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The Indian diaspora in Australia and New Zealand represents a successful ethnic community making significant contributions to their host societies and economies. However, because of their small number—slightly more than half a million— they rarely find mention in the global literature on Indian diaspora. The present volume seeks to remedy this oversight. Charting the chequered 250-year-old history of both the ‘old’ and the ‘new’ diaspora in the antipodes, the chapters narrate the stories of labourers who journeyed under the pressure of colonial capital and post-war professional migrants who went in search of better opportunities. In the context of the ‘White Australia’ and ‘White New Zealand’ policies designed to stem the arrival of Asians in the early twentieth century, we read of the complex survival stratagems adopted by migrants to circumvent the stringent insular world view of the existing white settlers in these countries. Together with stories of the collective suffering and struggles of the diaspora, we are presented with stories of individual resilience, enterprise, and social mobility.
Enter the dark welter of troubled history throughout the Americas, where a heritage of violence meets the ferocity of intent. This sharp, stylised and ambitious anthology of Native American literature sees authors of Indian heritage or blood join non-Indian authors in creating these diverse, gripping, dubious and sleazy stories. Includes contributions from award-winning author Reed Farrel Coleman and Lawrence Block, author of Hit and Run (Orion, 2009).
Reprint of the original, first published in 1861.
George French Angas (1822-1886) spent 18 months sketching and observing in Australia and New Zealand between 1844 and 1845. It was a period of decisive and irreversible cultural change. The young Angas excelled at capturing the minute detail of plants and people, objects and landscapes, and rapidly assembled a portfolio of 250 fine watercolours. In this fully illustrated volume, Philip Jones has used Angas's sketches, watercolours, lithographs and journal accounts to retrace his Antipodean journeys in vivid detail. Set in the context of his time, Angas emerges both as a brilliant artist and as a flawed Romantic idealist, rebelling against his father's mercantilism while entirely reliant upon the colonial project enabling him to depict pre- and early colonial ways of life.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
The Indian diaspora is the largest diasporic movement from Asia, with the Indian community numbering over twenty-five million around the world. Its large scale encompasses a kaleidoscopic community from disparate regions, languages, cultural heritages, religions, and traditions within the subcontinent. The many peoples of the Indian diaspora have growing social and economic impacts on their new homes, but maintain their cultural bonds with India. This volume offers a thorough analysis of the diasporic practices of the Indian communities in essays covering a number of fields, such as literature, cultural studies, and film studies. The contributors deal with the Indian diaspora’s historical and contemporary connotations, its theoretical framework, the cultural hybridizations that emerge from diaspora, and other topics touching on the cultural and social effects of the spread of Indian peoples around the globe.
Although North America and Australasia occupy opposite ends of the earth, they have never been that far from each other conceptually. The United States and Australia both began as British colonies and mutual entanglements continue today, when contemporary cultures of globalization have brought them more closely into juxtaposition. Taking this transpacific kinship as his focus, Paul Giles presents a sweeping study that spans two continents and over three hundred years of literary history to consider the impact of Australia and New Zealand on the formation of U.S. literature. Early American writers such as Benjamin Franklin, Thomas Jefferson, Joel Barlow and Charles Brockden Brown found the idea of antipodes to be a creative resource, but also an alarming reminder of Great Britain's increasing sway in the Pacific. The southern seas served as inspiration for narratives by Washington Irving, Edgar Allan Poe, and Herman Melville. For African Americans such as Harriet Jacobs, Australia represented a haven from slavery during the gold rush era, while for E.D.E.N. Southworth its convict legacy offered an alternative perspective on the British class system. In the 1890s, Henry Adams and Mark Twain both came to Australasia to address questions of imperial rivalry and aesthetic topsy-turvyness. The second half of this study considers how Australia's political unification through Federation in 1901 significantly altered its relationship to the United States. New modes of transport and communication drew American visitors, including novelist Jack London. At the same time, Americans associated Australia and New Zealand with various kinds of utopian social reform, particularly in relation to gender politics, a theme Giles explores in William Dean Howells, Charlotte Perkins Gilman, and Miles Franklin. He also considers how American modernism in New York was inflected by the Australasian perspectives of Lola Ridge and Christina Stead, and how Australian modernism was in turn shaped by American styles of iconoclasm. After World War II, Giles examines how the poetry of Karl Shapiro, Louis Simpson, Yusef Komunyakaa, and others was influenced by their direct experience of Australia. He then shifts to post-1945 fiction, where the focus extends from Irish-American cultural politics (Raymond Chandler, Thomas Keneally) to the paradoxes of exile (Shirley Hazzard, Peter Carey) and the structural inversions of postmodernism and posthumanism (Salman Rushdie, Donna Haraway). Ranging from figures like John Ledyard to John Ashbery, from Emily Dickinson to Patricia Piccinini and J. M. Coetzee, Antipodean America is a truly epic work of transnational literary history.
This beautifully written, absorbing and thoughtful book tells the story of the first white Australians. Born before 1850. Most were the children of convicts. They had no access to land and no education, and free settlers generally treated them with contempt, as second-rate citizens.
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.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.