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“Tick, tock, tick, tock.” Thanks to Peter Pan, this sound, if heard near water, means run: a hungry crocodile is on its way. J. M. Barrie isn’t fully to blame for spreading the word that crocodiles are our enemies, or at least the enemies of one-handed pirates—innumerable songs, stories, and legends have characterized these reptiles as a symbol of pitiless predation and insatiable appetite. Tracking twenty-three crocodilian species from India and Egypt to Africa, Australia, and beyond, Crocodile advocates that we do a complete one-eighty in our views of these magnificent creatures. Dan Wylie traces the crocodile in myth, art, and literature, demonstrating that though we commonly associate the reptiles with ferocity and deceit, they have also often been respected and revered in human history. Discussing how crocodiles were all but wiped out in the middle of the twentieth century by hunters and skin traders and are now making a comeback, he reveals that, as apex predators, they are today an increasingly important indicator of the health of an ecosystem and may outlive humans like they did dinosaurs. Presenting a concise, cogent case for why we should respect these fearsome animals, this beautifully illustrated volume is a tribute to one of the world’s ultimate survivors.
A fresh twenty-first century look at Australian literature in a broad, inclusive and multicultural sense.
The essays in this collection celebrate the signal achievement of Dieter Riemenschneider in helping found and consolidate the study of postcolonial anglophone literatures in Germany and Europe. As well as poems, a short story, drawings of the Indian scene (the first, and abiding, focus of this scholar’s work), and ‘letters’ of reminiscence (one quite grave), there are revealing contributions of a literary-historical nature on the establishment of anglophone (especially African) literatures as an academic discipline within Germany, the UK, and Northern Europe generally, as well as a group of searching reflections on such topics of postcolonial import as globalization and the applicability of models to the literature of the indigene in Canada and Australia. The largest section is devoted to individual topics, each treatment implicitly keyed to approaches to the teaching of New Literatures texts. Writers covered include Anita Desai (landscape and memory), Salman Rushdie (painting in The Moor’s Last Sigh), Charlotte Brontë (imperial discourse in Jane Eyre), Derek Walcott (Omeros and cultural cohabitation), and Witi Ihimaera (his rewriting of Katherine Mansfield). Topics dealt with include music and radio in West Africa, the African literary ‘hit parade’, the New Zealand prose poem, Canadian and Australian war fiction, the Middle Passage in the American and Caribbean novel, Paul Theroux’s uneasy relations with V.S. Naipaul, and the colonial discourse of illness and recuperation. The volume closes with Dieter Riemenschneider’s very first and most recent critical essays, the one a classic on Mulk Raj Anand, the other a challenging and doubtless controversial thesis on postcolonial minority writing. A select bibliography of Riemenschneider’s work (books, edited publications, journal articles and book contributions, reviews and broadcasts) rounds off this substantial collection.
This book examines haunting in terms of trauma, languaging, and the supernatural in works by Chinese Australian writers born in Australia, Mainland China, Hong Kong, Malaysia, and Singapore. It goes beyond the conventional focus on identity issues in the analysis of diasporic writing, considering how the memory of past trauma is triggered by abusive systems of power in the present. The author unpacks how trauma also brings past violence to haunt the present. This book considers how different Chinese diasporic communities present a dynamic and multiple state through partial erasure between different Chinese subcultures and other cultures. Showing the supernatural as a social and cultural product, this book elucidates how haunting as the supernatural refers to the coexistence of, and the competition between, different cultures and powers. It takes a wide-ranging view of different diasporic communities under the banner ‘Chinese’, a term that refers not only to Chinese nationals in terms of citizenship, but also to the Chinese diaspora in terms of ancestry, and Chinese culture more generally. In analysing haunting in texts, the author positions Chinese culture as in a constant state of flux. It is relevant to literary scholars and students with interests in Australian literature, Chinese and Southeast Asian migration writing, and those with an interest in the Gothic and postcolonial traditions.
This study attempts to multiculturalise the Gothic by reading a wide selection of Postcolonial Asian and Asian American narratives in light of familiar Gothic tropes such as the uncanny, the double, spectres, and the sublime. Discussing some of the more important concepts in postcolonialism such as subjectivity, belonging, hybridity and nationalism, the author argues that the trajectory of the postcolonial and diasporic experience is fraught with profound moments of trauma, loss and transgression which the aesthetics of the Gothic can illuminate. Throughout the study, a careful balance is maintained between deploying Gothic criticism and emphasising the narrative's cultural, historical and ideological specificity to ensure that a textual form of colonial imposition does not occur. Writings by well-known authors such as Rushdie, Roy, Ondaatje and Mukherjee, and lesser known ones such as Lan Samantha Chang, K.S, Maniam and Beth Yahp are analysed.
The use of symbolism is an art, not a science. Different people use symbols in a variety of ways and each symbol can have diverse meanings, even within the same culture. Not surprisingly, determining the meaning of symbols can be difficult. This valuable reference defines the general symbolism of more than 15,000 terms, from ancient to modern, as well as specialized meanings in mythology, religion, art, literature, folklore, flower language, astrology, heraldry, numerology, and cultures the world over. From "0" to "Zu," each entry catalogs all possible connotations, listed by culture when appropriate, creating the most comprehensive symbolism dictionary available.
A bold and exciting exploration of the relationship and interactions between humans, the human landscape and the earth, looking at a diverse range of case studies from the nineteenth-century city to the Asian tsunami and Hurricane Katrina.
Australian Made is a collection of essays about the writers, the readers and the texts of multicultural Australia. Presenting the work of critics and scholars from both Australia and abroad, this collection creates a synergy between local and international perspectives as it explores what it means for a writer or a reader to be 'Australian' and a text to be 'Australian made'.
In recent decades, East Asia has gained prominence and has become synonymous with Asia, while other Asian regions, such as South and Southeast Asia, have been subsumed under it. The resultant overgeneralization has meant that significant aspects of the global ecological crisis as they affect these two regions have been overlooked. Chitra Sankaran refocuses the global lens on these two rapidly developing regions of Asia. Combining South Asian and Southeast Asian philosophical views and folk perspectives with mainstream ecocritical and ecofeminist theories, she generates a localized critical idiom that qualifies and subverts some established theoretical assumptions. This pioneering study, introducing a corpus of more than thirty ecofictions by women writers from twelve countries in South and Southeast Asia, examines how recent global threats to ecosystems, in both nature and culture, impact subdominant groups, including women. This new corpus reveals how women and subalterns engage with various aspects of critical ecologies. Using ecofeminist theory augmented by postcolonial and risk theories as the main theoretical framework, Sankaran argues that these women writers present unique perspectives that review Asian women’s relationships to human and nonhuman worlds.