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Artykuły w czasopismach na temat „Australian poetry”

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Autor: Grafiati

Data publikacji: 4 czerwca 2021

Data aktualizacji: 29 lipca 2024

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1

Berryman, Jim. "Breaking fresh ground: New Impulses in Australian Poetry, an anthology". Queensland Review 23, nr 2 (grudzień 2016): 246–57. http://dx.doi.org/10.1017/qre.2016.32.

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AbstractNew Impulses in Australian Poetry was an anthology of contemporary Australian poetry published in Brisbane in 1968. The book was the idea of two Queensland poets, Rodney Hall and Thomas Shapcott. New Impulses was modelled on international modern poetry anthologies. At the time, this type of anthology was unfamiliar in Australia. Hall and Shapcott declared their intentions in modernist terms: to challenge the literary establishment and to promote the new poetry of the 1960s. It was a new type of anthology for a new type of poetry. This article explores the anthology's Queensland origins and examines its modern themes and influences. It concludes with a discussion of the anthology's impact and legacy from the perspective of Australian literary history, especially the ‘New Australian Poetry’, which it prefigured. In addition to its literary significance, New Impulses was an Australian publishing milestone. The book was the first poetry anthology published by University of Queensland Press. Its success demonstrated the market potential for literary publishing in Australia.

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2

Čerče, Danica. "Generating Alternative Worlds: The Indigenous Protest Poetry of Romaine Moreton". ELOPE: English Language Overseas Perspectives and Enquiries 7, nr 1 (17.05.2010): 49–59. http://dx.doi.org/10.4312/elope.7.1.49-59.

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Since the 1980s, indigenous authors have had a high profile in Australia and their writing has made a significant impact on the Australian public. Given that poetry has attracted more indigenous Australians than any other mode of creative expression, this genre, too, has provided an important impetus for their cultural and political expression. Discussing the verse of Romaine Moreton, and taking up George Levine’s view (2000) that works of art are able to produce critical disruptions and generate alternative worlds, the article aims to show that Moreton’s mesmerising reflections on origin, dispossession, dislocation and identity of Australian indigenous peoples encouraged national self-reflection and helped create a meaningful existence for the deprived and the dispossessed. It also touches upon some other topics explored in Moreton’s poetry and provides evidence of its universal relevance.

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3

Maver, Igor. "Slovenia as a locale in contemporary Australian verse". Acta Neophilologica 30 (1.12.1997): 73–75. http://dx.doi.org/10.4312/an.30.0.73-75.

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Despite the fact that the writer Patrick White had worked on his novels for a short while also at Lake Bled in Slovenia at Hotel "Toplice", just like Agatha Christie did at Lake Bohinj, Slovenia has only recently come to feature in mainstream Australian literature, more precisely in contemporary Australian poetry. It should be stressed that Slovenia is thus no longer present only in Slovene migrant poetry written in Australia as has so far been the case: it entered the major contemporary Australian anthologies. This testifies to the fact that Slovenia no longer belongs to the uncharted part of Central Europe on the geographical and consequently also on the Australian literary map. Rather than that Slovenia increasingly makes part of an average Australian 'Grand Tour' travel itinerary in Europe; it has thus become present in the Australian cultural consciousness. In this light two recent Australian poems with Slovenia as a literary locale are discussed, Andrew Taylor's "Morning in Ljubljana" I and Susan Hampton's poem "Yugoslav Story".

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Maver, Igor. "Slovenia as a locale in contemporary Australian verse". Acta Neophilologica 30 (1.12.1997): 73–75. http://dx.doi.org/10.4312/an.30.1.73-75.

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Despite the fact that the writer Patrick White had worked on his novels for a short while also at Lake Bled in Slovenia at Hotel "Toplice", just like Agatha Christie did at Lake Bohinj, Slovenia has only recently come to feature in mainstream Australian literature, more precisely in contemporary Australian poetry. It should be stressed that Slovenia is thus no longer present only in Slovene migrant poetry written in Australia as has so far been the case: it entered the major contemporary Australian anthologies. This testifies to the fact that Slovenia no longer belongs to the uncharted part of Central Europe on the geographical and consequently also on the Australian literary map. Rather than that Slovenia increasingly makes part of an average Australian 'Grand Tour' travel itinerary in Europe; it has thus become present in the Australian cultural consciousness. In this light two recent Australian poems with Slovenia as a literary locale are discussed, Andrew Taylor's "Morning in Ljubljana" I and Susan Hampton's poem "Yugoslav Story".

