Journal articles on the topic 'Children in popular culture Australia'

The history of children's popular culture in Australia is still to be written. This article examines Australian print publication for children from the mid-nineteenth to the early twentieth centuries, together with radio and children's television programming from the 1950s to the 1970s. It presents new scholarship on the history of children's magazines and newspapers, sourced from digital archives such as Trove, and documents new sources for early works by Australian children's writers. The discussion covers early television production for children, mobilising digital resources that have hitherto not informed scholarship in the field.

This article explores the conflict between the constructions of childhood and their political/legal implications in the context of the entertainment business, as related to the demands imposed upon children by parents and theatre managers in the late nineteenth and early twentieth centuries. Once children could move freely both within and between countries, these conflicts and concerns assumed a global dimension. Through a number of case studies, the authors offer some fresh observations about how legal and social imperatives affected the transmission of values about children employed as entertainers between Britain and Australasia during the period from 1870 to the start of the First World War – from the Education Acts of the 1870s to the legislation of 1910–1913 restricting the export of child entertainers. Gillian Arrighi is a Lecturer in Drama at the University of Newcastle, Australia. She has recently published articles in Theatre Journal (Dec 2008), Australasian Drama Studies (April 2009 and Oct 2010), and in Impact of the Modern: Vernacular Modernities in Australia 1870s–1960s (Sydney, 2008). She is associate editor of the e-journal Popular Entertainment Studies. Victor Emeljanow is Emeritus Professor of Drama at the University of Newcastle, Australia, and General Editor of the e-journal Popular Entertainment Studies. He has published widely on subjects ranging from the reception of Chekhov in Britain and the career of Theodore Kommisarjevsky, to Victorian popular dramatists. He co-wrote with Jim Davis the award-winning Reflecting the Audience: London Theatregoing 1840–1880 in 2001, and his chapter on staging the pirate in the nineteenth century was included in Swashbucklers and Swindlers: Pirates and Mutineers in Nineteenth-Century Literature and Culture, edited by Grace Moore (2011).

Images of children and representations of childhood experience are ubiquitous in contemporary popular culture. Books, films, television shows, advertisements, magazines, posters, computer games, websites – to name but a few examples – construct and reiterate multiple ways through which childhood is to be understood and undergone, regulated and recuperated, managed and maintained. In this article, the authors consider how one textual form, that of popular magazines, constructs childhood as an economic category ideally characterised by what they term ‘exemplary ordinariness’. The article analyses magazine cover images from Australia, the United States and Canada, and argues that images and written text together oblige parents to ensure that normative childhood experience is secured through exemplary parenting practices. Further, the authors argue that parents – and in particular, mothers – are incited to performatively produce their own exemplary ordinariness through attention to their own personal beauty, individual accomplishment and parenting practices. Their argument is informed by visual and cultural theories, and underpinned by the view that economic discourse formulates a gaze to which both childhood and parenthood are subjected. This is not to imply a reification of ‘the economy’, but rather it is to acknowledge the constitutive force of economic discourse and to interrogate its prominence in the images, rhetorics and practices of everyday life.

The resurgence and visibility of homelessness since the 1980s have become significant social and political issues, widely debated in academic circles and in the popular press. The composition of the homeless population has changed markedly in this period, and now includes more women and children, and more of the deinstitutionalised mentally ill. The lives of street kids in the city of Newcastle, Australia show patterns of structured behaviour and territorial and social organisation. They have a distinctive group identity and moral order. Their subculture is complex with strains of nonpatriarchal and patriarchal relations combined with little tolerance of forms of difference. The moral code of the youth subculture may be a form of resistance to their histories of abuse but is also conservative in reproducing aspects of the culture that they resist. The social networks generated on the street provide a self-maintaining force which contributes to a culture of chronic homelessness.

