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Examination of the nature of Australian national identity; includes reference to Aborigines discussed in terms of violence, racism, guilt, remorse and memory; questions the characterisation of race relations through forgetting and silence (Stanner) and violence (Rowley); argues that simplified historical narratives about race relations impede reparative energy in race relations; psychological understanding of racism; theories of the nation; crisis of history and time in Australia and its impact on identity.
In the first century AD, Publius Ovidius Naso, the most urbane and irreverant poet of imperial Rome, was banished to a remote village on the edge of the Black Sea. From these sparse facts, one of our most distinguished novelists has fashioned an audacious and supremely moving work of fiction. Marooned on the edge of the known world, exiled from his native tongue, Ovid depends on the kindness of barbarians who impate their dead and converse with the spirit world. But then he becomes the guardian of a still more savage creature, a feral child who has grown up among deer. What ensues is a luminous encounter between civilization and nature, as enacted by a poet who once catalogued the treacheries of love and a boy who slowly learns how to give it.
The Arrernte people of Central Australia first encountered Europeans in the 1860s as groups of explorers, pastoralists, missionaries, and laborers invaded their land. During that time the Arrernte were the subject of intense curiosity, and the earliest accounts of their lives, beliefs, and traditions were a seminal influence on European notions of the primitive. The first study to address the Arrernte’s contemporary situation, Arrernte Present, Arrernte Past also documents the immense sociocultural changes they have experienced over the past hundred years. Employing ethnographic and archival research, Diane Austin-Broos traces the history of the Arrernte as they have transitioned from a society of hunter-gatherers to members of the Hermannsburg Mission community to their present, marginalized position in the modern Australian economy. While she concludes that these wrenching structural shifts led to the violence that now marks Arrernte communities, she also brings to light the powerful acts of imagination that have sustained a continuing sense of Arrernte identity.
This book maps the seascape borders of Australia's insular imagination. It explores how the boundaries and contours of the nation were made and remade in the first years of the war on terror, offering a striking reassessment of the territoriality of "the island continent."
The first comprehensive volume of original essays on Australian screen culture in the twenty-first century. A Companion to Australian Cinema is an anthology of original essays by new and established authors on the contemporary state and future directions of a well-established national cinema. A timely intervention that challenges and expands the idea of cinema, this book brings into sharp focus those facets of Australian cinema that have endured, evolved and emerged in the twenty-first century. The essays address six thematically-organized propositions – that Australian cinema is an Indigenous screen culture, an international cinema, a minor transnational imaginary, an enduring auteur-genre-landscape tradition, a televisual industry and a multiplatform ecology. Offering fresh critical perspectives and extending previous scholarship, case studies range from The Lego Movie, Mad Max, and Australian stars in Hollywood, to transnational co-productions, YouTube channels, transmedia and nature-cam documentaries. New research on trends – such as the convergence of television and film, digital transformations of screen production and the shifting roles of women on and off-screen – highlight how established precedents have been influenced by new realities beyond both cinema and the national. Written in an accessible style that does not require knowledge of cinema studies or Australian studies Presents original research on Australian actors, such as Cate Blanchett and Chris Hemsworth, their training, branding, and path from Australia to Hollywood Explores the films and filmmakers of the Blak Wave and their challenge to Australian settler-colonial history and white identity Expands the critical definition of cinema to include YouTube channels, transmedia documentaries, multiplatform changescapes and cinematic remix Introduces readers to founding texts in Australian screen studies A Companion to Australian Cinema is an ideal introductory text for teachers and students in areas including film and media studies, cultural and gender studies, and Australian history and politics, as well as a valuable resource for educators and other professionals in the humanities and creative arts.
Poetry. Moving from the Enlightenment science of natural history to the contemporary science of global warming, LIGHT LIGHT is a provocative engagement with the technologies and languages that shape discourses of knowing. It bridges the histories of botany, empire, and mind to take up the claim of "objectivity" as the dissolution of a discrete self and thus explores the mind's movement toward and with the world. The poems in LIGHT LIGHT range from the epigrammatic to the experimental, from the narrative to the lyric, consistently exploring the way language captures the undulation of a mind's working, how that rhythm becomes the embodiment of thought, and how that embodiment forms a politics engaged with the environment and its increasing alterations."LIGHT LIGHT puts the hive back in the archive, the source in the resource. Through Joosten's miraculous mode of attending, through this mind that 'grounds sound to seed, ' we are elemented--'The mind is a mood of electricity, warmth, water, and wind.' We are given a mode of attending that is precarious, is an enactment of the precariousness we are and, with consequence, institute. Each thing this attention falls upon 'is a source of thought, not its object.' So everything is light once we learn to see by it. To honor the field we should 'leave the field, ' but this book we should never leave."--Jane Gregory"A concordance that emerges as material, thought, and material thought, Julie Joosten's LIGHT LIGHT is a most beautiful and rare breed: as if H.D.'s Sea Garden mated with Erasmus Darwins The Loves of the Plants. 'I was to guard the valley, name it, speak to it by name, ' Joosten writes. Hers is a haunting lament. It is what love is. What could be more necessary at this time on this planet?"--Cara Benson
Rudger is Amanda's best friend. He doesn't exist, but nobody's perfect. Only Amanda can see her imaginary friend – until the sinister Mr Bunting arrives at Amanda's door. Mr Bunting hunts imaginaries. Rumour says that he eats them. And he's sniffed out Rudger. Soon Rudger is alone, and running for his imaginary life. But can a boy who isn't there survive without a friend to dream him up? A brilliantly funny, scary and moving read from the unique imagination of A.F. Harrold, this beautiful book is astoundingly illustrated with integrated art and colour spreads by the award-winning Emily Gravett.