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5

Anae, Nicole. "“Brave Young Singers”: children's poetry-writing and 1930s Australian distance education". History of Education Review 43, nr 2 (30.09.2014): 209–30. http://dx.doi.org/10.1108/her-01-2013-0002.

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Purpose – There has been virtually no explication of poetry-writing pedagogy in historical accounts of Australian distance education during the 1930s. The purpose of this paper is to satisfy this gap in scholarship. Design/methodology/approach – The paper concerns a particular episode in the cultural history of education; an episode upon which print media of the 1930s sheds a distinctive light. The paper therefore draws extensively on 1930s press reports to: contextualise the key educational debates and prime-movers inspiring verse-writing pedagogy in Australian education, particularly distance education, in order to; concentrate specific attention on the creation and popular reception of Brave Young Singers (1938), the first and only anthology of children's poetry written entirely by students of the correspondence classes of Western Australia. Findings – Published under the auspices of the Australian Council for Educational Research (ACER) with funds originating from the Carnegie Corporation, two men in particular proved crucial to the development and culmination of Brave Young Singers. As the end result of a longitudinal study conducted by James Albert Miles with the particular support of Frank Tate, the publication attracted acclaim as a research document promoting ACER's success in educational research investigating the “experiment” of poetry-writing instruction through correspondence schooling. Originality/value – The paper pays due critical attention to a previously overlooked anthology of Australian children's poetry while simultaneously presenting an original account of the emergence and implementation of verse-writing instruction within the Australian correspondence class curriculum of the 1930s.

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6

Innes, C. L., Paul Kane i John McLaren. "Australian Poetry: Romanticism and Negativity". Yearbook of English Studies 29 (1999): 338. http://dx.doi.org/10.2307/3509006.

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7

Gadd, Bernard, Martin Duwell i Bronwyn Lea. "The Best Australian Poetry 2003". World Literature Today 78, nr 3/4 (2004): 84. http://dx.doi.org/10.2307/40158515.

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8

Birns, Nicholas. "Christian Mysticism and Australian Poetry". Journal of Australian Studies 38, nr 2 (3.04.2014): 246–47. http://dx.doi.org/10.1080/14443058.2014.904720.

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9

Singh, Kanwar Dinesh. "Poetry d’amour: The love theme in contemporary Australian poetry". International Journal of Research in English 5, nr 2 (1.01.2023): 155–58. http://dx.doi.org/10.33545/26648717.2023.v5.i2c.146.

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10

Smiles, David. "John Robert Philip 1927 - 1999". Historical Records of Australian Science 16, nr 2 (2005): 221. http://dx.doi.org/10.1071/hr05008.

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John Philip was struck by a car and killed on Saturday 26 June 1999 in Amsterdam where he was visiting the Centre for Mathematics and Information Science. He was a Fellow of the Royal Society, a Fellow of the Australian Academy of Science, a Fellow of the American Geophysical Union, a Foreign Member of the All-Union (later Russian) Academy of Agricultural Sciences, and only the second Australian Foreign Associate of the US National Academy of Engineering. He was the first non-American recipient of the Robert E. Horton Medal, the highest award for hydrology of the American Geophysical Union. In 1998 he was made an Officer of the Order of Australia for 'service to the science of hydrology, to scientific communication in promoting the interests of science for the community, and to Australian culture through architecture and literature'. This memoir discusses John Philip's character and his work as Australia's most distinguished environmental physicist. It explores his management of science and his role in the Australian Academy of Science as well as his poetry and his fascination with architecture.

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11

Chan, Henry. "The Identity of the Chinese in Australian History". Queensland Review 6, nr 2 (listopad 1999): 1–10. http://dx.doi.org/10.1017/s1321816600001100.

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Theorising about identity has become fashionable. During 1999 alone several conferences and seminars were dedicated to identities in Australia: “Alter/Asians: Exploring Asian/Australian Identities, Cultures and Politics in an Age of Crisis” held in Sydney in February, the one-day conference “Cultural Passports” on the concept and representations of “home” held at the University of Sydney in June, and “Asian-Australian Identities: The Asian Diaspora in Australia” at the Australian National University in September. To me as a Chinese who had his childhood and education in New Zealand this concern with identity is not exceptional: I remain a keen reader of New Zealand fiction and poetry in which Pakeha New Zealanders have agonised and problematised their search for identity as an island people living among an aggressive indigenous population and in an insecure dependent economy. New Zealand identity has always been problematised as has Chinese identity: what does it mean to be Chinese? Now Asian identity has become the current issue: “We're not Asians” was the title of the paper by Lily Kong on identity among Singaporean students in Australia. White Australians appear much more content and complacent with their identity and do not indulge as much in navel gazing. And yet it may be that it is the “Australian identity” that needs to be challenged and contested so that it becomes less an exclusively WASP-ish male mateship and more inclusive of women, Aborigines and Asians.