This paper explores how, through word and image, Tan’s Tales From Outer Suburbia challenges stereotypical representations of the suburban. Typically, suburban spaces have been represented as aesthetically bland, mundane, and ornamental. Tan takes these tropes and ironically re-deploys them anew, and in doing so undermines anti-suburban sentiment, which has dominated Australian literary and popular culture. Although the notion of anti-suburbanism in Australian fiction has been well documented, its presence in children’s literature has received far less attention. As a case study, Tales From Outer Suburbia, signals the ability of children’s literature to present more positive representations of suburbia because of its inherent commitment to the socialisation of children, which is prioritised over the tradition of anti-suburbanism.

The proliferation of sexualised imagery of children and adolescents – especially girls – within media and advertising has elicited considerable public debate and academic discussion within Australia and overseas. Within these debates, girls are commonly configured as being ‘at risk’, that is, in danger of being sexualised, objectified and exploited. They are said to be in danger of growing up believing that popularity and success are tied to sexual appeal (Durham 2008; Reist 2008; Rush and La Nauze 2006). Books for young people are not exempt from these critiques, with children’s literature implicated in the agendas of mainstream consumer culture (Kline 1993). A case in point is Cecily von Ziegesar’s hugely popular Gossip Girl series, which has come under fire, most notably by American feminist Naomi Wolfe (2006) in a review essay for the New York Times. Wolfe criticises the books, and others like them, for fostering the sexualisation of young women through the championing of sex, shopping and status as the pathways to social approval and personal fulfillment for teenage girls. While acknowledging an established history of texts that grapple with the dilemmas of adolescence – including themes of sexual exploration and identification – Wolfe insists that these newer versions of the genre are not in keeping with ‘the frank sexual exploration found in a Judy Blume novel’, but instead present us with ‘teenage sexuality via Juicy Couture, blasé and entirely commodified’ (Wolfe 2006).

Clause 13 of the United Nations Convention on the Rights of the Child states that children have the right ‘to seek, receive or impart information and ideas of all kinds, regardless of frontiers, either orally, in writing or in print, in art or in any other media of the child's voice’. However, there is one area in which this directive is constrained in various countries by domestic regulations curtailing children's access to information. That area is human sexuality. The arguments for and against children's access to sex education are well rehearsed. In this article, the author pursues a different angle, looking instead at the increasing restrictions placed upon young people's ability to imagine and communicate with each other about sexual issues, particularly in online settings. The advent of the internet and a range of social networking sites have not only enabled young people to access previously quarantined information about sexuality, but also to actively engage in forms of ‘intimate citizenship’ online. In this article, the author focuses on young people's online fan communities which use characters from popular culture such as Harry Potter or a range of Japanese manga and animation to imagine and explore sexual issues. ‘Child abuse publications legislation’ in Australia and elsewhere now criminalizes the representation of even imaginary characters who are or may only ‘appear to be’ under the age of 18 in sexual scenarios. Hence these children and young people are in danger of being charged with the offence of manufacturing and disseminating child pornography. Despite research into these fandoms that indicates that they are of positive benefit to young people in developing ‘sexual literacies’, there is increasingly diminishing space for young people under the age of 18 to imagine or communicate about sexuality, even in the context of purely fictional scenarios.

Australian children have always been considered a special television audience. In November 2009, Australia's public service broadcaster the ABC launched Australia's first dedicated free-to-air children's channel. Within a year of its launch, ABC3's most popular program was a local version of the transnational reality format, Prank Patrol. The popularity of reality television with children challenges policy settings, including the Children's Television Standards (CTS), that privilege drama in the expression of the goals of cultural nationalism. While public service broadcasting ideology is expressed and applied to Australian commercial free-to-air channels through the CTS, public service media compete with pay TV channels for the child audience using a range of genres. Thus contemporary Australian children's television is characterised by an abundance of supply, pan-platform delivery and a policy regime that has remained largely unchanged since the late 1970s.

