This research explores the experiences of young people, youth leaders, villager elders/ leaders, parents of teenagers, and government workers in Goroka, Papua New Guinea (PNG), to facilitate further understanding of youth development approaches and strategies. The study in particular investigates the possibility of establishing a link between relevant traditional youth upbringing methods and the positive youth development approaches emerging from the Western world. Positive youth development approaches are those strength-based approaches that promote young people’s capabilities to learn and strive in the diverse settings they live, in contrast to the conventional youth development approaches which addresses immediate youth problems. The National Youth Policy of PNG focuses on involving young men and women in meaningful activities in social, spiritual, political, and cultural development through participation in the affairs of their families and communities. The results of the research indicated that the Youth Policy’s objectives were never fully implemented in Goroka. This may have contributed to the numerous problems encountered by young people that include: confusion between traditional and modern cultures, poverty and hardship, drug and alcohol abuse, prostitution, theft, and unemployment. The enormous efforts by schools, churches, government departments, donors, and youth-oriented organisations to deal with youth issues seemed inadequate in relation to the contemporary youth population. It is evident that conventional youth development approaches have failed to educate young people that it is a viable option to return home and become productive citizens. Thus alternative youth development approaches have to be found to assist these youth. This finding points to a need to establish a link between traditional culture, whereby the whole community takes responsibility for guiding young men and women through the transition to adulthood, and positive youth development. It suggests further research should be conducted to determine how this might be achieved by building upon the existing youth development approaches and strategies.

This thesis revisits the effects of moving image regulation, exploring its histories in Canada with an interest in the intersections between arts practitioners and legal processes in the administration of culture. During the 1980s and 1990s, intensified film and video regulatory activities necessitated a coalition space for cultural activism populated by media artists and exhibitors, legal and academic scholars, and public intellectuals engaged with representational and identity politics, producing discourses about sexuality, pornography, race, AIDS, censorship, fundamental freedoms, and art. Considering the current state of the law, largely ignored by arts exhibitors in between moments of crisis, I ask how is the reception of this history reflected in practice with regard to regulation and self-regulation? Drawing on work that develops out of Michel Foucault’s theories of governmentality, I argue that actors across Canada were confronted with the task of negotiating not just how contemporary art survives regulatory scrutiny in public policy arenas and the courts, but also the acceptable boundaries of sexual identities and citizenship. This approach prompts a rethinking of contradictory liberal and libertarian notions of censorship to foreground the way ideas are constrained in all aspects of policy, and the way protocols of dissuasion often fail. As such, censoring acts reveal themselves to be less about restricting access than they are about the administration or legitimation of particular cultural values. This thesis historicizes the mandate of the Ontario Film Review Board, explores aspects of movement strategies as they work to crystallize identities, documents specific speech constraints and their justifications in the law, and suggests functions of counter-speech in video productions of the period. This thesis is guided by a concern with the relationship between cultural citizens and the state and asks what role does the state imagine itself playing in regulating the circulation of images? What are the (mis)understandings of censorship within more recent anti-censorship movement efforts, and what are the opportunities for cultural citizens to negotiate change, both in public policy and in popular consciousness? / Thesis (Ph.D, Art History) -- Queen's University, 2010-09-23 11:09:40.235

This thesis is concerned with placing public art within the broader modernist spatialisation of social relations. The research takes place around two related enquiries. The first emerges from questions raised by the art critic Rosalyn Deutsche with regard to the proposition that public art functions as both a profession and technology that attempts to pattern space so that docile and useful bodies are created by and deployed within it. Following such questions, this thesis seeks to scrutinise the ways in which discourses on public art might operate in enabling, maintaining or disrupting everyday practices and socio-spatial relations. Secondly, as a foray into methodologies of public art research, the thesis considers Foucauldian governmentality approaches in terms of what these might have to offer an investigation of public art. The thesis undertakes the analysis of a wide range of texts connected with three South Australian urban developments for which public art was separately proposed, designed, selected and installed. Attention is given principally to the Rundle Street Mall, a pedestrianised shopping street in the city-centre of Adelaide, examined at several moments throughout the period of its development (1972-1977) and later refurbishment (1996-2001). Also discussed are the Adelaide Festival Centre Plaza (1973-1977) and the Gateway to Adelaide (1996-2000), the latter project involving the reconstruction of a major traffic intersection on the outskirts of metropolitan Adelaide. Through these examples the thesis documents key debates in the history of Australian discourses concerning public art. In addition, this study brings attention to the relations between artwork and a proliferation of individuals, agencies, and other interests, highlighting the competitions over space, authority and expertise, and the often unexamined role that public art plays in maintaining or unsettling socio-spatial relations. Knowledge about public art, it is argued, is produced, transformed and deployed across a range of discursive sites (contemporary art, urban design, planning, transport and others) and becomes tied to specific problems of governing. / Thesis (PhD)--University of South Australia, 2008