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12

Sheridan, Dominic P. G. "The demotic tongue of mateship in Australian Great War literature: The vernacular humourist". Beyond Philology An International Journal of Linguistics, Literary Studies and English Language Teaching, nr 15/4 (28.12.2018): 27–45. http://dx.doi.org/10.26881/bp.2018.4.02.

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This paper looks at the demotic tongue of mateship in Australian Great War Literature as a theme of cognition and understanding in the literary texts and texts of culture. The language, like the Australian, was filled with character and a sense of the larrikin. It seemed irreverent at times, even rude in some circles, but it was much more than its immediate sound or inference; it was the natural verbal essence of the Australian mind – honest, loyal, dutiful and humorous. These characteristics are cornerstones of Australian mateship, a type of friendship that would be there beyond the bitter end, rival the love of a woman and even the protection of one’s own life. For some Australians, poetry was merely an extension of this language, as language was merely an extension of friendship. The aim of this paper is to demonstrate the Australian use of humour and language in the setting of Great War poetry. It looks at the demotic tongue of mateship, specifically what is known as the Great Australian Adjective (bloody), along with several other examples of vernacular language, in Australian Great War Literature, and considers this by referring to the common language of the Australian poet from the time. It will consider the notion that Australian writers of the Great War era may have been misunderstood as a result of their language, leading to critical mistakes about a poem’s literary worth, a poet’s seriousness as a poet and a nation’s literary value.

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13

Bradford, Clare, Catherine Sly i Xu Daozhi. "Ubby’s Underdogs: A Transformative Vision of Australian Community". Papers: Explorations into Children's Literature 24, nr 1 (1.01.2016): 101–31. http://dx.doi.org/10.21153/pecl2016vol24no1art1112.

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In Black Words White Page (2004), his seminal study of Aboriginal cultural production in Australia, Adam Shoemaker notes that ‘when Oodgeroo Noonuccal’s first collection of poetry appeared in print in 1964, a new phase of cultural communication began in Australia’ (2004, p. 5). The ‘new phase’ to which Shoemaker refers pertains to the many plays, collections of poetry and novels by Aboriginal authors published between 1964 and 1988 and directed to Australian and international audiences. Flying under the radar of scholarly attention, Aboriginal authors and artists also produced significant numbers of children’s books during this time, including Wilf Reeves and Olga Miller’s The Legends of Moonie Jarl, published by Jacaranda Press in 1964 (see O’Conor 2007), Oodgeroo Noonuccal’s Stradbroke Dreamtime (1972), and the picture books of Dick Roughsey and many other Aboriginal authors and artists (see Bradford 2001, pp. 159-90).

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14

Taylor, Andrew. "Is there an Australian Pastoral Poetry?" Le Simplegadi, nr 14 (2015): 38–51. http://dx.doi.org/10.17456/simple-6.

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Harms, John, i Ian Jobling. "Australian rules football: Saturday afternoon poetry". Journal of Australian Studies 19, nr 46 (wrzesień 1995): 77–88. http://dx.doi.org/10.1080/14443059509387240.

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16

Ralph, Iris. "Australian Tongue and Ag-gag Law". Swamphen: a Journal of Cultural Ecology (ASLEC-ANZ) 6 (7.03.2017): 50–61. http://dx.doi.org/10.60162/swamphen.6.11520.

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In this essay, I comment on two histories of animal farming in Australia in an ecocritical reading of several works of Australian literature: Tim Winton’s novel Shallows (1984), Susan Hawthorne’s collection of poetry, Cow (2011) and Francesca Rendle-Short’s novel Bite Your Tongue (2011). The first of those histories, the background of Shallows, refers to the whaling industry that operated in Western Australian waters up through the 1970s and the growing public awareness of that industry that eventually drove it to a halt in 1978, the year the main events of the novel take place. Cow and Bite Your Tongue, the texts that I mostly discuss, carry references to the history of industrial farming of cows in Australia, which, along with the industrial farming of other domesticated animal species, exploded after 1970 (in Australia and elsewhere in urban-industrialising countries), the same decade when Australians were beginning to rally behind animal rights activists’ opposition to whale slaughter. Today, almost half a century later, animal advocacy activists continue to raise pressing questions about animal species that are industrially farmed. They are doing so at the same time as the meat industry is attempting to restrict public access to and information about its operations. I address those questions in my reading of Hawthorne’s paean to cows and Rendle-Short’s references to the Moral Right movement in Queensland in the 1970s and attempts by its supporters to remove works of literature from school book shelves.