The Yoruba of Southwestern Nigeria describes children as the heritage of the society because children occupy a special place in societal survival and continuity. Children are esteemed and appreciated. Thus, the embedded culture propagates the essentiality of children, the need for proper socialisation and internalisation to make a responsible being ( Omoluabi). Also, children are prioritised above material wealth, and the essentiality of child wellbeing and education is emphasised in aspects of popular culture such as oral poetry, proverbs, local songs and popular music among others. Using extant elements of Yoruba popular culture which have remained dominant, this article contextually examines the value of children among the Yoruba.

The mid-1920s were boom years for the Australian gramophone trade. The most prominent multinational record companies had established local branches, and a handful of new factories produced millions of records for sale on the local market. Department stores joined an established network of music traders in retailing these cultural products. This article explores the labour of women involved in the retail sale of gramophone records in Melbourne. Selling recorded sound animated a charged rhetoric of musical meliorism, class and taste, according to which the value of the product was determined by the supposed musical quality thereof. Australian saleswomen or “shopgirls” were required to perform evidence of their modernity in the commercial encounter. I propose that conceiving of record saleswomen as simultaneously sellers and consumers provides valuable insight into the entangled nature of capitalism and culture in the realm of Australian music. This exploration of the process of commercialisation of recorded music illuminates the connection between labour and culture, leisure and society in colonial modernity.

Abstract. We conceptualized and developed a measure of right-wing protective popular nationalism (RWPPN) – a specific form of popular nationalism where people seek to protect the national culture from outgroup influences. RWPPN is derived from a sociological analysis of right-wing popular nationalism in Australia and is theoretically related to several key psychological constructs, including right-wing authoritarianism (RWA), social dominance orientation (SDO), and symbolic threat. We conducted two surveys using nationally representative samples of Australian citizens. In study 1 ( n = 657), participants completed measures of RWPPN and related constructs. Exploratory and confirmatory factor analysis resulted in a 10-item scale. Construct validity was tested and confirmed across divergent, convergent, predictive, and concurrent validation domains. Additional convergent validation with RWA and SDO was tested in study 2 ( n = 316). Together, RWPPN was found to relate to expressions of national identity, prejudice, perceived outgroup threat, opposition to multiculturalism, and aggressive tendencies toward ethnic minorities. These effects remained significant when controlling for nationalism (measured as a concern for national superiority) and blind patriotism. In study 2, the effect on aggressive tendencies held when controlling for RWA and SDO and RWPPN mediated the relationship between RWA and aggressive tendencies. Reflecting the conservative nature of Australian popular nationalism, RWPPN correlated with right-wing political alignment. The research was conducted in Australia, but given the rise in right-wing populism internationally, RWPPN may be a phenomenon in other countries. Therefore, this paper offers a new construct and scale to investigate it in Australia and internationally.

Pop Culture in Asia and Oceania provides readers with a broad but surprisingly detailed overview of popular culture in Asia (excluding the Middle East), Australia, and New Zealand. Though the geographic focus of coverage may be somewhat narrow, the forms of pop culture covered in the single volume are quite varied and reveal a rich cultural tapestry that may be unfamiliar to many Western readers. Pop culture is of course intended for mass consumption, and the mediums and entertainments covered in Pop Culture in Asia and Oceania reflect that intent. They include: popular music, books and contemporary literature, film, television, radio, Internet and social media, sports, video games, fashion, and couture.

Abstract MasterChef Australia is the most popular television series in Australian history. It gives a wide range of ordinary people the chance to show they can master culinary arts to a professional standard. Through content and textual analysis of seven seasons of the show this article examines gendered patterns in its representation of participants and culinary professionals. Women are often depicted as home cooks by inclination while the figure of the professional chef remains almost exclusively male. Despite its rhetoric of inclusivity, MCA does little to challenge norms of the professional gastronomic field that have devalued women’s cooking while valorising “hard” masculinized culinary cultures led by men.

