This thesis discusses the impact of the counterculture on Australian cinema in the late 20thcentury through the work of the Sydney Underground Film group, Ubu. This group, active between 1965 -1970, was a significant part of an underground counter culture, to which many young Australians subscribed. As a group, Ubu was more than a rat bag assemblage of University students. It was an antipodean aspect of an ongoing artistic and political movement that began with the European avant-garde at the beginning of the 20th century and that radically transformed artistic conventions in theatre, painting, literature, photography and film. Three purposes underpin this thesis: firstly to track the art historical links between a European avant-garde heritage and Ubu. Experimental film is a genre that is informed by cross art form interrelations between theatre, painting, literature, photography and film and the major modernist aesthetic philosophies of the last century. Ubu's revolutionary aesthetic approaches included political resistance and the involvement of audiences in the production of art. Their creative wellspring drew from: Alfred Jarry, Dadaism, Surrealism, Futurism, Fluxus, Conceptual and Pop art. This cross fertilization between the arts is critical to understanding not only the Australian experimental movement but the history of contemporary image making. The second purpose is to fill a current void of research about early Australian Experimental film. This is a significant gap given it was a national movement with many international connections. The counterculture movement also contains many major figures in Australian art history. These individuals played their parts in the Sydney Push, Oz magazine and the activities of the Yellow House and have since become important multi arts practitioners and commentators. Thirdly, the thesis attempts to evaluate Ubu's political and social agenda for the democratization of film appreciation through their objectives of: production, exhibition, distribution and debate of experimental film both nationally and internationally. Ultimately the group would succeed in these objectives and in winning the war on repressive censorship laws. Their influence has informed the practice of many of Australia's current film heavy weights. Two key films have been selected for analysis, It Droppeth as the Gentle Rain (1963) and Newsfront (1978). The first looks forward to Ubu's contemporary practices and political agenda while the second demonstrates their longer term influences on mainstream cinema.

Feminist and social historians have long been interested in that particularly female ability to become pregnant and bear children. A significant body of historiography has challenged the notion that pregnancy and childbirth considered to be the acceptable and 'appropriate' roles for women for most of the twentieth century in Australia - have always been welcomed, rewarding and always fulfilling events in women's lives. Several historians have also begun the process of enlarging our knowledge of the changing cultural attitudes towards bereavement in Australia and the eschewing of the public expression of sorrow following the two World Wars; a significant contribution to scholarship which underscores the changing attitudes towards perinatal loss. It is estimated that one in four women lose a pregnancy to miscarriage, and two in one hundred late pregnancies result in stillbirth in contemporary Australia. Miscarriage, stillbirth and neonatal death are today considered by psychologists and social workers, amongst others, as potentially significant events in many women's lives, yet have received little or passing attention in historical scholarship concerned with pregnancy and motherhood. As such, this study focuses on pregnancy loss: the meaning it has been given by various groups at different times in Australia's past, and how some Australian women have made sense of their own experience of miscarriage, stillbirth or neonatal death within particular social and historical contexts. Pregnancy loss has been understood in a range of ways by different groups over the past 100 years. At the beginning of the twentieth century, when alarm was mounting over the declining birth rate, pregnancy loss was termed 'foetal wastage' by eugenicists and medical practitioners, and was seen in abstract terms as the loss of necessary future Australian citizens. By the 1970s, however, with the advent of support groups such as SANDS (Stillbirth and Neonatal Death Support) miscarriage and stillbirth were increasingly seen as the devastating loss of an individual baby, while the mother was seen as someone in need of emotional and other support. With the advent of new prenatal screening technologies in the late twentieth century, there has been a return of the idea of maternal responsibility for producing a 'successful' outcome. This project seeks to critically examines the wide range of socially constructed meanings of pregnancy loss and interrogate the arguments of those groups, such as the medical profession, religious and support groups, participating in these constructions. It will build on existing histories of motherhood, childbirth and pregnancy in Australia and, therefore, also the history of Australian women.

liv, 775 p. / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / Thesis (D.Litt)--University of Adelaide, 1971

Typescript. Bibliography: leaves 202-207.

