Статті в журналах з теми "Australian literary journalism"

This discussion of George Loyau's prolific literary output will examine journalism in the wider context of literary production and raise questions about the role of journalists as entertainers as well as social and political commentators. Journalism remained Loyau's working profession for four decades (1860–1898). Yet it is easily overlooked because of his significant contribution to early Australian poetry and history. Loyau's verse and fiction were widely disseminated in the colonial press of the 1860s and 1870s, a time when he wrote for metropolitan and regional papers in all the mainland colonies except Western Australia. Regional Queensland, however, was the starting point and final location for a remarkable career which combined periods of public prominence with harrowing personal adversity. Indeed, the distinctive irony of Loyau's career is that adversity was never more acute than in those periods when his reputation as a poet and historian was being made. By contrast, regional journalism provided Loyau with the material means and social support he lacked in the large colonial centres. A recurring theme for the larger study of colonial journalists is the question of mobility. While metropolitan and political reporting were mostly highly prized by ambitious young journalists, Loyau's career confirms the role of regional networks in journalism and the existence of a class of readers who continued to crave popular fiction and entertainment as weekly staples. Although such journalism remained at odds with the political culture of the Fourth Estate, Loyau's literary persona proved both durable and complex, combining a deepseated sense of cultural inferiority with the celebration of the ephemeral through the practices of popular journalism.

This article reviews the significant and diverse range of research in applied linguistics published in Australia in the period 2008–2014. Whilst acknowledging that a great deal of research by Australian scholars has been published internationally during these seven years, this review is based on books, journal articles, and conference proceedings published in Australia. Many of these sources will be unfamiliar to an international audience, and the purpose of this article is to highlight this body of research and the themes emerging from it. The journals selected in this review includeAustralian Journal of Language and Literacy, Australian Review of Applied Linguistics (ARAL), BABEL, English in Australia, English Australia, Papers in Language Testing and Assessment, Prospect: An Australian Journal of TESOL, TESOL in Context, andUniversity of Sydney Papers in TESOL. Selected refereed proceedings are from key national conferences including: ALAA (Applied Linguistics Association of Australia), ACTA (Australian Council of TESOL Association), ASFLA (Australian Systemic Functional Linguistics Association), and ALS (Australian Linguistics Society). Our review of selected applied linguistics work revolves around the following themes: the responses to the needs of government planning and policy; the complexity of Australia's multicultural, multilingual society; the concern for recognizing context and culture as key factors in language and language learning; social activism in supporting language pedagogy and literacy programmes at all levels of education; and acknowledgement of the unique place held by Indigenous languages and Aboriginal English in the national linguistic landscape.

AbstractVance and Nettie Palmer were among Australia's most important literary partnerships. Previous accounts of their life and work underplay their commitment to the creation of an environmental imagination. After the trauma and disillusion of the Great War, they lived in Caloundra from 1925 to 1929 (and from then had an ongoing connection). While it is generally acknowledged how important their time there was in terms of Vance's emerging work in literary fiction, and through Nettie's work as a freelance journalist, what has not been addressed is their extraordinary environmental writings about the region. Regional writings were largely dismissed in the 1990s as of comparative insignificance to national narratives — just as today the reputation of the inter-war writers, those associated with the Palmers, is at a low ebb. During the 1920s, Nettie developed critical categories to accommodate a double standard in Australian writing: regional and universal literature. She went on to argue for the support of writing in Australia at the regional level. Vance reflected on his explorations of place directly in a series of articles. This paper reframes the Palmers’ Caloundra work in the ‘bio-regional’ terms of climate change and the historical cultural imaginary.

Religion has ‘returned’ to news discourses, since 9/11, with a focus on Muslims and Islam and more recently on Catholicism (in the wake of paedophile priest scandals) and anti-Semitism (with the rise of the far-right movements). These news discourses, however, tend to adopt limited perspectives, and do not reflect the diversity of practices and viewpoints within these religious traditions. As Australia becomes increasingly ‘superdiverse’, there is a greater need for the inclusivity of cultural perspectives of these religions. Current research findings show that religious literacy among media practitioners in Australia is not only limited to specific notions about a small number of religions, it is exacerbated by an Anglo-Celtic dominance in the media workforce. This article suggests that for news media to provide a more culturally and religiously inclusive public service to promote societal understanding, current and emerging journalists require a more reflexive understanding of religions, through journalism studies and humanities more broadly, and how they have historically shaped the world, and continue to do so.