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17

Smiles, David. "John Robert Philip. 18 January 1927 – 26 June 1999". Biographical Memoirs of Fellows of the Royal Society 51 (styczeń 2005): 327–45. http://dx.doi.org/10.1098/rsbm.2005.0021.

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John Philip was struck by a car and killed on Saturday 26 June 1999 in Amsterdam, where he was visiting the Centre for Mathematics and Information Science. He was a Fellow of the Royal Society, a Fellow of the Australian Academy of Science, a Fellow of the American Geophysical Union, a Foreign Member of the All–Union (later Russian) Academy of Agricultural Sciences, and only the second Australian Foreign Associate of the US National Academy of Engineering. He was the first non–American recipient of the Robert E. Horton Medal, the highest award for hydrology of the American Geophysical Union. In 1998 he was made an Officer of the Order of Australia for ‘service to the science of hydrology, to scientific communication in promoting the interests of science for the community, and to Australian culture through architecture and literature’.This memoir discusses John Philip's character and his work as Australia's most distinguished environmental physicist. It also explores his management of science as well as his poetry and his fascination with architecture.

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18

McCann, Andrew. "Australian Poetry: Romanticism and Negativity. Paul Kane." Wordsworth Circle 28, nr 4 (wrzesień 1997): 254–55. http://dx.doi.org/10.1086/twc24044737.

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19

Lever, Susan. "The social tradition in australian women's poetry". Women's Writing 5, nr 2 (1.07.1998): 229–39. http://dx.doi.org/10.1080/09699089800200059.

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20

Hart, Kevin. "Open, Mixed, and Moving: Recent Australian Poetry". World Literature Today 67, nr 3 (1993): 482. http://dx.doi.org/10.2307/40149340.

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Zernetska, O. "The Development of Australian Culture in the XX Century: Australian Film Industry". Problems of World History, nr 11 (26.03.2020): 174–200. http://dx.doi.org/10.46869/2707-6776-2020-11-10.

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This article represents the first attempt in Ukraine of complex interdisciplinary investigation of the history of Australian film development in the XX-th century in the context of Australian culture. Analysing films in historical order the peculiarities of each decade are taken into consideration. The periods of silent films, sound films and colour films are analysed. The best film productions, their film directors and prominent actors are outlined. Special attention is paid to the development of feature films and documentaries. The article concentrates on the development of different film genres beginning with national historical drama, films of the first pioneers’ survival, adventure films. It is shown how they contribute to the embodiment in films of the main archetypes of Australian culture, the development of Australian identity. After World War I and World War II war films appear to commemorate the courage of the Australian soldiers in the war fields. Later on the destiny of the Australian women white settlers’ wives or native Australians inspired film directors to make them the chief heroines of their movies. A comparative analysis of films and literary primary sources underlying their scripts is carried out. It is concluded that the Australian directors selected the best examples of Australian national poetry and prose, which reveal the historical and social, cultural and racial problems of the country's development during the twentieth century. The publication dwells on boom and bust periods of Australian film making. The governmental policy in this sphere is analysed. Different schemes of film production and distribution are outlined to make national film industry compatible with the other film industries of the world, especially with the Hollywood. The area of a new discipline - Australian Film Studios - is studied as well as the works of Australian scholars. It is clarified in what Australian universities this discipline is taught. It is assumed that the experience of Australia in this sphere should be taken by Ukraine.

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Varatharajan, Prithvi. "A Political Radio Poetics: Ouyang Yu’s Poetry and its Adaptation on ABC Radio National’s Poetica". Cultural Studies Review 23, nr 2 (27.11.2017): 18–34. http://dx.doi.org/10.5130/csr.v23i2.5050.

