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Llare BOOKS IJK llARE BOOKS IJK. The University of Sydney Copyright in relation to this thesis• Under the Copyright Act 1968 (several provision of which are referred to below). this thesis must be used only under the normal conditions of scholarly fair dealing for the purposes of research, criticism or review. In particular no results or conclusions should be extracted from it, nor should It be cop1ed or closely paraphrased in whole or in part without the Wrttten consent of the author. Proper written acknowledgement should be made for any assistance obtained from this thesis. Under Section 35(2) of the Copyright Act 1968 'the author of a literary, dramatic, musical or artistic work Is the owner of any copyright subsisting in the work'. By virtue of Section 32( I) copyright 'subsists in an original literary. dramatiC, musical or artistiC work that is unpublished' and of which the author was an Australian citizen,anAustralian protected person or a person resident in Australia. The Act. by Section 36( I) provides: 'Subject to th1s Act, the copyright in a literary. dramauc. mus1cal or arttstic work is Infringed by a person who, not being the owner of the copynght and w1thout the licence of the owner of the copyright. does 1n Australia. or authorises the doing in Australia of, any act comprised in the copyright'. Section 31 (I )(a)(i) provides that copyright includes the exclusive right to 'reproduce the work in a material form'.Thus. copyright is infringed by a person who, not being the owner of the copyright, reproduces or authorises the reproduction of a work, or of more than a reasonable part of the work, In a material form. unless the reproduction is a 'fair dealing' with the work 'for the purpose of research or study' as further defined in Sections 40 and 11 of the Act. Section 51 (2) prov1des that "Where a manuscript. or a copy. of a thesis or other similar literary work that has not been published is kept in a library of a university or other similar institution or in an archives. the copyright in the thesis or other work is not infringed by the making of a copy of the thes1s or other work by or on behalf -of the officer in charge of the library or archives if the copy is supplied to a person who satisfies an authorized officer of the library or archives that he requires the copy for the purpose of research or study'. *'Thesis' includes 'treatise', dissertation' and other similar productions. 0 BACKWARDS, FORWARDS AND IN-BETWEEN: NOSTALGIC LANDSCAPES, PHOTOGRAPHY, IDENTITY AND THE RETURN JOURNEY 'HOME' MAKSYMILIAN KWIATKOWSKI A thesis submitted in partial fulfilment of the requirement for the award of DOCTOR OF PHILOSOPHY School of Geosciences The University of Sydney NSW 2006, Australia August2006 Acknowledgements I would like to take this opportunity to thank the many, many people who, whether they knew it or not, helped this thesis come to be, and helped me keep my cool-and sanity-throughout the entire process. First of all I would like to thank all of my respondents, for agreeing to be part of this research, and for providing such a wealth of interview and visual material. I won't name names, but you know who you all are. I would also like to acknowledge the Polish community of Australia more broadly, which provided me with the ideas and motivation to undertake this project. Thanks especially to all those individuals and organisations who enthusiastically supported and contributed to the research. I would in particular like to single out the Australian Institute of Polish Affairs, the Polish Historical Institute in Australia, Wanda Horky and Joanna Biega. This research was in part inspired by my own experiences of 'return to the homeland'. I would therefore like to thank all those family members and friends, however remotely connected, with whom I spent time with and who were always the most generous of hosts. In particular I would like to thank my grandparents, Babcia and Dziad.zia; the Sztompka, Krawczyk, Glowacz, Pyc, Pajorski, Kredoszynski and Koscielniak families; and all the cousins out there. Dziekuje warn wszystkim bardzo. Next I would like to express my sincerest gratitude to everyone I crossed paths with at the School of Geosciences at the University of Sydney, whether as a postgrad, tutor or undergrad. Thanks especially to Bill Pritchard, Deirdre Dragovich, Andy Short, and Phil McManus for all the support, and putting up with me all this time; thanks also to Eric Waddell, for providing feedback on draft chapters (even after moving halfway round the world to go 'back home'), and for giving me an insider's tour (gorgeous lunch included) of Quebec City. A big thank you too to all the fellow postgrads I shared office space with over the years-Chris, Alison, and Martin-and all the long lunches, coffee breaks, scintillating conversations and other procrastinatory devices we bonded over. Special thanks go to Chris, for