This article examines the extent to which data journalism (DJ) is being taught in Australian universities. It presents the results of interviews with 35 journalism academics about how they are incorporating data journalism into their courses. It includes details about the types of data journalism skills they are teaching, the resources they are using and the hindrances that have met or are making it difficult to teach data journalism. These hindrances include low and varied levels of quantitative literacy and math aversion among students, lack of time for upskilling and limited room in their courses for new material. The study found that at least nine Australian universities have semester-long units dedicated to data journalism and that at least a further nine are teaching it via some lectures and activities. Almost all respondents thought more should be done to incorporate data journalism into the curricula. This article lays a foundation for future exploration of how data journalism could be incorporated into journalism programmes where the staff requires upskilling.

The University of Queensland's Fryer Library is home to many fine literary vintages. Established in 1927 as the J.D. Fryer Memorial Library of Australian Literature in honour of a former Arts student and soldier in the Australian Imperial Force (AIF), John Denis Fryer, the collection includes the papers of significant Australian journalists, novelists and poets, including Ernestine Hill, John Forbes, David Malouf, Bruce Dawe, Thomas Shapcott, Peter Carey and Oodgeroo Noonuccal among others.

This study emerged from an incidental, and somewhat surprising, finding that 15 percent of working journalists who attend training on improving the ways that mainstream new media report stories about Islam and Muslims, wrongly associated Sikhism with Islam. We wondered if this was indicative of the Australian population and, through a random stratified survey of the Australian population, found that it was. The question about the extent to which populations wrongly associate Sikhism with Islam is an important one. In Australia, Muslims and Sikhs are minorities. Ignorance of Islam and its religious diversity coupled with ignorance of Muslims and their ethnic and cultural diversity underpins the intolerance of Islam in the West and the concomitant animus directed at Muslims. Intolerance and violence directed at Muslims and people wrongly assumed to be Muslims (such as Sikhs) increased after the terrorist attacks on 11 September 2001 (9/11). This speaks to religious literacy, the treatment of religious minorities and raises important questions around educating various publics (including the news media) about both Islam and Sikhism. It also speaks to the role of the mainstream news media in perpetuating Islamophobia, and its detrimental flow-on effects to Muslims and Sikhs.

Most classical journals report on research on literary, historical and linguistic questions, and rarely allocate space to discussions of pedagogy at tertiary level. This article, however, falls into the latter category. It takes the form of a report on the teaching of Latin and Greek (both classical and post-classical) in universities in Australia and New Zealand; and it makes a number of suggestions regarding the future of the classical languages in this region.Any general examination by an outsider of the situation of Classics in Australian and New Zealand universities would readily conclude that most departments are managing well, or at least holding their own, compared to other disciplines. Student enrolments are high overall, since most departments, like those in Britain and North America, have expanded their teaching range to embrace ancient history, classical literature in translation and, in some cases, archaeology. This has been the situation for the best part of the last two decades. Often these subjects were introduced in order to ‘subsidise’ and protect the continuance of Greek and Latin with their smaller numbers; but they have been extremely popular with students in every university in Australasia in which they are taught. And so these teaching areas have come to have a life and a rightful presence of their own.

AbstractThis paper concern on the multiculturalism in Australia related to the immigration policy. Since the application of “White Australia Policy” which makes some restriction to people from other countries who are considered as different color and non-English speakers to come to Australia ended in 1907, the government attempts to eliminate the discrimination treatments to them all. This paper employs descriptive essay which was aimed to describe more aboutAustralian multiculturalism after the end of “White Australia Policy”. The technique of data collection was literary study from some sources like journals and some news from internet. The writer took three cases have ever happenedrelated to the multiculturalism in Australia to analyse the application of immigrants policy after “White Australia Policy” annulment. Those are Arabians beating in Sydney coast by Neo-Nazi, discrimination against Muslim minorityand Africans by police in Victoria, and also Muslim demonstration because of Muhammad humiliation. The study revealed that “White Australia Policy” still can not completely be eliminated. Those three cases, it shows that there arestill many discrimination treatments against coloured immigrants; on the other hand the government is still trying to implement a multiculturalism policy.