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‘Ouyang Yu’ was an episode that aired on ABC Radio National’s 'Poetica', a weekly program broadcast across Australia from 1997 to 2014. The episode featured readings of poetry by the contemporary Chinese-Australian poet Ouyang Yu, read by the poet and by the actor Brant Eustace. These readings were embedded in rich soundscapes, and framed by interviews with the poet on the thematic contexts for the poems. In this article I treat ‘Ouyang Yu’ as an adaptation of Ouyang’s work, in Linda Hutcheon’s sense of the term. I examine how Ouyang’s poetry has been adapted for a national audience, and pay particular attention to how contemporary political discourses of nationhood have influenced the episode’s adaptations. For Poetica existed within an institution—the ABC—whose culture had a bearing on its programming, and the ABC was in turn influenced by, and sought to influence, the wider social and political culture in Australia.

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23

Prießnitz, Horst. "Paul Kane (1996): Australian Poetry. Romanticism and Negativity". Zeitschrift für Australienstudien / Australian Studies Journal 11 (1997): 141–46. http://dx.doi.org/10.35515/zfa/asj.11/1997.19.

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Phillips, Glen. "Re‐awakening the oral tradition in Australian poetry". Text and Performance Quarterly 10, nr 4 (październik 1990): 317–20. http://dx.doi.org/10.1080/10462939009365983.

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Chittampalli, Ravichandra P. "Historicising Silence: An Introduction to Australian Aboriginal Poetry". Artha - Journal of Social Sciences 17, nr 3 (1.07.2018): 1–14. http://dx.doi.org/10.12724/ajss.46.1.

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The paper looks at texts selected from the Anthology of Australian Aboriginal Literature edited by Anita Heiss and Peter Minter as well as poets chosen from the website Creative Spirits from Oodgeroo (Kath Walker) to Zelda Quakawoot to understand how gaze invents and reinvents people and their culture. The metaphor of the museum is used to question the Empire‟s attempt at erasing and archeologically reinventing ancient societies, while interrogating how dispossession leads to silencing of communities. The second part analytically delineates the evolution from a victim position to, consciousness raising, resistance, recovering and reconstruction of one‟s cultural heritage and voice. The third section of the paper conclusively argues how modern aboriginal poetry has attempted at non-choral, esoteric as well as representational identity formulations as a prelude to dehusking the valance of prejudice and civilisational arrogance, which continue to indent the First Citizen in cultural spaces.

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Čerče, Danica. "Redefining Female Subjectivity in Australian Indigenous Women’s Poetry". Acta Neophilologica 55, nr 1-2 (14.12.2022): 103–21. http://dx.doi.org/10.4312/an.55.1-2.103-121.

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This article discusses the poetry of Romaine Moreton and Lisa Bellear, particularly the poems in which they address the violence against Aboriginal women and girls. It demonstrates how the two poets’ representation of Australian historical and cultural memory destabilises the continuum of colonial power relations and confronts the ongoing stereotypes of Aboriginal women constructed on the basis of a decidedly racist and misogynistic colonial ethos.

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27

Prießnitz, Horst, i Marion Spies. "Sue Murray: Bibliography of Australian Poetry, 1935-1955". Zeitschrift für Australienstudien / Australian Studies Journal 07 (1993): 135–48. http://dx.doi.org/10.35515/zfa/asj.07/1993.05.

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Esmaeili, Zahra, i Shima Ebrahimi. "© Australian International Academic Centre, Australia The Assessment of Defamiliarization in Forough Farrokhzad’s Poetry". International Journal of Applied Linguistics & English Literature 2, nr 2 (5.03.2013): 165–71. http://dx.doi.org/10.7575/aiac.ijalel.v.2n.2p.165.

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Lilley, Kate. "Between Anthologies: Feminism and genealogies of Australian women's poetry". Australian Feminist Studies 12, nr 26 (październik 1997): 265–73. http://dx.doi.org/10.1080/08164649.1997.9994866.

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Parezanovic, Tijana. "10.5937/kultura1443133p = History and myth in Australian voyager poetry". Kultura, nr 143 (2014): 133–48. http://dx.doi.org/10.5937/kultura1443133p.

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Sharma, Diksha. "Whispers of the Outback: Exploring the Australian Bush in Literature". International Journal of English Literature and Social Sciences 8, nr 3 (2023): 238–41. http://dx.doi.org/10.22161/ijels.83.39.

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The project provides an exploration of the ‘Australian Bush’ in literary work. The Australian bush, with its vast landscapes, unique flora and fauna, and distinctive cultural heritage, has played a pivotal role by demonstrating literary imagination and cultural identity. Figures, data, citations, and statements abound in this work, which is divided into four subtopics: ripping yarn, bush poetry, 20th-century Australian literature, and Aboriginal literature. In each part, it sheds light on the influence of the Australian bush on the writers, poets, and storytellers who highlight the relationship between humans and the bush in a metaphorical way.