This thesis is concerned with placing public art within the broader modernist spatialisation of social relations. The research takes place around two related enquiries. The first emerges from questions raised by the art critic Rosalyn Deutsche with regard to the proposition that public art functions as both a profession and technology that attempts to pattern space so that docile and useful bodies are created by and deployed within it. Following such questions, this thesis seeks to scrutinise the ways in which discourses on public art might operate in enabling, maintaining or disrupting everyday practices and socio-spatial relations. Secondly, as a foray into methodologies of public art research, the thesis considers Foucauldian governmentality approaches in terms of what these might have to offer an investigation of public art. The thesis undertakes the analysis of a wide range of texts connected with three South Australian urban developments for which public art was separately proposed, designed, selected and installed. Attention is given principally to the Rundle Street Mall, a pedestrianised shopping street in the city-centre of Adelaide, examined at several moments throughout the period of its development (1972-1977) and later refurbishment (1996-2001). Also discussed are the Adelaide Festival Centre Plaza (1973-1977) and the Gateway to Adelaide (1996-2000), the latter project involving the reconstruction of a major traffic intersection on the outskirts of metropolitan Adelaide. Through these examples the thesis documents key debates in the history of Australian discourses concerning public art. In addition, this study brings attention to the relations between artwork and a proliferation of individuals, agencies, and other interests, highlighting the competitions over space, authority and expertise, and the often unexamined role that public art plays in maintaining or unsettling socio-spatial relations. Knowledge about public art, it is argued, is produced, transformed and deployed across a range of discursive sites (contemporary art, urban design, planning, transport and others) and becomes tied to specific problems of governing. / Thesis (PhD)--University of South Australia, 2008

At the beginning of the twenty-first century, the Australian Universities Quality Agency (AUQA) began to audit Australian universities. At the same time, universities were increasingly using online technologies for teaching and learning. Little is known about how these two significant changes in teaching and learning might be acting and interacting at a time of increasing focus by universities on the educational marketplace. This thesis investigates the AUQA audits carried out in 2002 of three Australian universities which had different locations in the Australian higher education marketplace and had different approaches to the use of online technologies. I use Critical Discourse Analysis (CDA) to analyse a range of artefacts produced between 2002 and 2005 by and about the universities. I analyse the first three editions of the AUQA manual, the universities' web sites before and after their audit, the submissions of those universities to AUQA, and the audit reports by AUQA on them. I explore the role that representations of the "online university" discourse play in constructions of a "quality university" discourse within these texts. I discovered a number of shifts in emphasis in the texts over time. Notions of the "online university", while prevalent in the texts produced early in the time frame of the study, were absent from later texts. Also, texts produced early in the study represented the three universities as very different institutions. However texts examined towards the end of the study represented the universities to be more similar in nature. Given the diverse nature of the institutions' market locations, I found that quality assurance processes work to reduce the representation of institutional diversity. There was evidence that the "online university" discourse came to be used more as a marketing tool and less as a marker of quality education over the time period of the study. I argue that AUQA's audits do not support institutions? various market positionings as described by Marginson and Considine (2000), but rather provide the imprimatur of "brand Australia" by producing representations of each institution that are safe and amenable to the audit process. The "online university" discourse speaks of new and borderless teaching strategies, while the "quality university" discourse speaks of containment and control of university activities. The bounding and limiting effect of the "quality university" discourse over the outward reaching "online university" discourse resulted in the three universities representing themselves in increasingly isomorphic ways. My analysis shows that over the time frame of the study, the surveillance of a national quality audit body, through self-audit by universities and the subsequent publication of reviews of universities by that body, produced more cautious representations of the universities and ironically, less direct influence by the audit body over universities? actions in the marketplace. The study suggests that the degree of influence which the ?online university? discourse and the "quality university" discourse have on the representations of universities is dependent largely on the degree to which they can impel universities within the market. / Thesis (PhD)--University of South Australia, 2007