The standardised testing of school children has been the subject of significant news media attention in recent years in many developed countries around the world. This article examines the reporting of annual National Assessment Program Literacy and Numeracy (NAPLAN) tests in three major Australian newspapers, with a particular focus on the portrayal of school teachers in the coverage. Overall, teachers were presented as strongly opposed to NAPLAN and the publication of test results, yet the newspapers themselves supported the tests as an important accountability measure. Teachers were depicted as trying to influence the testing system through teaching to the test and cheating. They were presented as generally inadequate as teachers, and were blamed for perceived failings in the educational system. These findings point to implications for teacher recruitment and retention, and for journalism education and training.

IntroductionFor immigrants diagnosed with cancer, the stress of a cancer diagnosis and treatment can be amplified by unfamiliarity with the health system, lack of culturally and linguistically appropriate information, and inability to communicate efficiently and accurately with the treating team. Lower levels of health literacy may be one factor underlying poorer outcomes among immigrant patients with cancer, but there have been few studies exploring this issue to date. This study aims to investigate the levels and correlates of health literacy in two immigrant populations affected by cancer and their English-speaking counterparts.Methods and analysisLevels and correlates of health and eHealth literacy will be evaluated using a cross-sectional self-report questionnaire. Eligible, English, Arabic and Vietnamese patients with cancer and survivors (n=50 of each language group) will be invited to complete a questionnaire in their preferred language containing the Health Literacy Questionnaire, the eHealth Literacy Scale and study-specific questions assessing potential correlates of poor health literacy, including gender, age, education level, acculturation into Australian society and number of chronic illnesses.Multivariable logistic regression will be used to identify potential approaches to support effective communication with healthcare providers and preferred methods for assessing patient-reported outcomes (PROs) to support culturally appropriate cancer care.The outcomes of this study will be used to better meet the needs of immigrant populations, including the tailoring of interventions appropriate to different health literacy levels. Outcomes will also inform strategies for PRO assessment to inform unmet needs and to address Australian healthcare system challenges to meet the needs of immigrant populations.Ethics and disseminationThe study was reviewed and approved by the Human Research Ethics Committee of South Western Sydney Local Health District (approval number: HREC/16/LPOOL/650). Results from the study will aim to be published at international conferences and in peer-reviewed journals.

IntroductionLow health literacy is common in people with cardiovascular disease and may be one factor that affects an individual’s ability to maintain secondary prevention health behaviours following myocardial infarction (MI). However, little is known about the association between health literacy and longer-term health outcomes in people with MI. The ENhancing HEAlth literacy in secondary pRevenTion of cardiac evENts (ENHEARTEN) study aims to examine the relationship between health literacy and a number of health outcomes (including healthcare costs) in a cohort of patients following their first MI. Findings may provide evidence for the significance of health literacy as a predictor of long-term cardiac outcomes.Methods and analysisENHEARTEN is a multicentre, prospective observational study in a convenience sample of adults (aged >18 years) with their first MI. A total of 450 patients will be recruited over 2 years across two metropolitan health services and one rural/regional health service in Victoria, Australia. The primary outcome of this study will be all-cause, unplanned hospital admissions within 6 months of index admission. Secondary outcomes include cardiac-related hospital admissions up to 24 months post-MI, emergency department presentations, health-related quality of life, mortality, cardiac rehabilitation attendance and healthcare costs. Health literacy will be observed as a predictor variable and will be determined using the 12-item version of the European Health Literacy Survey (HLS-Q12).Ethics and disseminationEthics approval for this study has been received from the relevant human research ethics committee (HREC) at each of the participating health services (lead site Monash Health HREC; approval number: RES-21-0000-242A) and Services Australia HREC (reference number: RMS1672). Informed written consent will be sought from all participants. Study results will be published in peer-reviewed journals and collated in reports for participating health services and participants.Trial registration numberACTRN12621001224819.

