This thesis deals principally with the period following Pinschof’s arrival from Vienna in 1879, to just after the First World War. It considers the Pinschofs’; generous and timely support of the arts within the context of the amount of private and institutional patronage and the British, German and other cultural influences on Melbourne society at the time.

Thesis (MMu)--Australian Catholic University, School of Music, 2004. / Typescript. Includes bibliographical references (p. 145-156). Also available in an electronic format via the internet.

Thesis (DEd)--University of Melbourne, Graduate School of Education, 2010. / Typescript. Includes bibliographical references (p. 337-353)

Thesis (Ph.D.)--Victoria University (Melbourne, Vic.), 2009.

<p>Why do municipalities bid for mega-events? Simply bidding for these events, such as the Commonwealth Games, the Olympic Games or a World Expo, can run into the millions of dollars. The cost of hosting such a large-scale international event now runs into the billions of dollars. It would appear to be an economic risk, yet cities, and their respective countries, around the world continue to choose this public policy path. Using urban regime theory, and focusing on the work of Stone, Stoker and Mossberger, this research investigates the actors and their motivations surrounding the Commonwealth Games bids by Melbourne, Australia for 2006, Halifax, Nova Scotia for 2014, and Hamilton, Ontario for 1994, 2010 and 2014. Civic pride, economic development, tourism growth and infrastructure improvements are all motivating factors and a mega-event is seen as a short-cut to achieving these public policy goals. We conclude that strong cooperation between the public and private sectors is necessary, as well as comparable cooperation between the upper levels of government and the host city, for a seriously competitive bid in a Western democracy, and that the weaker the cooperation, the less resolve and likelihood there is to host an expensive event at any cost. This research not only furthers political science knowledge in the sports public policy field, but also confirms the use of urban regime theory as a useful framework in comparative urban analysis as it allows us to categorize actors and motivations as we compare across municipalities.</p> / Doctor of Philosophy (PhD)

Typescript (Photocopy) / Bibliography: leaves 424-443 / 2 v. (xvi, 528 p.) : ill., maps ; 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 Architecture and Planning, 1990

