MONSTER ISLAND: A tale of contemporary Australian heterosexual masculinity and its descent from the spectre of colonial convict history SHANNON FIELD SHEPPARD-SIMMS A thesis in fulfilment of the requirements for the degree of Doctor of Philosophy UNSW Art and Design University of New South Wales April 2016 THESIS / DISSERTATION SHEET PLEASE TYPE THE UNIVERSITY OF NEW SOUTH WALES Thesis/Dissertation Sheet Surname or Family name: SHEPPARD-SIMMS First name: SHANNON Other name/s: FIELD Abbreviation for degree as given in the University calendar: School: UNSW ART AND DESIGN Faculty: UNSW ART AND DESIGN Title: Monster Island: A tale of contemporary Australian heterosexual masculinity and its descent from the spectre of colonial convict history. This thesis addresses the manner in which the European Australian psyche is haunted by questions of origin, place and identity. Structured equally between a written dissertation and a visual practice, the reproduction of the national and individual subject is located around questions of narrative, memory and mimetic identity. The thesis explores these questions through the relationship between contemporary Australian heterosexual masculinity and the historical form of the colonial convict. The figure of the convict is used as a means of deconstructing the contemporary performance of Australian gender and national identity. In this dissertation the critical force of the convict is located around the conflation of the Gothic and the monstrous with the convict form. The contention of this dissertation is that the representation of convict identity and masculinity as monstrous and deviant established a gendered template, which continues to impact upon contemporary Australian masculinity. The process of exploring this relationship is located at the intersection of gender, history, and colonialism. At this juncture a gap in the current research exists between the gendered analyses of convict masculinity on the one hand and the research examining contemporary Australian masculinity on the other. Situated within the vernacular articulation of modernity, the visual practice is a material expression of the ideological properties that navigate within and across the everyday. Working within an interdisciplinary and intermedial approach my thesis draws upon various cultural forms to discuss the spectral fragmentation of the monstrous convict body. This method of critical comparative analysing enables my thesis to foreground the manner in which Australian masculinity continues to be haunted by the fracturing and marginalisation of convict identity. However, the thesis concludes by arguing that the negative significance of difference, located around Australian national identity and contemporary heterosexual masculinity, is today open to being re-imagined. In re-configuring the colonial subject within a positive, postcolonial signification of difference, a space of productive becoming opens up; permitting the marginalised ruin of convict masculinity to contest the univocal reification of hegemonic heterosexual masculinity in Australia. Declaration relating to disposition of project thesis/dissertation I hereby grant to the University of New South Wales or its agents the right to archive and to make available my thesis or dissertation in whole or in part in the University libraries in all forms of media, now or here after known, subject to the provisions of the Copyright Act 1968. I retain all property rights, such as patent rights. I also retain the right to use in future works (such as articles or books) all or part of this thesis or dissertation. I also authorise University Microfilms to use the 350 word abstract of my thesis in Dissertation Abstracts International (this is applicable to doctoral theses only). 08.04.16 …………………………………………………………… ……………………………………..……………… ……….……………………...…….… Signature Witness Date The University recognises that there may be exceptional circumstances requiring restrictions on copying or conditions on use. Requests for restriction for a period of up to 2 years must be made in writing. Requests for a longer period of restriction may be considered in exceptional circumstances and require the approval of the Dean of Graduate Research. FOR OFFICE USE ONLY Date of completion of requirements for Award: THIS SHEET IS TO BE GLUED TO THE INSIDE FRONT COVER OF THE THESIS ii ORIGINALITY STATEMENT ‘I hereby declare that this submission is my own work and to the best of my knowledge it contains no materials previously published or written by another person, or substantial proportions of material which have been accepted for the award of any other degree or diploma at UNSW or any other educational institution, except where due acknowledge- ment is made in the thesis. Any contribution made to the research by others, with whom I have worked at UNSW or elsewhere, is explicitly acknowledged in the thesis. I also declare that the intellectual content of this thesis is the product of my own work, except to the extent that assistance from others in the project’s design and conception or in style, presentation and linguistic expression is acknowledged.’ Signed ................................................................. Date .................................................................08.04.16 iii COPYRIGHT STATEMENT ‘I hereby grant the University of New South Wales or its agents the right to archive and to make available my thesis or dissertation in whole or part in the University libraries in all forms of media, now or here after known, subject to the provisions of the Copyright Act 1968. I retain all proprietary rights, such as patent rights. I also retain the right to use in future works (such as articles or books) all or part of this thesis or dissertation. I also authorise University Microfilms to use the 350 word abstract of my thesis in Dis- sertation Abstract International (this is applicable to doctoral theses only). I have either used no substantial portions of copyright material in my thesis or I have obtained permission to use copyright material; where permission has not been granted I have applied/will apply for a partial restriction of the digital copy of my thesis or dis- sertation.’ Signed ……………………………………………........................... Date ……………………………………………...........................08.04.16 AUTHENTICITY STATEMENT ‘I certify that the Library deposit digital copy is a direct equivalent of the final officially approved version of my thesis. No emendation of content has occurred and if there are any minor variations in formatting, they are the result of the conversion to digital for- mat.’ Signed ……………………………………………........................... Date ……………………………………………...........................08.04.16 iv ACKNOWLEDGEMENTS The journey to complete this PhD has only been made possible through the support both directly and indirectly of a large group of people. Although I ended up finishing the last part of this journey in Tasmania; my entire undergraduate and much of my post-graduate experience was spent with great pleasure at COFA. I would like to begin then by thanking a number of COFA people who over the course of this period went out of their way to help and encourage me. First off the rank I’d like to say thanks to those two sculpture expects Jim Ward and Francois Breuillaud-Limondin, your support and advice was always sought after and it was always a pleasure to drop in and chat with you guys,. Similarly I’d like to thank Mike Kempson and Rafael Butron for your help and advice concerning all things to do with printmaking. To Penelope Benton, I’d like to say thank you for your ongoing work in providing the students of COFA with support, with the artspace Kudos and most importantly with the Ute (thank goodness for that Ute!). To Vaughan Rees thanks for your good humour, positive support and boisterous laugh. To Joanna Elliot I would like to give a special thanks for all the advice that has helped me to navigate through the world of university documentation. To Sylvia Ross thank you for your generous help when I first returned to COFA. A big hello and thanks must also go to the wonderful Judy Haywood. Truly my PhD thesis would have not been the same without your help, so thanks again Judy. To my supervisors Peter Sharp and David McNeill thank you both for all your support and advice over the years, without your input this PhD would not be what it is. You both always made the time to provide me with the help and assistance I needed when it was most required. Finally there are three special people who all have helped me with the PhD. First of all I would like to thank my wonderful daughter Sienna, whose inquisitive mind and love of muddy puddles has brought countless moments of joy over the last two years. v Next I need to thank my mother for her tireless support with editing and re-editing the dissertation, without your help I would still be writing and correcting this crazy thing. Thanks again for all your support mum. Finally and most importantly of all, I thank my wonderful wife Emma, this PhD is yours as much as it is mine. Without your continued support and encouragement it wouldn’t have been possible to finish this massive project. In circumstances that have been difficult and challenging you have gone above and beyond in helping me to complete something we could easily have put aside and moved on from. Your help and support have been an inspiration. This thesis is dedicated to my beautiful, courageous and wonderful Emma. vi ABSTRACT This thesis addresses the manner in which the European Australian psyche is haunted by questions of origin, place and identity. Structured equally between a written dissertation and a visual practice, the reproduction of the national and individual subject is located around questions of narrative, memory and mimetic identity. The thesis explores these questions through the relationship between contemporary Australian heterosexual masculinity and the historical form of the colonial convict. In looking to unpack this relationship, the figure of the convict is used as a means of deconstructing the contemporary performance of Australian gender and national identity.