IntroductionChoosing Wisely, an international effort to reduce low value care worldwide, considers communication between clinicians and patients during routine clinical encounters a key mechanism for change. In Australia, Choosing Wisely has developed a 5 Questions resource to facilitate better conversations. The primary aim of this study is to evaluate the impact of the Choosing Wisely Australia 5 Questions resource and a video designed to prepare patients for question-asking and participation in shared decision-making on (a) self-efficacy to ask questions and participate in shared decision-making, (b) intention to participate in shared decision-making and (c) a range of secondary outcomes. The secondary aim of this study is to determine whether participants’ health literacy modifies the effects of the interventions.Methods and analysisWe will use 2×2×2 between-subjects factorial design (preparation video: yes, no × Choosing Wisely 5 Questions resource: yes, no × health literacy: adequate, inadequate). Participants will be recruited by an online market research company, presented with a hypothetical non-specific low back pain scenario, and randomised to study groups stratified by health literacy. Quantitative primary and secondary outcome data will be analysed as intention-to-treat using appropriate regression models (ie, linear regression for continuous outcomes, logistic regression for dichotomous categorical outcomes).Ethics and disseminationEthical approval for this study was obtained from the University of Sydney Human Research Ethics Committee (protocol number: 2018/965). The results from this work will be disseminated through peer-reviewed international journals, conferences and updates with collaborating public health bodies. Resources developed for this study will be made available to patients and clinicians following trial completion.Trial registration numberThis trial has been registered with the Australia New Zealand Clinical Trials Registry (trial number: 376477) and the stage is Pre-results.

IntroductionHealth literacy describes the cognitive and social skills that individuals use to access, understand and act on health information. Health literacy interventions typically take the ‘universal precautions approach’ where all consumers are presented with simplified materials. Although this approach can improve knowledge and comprehension, its impact on complex behaviours is less clear. Systematic reviews also suggest that health literacy interventions underuse volitional strategies (such as planning) that play an important role in behaviour change. A recent study found volitional strategies may need to be tailored to the participant’s health literacy. The current study aims to replicate these findings in a sample of people who have diabetes and/or are overweight or obese as measured by body mass index, and to investigate the most effective method of allocating an action plan to a participant to reduce unhealthy snacking.Methods and analysisWe plan to recruit approximately 2400 participants at baseline. Participants will receive one of two alternative online action plans intended to reduce unhealthy snacking (‘standard’ action plan or ‘literacy-sensitive’ action plan). Participants will be randomised to a method of allocation to an action plan: (1) random allocation; (2) allocation by health literacy screening tool or (3) allocation by participant selection. Primary outcome is self-reported serves of unhealthy snacks during the previous month. Multiple linear regression will evaluate the impact of health literacy on intervention effectiveness. The analysis will also identify independent contributions of each action plan, method of allocation, health literacy and participant selections on unhealthy snacking at 4-week follow-up.Ethics and disseminationThis study was approved by the University of Sydney Human Research Ethics Committee (2017/793). Findings will be disseminated through peer-reviewed international journals, conferences and updates with collaborating public health bodies (Diabetes New South Wales (NSW) & Australian Capital Territory (ACT), and Western Sydney Local Health District).Trial registration numberACTRN12618001409268; Pre-results.

STACEY and Hay have previously collaborated on the volume Herbarium (Stacey and Hay 2004) regarding collections held in the herbarium of the Royal Botanic Gardens, Sydney. Ashley Hay has published two books of narrative non-fiction. Her essays, short stories and journalism have appeared in various periodicals including The Bulletin where she was a literary editor. Robyn Stacey is a Senior Lecturer in the School of Communication and Arts at the University of Western Sydney. She is an acclaimed photographer, in Australia, with her photography shown in Australia and internationally. This book is about the history, collectors and collections of The Macleay Museum at The University of Sydney. Its aim is to bring the reader closer to the collectors and collections by breathing life into the characters and selected specimens in the collection; according to the dust-jacket’s hyperbole, to throw open the doors of the museum and its rich collections. The authors develop the book with their individual skills, one of writing and one of photography. The second is facilitated through its aesthetic appeal, its folio size and large photographic reproductions of strikingly coloured specimens. The whole is a coffee-table-style-book with a text that digs deeper developing the background to the personalities and collections, intertwining them with the history of early systematists/collectors, which provides the backbone of the text.

