This research is a single case study based on one successful Australian Christian school, Sandford Christian College. The research objectives were, firstly to quantify the degree of success of Sandford Christian College’s education by applying the School Development Review methodology of the Office of Review of the Victorian Department of Education. Secondly, to describe an exemplary Christian school and finally, to describe the impact of Sandford Christian College on the lives of the students. The significance of the research was to understand the central meaning and essence of one school community in the context of these three research objectives. (For complete abstract open document)

This study is based on several assumptions: it recognises that the person who is deformed has an existence both in the world and in the novel; it recognises that in both the world and the novel the deformed-being has borne a negative stigma. It also recognises that a literature reflects its culture, as must the characters who exist within that literature. As Harry Heseltine states succinctly: 'No writer invents his metaphors ex nihilo; in the long run he finds them somewhere in the range of possibility that his culture makes available to him'. This study asks: can that most marginalised of all characters, the deformed-being, provide any revelations about the self, about the novel, the reader of the novel, and the culture within which all exist? The answer in each case is an unequivocal yes. Each chapter is devoted to a particular character in a major Australian novel; comparisons are made with other literary works, Australian and non- Australian. The individual chapters reveal the metaphors and symbolism attached to the character's particular deformity, and demonstrate how the deformed body informs the body of the text. The whole study presents an overall picture of deformity as a fairly consistent and an often-utilised metaphor. Chapter One provides a general survey of deformity as a metaphor. Chapter Two looks at Louis Stone's Jonah (1911), in which the hunchbacked larrikin character is a post-colonial interpretation of the traditionally conjoined outcast states, deformity and criminality. In Chapter Three the dwarf Jackie in Ruth Park's Swords and Crowns and Rings (1977) is seen as a metaphor for non-conformity during a time when Australia was signalling a resistance to the Old-World moulding. Chapter Four is also concerned with the post-colonial identity as revealed through the dwarf and half-caste Billy Kwan in C. J. Koch's The Year of Living Dangerously (1978); it questions an identity that is 'imposed', whether at a national or individual level. In Chapter Five the relationship of the hunchbacked dwarf Rhoda Courtney with her adopted brother, the artist Duffield, in Patrick White's The Vivisector (1970) places deformity in the tradition of the kunstlerroman. In Chapter Six, Koch's The Doubleman (1985) is shown to combine elements of the kunstlerroman while raising questions about the post-colonial identity through the dualities arising out of the doppelganger: spiritual, bodily, and cultural displacement are all focussed by the device of Richard Miller's lameness. Chapter Seven moves from deformity that is congenital or disease-originated, to disability or deformity that is human- caused (either by negligence or intervention), thus allowing a discussion of the importance of the etiology of deformity as a device: in Thea Astley's The Acolyte (1972) Jack Holberg's blindness is caused by fly-strike. Chapter Eight examines the use of terror evoked through archetypal evolution of the lame crone Hester Harper in Elizabeth Jolley's The Well (1985). In Chapter Nine the crypto-dwarf Arthur Blackberry in James McQueenls Hook's Mountain (1982) is portrayed with the accompanying baggage of dwarf mythology; his implicit demise raises questions about our responses towards the deformed. Chapter Ten is a literary history of eugenics, as seen primarily through Eleanor Dark's Prelude to Christopher (1934) and Christina Stead's The Man Who Loved Children (1940). The conclusion discusses the initial, problems of dealing with a taboo topic, along with reasons for excluding autobiographicaltreatments of deformity, biographical portrayals, war novels, and children's literature. Finally, Leslie Fiedler's comment that deformity is the reigning metaphor of our age is shown to be particularly apt in an Australian context.