Le travail de cette thèse s’articule autour des pratiques artistiques et urbaines à travers quatre métropoles situées en Australie et en Nouvelle-Zélande. Sydney, Melbourne, Auckland et Wellington, territoires artistiques majeurs dans ce continent, sont ici le socle d’une étude empirique et théorique. L’enjeu premier sera de situer chronologiquement et de comprendre, à partir de l’art occidental et de son évolution, quelles sont les problématiques artistiques inhérentes à l’in situ. Nous verrons comment un art produit extra-muros, tel que formulé aux Etats-Unis et en Europe (1960-1970), a mis en avant une prise en compte multiple du lieu par les artistes, mettant à contribution différentes données : spatiales, géomorphologiques, historiques, humaines et bien sûr contextuelles. Les appréhender nous amènera à mettre en valeur le premier tournant spatial, voire géospatial de l’art, soit sa propension, à un moment donné, de sortir de ses cadres traditionnels – dont le musée – pour conquérir de nouveaux territoires d’inscription. Pour mieux aborder ces villes postcoloniales océaniennes et les espaces qu’elles consacrent à la création artistique, nous verrons comment ces deux jeunes nations ont bâti et continuent à construire leur identité. Au regard du biculturalisme néo-zélandais, de la culture maorie et de la place de ce peuple, nous nous sommes attaché à saisir comment l’art extra muros existe à Wellington et dans des zones plus rurales autour d’Auckland. En Australie, les faits historiques sont venus renforcer un sentiment identitaire au travers de certaines formes de création urbaines tandis que d’autres restent à l’écart de ces problématiques locales – c’est le cas de l’évènement Sculpture by the Sea. Dans quelle mesure un territoire, au travers de ses quatre premières villes, peut-il par le biais de l’in situ dégager une géo-esthétique? Cette étude fondée sur l’observation et le croisement pluridisciplinaire des approches théoriques a montré et argumenté la tendance des villes-mondes à se réinventer, se régénérer par l’art jusqu’à devenir, à certains égards, un véritable outil territorial. J’ai proposé différentes clés de lecture pour faire comprendre comment se dégage des formes d’esthétique singulières dans le cadre d’un urbanisme volontariste quant à redessiner le visage de la ville (Sydney, Opera House). Puis, il s’agira de montrer à travers les démarches exemplaires, comment l’art, dans les villes océaniennes, évolue spatialement, souligne l’histoire et s’en détache. Le corpus d’œuvres, pertinent au vu de la priorité identitaire, multiculturelle et spatiale fera jour sur l’expression d’une géo-esthétique urbaine spécifique. Les connexions interculturelles entre indices vernaculaires (motifs, gestes, formes) et médiums contemporains attestent d’une géographicité de l’art, entre interprétation narrative des lieux, symbole et émancipation. / The work of this thesis revolves around the artistic and urban practices in four cities, in Australia and New Zealand. Those cities, Sydney, Melbourne, Auckland and Wellington are major artistic hubs in Oceania, and form the basis of a theoretical and empirical study. The first challenge is to locate and understand chronologically, through a Western artistic lens and its evolution, what are the inherent nuances of the in situ art. We will see how art produced extramurally, as represented in the United States and Europe (1960-1970), and noted on multiple accounts by artists, relied on various data: spatial, geomorphological, historical, human and contextual course. This understanding will lead us to the first example of space turning or geospatial art or propensity, which can be viewed as out of its traditional frameworks – which is to the museum, to conquer new territories of registration. To address these postcolonial Pacific cities and the culture they devote to artistic creation, we will see how these two young nations have built and continue to build their identity. In light of the New Zealand biculturalism, the value of Maori culture and the place of the people, we are committed to see how extramural art is represented in Wellington and in more rural areas around Auckland. In Australia, in some examples, the historical facts have reinforced a sense of identity through specific examples of urban creation while in other areas the historical contexts lead to politically charged issues; such is the case of the event Sculpture by the Sea. To what extent can a region, through its first four cities, lead us to rethink the in situ expression and geo-aesthetic that emerges? This study based on observation and cross disciplinary theoretical approaches and argues that the tendency of cities to reinvent worlds, regenerate through art until, is in some respects, a true territorial tool. I propose different readings to further understand how singular forms of aesthetics emerge as part of a proactive planning on redesigning the face of the city. Then it will show through best practices, how art, in the Pacific cities, changes space and emphasizes history and can become detached of context. This body of work is pertinent given the historical identity priority of Pacific cultures, and the contemporary multiculturalism and use of space will shed light on the expression of a specific urban geo-aesthetics. Intercultural connections between vernacular indices (patterns, gestures, shapes) and contemporary mediums attest to a geographicity art between narrative interpretation of places, symbol and emancipation.

Bibliography: p. 367-392. This thesis takes an overview of urban waste disposal practices in Sydney, Melbourne and Adelaide since the time of their respective settlement by Europeans through to the year 2000. The narrative identifies how such factors as the growth of representative government, the emergence of a bureaucracy, the visitation of bubonic plague, changed perceptions of risk, and the rise of the environmental movement, have directly influenced urban waste disposal outcomes.

This study attempted to identifj and explore the role the building plays in the organisation culture of nursing homes. To do this a research plan was formulated in which the central plank was a case-study of a seventy-five bed high care nursing home. As part of the case-study, interviews were conducted at the nursing home with ten members of staff, two residents and a daughter of a resident. The study was also informed by interviews with two architects, who specialise in the design of nursing homes and aged care facilities. A theoretical model entitled the 'Conceptual Framework' was developed prior to the case-study. It was tested by applying it to findings related to the physical context and the organisation culture of the case-study venue. The hypothesis that the building does influence the culture of the nursing home environment was explored by studying the manner in which the building influenced the lives of those who work in the nursing home and those who live there. This challenge was met with the use of theoretical contributions from organisation theory and psychodynamics, which together provided a vehicle for analysis of the culture and the building's role in it.

Bibliography: p. 367-392. / xv, 392 p. : ill. (some col.), maps (some col.) ; 30 cm. / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / This thesis takes an overview of urban waste disposal practices in Sydney, Melbourne and Adelaide since the time of their respective settlement by Europeans through to the year 2000. The narrative identifies how such factors as the growth of representative government, the emergence of a bureaucracy, the visitation of bubonic plague, changed perceptions of risk, and the rise of the environmental movement, have directly influenced urban waste disposal outcomes. / Thesis (Ph.D.)--University of Adelaide, Dept. of Geographical and Environmental Studies, 2002