The idyllic approach of this article deals with the dialogue between two distinct artworks: poems from the book Africa (Taylor, 2000), emphasizing the poem ‘Waikiki’, by the Australian poet, journalist and filmmaker Ken Taylor; and the movie Boy (Curtis, Gardiner, & Michael, 2010), directed by the New Zealander film-director, actor and writer Taika Waititi. The poems and the movie are connected by synesthetic perceptions, mostly related to painting, colorizing and shaping that are displayed in the described scenarios. Hereby, these aspects were theoretically reviewed by the following authors: Rimbaud (1966), Kandinsky (1977), Ostrower (1977), Bachelard (1986, 2011), Cytowic (1993), Berger (2008), Lambert (2010), among others. The method of analysis includes the concepts in which the art producers uncovers the relationship between nature and the self, considering the fact that beyond poet and director, respectively Taylor and Waititi are also painters. Nature is widely open before their meditative eyes, therefore rather than outreaching the natural world with motionless expectations; both portray idyllic wonders related to individual/cultural scopes. As a result, from its amorphous state, words transmute themselves into landscapes, sensations, and forms. The aim was to follow the paths that image evocates in the description of each author, since they share contemplativeness, surrounded by consciousness, perceptions and freedom, all demanded during the creative process.

Purpose This study was designed to explore the library and information science research on international students and information literacy published between 1990 and 2014. Design/methodology/approach Systematic review was used to identify and analyze publications from a 25-year period. Three major library information science (LIS) databases were searched for publications meeting the study criteria, and then manual bibliography searches were performed on all those included. Findings Twenty-one of the 23 included publications were papers published in scholarly journals. There was a slight growth in number of publications by year between 1990 and 2014. Most of the research was conducted in the USA, Australia or Canada. Surveys and interviews were the most commonly used research methods, and nine of the studies used mixed methods. “Library experience” and “information seeking” emerged as the most common research topics. Key findings presented in these papers were often related to library and non-library resources, library instruction, language issues and research difficulties experienced by international students. Author recommendations were generally related to campus collaboration, staff training, assessment, cultural awareness and library instruction. Practical implications The findings of this study will be of value for LIS practitioners who wish to develop or improve information literacy training for the international student populations on their campuses. Originality/value Systematic review is a useful and rigorous method that can be of value in LIS research. This paper provides a thorough review and assessment of the original research related to international students and information literacy, and summarizes the resulting recommendations.

In December 1997 I was privileged—and very pleasantly surprised—to receive the inaugural Allen Strom Eureka Prize for Environmental Education for ‘environmental education research of a substantive nature which contributes to professional thinking and practice’. According to the program for the prize-giving ceremony, I was awarded the prize ‘for research on recent cultural and philosophical movements, such as postmodernism, which has translated and applied complex social theories to theory and practice in environmental education’.I want to take this opportunity to repeat my thanks to the New South Wales Environment Protection Authority for their generous sponsorship of this prize. I offer these thanks not only as an individual recipient but also on behalf of the wider Australian environmental education community. I see particular significance in the Allen Strom Eureka Prize for Environmental Education being awarded in a suite that includes separate prizes for environmental research and environmental journalism. This helps to distinguish our field from other disciplines with which it is sometimes confused. My own research emphasises that environmental education is not just another type of environmental study but more a form of cultural and media literacy.