Purpose Development of economic understandings fosters the growth of democratic citizenship competencies. Elements of popular culture should be recognized for the influence they have on children’s economic decisions. Children should learn of the concept of popular culture to regulate its effect on their habits and understand how it has shaped the lives of people throughout history. The paper aims to discuss these issues. Design/methodology/approach Using a C3 inquiry investigation, this study explored if students from fifth grade to kindergarten could be engaged in higher-level thinking about economic concepts through the analysis of elements of popular culture in historical primary sources and then continue that analysis into popular culture of their own lives. Analyses of students’ discussions during each stage of the study provide descriptive statistics and themes to reveal understandings. Findings Results imply that children can successfully engage in document analysis and creation of accurate present-day popular culture artifacts and that children in second grade and above were subsequently influenced in their economic understandings about spending and saving money from popular culture analyses. Children in first grade and kindergarten were not successfully able to express these deeper connections, which may be explained by cognitive theory offered for this age range. Originality/value This research offers a unique way of combining the analysis of historic and present-day primary sources in order to understand the influences popular culture can have on economic-based behaviors. Novel approaches, which use the C3 framework to engage students in higher-order thinking of social studies disciplines, will help build stronger democratic citizenship competencies in children.

The article is a review. The purpose of this text is to review the ideas about the impact of popular culture on children and adolescents. Due to the great possibilities of popular culture, this influence is ambiguous and predictable. The concepts therefore only show certain tendencies. Children and adolescents are certainly special recipients of popular culture content. The dynamics of their development affects the way content is perceived. On the other hand, however, they can be not only passive recipients, but also active recipients who, by processing the incoming content, may derive additional benefits from it. For this reason, popular culture becomes an educational space with great potential, which, however, must be skillfully disposed of in order to achieve the intended effects of work.

AbstractThe global significance of Latin American popular music is well documented in contemporary research. Less is known about Latin American music and musicians in Australia and New Zealand (collectively termed ‘Australasia’): nations that have historically hosted waves of migrants from the Americas, and which are also strongly influenced by globalised US popular music culture. This article presents an overview of Latin American music in Australasia, drawing on ethnographic research, with the aim of providing a historical framework for the understanding of this music in the Australasian context. It begins with an explanation of the early 20th-century conceptualisation of ‘Latin’ in Australasia, and an investigation into how this abstract cultural construction affected performance opportunities for Latino/a migrants who began to arrive en masse from the 1970s onwards. It then discusses the performance practices that were most successfully recreated by Latin American musicians in Australia and New Zealand, especially ‘Andean’ folkloric music, and ‘tropical’ dance music. With reference to prominent individuals and ensembles, this article demonstrates how Andean and tropical performance practices have developed over the course of the last 30 years, and articulates the enduring importance of Latin American music and musicians within Australasian popular music culture.

This article places the study of Argentina’s Billiken magazine, the world’s longest-running children’s weekly, at the intersection between Popular Culture Studies and Childhood Studies to uncover how historical understandings of Argentine popular culture are challenged and transformed when the popular culture in question is made for children. Billiken is identified with the promotion of Argentine culture and history yet excludes the ultimate expression of Argentine national identity, the gaucho, from its popular literary content in favour of characters taken from, or inspired by, European children’s literature. This editorial decision is determined by Billiken’s construction of the child reader in terms of his or her future potential. Billiken’s self-imposed educational remit extends to the magazine’s popular cultural content which it employs as a way of socialising the child reader and forming notions of taste. The editorial construction of children as future citizens is used here as the lens through which to view the different and, at times, contradictory, ideological, pedagogical and commercial agendas found within this product of children’s popular culture.