putting me up in his traditional Japanese house in a village in the mountains of remotest Shiga Prefecture (which to me looked bizarrely like Poland; maybe it was all the cabbage fields), and for being my best man. Also thanks to all the other postgrads I shared corridors, and the thesis experience with at the University of Sydney: Cameron, Rayyar, Sela, David, Dom, Irene, Carmen, Krishna, and Simon. And Shannon-how can I forget Shannon? Cheers for all the mindblowing stories and theoretical discussions, and for reading through the drafts. A very big thank you also to all the people at the Australian Institute of Criminology in Canberra, where I've worked for the past 18 months. I had no idea juggling full-time work and a PhD thesis was going to be so difficult (I should have listened to all the warnings), so thanks to all the AIC folk for seeing me through it all. Apologies to Janet Smith and Toni Makkai, for being a tad distracted in recent weeks and all too often turning up to work bleary-eyed. And how can I forget my posse? Thanks heaps Lance, Jason, Jacqui, Gareth and Jess for being such good friends. But four people above all others helped shape this work, and to them I owe the biggest thanks: John Connell, thesis supervisor extraordinaire, my parents and Kate, my partner and (tomorrow, fingers crossed) bride-to-be. To John, thanks for all the hard work-I'll be the first to admit I'm a hard guy to supervise, so many thanks for putting up with it all--and sincerest of apologies for all those missed chapter draft deadlines. This thesis just wouldn't be what it is without your endless ideas, comments and suggestions, and for that I would like to thank you. I'd like to thank my parents for, well, being my parents-which also made me, me. I would in particular like to thank them for migrating to Australia all those years ago, and all the sacrifice this entailed. Who knows where I'd be now had my parents not made that big decision-but one thing is for sure, I wouldn't be right here writing this thesis, so to them I, and this thesis, are heavily indebted. And Kate-dearest, sweetest Kate-! would like to thank you for everything, all the love and support over the past seven years and two theses. You've barely known me without a thesis hanging over my head ... I know it's been difficult living with this 'other woman', as you describe her, but it'll be over soon. Thanks for keeping me motivated all this time and insisting that I finish by the Big Day. So that tomorrow when you walk down that aisle and we take our vows we will not only be entering married life, but Life Beyond the Thesis. 11 Table of contents 1. Introduction 1 migration 4 transnationalism 6 second generations 9 backwards and forwards 11 landscape 14 photography 16 2. Methodology, positionality and photography 21 study group 21 qualitative research 23 sample size and selection 24 inserting myself into the picture 26 positionality 27 ethnography and participant observation 28 the interview 29 language 32 the photograph 33 photo-elicitation 39 visual analysis 44 conclusion 51 3. Community 56 historical background 56 Polonia 57 Poles in Australia 61 demography and geographic distribution 64 past studies of Polish community 68 community life and infrastructure 70 'community'? inadequacies of the term 76 the sample 77 emigration and arrival in Australia 77 education and socio-economic background 78 Life in Australia: before the return 80 conclusion 85 iii 4. A Homecoming 88 nostalgia 89 nostos: travelling back 90 ~~ ~ seasonality 94 arrival 98 family, friends, and obligation 100 travel 102 travel abroad 103 experiencing and evaluating return 106 family 106 food, tea and alcohol 107 celebration 110 representing the family, and Australia 111 wolnosc 111 rowiesnicy 112 language 114 gender relations 116 best versus worst 119 conclusion 122 5. Photography and Landscape 127 photos taken 128 photographing for others 129 documenting change 138 photographic themes and genres 145 family & celebration 146 hometowns revisited 152 places visited 159 tourist snaps 167 landscape photographs 179 photographic voids and absences 183 landscape, nostalgia and memory 185 conclusion 204 6. Backwards, forwards and in-between 206 subsequent trips 206 international destinations 212 doubt, critique and instability 212 lack of subsequent return 213 identity and belonging 213 hyphenation and fluctuation 214 belonging 217 back in Australia 219 homesickness 222 re-creating the 'homelandscape' 225 transnationalism 228 IV future? 233 conclusion 235 7. Conclusion 238 transnational communities 238 overview 240 migration, dislocation, integration 242 Polonia parallels 243 locating dislocation: the return journey 'home' 245 photographing return 248 nostalgic landscapes 249 capturing Polishness 251 return as transnationalism 251 References 253 Appendix A: Interview Questionnaire 276 v List of figures Figure 3.1.
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