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Taylor, Andrew. "Philip Mead: Networked Language: Culture and History in Australian Poetry". Zeitschrift für Australienstudien / Australian Studies Journal 24 (2010): 182–90. http://dx.doi.org/10.35515/zfa/asj.24/2010.26.

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Hoang, Mai. "Trần Dần: Selected Poetry Translations". Columbia Journal of Asia 1, nr 1 (26.04.2022): 15–33. http://dx.doi.org/10.52214/cja.v1i1.9383.

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After Trần Dần criticized the poetry collection of Tỗ Hữu, a politician—calling his magnum opus a manual collection of propaganda and leadership—Tỗ Hữu assembled 150 poets and party intellectuals to criticize the poet, declaring Trần Dần and likeminded writers guilty of petty bourgeoisie. In February 1956, Trần Dần was purged from the party and sent to the infamous Hanoi Prison. Though he was released after an attempted suicide, Trần Dần was suspended from the Union of Arts and Literature for the next thirty years. In other words, for most of the poet's life, his works never saw the light of day. In August 2018, I was sitting in a cafe in Saigon sipping coffee when a novel caught my eyes: Crossroads and Lampposts it read—after a few lines I was mesmerized. I had seldom seen Vietnamese used in such a creative thought-provoking and frankly rule-breaking way. I searched up the author’s name and incredulously realized that instead of an emerging avant-garde writer, I was looking at the wikipedia entry for a 20th century radical who produced the draft fifty years before it was published. What followed was an obsessive pursuit of the elusive author's only poetry collection that led me from bookstore to bookstore across town without success. I afterwards realized that I could not find any copies because it had gone out of print long ago. Though the state had officially given Trần Dần pardon, their relationship with his poetry is still a precarious one. Fortunately, I was able to contact an Australian expatriate in Hanoi, the translator of Crossroads and Lampposts who had an electronic copy of the poetry collection that he shared with me.

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Furaih, Ameer Chasib. "A Poetics of De-colonial Resistance: A Study in Selected Poems by Evelyn Araluen Cor". INTERNATIONAL JOURNAL OF RESEARCH IN SOCIAL SCIENCES & HUMANITIES 12, nr 02 (2022): 439–56. http://dx.doi.org/10.37648/ijrssh.v12i02.029.

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First Nations peoples in Australia, as in many other colonized countries, were forced to acquired English soon after the arrival of the colonists in their country during the second half of the 18th century. In response to their land dispossession, Indigenous Australian poets adopted and adapted the language and literary forms of colonists to write a politicized literature that tackles fundamental subjects such as land rights, civil, and human rights, to name but a few. Their literary response can be traced back to the early 1800s, and it had continued through the 20th century. One example is the poem “The Stolen Generation” (1985) by Justin Leiber, which has since been considered a motto for the struggle of Aboriginal peoples against obligatory removal of children from Aboriginal families.This paper aims at examining 21th century politicized literary response of Aboriginal poets. It sheds lights on the poetry of Evelyn Araluen as a telling paradigm of decolonial poetics, demonstrating her role in the political struggle of her peoples. Analysing representative poems by the poet, including “decolonial poetics (avant gubba)” and “Runner-up: Learning Bundjalung on Tharawal,” the paper examines the interdisciplinary nature of her poetry, and demonstrates how the poet transgresses the boundaries between poetry and politics, so as to be utilized as an effective tool of political resistance.

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Channells, Philip. "Perfect (im)Perfections–the choreographer’s reflections on the creative process". Nordic Journal of Dance 6, nr 1 (1.06.2015): 48–53. http://dx.doi.org/10.2478/njd-2015-0005.

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Abstract In 2014 Australian director/choreographer Philip Channells (Dance Integrated Australia) was commissioned by DansiT–Senter for Dansekunst i Sør-Trøndelag to collaborate with 20 members of the Danselaboratoriet and Danseteateret 55+ companies. The end result was a full-length intergenerational, disability-inclusive work that merged poetry, dance, theatre and music. Perfect (im)Perfections–stories untold was created with an international cast of artists with diverse backgrounds and life experience. The work premiered at the Multiplié Dansefestival in Trondheim on 3 April 2014. In his article, Channells shares his personal history and dance background before focusing on the collaboration. He discusses the inspiration behind the work, the creative processes and the successes and challenges in working across cultural boundaries.