The study of children’s play activities has not only been historically trivialized, but numerous widely held misconceptions about kids, their play, folklore and popular culture continue to persist today despite evidence to the contrary. For example, some adults believe that mass media and popular culture has contributed to the decline of kids’ traditional play activities, while others argue that traditional play objects are being replaced by “media culture artifacts”; however, the child-centred fan-play research I present in this paper reveals that popular culture encourages and activates children’s traditional and creative competences, rather than destroy them. The Harry Potter “phenomenon”, as a contested site where youth struggle for visibility and power, serves as the case study for this paper. Based on ethnographic observation of several local events, surveys, and interviews with child and teenage fans of Harry Potter, I examine several emergent, participatory, fan-play activities (including costuming, role-playing, make-believe and spells) and discuss the many ways children manipulate, appropriate, adapt and combine popular culture and folklore, using both creativity and tradition as expression of their lives, identities and power struggles. I conclude by discussing the heart of contemporary children’s culture and play – the conservative/creative nature of children, hybrid play forms and the activation of traditional and creative competencies in the face of popular culture influences.

This article examines the notions of the romantic dinner in post-war Australia, using material culture in the form of Australian food writing and advertisements in cookbooks and popular magazines from the post-war period (in this case, 1945–68). It investigates three closely related aspects of the ‘romantic’ dinner for two: the similarities and contrasts between the courtship restaurant ‘date’ and a specially prepared dinner at home; the way in which gendered roles are performed, confirmed and contested in these events; and the influence of American advertising, and its promotion of American cuisine and lifestyle, on the way the domestic meal was conceptualized and presented to housewives at this time. Bearing in mind that the social importance of food is reinforced because its preparation occurs on a daily basis and that the informative power of food and the material culture around food production is as yet only partially tapped, this analysis attempts to answer the question: was the romantic dinner for two an opportunity for romance, or was it a creation that reinforced post-war gender roles in Australia?

This paper examines current concerns of early childhood practitioners concerning the influence of toys within popular culture, such as Barbie, on children's gendering. It argues that it is time to rethink our understandings of how children learn to be gendered. The theories underpinning traditional socialisation accounts of how children become gendered and the role of toys in this learning are discussed and critiqued. From this discussion a case is built for greater use of post-structuralist understandings of gendering in deciding if and how, toys within popular culture have a place in gender equity programs in early childhood settings.

Abstract Representations of young teenagers and adolescents (not yet young adults) in popular culture are problematic. All too often the term teenager is less about age and experience and more about consumer merchandise and lifestyles aimed at them as a demographic sector. This paper addresses some of the issues and myths that writers and film makers are confronted with when producing teenage culture - everything may not be as you think.

Purpose Through a case study of J. Walter Thompson and Kraft’s efforts to market Vegemite in the USA in the late 1960s, this paper aims to explore transnational systems of cultural production and consumption, the US’s changing perception of Australia and the influence of culture on whether advertising fails or succeeds. Design/methodology/approach This paper draws from archival primary sources, including advertisements and newspapers, as well as secondary literatures from the fields of advertising history, food studies and transnational studies of popular culture. Findings Although J. Walter Thompson’s advertising contributed to Vegemite’s icon status in Australia, it failed to capture the American market in the late 1960s. In the 1980s, however, Vegemite did capture American interest when it was central to a wave of Australian popular culture that included films, sport and music, particularly Men at Work’s hit song, “Down Under”, whose lyrics mentioned Vegemite. As such, Vegemite’s moment of success stateside occurred without a national advertising campaign. Even when popular, however, Americans failed to like Vegemite’s taste, confirming it as a uniquely culturally specific product. Originality/value This paper analyzes a little-studied advertising campaign. The case study’s interdisciplinary findings will be of interest to scholars of advertising history, twentieth century USA and Australian history and food studies.