This thesis discusses the impact of the counterculture on Australian cinema in the late 20thcentury through the work of the Sydney Underground Film group, Ubu. This group, active between 1965 -1970, was a significant part of an underground counter culture, to which many young Australians subscribed. As a group, Ubu was more than a rat bag assemblage of University students. It was an antipodean aspect of an ongoing artistic and political movement that began with the European avant-garde at the beginning of the 20th century and that radically transformed artistic conventions in theatre, painting, literature, photography and film. Three purposes underpin this thesis: firstly to track the art historical links between a European avant-garde heritage and Ubu. Experimental film is a genre that is informed by cross art form interrelations between theatre, painting, literature, photography and film and the major modernist aesthetic philosophies of the last century. Ubu's revolutionary aesthetic approaches included political resistance and the involvement of audiences in the production of art. Their creative wellspring drew from: Alfred Jarry, Dadaism, Surrealism, Futurism, Fluxus, Conceptual and Pop art. This cross fertilization between the arts is critical to understanding not only the Australian experimental movement but the history of contemporary image making. The second purpose is to fill a current void of research about early Australian Experimental film. This is a significant gap given it was a national movement with many international connections. The counterculture movement also contains many major figures in Australian art history. These individuals played their parts in the Sydney Push, Oz magazine and the activities of the Yellow House and have since become important multi arts practitioners and commentators. Thirdly, the thesis attempts to evaluate Ubu's political and social agenda for the democratization of film appreciation through their objectives of: production, exhibition, distribution and debate of experimental film both nationally and internationally. Ultimately the group would succeed in these objectives and in winning the war on repressive censorship laws. Their influence has informed the practice of many of Australia's current film heavy weights. Two key films have been selected for analysis, It Droppeth as the Gentle Rain (1963) and Newsfront (1978). The first looks forward to Ubu's contemporary practices and political agenda while the second demonstrates their longer term influences on mainstream cinema.

[Truncated abstract] This thesis develops an understanding of how, historically, Education as an area of study (Education) has been constructed at each of the five universities in the State of Western Australia. The motivation for the study was the claim made by some academics that historically Education has been marginalised in certain universities in the UK, the USA and Australia, and that this marginalisation was intensified by a negative attitude towards its association with teacher preparation. Very little evidence, however, has been put forward to support this claim, thus highlighting a major neglected area of research. This thesis is a response to such neglect in relation to the situation in one state in Australia. The focus of the thesis is on the 'preactive curriculum' as represented in the plans and syllabi that outline what was included in programs and courses. An 'internal' analysis of relevant documents was conducted along with an 'external' analysis which considered the broader social, economic and political context. It was recognised that a study of the 'interactive curriculum' also needs to be conducted to gain insights into how the 'preactive curriculum' was mediated by lecturers and students. From the outset, however, it was deemed that this would constitute a further major study in itself. ... The most prominent were the 'academic', 'integrated', 'vocational', 'technical', 'pragmatic' and 'professional' orientations. The content of Education at the five universities also varied. Such variation offered breadth of opportunity for students. It also meant that, collectively, the universities served the needs of the State and their students by providing relevant and flexible curricula beyond what would have been possible in a 'one size fits all' model. Furthermore the claim that there was tension regarding the inclusion of 'Education' as an area of study within Australian universities generally, is not upheld for the Western Australian context. While this thesis contributes to an understanding of how, historically, Education as an area of study has been constructed in one State in Australia, much further research remains to be done in this field of curriculum history. In particular, future research could focus on the way in which Education, along with other areas of university study, have been constructed in the other states of Australia and overseas. The identification of areas of contestation and omissions from courses are also worthy of consideration. Finegrained studies of this nature could collectively make an important contribution to the understanding of the history of developments in the university curriculum at a macro level. Such work would, in the fullness of time, contribute to new understandings about institutionalised learning at tertiary level and provide historical insights to inform current practice as universities continue to try to find their way in a global society.

Bibliography: leaves 400-433 / vii, 433 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 Anthropology, 1989