“The nearest thing to an autobiography Irving has written . . . worth saving and savoring."—Seattle Times Dedicated to the memory of two wrestling coaches and two writer friends, The Imaginary Girlfriend is John Irving's candid memoir of his twin careers in writing and wrestling. The award-winning author of best-selling novels from The World According to Garp to In One Person, Irving began writing when he was fourteen, the same age at which he began to wrestle at Exeter. He competed as a wrestler for twenty years, was certified as a referee at twenty-four, and coached the sport until he was forty-seven. Irving coached his sons Colin and Brendan to New England championship titles, a championship that he himself was denied. In an autobiography filled with the humor and compassion one finds in his fiction, Irving explores the interrelationship between the two disciplines of writing and wrestling, from the days when he was a beginner at both until his fourth wresting related surgery at the age of fifty-three. Writing as a father and mentor, he offers a lucid portrait of those—writers and wrestlers from Kurt Vonnegut to Ted Seabrooke—who played a mentor role in his development as a novelist, wrestler, and wrestling coach. He reveals lessons he learned about the pursuit for which he is best known, writing. “And,” as the Denver Post observed, in filling “his narrative with anecdotes that are every bit as hilarious as the antics in his novels, Irving combines the lessons of both obsessions (wrestling and writing) . . . into a somber reflection on the importance of living well.”
“THE IMAGINARY WORLD” is all about love and life. Everyone has experienced betrayal in their life but not everyone has seen true love… it’s not easy. This book brings many writers together to show how love feels, with society issues in their way. I am very grateful to have so many amazing writers by my side, and I would like to thank each and every person present in this book and also those who aren’t. My Parents for supporting me in this and my best friend Jeet Kakkar for making me strong enough and believing in me that I can do this, I love you. Lastly, A big Thank you to TOC for this opportunity and Somya Dii our project head for holding my hand the whole time, it wouldn’t have been possible without you. Make the world a better place With your smile… Live life with no regrets Love life with no debts. ~ Sanmeet K Sethi
Australia is the planet's sole island continent. This book argues that the uniqueness of this geography has shaped Australian history and culture, including its literature. Further, it shows how the fluctuating definition of the island continent throws new light on the relationship between islands and continents in the mapping of modernity. The book links the historical and geographical conditions of islands with their potent role in the imaginaries of European colonisation. It prises apart the tangled web of geography, fantasy, desire and writing that has framed the Western understanding of islands, both their real and material conditions and their symbolic power, from antiquity into globalised modernity. The book also traces how this spatial imaginary has shaped the modern 'man' who is imagined as being the island's mirror. The inter-relationship of the island fantasy, colonial expansion, and the literary construction of place and history, created a new 'man': the dislocated and alienated subject of post-colonial modernity. This book looks at the contradictory images of islands, from the allure of the desert island as a paradise where the world can be made anew to their roles as prisons, as these ideas are made concrete at moments of British colonialism. It also considers alternatives to viewing islands as objects of possession in the archipelagic visions of island theorists and writers. It compares the European understandings of the first and last of the new worlds, the Caribbean archipelago and the Australian island continent, to calibrate the different ways these disparate geographies unifed and fractured the concept of the planetary globe. In particular it examines the role of the island in this process, specifically its capacity to figure a 'graspable globe' in the mind. The book draws on the colonial archive and ranges across Australian literature from the first novel written and published in Australia (by a convict on the island of Tasmania) to both the ancient dreaming and the burgeoning literature of Aboriginal and Torres Strait Islanders in the twenty-first century. It discusses Australian literature in an international context, drawing on the long traditions of literary islands across a range of cultures. The book's approach is theoretical and engages with contemporary philosophy, which uses the island and the archipleago as a key metaphor. It is also historicist and includes considerable original historical research.