Sharenting is a habit of using social media to share content that disseminates pictures, videos, information, and parenting styles for their children. The purpose of this article is to describe the sharenting phenomenon that occurs among young parents, and the importance of parenting programs, rather than protecting children's privacy. Writing articles use a qualitative approach as a literature review method that utilizes various scientific articles describing the sharenting phenomenon in various countries. The findings show that sharenting behaviour can create the spread of children's identity openly on social media and tends not to protect children's privacy and even seems to exploit children. Apart from that, sharenting can also create pressure on the children themselves and can even have an impact on online crime. 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AbstractObjectiveThe aim of the present study was to describe the nature and extent of food marketing on popular children’s websites and food product websites in Australia.MethodsFood product websites (n119) and popular children’s websites (n196) were selected based on website traffic data and previous research on frequently marketed food brands. Coding instruments were developed to capture food marketing techniques. All references to food on popular children’s websites were also classified as either branded or non-branded and according to food categories.ResultsWebsites contained a range of marketing features. On food product websites these marketing features included branded education (79·0 % of websites), competitions (33·6 %), promotional characters (35·3 %), downloadable items (35·3 %), branded games (28·6 %) and designated children’s sections (21·8 %). Food references on popular children’s websites were strongly skewed towards unhealthy foods (60·8 %v. 39·2 % healthy food references;P< 0·001), with three times more branded food references for unhealthy foods. Branded food references displayed similar marketing features to those identified on food product websites.ConclusionsInternet food marketing uses a range of techniques to ensure that children are immersed in brand-related information and activities for extended periods, thereby increasing brand familiarity and exposure. The relatively unregulated marketing environment and increasing use of the Internet by children point to the potential increase in food marketing via this medium. Further research is required to investigate the impact of Internet food marketing on children’s food preferences and consumption, and regulatory options to protect children.

This article is part of a larger research project looking at the role of Australian media companies in sustaining fan and Australian investment in global popular culture. This article focuses on Madman Entertainment – one of the most successful DVD and merchandise distribution companies in Australia and the leading distributor of anime, with over 90 per cent of the market share. The article explores the ways in which Madman has become a part of the simultaneous globalisation and localisation of Japanese cultural products, and sets out to show how profiling such a company can also provide some insight into the changing role of fans in driving innovation and investment in popular culture.

Henry Parkes' intervention to placate the Sabbatarian movement and prevent British astronomer Richard Proctor from delivering an astronomical lecture on Sunday 5 September 1880 created a major controversy in the Australian colonies. Controversy had been central to much of Proctor's success, and in this case drew on a long-standing connection between astronomy and religion. An examination of the Proctor-Parkes incident shows how popular science works in culture by drawing on and sustaining the analogical connections between scientific ideas and broader cultural concerns.

In the early 1980s Perth was probably the most important city in Australia for Cultural Studies. Through that decade many intellectuals who became leaders in Australian Cultural Studies and important players in Cultural Studies outside of Australia worked in Perth. Among them were John Fiske, John Frow, John Hartley, Tom O’Regan, Lesley Stern, Graeme Turner and, a decade later, Ien Ang. This essay discusses the presence of these academics in Perth and advances some reasons why Perth became so important to Cultural Studies in Australia. It also discusses the kind of Cultural Studies that became privileged in Perth and considers some of the reasons for this. Perth Cultural Studies in the 1980s was primarily text-based and focused on screen-related popular culture, especially television programs and popular film. Cultural Studies in Perth developed in a city thought of as marginal to Australia, in institutions that were either not universities or, in the case of Murdoch University, was a very new university, by cosmopolitan academics who mostly came from either elsewhere in Australia or from the United Kingdom.

This article combines framing analysis and critical textual analysis in a qualitative investigation of the ways in which popular culture texts, in particular articles in Australian women's magazines, frame transnational celebrity activism. Using three recent case studies of commercial representations of popular female celebrities – Nicole Kidman in Marie Claire (Australia), Angelina Jolie in Vogue (Australia) and Emma Watson in Cleo (Australia) – this study dissects framing devices to reveal the discursive tensions which lie beneath textual constructions of celebrity humanitarianism. Through a focus on United Nations Women's Goodwill Ambassadors, and their exemplary performances of popular humanitarianism, I argue that feminist celebrity activists may inadvertently contradict the cause of global gender equality by operating within the limits of celebrity publicity images and discourses. Moreover, the deployment of celebrity women, who have built their vast wealth and global influence through the commodification of Western ideals of beauty and femininity, betrays an approach to humanitarianism, which is grounded in the intersection of neocolonial global capitalism, liberal feminism and the ethics of competitive individualism.

