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In 1959 in Melbourne, seven artists and an art historian came together "to defend and to champion ... the place of the image in art". The group comprised Charles Blackman, Arthur Boyd, David Boyd, John Brack, John Perceval, Clifton Pugh, and Robert Dickerson, who, as the "Antipodeans", held just one exhibition together at the Victorian Artist's Society in August 1959. Bernard Smith, the only non-painter of the group, drafted "The Antipodean Manifesto" which accompanied the exhibition. The Antipodeans defended the figurative image against abstraction -- and contemporary Australian art as opposed to European modernism. They worried that art was losing its humanistic values, that it was becoming obsessed with abstract decoration at the expense of recognizable signs and symbols, that while making great claims for its spiritual depths, it threatened to alienate a broad cross-section of the public. Forty years later, this volume shows the work of artists from the original Antipodean group in the context of abstract art of the period, and demonstrates that at the end of the century, both the Antipodeans and their abstract antagonists have taken on the status of classics.
A study that uses critical theory to investigate the history of how people have thought about the antipodes - the places and people on the other side of the world - from ancient Greece to present-day literature and digital media.
Bernard Smith is widely recognised as one of Australia's leading intellectuals. Yet the recognition of his work has been partial, focused on art history and anthropology. Peter Beilharz argues that Smith's work also contains a social theory, or a way of thinking about Australian culture and identity in the world system. Smith enables us to think matters of place and cultural imperialism through the image of being not Australian so much as antipodean. Australian identities are constructed by the relationship between core and periphery, making them both European and Other at the same time. This 1997 work is a book-length analysis of Bernard Smith's work and is the result of careful and systematic research into Smith's published works and his private papers. It is both an introduction to Smith's thinking and an important interpretive argument about imperialism and the antipodes.
This study treats the Victorian Antipodes as a compelling site of romance and satire for middle-class writers who went to New Zealand between 1840 and 1872. Blythe's research fits with the rising study of settler colonialism and highlights the intersection of late-Victorian ideas and post-colonial theories.
Assuming no prior knowledge of Rorty or his ideas, this is a much needed critical introduction for both undergraduates and postgraduates in philosophy, literary theory and cultural studies.
A Historical Introduction to the Philosophy of Mind is designed both to provide a selection of core readings on the subject and to make those readings accessible by providing commentaries to guide the reader through initially intimidating material. Each commentary explains technical concepts and provides background on obscure arguments as they arise, setting them in the historical and intellectual milieu from which they emerged. The readings concentrate on providing the student with a solid grounding in the theories of representative figures of the major philosophical movements, from Plato and Aristotle to important recent figures such as Fodor and Dennett. A glossary of key terms is also included.
This interdisciplinary collection of essays investigates the processes by which Augustine of Hippo's writings were re-invented in other media, including the visual arts, drama and music. Thereby it highlights the crucial role of Augustine's readers in constructing his universal stature.