This thesis examines the social construction of disability in Australian national cinema throughout the 1990s. During that decade, disability was an issue that remained in the background of many film narratives and is (still) under-theorised in academic scholarship. Disability continues to be tangential to many social critiques, particularly in relation to cultural diversity and national identity. When it is foregrounded, as in Liz Ferrier’s (2001) work, its theoretical premise is chiefly located in a damaged body, rather than examined through the lens of cultural construction. The growing number of culturally diverse filmmakers in the Australian film industry during the 1990s initiated a critical focus on diversity, multiculturalism and minority group interests. However, an examination of the social construction of disability is conspicuously absent. I argue that a disability identity that focuses attention away from the body and onto society should be incorporated into notions of diversity concerning Australian national cinema. In this thesis I investigate both thematic and stylistic representations of disability with reference to socio-political contexts and influences. A disability identity — as it is included or excluded from Australian national identity — is explored through a variety of close readings of local films. I examine the methods filmmakers employ to problematise diversity in relation to the limitations of dominant representations of disability. This thesis recognises the historical lack of scholarship in relation to disability as a diversity issue in Australian national cinema of the 1990s and is an attempt to open up this field to new modes of criticism.

This PhD presentation comprises two pieces of work: I The Italian Diaspora in Australia and Representations of Italy and Italians in Australian Narrative ( Research thesis) II An Olive Branch for Sante (A novel) ………………. In the Introduction of my research titled: Diaspora: A Theoretical Review, I look at the evolution of diasporic Studies and how the great movements of people that have occurred in the past one hundred and fifty years have altered our perception of what is undoubtedly a global phenomenon. In Chapter One, which I have titled: In Search of an Italian Diaspora in Australia, I consider the kinds of socio-cultural nuclei that have evolved among the Italian population of Australia, out of the mass migration which occurred largely in the post war years. I discuss Italian migration as a whole, the historical and political conditions which brought about mass migration and the subsequent dispersion of Italian nationals, their regrouping into various clusters and how these fit into the patchwork that is the contemporary Australian society. Finally I review the conditions in the host country which facilitated or hindered particular socio-cultural formations and how these may differ from those occurring in other countries Chapter Two deals with, The Narrative of Non-Italian Writers. The chapter looks at the images and myths of Italy perpetrated in the literature written by English-speaking authors over the centuries. I begin with the legacy left by British writers such as E.M. Forster, then move on to Australian writers of non-Italian background, such as Judah Waten, Nino Culotta (John O' Grady) and Helen Garner. In Chapter Three: Italo-Australian Writers, I focus on two writers: Venero Armanno and Melina Marchetta, both born in Australia of Italian parents. This section ties in with the earlier discourse on the continuity of the Italian Diaspora in Australia, into the second and subsequent generations. In Chapter Four, titled: Literature of Nostalgia: The Long Journey, I will reflect upon my own journey as a writer, beginning with my earlier work, including the short stories and the plays, and concluding with a close look at the present novel, which is a companion piece to the research. The novel complements the research in that it deals with the eternal issues of migration: displacement, change and identity. The protagonists are two young people: Ira-Jane and Sante. The first is not a migrant, but she is touched by migration, insofar as an old Italian couple play grandparents to her, in the early years of her life. When they return to Sicily the child is left with her neglectful and unstable mother. At age twenty-four Ira-Jane goes to Sicily on an assignment, and there she tries to get in touch with her 'grandparents'. She meets up with eighteen-year-old Sante who turns out to be her half brother. The novel's structure juxtaposes two countries, two cultures, two way of looking at the world. It sets up a series of contrasts: the old society and the new, past and present, tradition and innovation, stability and change, repression and freedom. The end of the novel proposes a symbolic bridging between two countries, which are similar in some ways, very different in others. It offers not a solution but a different approach to the eternal dilemma of people living in a diaspora, inhabiting an indefinite space between two countries and for whom home will always be somewhere else.

Thesis (Ph. D.)--University of Adelaide, Dept. of Politics, 1986. / Includes bibliographical references (leaves 350-388).

Thesis (Ph. D.)--University of Adelaide, Politics Dept., 1986. / Includes insert: Conclusion. Includes bibliographical references (leaves cccxxxiii-ccclx).

Thesis (B.A. (Hons.))--University of Adelaide, Dept. of English, 1994? / Includes bibliographical references (leaves [1-5]).

Thesis (M.D.)--University of Adelaide, Dept. of Surgery, 1999. / Includes bibliographical references.

Thesis (M.A. 1977) from the Department of Politics, University of Adelaide, 1975.

Thesis (M.A.) -- University of Adelaide, Department of Politics, 1983. / Typescript (photocopy).