The aim of the text is to discuss the educational potential of popular culture. The firstpart focuses on theoretical opinions on the relationships of culture and education. Pedagogical thinking about culture is dominated by its humanistic understanding, in which a special sense of culture has been understood as one of the top of human achievement. In traditional pedagogical reflection,there is noticeable concentration on culture as “valuable for educational interactions”. In such a perspective, the space of popular culture is ignored. Perceived as a bad Mr. Hyde of cultural space, it is treated as an area of threats to the development of children and youth. But culture is not only a canon of the achievements of past generations. In the anthropological sense, these are simply the ways of living a life in a society. Popular culture is the space where various aspects are commented on. Popular art plays a special role here.The second part discusses the pop cultural texts that illustrate the characteristic elements of utopia: burial of the “old world”, establishing a “perfect” order, protection against external destruction and against destruction from inside. Formed at different times and based on different means of expression, they address the dilemmas associated with thinking about a “better world”. They present the mechanisms and consequences of building a new society “with their own language”.

This paper forms part of a larger study mapping and analysing the way audiovisual media are used in the dual processes of cultural maintenance and adaptation within Asian diasporic communities and seeks to complement media and cultural studies' emphasis on the representation of ‘ethnic minorities' in mainstream media with a focus on media produced for and consumed within the communities. The paper overviews popular media of the Vietnamese diaspora. The largest refugee community in Australia, it supports a thriving popular culture produced by and for overseas Vietnamese. Issues of how narrowcast media forms are used to ‘broadcast’ cultural production within a globally dispersed, relatively small community transected by age, class, education, gender, migration and refugee status, recency of arrival and regional background are raised.

The concept of the “cultural landscape” designates tangible and intangible elements of human activity, such as the natural environment, material culture, values, behaviours, and language (Taylor 2008, 6; Taylor and Lennon 2011, 538–540; Wierzbicka 1997, 201). These themes are all present in Australian bush ballads – a literary and folk genre that reflects the country’s unique heritage and way of life in simple artistic forms. Slim Dusty’s Aussie Sing Song (1962) – a representative selection of ballads – depicts Australia’s fauna and flora, the Aborigines, the beginnings of European settlement, the economy, the Great Outback, and the social role of drinking beer. The popular texts contain condensed and vivid images of the country’s culture.

In this ethnographic study of a group of African American first graders, Anne Haas Dyson illustrates the textual processes — the deliberate manipulation of popular cultural material — involved in the children's shared practices as playful children and good friends. These same processes shaped the ways the children made sense of and began to participate in school literacy. The observed children did not approach official literacy activities in their classroom as though they had nothing to do with their own childhoods. They made use of familiar media-influenced practices and symbolic material to take intellectual and social action in the official school world. Dyson offers a fresh perspective on children's experiences with popular media, emphasizing that they are an integral aspect of contemporary childhoods, not an external threat. Moreover, she presents an alternative view of the pathways and mechanisms through which children enter into school literacy practices, one that illuminates how children build from the very social and symbolic stuff of their own childhoods.

In numerate societies, early arithmetic development is associated with visuospatial working memory, executive functions, nonverbal intelligence, and magnitude-comparison abilities. To what extent do these associations arise from cultural practices or general cognitive prerequisites? Here, we administered tests of these cognitive abilities (Corsi Blocks, Raven’s Colored Progressive Matrices, Porteus Maze) to indigenous children in remote northern Australia, whose culture contains few counting words or counting practices, and to nonindigenous children from an Australian city. The indigenous children completed a standard nonverbal addition task; the nonindigenous children completed a comparable single-digit addition task. The correlation matrices among variables in the indigenous and nonindigenous children showed similar patterns of relationships, and parallel regression analyses showed that visuospatial working memory was the main predictor of addition performance in both groups. Our findings support the hypothesis that the same cognitive capacities promote competence for learners in both numerate and nonnumerate societies.

