http://hdl.handle.net/10453/304 2013-06-19T01:10:30Z http://hdl.handle.net/10453/19421 The ethical journalist: oxymoron or aspiration? Joseph Sue Conway-Herron, J; Costello, M; Hawryluk, L Year after year, Australian newspaper journalism cannot seem to make it out of the bottom four of the thirty most distrusted professions, pipped only by car salesmen, advertisers and estate agents. Taking an historical perspective of â¿¿public interestâ¿¿ and â¿¿the publicâ¿¿s right to knowâ¿¿, this paper will attempt to evaluate the distinction and gravity of both tenets, focussing on why they can have the effect of diluting ethical codes, if misused. The quasi-professional nature of journalism practice lends itself to ethical codes rather than legislative regulation. Accordingly these codes are largely accountable to no one â¿¿ except perhaps the individual practitioner â¿¿ and many codes of ethics and practice in the Western developed nations contain an â¿¿out-clauseâ¿¿ in the name of public interest. This paper seeks to investigate these â¿¿out-clausesâ¿¿, and discuss the oft-quoted allegation that these clauses place journalists above the law. In light of this, I will conclude that in a tertiary setting, and ideally in a professional setting, what must be emphasised side by side with an ethical practice is an individual moral practice, all too often separated philosophically within the professional and industrial spheres. 2011-01-01T00:00:00Z http://hdl.handle.net/10453/17708 Interactive Granular Soundspaces for Living and Entertainment Beilharz, K; Jakovich, J 2010-01-01T00:00:00Z http://hdl.handle.net/10453/16720 The writing cure?: ethical considerations in managing creative practice lifewriting projects Joseph Sue; Rickett Carolyn Sue Joseph and Carolyn Rickett The autobiographical turn in literary studies has increasingly placed value on selfrepresentation as a strategic means of reclaiming voice, identity and agency. By and large, the narrating 'I' is circulated and read as a storied performance/product which empowers the writer. Typically such texts are often ones that rehearse, record and expiate individual trauma, and also produce a set of readings that textually frame the work as 'therapeutic'. There is a growing selection of texts which narrativise personal trauma now being set for literary examination in tertiary syllabi. Concurrent to the formal reading of trauma texts in the context of literary studies is the narrative impulse to repackage traumatic experience as autobiographical process/literary output within creative practice higher degrees. This paper seeks to interrogate some of the ethical concerns that arise from students drawing on personal trauma in creative writing contexts for the production of literature that is to be formally supervised and examined. How is the potential risk of re-traumatisation of the student, and vicarious traumatisation of the supervisor/lecturer, managed? If higher degrees are providing an emergent space for catharsis, 'unofficially' offering writing as a therapeutic mode in creative practice, what are the implications of the supervisor/lecturer moving from a role of artistic and scholarly critic, to one of bearing witness? And in this newly formed therapeutic alliance, does an academic need more skills than they have developed in simply delivering a writing or literary curriculum? And what professional frames of support, if any, are in place to sustain both the student and the academic throughout the process? Without well-established professional support and guidelines, is commodifying trauma in order to gain a degree, and or a literary output, ethical professional practice? 2010-01-01T00:00:00Z http://hdl.handle.net/10453/16719 Through the 'I's' of Lost Time: Proust's Performative Fugue of Temps Perdu Skilbeck Ruth Jodie McNeilly, Stuart Grant, Caroline Vains Proust's À la recherche du temps perdu is written as an extended narrative/speech-act of memory. The paper considers the fugue poetics of Proust's act of writing transcendence performatively realised through multiple voices of selves in Lost Time, as manifestations of the musical and psychological meanings of fugue. The almost interchangeable mechanisms of time and space suggested by Bergson's notions of time as Ie temps and la durée and his related notion of élan vital, are discussed in relation to the contrapuntal mechanisms - or textual counterpoint - of Proust's novel contrasted to Deleuze's reading of Proust's Lost Time as "not simply 'time past'; it is also time wasted, lost track of' (Deleuze 2000, 3). The paper concludes that temps perdu articulates the conceptual space of Proust's writing contained and inscribed within the narrative text which is accessed, or capable of being accessed and set into motion by, and through, the writer's and reader's attention. 2010-01-01T00:00:00Z