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Thesis (Ph.D.) --University of Adelaide, School of Earth and Environmental Sciences, Discipline of Environmental Biology, 2006. / "October 2005" Title of CD-ROM: Key to a selection of arid Australian hardwoods and softwoods. Bibliography: p. 489-507. Also available in print form.

Thesis (Ph. D.)--University of Queensland, 2002. / Includes bibliographical references.

This thesis examines the representation of Aboriginal people in Australian painting between 1850 and 1900. In particular, the thesis discusses and seeks to account for the decline in the frequency with which Aboriginal people were represented in mainstream academic art in the decades preceding Australia’s Federation in 1901. In addition, this thesis investigates the ways in which a visual discourse of Aboriginality was realised in mid- and late nineteenth-century Australian painting. / The figures of Aboriginal people formed a significant presence in Australian painting from the moment of first contact in the late eighteenth century until well into the nineteenth century. I argue that in paintings of the Australian landscape, as well as in portraiture and figure studies produced in the second half of the nineteenth century, images of Aboriginal people were used to signify the primordial difference of the antipodean landscape. In these paintings, Aboriginality emerged as a motif of Australia’s precolonial past: a timeless, arcadian realm that preceded European colonisation, and in which Aboriginal people enjoyed uncontested possession of the Australian landscape. This uncolonised landscape represented the antithesis of colonial civilisation, both spatially and temporally distinct from the colonial nation. / I argue that prior to Federation in 1901, Australian national identity was dependent upon the recognition and construction of a ‘difference’ that was seen to be implicit within the Australian landscape itself. This sense of difference derived from the settlers’ perception of the Australian environment, and became embodied in those objects which appeared most ‘different’ from settlers’ notion of the familiar. Colonial artists drew upon an iconography based upon this recognition of difference to signify the geographical identity of the landscape which they painted. Aboriginal people were central to these icons of ‘Australian-ness’. Further, the association of Aboriginal people with a precolonial Australia served to rationalise acts of colonial dispossession. / Representations of Aboriginal people dressed in a traditional manner, as well as those in which they are portrayed in European costume as ‘white but not quite’, underwrote colonial assertions of Aboriginal ‘primitiveness’ and precluded Aboriginal participation in the foundation of the Australian nation. The strengthening nationalist movement of the 1880s and 1890s meant that a new iconography was needed, one in which the triumph of the white settler culture over indigenous cultures could be celebrated. As a result, Aboriginal people began to disappear from the canvases of Australian artists, replaced by ‘white Aborigines’, who symbolised a new depth in the relationship between setter-Australia and the landscape itself. As well and more broadly, they were replaced by the image of the white frontiersman, the leitmotif of settler culture. This exclusion of Aboriginal people from the conceptualisation of the Australian nation reflects not only their ‘disenfranchisement’ within Australian society, but more significantly reveals the effectiveness with which a visual discourse of ‘Australia’ painted Aboriginal people out of existence.

Thesis (Ph. D.)--University of New South Wales, 2003. / Includes bibliographical references (p. 342-377). Also available online.

Thesis (M.A.(St.Art.Hist.)) -- University of Adelaide, Master of Arts (Studies in Art History), School of History and Politics, Discipline of History, 2005. / Coursework. "January, 2005" Bibliography: leaves 108-112.

Thesis (M. Sc.)--University of Sydney, 2000. / Title from title screen (viewed Apr. 21, 2008). Submitted in fulfilment of the requirements for the degree of Master of Science to the Division of Geography, School of Geosciences. Degree awarded 2000; thesis submitted 1999. Includes bibliography. Also available in print form.

Thesis (M.A.) -- University of Adelaide, 2003. / Bibliography: p. leaves 89-93.

Wood identification can serve a role wherever wood has been separated from other diagnostic plant structures as a result of cultural or taphonomic processing. In disciplines that study material culture, such as museum anthropology and art history, it may serve to augment and verify existing knowledge, whilst in fields like palaeobotany, zoology and archaeology, wood identification may test existing paradigms of ecology and human behaviour. However, resources to aid wood identification, particularly of non - commercial species, are sorely lacking and, in Australia, there are only a handful of xylotomists, most of whom are attached to Forestry organisations. In addition, wood fragments are commonly the limit of material available for identification. They may be the physical remains of a wider matrix - as may often appear in biological, archaeological, palaeobotanical or forensic contexts - or a splinter removed from an ethnographic artefact or antique. This research involved the development of an updateable, interactive, computer - based identification tool to the wood of 58 arid Australian species. The identification tool comprises a series of keys and sub - keys to reflect the taxonomic hierarchies and the difficulty of separating wood beyond family or genus. The central Sub - key to Arid Australian Hardwood Taxa is comprised of 20 angiosperm taxa which include families and single representatives of genera. The treated taxa in this key are defined by 57 separate characters. They are split into sets of like characters including four sets based upon method of examination : anatomical ( scanning electron microscopy ), anatomical ( light microscopy ), chemical observations and physical properties. These character sets follow a logical progression, in recognition of the variability in available sample size and that noninvasive techniques are often desirable, if not essential. The use of character sets also reflects that this variability in sample size can affect the range of available characters and the available method of identification, and their diagnostic potential tends to increase with the complexity of the identification method. As part of the research, the identification tool is tested against wood fragments removed from several Aboriginal Australian artefacts from central Australia and case studies are provided. / Thesis (Ph.D.)--School of Earth and Environmental Sciences, 2005.