintain and further develop community-based maternity services throughout the country. This portfolio provides an organisational analysis of contemporary maternity services in New Zealand and presents a multifaceted approach to securing midwifery as a key health profession and midwives as the main provider of maternity services to women in this country. The findings of this collection of works, identified midwifery in New Zealand as precariously positioned within a rapidly changing health service environment. While appearing most vulnerable, midwifery within the rural and primary settings appeared to offer the most potential for innovative development in order to secure the place of midwives as the prime providers of health care for women in childbirth.

As cultural studies has consolidated its claim to constitute a distinct field of study in recent years, debate has intensified about its characteristic objects, concepts and methods, if any, and, therefore, its relationship to traditional disciplines in the Humanities and Social Sciences. In History in Australian Popular Culture 1972-1995, I focus on an intersection of cultural studies with history. However, I do not debate the competing claims of 'history' and 'cultural studies' as academic projects. Rather, I examine the role played by historical discourse in popular cultural practices, and how those practices contest and modify public debate about history; I take 'historical discourse' to include argument about as well as representation of the past, and so to involve a rhetorical dimension of desire and suasive force that varies according to social contexts of usage. Therefore, in this thesis I do cultural studies empirically by asking what people say and do in the name of history in everyday contexts of work and leisure, and what is at stake in public as well as academic 'theoretical' discussion of the meaning and value of history for Australians today. Taking tourism and television ('public culture') as my major research fields, I argue that far from abolishing historical consciousness -- as the 'mass' dimension of popular culture is so often said to do -- these distinct but globally interlocking cultural industries have emerged in Australian conditions as major sites of historical contestation and pedagogy. Tourism and television are, of course, trans-national industries which impact on the living-space (and time) of local communities and blur the national boundaries so often taken to define the coherence of both 'history' and 'culture' in the modern period. I argue, however, that the historical import of these industries includes the use of the social and cultural spaces they make available by people seeking to publicise their own arguments with the past, their criticisms of the present, and their projects for the future; this usage is what I call 'popular culture', and it can include properly historical criticism of the power of tourism and television to disrupt or destroy a particular community's sense of its past. From this it follows that in this thesis I defend cultural studies as a practice which, far from participating in a 'death' or 'killing' of history, is capable of accounting in specific ways for the liveliness of historical debate in Australia today.

Born in 1938 in Poland, I epxperienced wartime Berlin and post-war Stalinism. My first job, at sixteen, was with the East Berlin States Opera and the Bertold Brecht's Berliner Ensemble. The play writes Betrtold Brecht and Buechner had the strongest influence on me. Brecht's play 'Mutter Courage and her children' and Georg Buechner's 'Woyzech' encapsulated the harsh realities of post-war Europe, and confirmed my desire for social justice and reform. Yet, the main influence on my work comes from my own life experience. My life in Australia has become a kind of exile-a deprivation of the origin of my culture and my cradle. After nearly forty years in Australia I feel a little displaced. Yet I left Europe voluntarily to escape from the very culture and history I now miss. I am experiencing a common dilemma of migration. I belong neither here nor there-a kind of dislocation. There exists a twilight zone in the in-between time-a discontinuity of my Berliner development. Artists such as Kaethe Kollwitz, John Heartfield, George Grosz, Otto Dix, and Max Beckman influenced my teenage years. Later, Joseph Beuys, Anselm Kiefer and Georg Baselitz. I work with found objects, such as toys crafted by human hand. I am giving them a new meaning, a new being. They are meditations on the conflict of war, where women and children are the primary victims of political fragmentation. My sculptures evoke memories of a childhood stolen. They take on a menacing character reminding the viewer of the effects war has on humanity. But Art is the reflector and searcher; it is our way to enlightenment. Joseph Beuys introduced the concept of an expanded notion of art ("der erweiterte Kunstbegriff???) to surpass the boundaries of modernism with in art, science, spirituality, humanism and economics. He drew attention to the potential of human creativity. Art, against all odds, is poetry to life.

Errata pasted in front end-papers. / Bibliography: leaves 410-432. / ix, 432 leaves ; 30 cm. / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / Thesis (Ph.D.)--University of Adelaide, Dept. of Linguistics, 1997?

Bibliography: leaves 274-303. / vi, 303 leaves ; 30 cm. / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / This study places the radicalisation of art music in early post-War France in its broader socio-cultural and political context. / Thesis (Ph.D.)--University of Adelaide, Performing Arts, 2000

viii, 317 leaves ; 30 cm. / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / Thesis (Ph.D.)--University of Adelaide, Dept. of English, 1980

MA (Research) / Prior to World War II an estimated 11 million Jews lived in hundreds of communities throughout Europe. The rural Subcarpathian city of Munkács was one such place with a strong and vibrant Jewish presence - a Jewish community which constituted some 40% of its population. Munkács had experienced a long history of ethnic, religious and cultural diversity. These different ethno-religious groups managed to live, if not in close friendships, but certainly for the most part, in reasonable harmony until the Hungarian occupation in 1938. The city was well known as a major centre of Jewish life in all its varieties, from the ultra-Orthodox Hasidim to the completely secular Zionists, communists and assimilationists. It was also well known for the internal frictions between some of these factions. In Munkács the ethnic cleansing of the Holocaust happened within a few short weeks in May 1944. The entire community was destroyed, mostly deported to Auschwitz, where some 85% of them were murdered. My aim in this thesis is to contribute to the historiography of The Jewish World That Was by reconstructing a picture of daily Jewish life in Munkács in the period between the two World Wars. My perspective was a grassroots one - a bottom up view of daily life, utilising archival and scholarly secondary sources as a backdrop for the memories of some of those who lived it. I have, through their authentic voices, drawn a word picture of how they lived, learned, worked, prayed and played. In doing this, my contention has been that, to understand the full devastation of the Holocaust, it is imperative to reconstruct the rich, dynamic and colourful fabric of daily life of pre-Holocaust Jewish Europe. It is also my view that it is urgent to do this while there are still those who can help us do so.