This paper examines two aspects within cultural studies, namely that of cultural commodification and institutionalised racism. These are explored through a review style article discussing the commodification and appropriation of indigenous Australian food items on the television cooking programme Masterchef Australia, and in an ‘op-ed’ style piece considering the systemic racism represented by the blackface character of Zwarte Piet (Black Pete) in the Dutch festive tradition of Sinterklaas (St. Nicholas). These two articles are followed by case study reports which analyse how the theories were applied. The arguments in the reports conclude that Masterchef Australia has a responsibility to better represent indigenous Australian culture, and that the tradition of Zwarte Piet clearly exemplifies institutionalised racism and discrimination.

Abstract In the immediate postwar period Jewish communities worldwide sought to draw political lessons from the events of the Holocaust, the rise of fascism and the Second World War. A distinctive popular Jewish left antifascist politics developed as a way of memorialising the Holocaust, struggling against antisemitism and developing anti-racist and anti-assimilationist Jewish cultures. This article looks at the trilingual magazine Jewish Youth, published in Melbourne in the 1940s in English, Yiddish and Hebrew, as a prism through which to examine Jewish antifascist culture in Australia. Jewish Youth featured an oppositional political stance against antisemitism and fascism, tied often to Holocaust memorialisation; a conscious political and cultural minoritarianism and resistance to assimilation; and a certain fluctuating multilingualism, tied to its transnational situatedness and plurality of audiences.

How litigious are Australians? Although quantitative studies have comprehensively debunked the fear of an Australian civil justice system in crisis, the literature has yet to address the qualitative public policy question of whether Australians are under- or over-using the legal system to resolve their disputes. On one view, expressed by the insurance industry, the mass media and prominent members of the judiciary, Australia is moving towards an American-style hyper-litigiousness. By contrast, Australian popular culture paints the typical Australian as culturally averse to formal rights assertion. This article explores the comparative law literature on litigiousness in two jurisdictions that have attracted significant scholarly attention — the United States and Japan. More specifically, it seeks to draw lessons from this literature for both understanding litigiousness in modern Australia and framing future research projects on the issue.

In Australia in 2001, there was a marked escalation of debates about nation, national identity and national borders in tandem with a right-wing turn in national politics. Within the cultural context of debate about national identity, popular theatre became an unwitting ally of neo-conservative forces. Within popular theatre culture, the neo-conservative trend is naturalized as the view of the Anglo-Celtic-European mainstream or core culture that also embraces and depoliticizes feminist debates about home and family. Elizabeth Coleman's 2001 play This Way Up assists in the production of an inward-looking turn in the national imaginary and a renewed emphasis on home and family. The performance dramatizes aspects of what we are to understand as ordinary Australian life which might be interpreted as that which Prime Minister John Howard defends in the name of the National Interest. The cultural imaginary that shapes the production of the popular play is that of the conservative white national imaginary.

This is an interview with Dr Wilma Vialle, Ph.D, Professor in Educational Psychology and Gifted Education in the Faculty of Social Sciences at the University of Wollongong, New South Wales, Australia. Dr Vialle is the author of several books, articles, and chapters on gifted education and child psychology. Her research interests are centred on giftedness and talent development and she is predominantly interested in issues concerning social justice. Recent research projects include an international study of effective teachers of the gifted, a longitudinal study of adolescent academic and social emotional outcomes, the development of expertise in competitive Scrabble players, popular culture and giftedness, and the development of spiritual understanding in children. Dr Vialle is the chief editor of the journal Talent Development and Excellence and is on the editorial board of several international journals. She is also on the Executive Board of the International Research Association for Talent Development and Excellence (IRATDE). In 2006, Dr Vialle was awarded the Eminent Australian award by the Australian Association for the Education of the Gifted and Talented (AAEGT) for her contributions to gifted education.