Thesis (MBA)--Stellenbosch University, 2001. / ENGLISH ABSTRACT: This study project investigates the impact of major factors that influenced the Australian wine industry over the past decade. The project starts of with an in-depth look at the history of the Australian wine industry whilst simultaneously comparing the plantings and growth in production within their industry from 1994 to 1997 to that of their operations when the industry started out in 1788. The thesis concentrates on the factors that characterized the global wine industry during the mid 1990's that were: • Wine trade would continue to grow in terms of volume in spite of a continuing fall in the quantities consumed worldwide. • Commitments undertaken by signatories to the GATT's Uruguay Round Agreements in Marrakech in 1994 would ensure that trade develops not just within trading blocs but amongst them too. • New World and Eastern-European exporters would threaten EU dominance of international markets. Furthermore, focus is placed on the driving forces within the current global wine industry with special emphasis on the new world countries showing growth in production and consumption in contrast to the old world countries predominantly. Taxation gets investigated from a consumer, producer and the Australian government's point of view as well as a comparative model between Australian wine consumption and consumption in the rest of the world during the pre-tax period as well as the post-tax period. Chapter 6 looks at Vision 2025 that the Australian wine industry developed due to a need identified to become globally competent by the industry themselves. Emphasis is placed on the whole issue of one industry turning a production-driven wine economy around into a market-driven industry with every participant within the industry "marketing" a set of strategic objectives that will ultimately benefit their whole industry. Chapter 7 looks at the Australian wine industry from an objective point of view whilst benchmarking the industry against the major global wine trends as well as against quality performances of the global role players. Emphasis is placed on the differences and similarities that Australia's wine booms have in common as well as the lessons that any upcoming wine producing country have to learn form Australia's wine boom such as: o Developnew market opportunities o Develop a long-term vision for sustainable growth o Invest in the latest technologies o Develophealthy relations with growers and marketers o Investment in product differentiation through promotions o Attract the necessary resources Finally, focus is placed on South Africa's Vision 2020 and how the local industry will benefit from the objectives been set out to be achieved. / AFRIKAANSE OPSOMMING: Hierdie studieprojek ondersoek die impak van verskeie invloedryke faktore wat 'n beduidende rol gespeel het in die Australiese wynbedryf die afgelope dekade. Die projek begin deur te kyk na 'n indiepte studie van die Australiese wynbedryf se geskiedenis terwyl daar gelyktydig vergelyking getref word tussen die aanplantings van die Australiese wynbedryf vanaf 1994 tot 1997 aan die eenkant teenoor die operasionele sy van dieselfde industrie met sy ontstaan in 1788. Die tesis konsentreer op die faktore wat die globale wynindustrie gekenmerk het tydens die middel 1990's. Hierdie faktore was onder andere: • Die wynhandel het aanhoudende groei getoon ten spyte van die wêreldwye tendens van 'n afname in wynverbruik. • Verpligtinge aangegaan deur ondergetekendes tot die GATTUruguay rondte van samesprekinge in Marrakech in 1994 het verseker dat wynhandel nie net binne handeisblokke plaasgevind het nie, maar ook tussen hierdie handelsblokke. • Die nuwewêreld produserende lande, asook die Oos-Europese lande het 'n beduidende bedreiging vir EU-beheerde markte begin word. Verder is fokus geplaas op die dryfkragte binne die globale wynindustrie met spesiale verwysing na die nuwewêreld produserende lande wat groei toon in die aanplantings van wingerde, die produksie van wyn asook die verbruik daarvan - in kontras met die ouwêreld produserende lande. Belasting word ondersoek vanaf n verbruiker, produsent en die Australiese regering se oogpunt af. n Vergelykende model word geskets waarin daar gekyk word na Australiese wynverbruik voor die belastingimplimentering asook daarna. Hoofstuk 6 kyk na Visie 2025 wat deur die Australiese wynbedryf ontwikkel is as gevolg van 'n behoefte wat geidentifiseer is om globaal mededingend te wees. Klem is geplaas op die proses van n wynindustrie wat ontwikkel het vanaf 'n produksie gedrewe industrie na 'n markgedrewe industrie met elke deelnemer in die industrie wat die strategiese doelwitte van Visie 2025 slaafs "bemark" met die wete dat hul hele industrie uiteindelik daarby sal baat. Hoofstuk 7 kyk na die Australiese wynindustrie vanaf 'n objektiewe oogpunt terwyl die industrie gemeet word teen globale wyntendense asook teen die kwaliteitsvertonings van die globale rolspelers. Fokus is geplaas op die verskille en ooreenkomste tussen Australië se twee wyn groeitydperke asook die lesse wat daaruit te leer is vir enige opkomende wynproduserende land. Hierdie lesse is: o Ontwikkel nuwe markte o Ontwikkel 'n langtermyn visie vir volgehoue groei o Investeer in die nuutste tegnologie o Ontwikkel gesonde verhoudings met kontrak wingerdplanters en bemarkers o Investeer in produkdifferensiasie deur promosies o Verkry die nodige hulpbronne Laastens is klem geplaas op Suid-Afrika se Visie 2020 en hoe die plaaslike industrie daarby sal baat indien die uiteengesette doelwitte behaal sou word.

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Abstract not available