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Ryan, John. "“No More Boomerang”: Environment and Technology in Contemporary Aboriginal Australian Poetry". Humanities 4, nr 4 (9.12.2015): 938–57. http://dx.doi.org/10.3390/h4040938.

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Angshuman Kar. "Where To?: An Indian Perspective on Australian Aboriginal Poetry in English". Antipodes 28, nr 2 (2014): 367. http://dx.doi.org/10.13110/antipodes.28.2.0367.

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Sheridan, Dominic P. G. "“As a Choir of Frogs”. Nightmares in Australian Great War Poetry". Polish Journal of the Arts and Culture New Series, nr 10 (2020): 133–51. http://dx.doi.org/10.4467/24506249pj.19.015.11987.

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Reid, Ian. "Marking the Unmarked: An Epitaphic Preoccupation in Nineteenth-Century Australian Poetry". Victorian Poetry 40, nr 1 (2002): 7–20. http://dx.doi.org/10.1353/vp.2002.0005.

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Vickery, Ann. "A "Lonely Crossing": Approaching Nineteenth-Century Australian Women's Poetry". Victorian Poetry 40, nr 1 (2002): 33–53. http://dx.doi.org/10.1353/vp.2002.0008.

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Davidson, Toby. "Frameworks of the mystical in Australian colonial and post-federation poetry". Journal of Australian Studies 35, nr 3 (wrzesień 2011): 389–405. http://dx.doi.org/10.1080/14443058.2011.591938.

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Macarow, Keely. "Dispatches from the age of fire". Book 2.0 11, nr 1 (1.08.2021): 9–18. http://dx.doi.org/10.1386/btwo_00039_1.

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In 2019–2020, fires ravaged large areas of Australia devastating land, infrastructure and human and non-human lives. While Australia has a history of fires and fire management, large regions of the eastern states were devastated by super fires fueled by their own weather, and changes to the climate. However, Australian governments, political and business leaders continue to invest in fossil fuels and disregard the impact of the climate crisis. Meanwhile, the nation is at a tipping point due to the effects of global heating, extreme weather events, natural disasters and biodiversity loss. This article explores the climate crisis through a discussion of first-hand accounts of people directly affected by the 2019–2020 bushfires in Australia. These harrowing and philosophical accounts of the fires were gleaned from poetry, videos, websites and non-fiction sources and demonstrate the human lived experiences of the climate crisis and how we can move forward for climate justice.

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Kable, J. "Thoughts on Aboriginal Literature". Aboriginal Child at School 13, nr 1 (marzec 1985): 31–52. http://dx.doi.org/10.1017/s0310582200013614.

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Back in early 1982, a mate in New Zealand wrote to me describing, in a very excited manner, his research into cultural aspects of Maori people, especially with respect to the poetry relating to funeral rites. Concurrently, I was completing the Multicultural Education Diploma, and fostering an infant interest in aspects of Australian literature dealing with the immigrant experience and cultural difference (viz. Judah Waten’s Alien Son, and Nancy Keesing’s Shalom). Whilst I had not at that stage successfully made the link between such literature and its effective use in the educational process of students of non-English speaking background, I remember thinking that perhaps I should soon pursue a course which would lead me to an understanding of Aboriginal Australians, in some way similar to Terry’s pursuit in New Zealand.

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Di Blasio, Francesca. "We Are Going by Oodgeroo Noonuccal. Aboriginal Epos, Australian History, Universal Poetry". Le Simplegadi, nr 19 (listopad 2019): 119–27. http://dx.doi.org/10.17456/simple-132.

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Auer, Miriam H. "Jennifer Harrison and Kate Waterhouse, eds., Motherlode. Australian Women’s Poetry, 1986-2008". Zeitschrift für Australienstudien / Australian Studies Journal 24 (2010): 161–67. http://dx.doi.org/10.35515/zfa/asj.24/2010.22.

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Atkinson, Meera. "Witnessing, Trans-“Species” Trauma Testimony, and Sticky Wounds in Contemporary Australian Poetry". Angelaki 28, nr 4 (4.07.2023): 76–89. http://dx.doi.org/10.1080/0969725x.2023.2233806.

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Eidan Al-Ta'an, Muslim Abbas. "Musicality as an Aesthetic Process of Filtering in Thomas W. Shapcott's Poetry". Advances in Language and Literary Studies 8, nr 5 (2.11.2017): 18. http://dx.doi.org/10.7575/aiac.alls.v.8n.5p.18.

