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The thesis examines different forms of Australian setter-nationalism, and their impact upon settler/indigenous relations. I examine the way that the development of specific forms of settler national consciousness has influenced the treatment of, thought about, and feeling towards the indigenous as a people or peoples. I claim that discourses of the nation operate, in an ongoing way, as shaping forces in everyday and public policy responses to the collective situation of Australia's indigenous peoples, and to the perception of their place in Australian society.

This thesis is a critical history of managerial and professional men in post-Second World War Australia. The attention that I have given managerial and professional men has been determined by my own political desire to problematise the continued accomplishment of hegemony. As subjects, these men and their discursive practices enable scrutiny of the regenerative labour necessary to sustain power and necessary to realise the material results that accrue to those performing such work. My thesis examines the practices of particular groups of managerial and professional men within four discrete social settings or terrain during the post-war period. I interrogate the operations of managerial and professional men in personnel management (the terrain of work), in market research (the terrain of the market), in parenting and marriage guidance (the terrain of the family) and in the service club Rotary (the terrain of the civic). In each of these terrains I find managerial and professional men framing problems and enacting solutions. A process or intervention that makes natural the connections of interest (of advantage or disadvantage) being constantly recreated; an intervention that expresses a comfort with the mechanics and entailments of hegemony. To enable my critical history I apply, in each terrain, a framework comprising three core elements. I historicize the accomplishment of hegemony; testing the emergence of government and positive expressions of power during post-war modernisation in the local contexts of managerial and professional men�s interventions. I people hegemony; identifying the practices of managerial and professional men as resources for doing social relations (in particular the relations of gender and class) and crucial to the operation of hegemony. And, thirdly, I demonstrate the interventions of these men to be interested; unravelling the possessive investments managerial and professional men make through their interventions. My scrutiny of managerial and profession men and their practices, my choice of terrains in which to study them, my analysis of the process enacted in these terrain and the sources that I have utilised are not intended to assemble a biography of men�s experiences or ideal masculinities. Rather, my thesis provides a biography of interventions in order to disassemble that which appears not to be anything in particular: the ordinary regeneration of hegemony by ordinary men doing ordinary things.

"March 2002". / Thesis (PhD)--Macquarie University, Division of Humanities, Department of English, 2005. / Bibliography: p. 324-344. / Introduction: framing the texts -- Subversive voices -- Formulating a theoretical position -- Performance: a complete process -- On second thoughts: rewriting contemporary culture -- Performing On second thoghts -- Dialogic voices: Amanda Stewart and # -- Performing # -- Voices of desire: Ania Walwicz and Soft -- Performing Soft -- Marginal voices: Hazel Smith and Poet without language -- Performing Poet without language -- Conclusions: interpreting subversive voices. / This study considers the text and performance of four Australian experimental poets, Chris Mann, Amanda Stewart, Ania Walwicz and Hazel Smith. My aim is to demonstrate how the genre of experimental poetry uses language and performance in such a way as to rewrite existing dominant discourses. The challenge as an analyst is to find ways into such reflexive texts that use intertextual resources of critical theory as their subject matter. The perspective employed here engages with the theories posited by the texts and allows for a theoretical position removed from the structure and theories informing them. -- The study is organised in two parts. First, I consider the subversiveness of the genre drawing on Raymond Williams' notion of the emergent, followed by a discussion of important predecessors in the field of experimentation. I then outline the particular method of enquiry and theoretical framework used here to analyse the meaning potential of such works. Systemic Functional Grammar and Multimodal Discourse theory are discussed and their particular application in this study. The second part of the thesis applies these theories to the experimental works. -- I begin explaining my theoretical position by considering the weakness of the commonly used theories of Kristeva's 'semiotic' to analyse such works. I found Systemic Functional Grammar, as developed by Michael Halliday and then Terry Threadgold, to be a useful tool for elucidating the meaning potential behind the fractured grammars in the texts. It also provided a way of conceptualising enunciative positions and the way intertextual resources might be rewritten. From within this linguistic framework I was able to discern subversive messages from the intertwined theories ranging across the texts from Marxism, structuralism, psychoanalysis, feminism and multiculturalism. -- The performance posed another challenge as the improvised spoken texts, uniquely performed by these artists, create a subversive listening position for the audience, which engages with both the words and sounds for their sonic and semantic qualities. I consider many ways of addressing the role and behaviour of the performer and listener as well as the performance as a creative process, emerging from the two. I engage the model put forward by Kress and Van Leeuwen for analysis of multimodal texts which provides a functional approach to meaning potential in the performance and its varying layers. Within this model, I found prosody most useful for its ability to notate intonation, key, disjuncture and stress, exposing the dialogic voices and the relationship between semantics and sound in the performances. This form of communication is equivalent to the indexical entailment of sound and music which forms the basis for communication between performers, and between performer and audience. The dialogic situation is enhanced by both prosody and indexical entailment providing possible meanings. I use some traditional musicological analysis but my aim is to move away from such formalistic descriptions to consider culturally inscribed sounds and their interpretation using a functional model. -- Throughout, the complexity of experimental performance is evident but the theoretical frame used here might be applied to other works of this nature as a means of further understanding the semiotic web in subversive texts. / Mode of access: World Wide Web. / 344 p., music