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Oceanic in its rhythms and understanding, brilliant in its use of language and image, moving in its largeness of spirit, compelling in its narrative scope and style, this intriguing journey is a celebration and lament—of beginning and return, of obliteration and recovery, of silencing, and of powerful utterance. Both tentative and daring, it speaks to the present and a possible future through stories, dreams, rhythms, songs, images and documents mobilized from the incompletely acknowledged and still dynamic past.
Transitional justice and national inquiries may be the most established means for coming to terms with traumatic legacies, but it is in the more subtle social and cultural processes of “memory work” that the pitfalls and promises of reconciliation are laid bare. This book analyzes, within the realms of literature and film, recent Australian and Canadian attempts to reconcile with Indigenous populations in the wake of forced child removal. As Hanna Teichler demonstrates, their systematic emphasis on the subjectivity of the victim is problematic, reproducing simplistic narratives and identities defined by victimization. Such fictions of reconciliation venture beyond simplistic narratives and identities defined by victimization, offering new opportunities for confronting painful histories.
Beyond the obvious and enduring socio-economic ravages it unleashed on indigenous cultures, white settler colonization in Australasia also inflicted profound damage on the collective psyche of both of the communities that inhabited the contested space of the colonial world. The acute sense of alienation that colonization initially provoked in the colonized and colonizing populations of Australia and New Zealand has, recent studies indicate, developed into an endemic, existential pathology. Evidence of the psychological fallout from the trauma of geographical deracination, cultural disorientation and ontological destabilization can be found not only in the state of anomie and self-destructive patterns of behaviour that now characterize the lives of indigenous Australian and Maori peoples, but also in the perpetually faltering identity-discourse and cultural rootlessness of the present descendants of the countries' Anglo-Celtic settlers. It is with the literary expression of this persistent condition of alienation that the essays gathered in the present volume are concerned. Covering a heterogeneous selection of contemporary Australasian literature, what these critical studies convincingly demonstrate is that, more than two hundred years after the process of colonisation was set in motion, the experience that Germaine Greer has dubbed 'the pain of unbelonging' continues unabated, constituting a dominant thematic concern in the writing produced today by Australian and New Zealand authors.
Seminar paper from the year 2009 in the subject English Language and Literature Studies - Literature, grade: 2,3, University of Cologne (Englisches Seminar), course: Classics of Australian Literature in English, language: English, abstract: This term paper wants to examine the forms and functions of Aboriginality in Kim Scott's novel Benang: From the Heart. Published in 1999 as the author's second novel, it gained great attention and also won the Miles Franklin Award. Kim Scott is a descendant of the Nyoongar people who have at all times inhabited the south-east coast of Western Australia. They used to be a large homogenous group that shared a common language and culture until the first white settlers landed on their continent. Apart from general mistreatment of these people, Kim Scott's novel illustrates how an institutionalized genocide of them and other Aboriginal people was attempted. The story not only includes individual stories of several Aboriginal characters, but also official documents, newspaper articles, letters and reports. Like that, Scott creates a counter-narrative to colonial history and gives voices to those who were oppressed by legislations and racism. The paper focuses on one type of Aboriginality, namely Harley's discovered Aboriginality. This closer investigation includes the other aspects to some extent, as all of them are closely intertwined. In the course of my survey I will try to work out Scott's way of representing certain aspects and which implications his choice might have for the interpretation of his novel, especially concerning the implications for a construction of Aboriginal identity and for the establishment of a new historical discourse.
SEMEMANGNYA bukan mudah untuk mendirikan mahligai impian, apatah lagi untuk memanjangkan usia kerukunannya. Walaupun kita sering dihadapkan dengan pelbagai pilihan, namun kita tetap tersalah pilih. Tidak semestinya lelaki yang kita cintai mampu membahagiakan. Perkahwinan antara dua benua, berbeza bangsa, adat dan agama benar-benar mencabar kesabarannya. Namun demi sebuah cinta yang diagung-agungkan, dia rela terima segala dugaan dengan tabah. Perkampungan permai ini harus dipertahankan kedamaiannya! Tetapi, setelah begitu lama hidup bersama... mengapa diri ini mula goyah? Hati mula menjadi tawar dan rasa cinta hilang entah ke mana. Hinggalah satu malam, dia nekad membuat keputusan. Semua ini harus ditinggalkan. Dia ingin terbang bebas bak camar, pergi... tanpa perlu menoleh lagi. “Ya ALLAH... berdosakah aku? Benarkah apa yang telah aku putuskan ini? Atau, siapakah yang selayaknya berada di hati?”
Informed by theories of the visual, knowledge and desire, The Postcolonial Eye is about the 'eye' and the 'I' in contemporary Australian scenes of race. Specifically, it is about seeing, where vision is taken to be subjective and shaped by desire, and about knowing one another across the cultural divide between white and Indigenous Australia. Writing against current moves to erase this divide and to obscure difference, Alison Ravenscroft stresses that modern Indigenous cultures can be profoundly, even bewilderingly, strange and at times unknowable within the terms of 'white' cultural forms. She argues for a different ethics of looking, in particular, for aesthetic practices that allow Indigenous cultural products, especially in the literary arts, to retain their strangeness in the eyes of a white subject. The specificity of her subject matter allows Ravenscroft to deal with the broad issues of postcolonial theory and race and ethnicity without generalising. This specificity is made visible in, for example, Ravenscroft's treatment of the figuring of white desire in Aboriginal fiction, film and life-stories, and in her treatment of contemporary Indigenous cultural practices. While it is located in Australian Studies, Ravenscroft's book, in its rigorous interrogation of the dynamics of race and whiteness and engagement with European and American literature and criticism, has far-reaching implications for understanding the important question of race and vision.
Javanese literature is one of the world’s richest and most unusual literary traditions yet it is little known today outside of Java, Indonesia, and a handful of western universities. With its more than a millennium of documented history, its complex interactions over the centuries with literature written in Sanskrit, Arabic, Persian, Malay and Dutch, its often symbiotic relationship with the performing arts of puppetry and dance, and its own immense creativity and insight, this vastly understudied literature offers a lens to understanding Java’s fascinating world as well as human ingenuity more broadly. The essays in this volume, Storied Island: New Explorations in Javanese Literature, take a fresh look at questions and themes pertaining to Java’s literature, employing new theoretical and methodological lenses.