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How does music transcend individual experience? Is music the filter to purify everything? How does everything in the poet become music? Such questions are raised, now and then, by the conscious reader of poetry in general and that of the Australian poet Thomas W. Shapcott in particular. My present research-paper attempts to present an answer for these questions via probing the individuality of Shapcott's poetic experience and how does the poet's personal and experimental musicality as an artistic motif and aesthetic perspective play a key role in purifying language of its lies and its daily impurities. In the first place, my account is apt to find an aesthetic meaning for the action of transcending the individual experience in selected poems written by Shapcott. The philosophical and ritual thought of musicality is interplayed with the aesthetic power of poetry. Both aesthetic energies stem from the individual experience of the poet to transcend the borders of individuality and being absorbed and saturated in the wide pot of human universality. In other words, the poem after being filtered and purified musically and aesthetically is no longer an individual experience owned by its producer only, rather it becomes a human experience for its conscious readers. Music as a motif and meaning, regardless of its technical significance, is controversial in Shapcott's poetic diction. Music, here, is not a mere artistic genre; rather it is a ritualistic and philosophical thought. The paper is to investigate how Shapcott's musicality is constructed on aesthetics of balance and conformity in poetry and life.

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Cooke, Stuart. "Unsettling sight: Judith Wright's journey into history and ecology on Mt Tamborine". Queensland Review 22, nr 2 (grudzień 2015): 191–201. http://dx.doi.org/10.1017/qre.2015.22.

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AbstractMt Tamborine is a crucial location for Judith Wright's poetry, and for the development of her thought. She wrote the majority of her poetry collections while living on the mountain from 1948–75; it was there that she came face to face with the complexities of Australian ecologies and colonial histories. While her earlier poems from this period reflect a concerted, anti-colonial desire to separate the world of Tamborine from her European inheritance and perspective, by the early 1970s her work becomes preoccupied with symbiotic relationships between her body, her house and garden, and the surrounding landscape. This turn reflects broader shifts in thought in the mid-twentieth century, where notions of separation and precision were being problematised by the emerging field of quantum mechanics.

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Wolny, Ryszard W. "Australian Modernist Theatre and Patrick White’s the Ham Funeral (1961 [1947])". European Journal of Multidisciplinary Studies 4, nr 4 (21.01.2017): 105. http://dx.doi.org/10.26417/ejms.v4i4.p105-109.

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For a considerable period of time, literary Modernism has been mainly associated with the study of the novel and poetry rather than drama perhaps due to New Criticism’s emphasis on the text and disregard of performance. This profound anti-theatrical thrust of Modernism has to be, most certainly, re-examined and reassessed, particularly within the context of Australian literature and, more specifically, Australian theatre. That Australian modernist theatre has been inconspicuous on the world stage seems to be an obvious and undisputable statement of facts. Yet, with Patrick White, English-born but Australian-bred 1976 Nobel Prize winner for literature, Australian low-brow uneasy mix of British vaudevilles, farces and Shakespeare, mingled with the local stories of bushranging and convictism, got to a new start. Patrick White’s literary output is immense and impressive, particularly in regards to his widely acclaimed and renowned novels; yet, as it seems, his contribution to Australian – least the world – drama is virtually unknown, especially in Europe. The aim of this paper is, therefore, to disclose those modernist elements in Patrick White’s play, The Ham Funeral, that would argue for the playwright to be counted as one of the world avant-garde modernist dramatists alongside Beckett and Ionesco.

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Čerče, Danica. ""Makin it right" through the poetry of Alf Taylor". Acta Neophilologica 42, nr 1-2 (30.12.2009): 83–91. http://dx.doi.org/10.4312/an.42.1-2.83-91.

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Although Australian indigenous poetry is often overtly polemical and politically committed, any reading which analyses it as merely propaganda provides only a small window on it. By presenting the verse of Alf Taylor collected in Singer Songwriter (1992) and Winds (1994) and discussing it in the context of the wider social and cultural rnilieu of the author, my essay aims to show its thematic richness of indigenous poetic expression. Indigenous poets have, on the one hand, undertaken the re sponsibility to strive for social and political equality, as is generally believed, while on the other, they have produced powerful self-revelatory accounts of their own mental and emotional interior, which urges us to see their careers in a perspective much wider than that of social chroniclers and rebels.

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