In order to explore the development of research of science teacher(RST), 904 articles from the Web of Science (WoS) core set based on bibliometric methods through R software were analyzed in this research. Specifically, it examined the co-occurrence relations of countries/regions, major journals, most cited references, and hot keywords from the macroscopic, mesoscopic and microscopic level of RST. The results showed that the core strength of RST is mainly from traditional industrialized countries such as the United States, Australia, and Britain. And some top journals in science education (such as Journal of Research in Science Teaching, Science Education) has to pay more attention on RST, it may also appeal to lots of top journals in general teacher education (such as Journal of Teacher Education, Teaching and Teaher Education). The research on science teachers was guided by several educational theories about teacher research, such as the teacher epistemological belief, reflective practice, and PCK. Moreover, theories in science education such as scientific literacy, scientific conceptual change also becomes the theoretical basis for science teachers’ teaching practice and scientific inquiry instructing. The knowledge, key competences, dispositions, and professional development of science teacher are the main keywords and hot topics in the field of RST. Keywords: science teacher research, bibliometric analyses, Web of Science.

This issue marks the twentieth anniversary of Queensland Review. It therefore seems appropriate to spend a few moments looking back over our two decades of continuous existence — something of a rarity among Australian scholarly journals. We do this not in a spirit of nostalgia (well, perhaps a little of that!), still less in a spirit of self-congratulation, but in a spirit of sober stocktaking and realistic appraisal.

THOMASMITCHELL(1792–1855), explorer and Surveyor-General in New South Wales between 1828 and 1855, was a talented and competent draughtsman who was responsible for the original sketches and even some of the lithographs he used to illustrate his two journals of exploration, published in 1838 and 1848. In this paper, I will be concerned with the 1838 journal, entitledThree Expeditions into the Interior of Eastern Australia; with descriptions of the recently explored region of Australia Felix, and of the Present Colony of New South Wales. On the whole, it is a detailed and lavishly illustrated account of the land Mitchell encountered, along with its inhabitants and natural history. My particular interest is in offering an explanation for differences between a sepia sketch depicting a cave at Wellington, NSW, that Mitchell prepared as one of the illustrations for geological material included in this journal, and the final lithograph.

Imported material forms were central to the settlement of Australia as a penal colony, beginning with the “discovery” of the continent by James Cook, who took possession of New South Wales in 1770 by naming Possession Island. The first part of this article traces the intersection in early journals and legal records between material instability and naming, arguing that as Aboriginal peoples and convicts challenged the social meaning of objects, the ability to refer to those objects became essential. The second part explores failed naming in David Malouf's novel Remembering Babylon (1993), set on the early-nineteenth-century frontier, whose central character calls himself a “B-b-british object,” stuttered words that evoke the historical importance and the vulnerability of imported goods during colonization and settlement in Australia.

Women are occasionally governors of prisons for women, overseers of the poor, and parish clerks. A woman may be ranger of a park; a woman can take part in the government of a great empire by buying East India Stock.— Barbara Bodichon, A Brief Summary in Plain Language, of the Most Important Laws Concerning Women (1854)ON OCTOBER 5, 1860, GEORGE HENRY LEWES VISITED a solicitor in London to consult about investments. He wrote in his journal: “[The Solicitor] took me to a stockbroker, who undertook to purchase 95 shares in the Great Indian Peninsular Railway for Polly. For £1825 she gets £1900 worth of stock guaranteed 5%” (qtd. in Ashton, Lewes 210). Thus Marian Evans, called Polly by her close friends, known in society as Mrs. Lewes and to her reading public as George Eliot, became a shareholder in British India. Whether or not Eliot thought of buying stock as taking part in the government of a great empire, as her friend Barbara Bodichon had written in 1854, the 5% return on her investment was a welcome supplement to the income she had been earning from her fiction since 1857. From 1860 until her death in 1880, she was one of a select but growing number of middle-class investors who took advantage of high-yield colonial stocks.1 Lewes’s journals for 1860–1878 and Eliot’s diaries for 1879–80 list dividends from stocks in Australia, South Africa, India, and Canada. These include: New South Wales, Victoria, Cape of Good Hope, Cape Town Rail, Colonial Bank, Oriental Bank, Scottish Australian, Great Indian Peninsula, Madras. The Indian and colonial stocks make up just less than half of the total holdings. Other stocks connected to colonial trade (East and West India Docks, London Docks), domestic stocks (the Consols, Regents Canal), and foreign investments (Buenos Aires, Pittsburgh and Ft. Wayne) complete the portfolio.2

IntroductionOlder people with hip fractures often require long-term care and a crucial aspect is the provision of quality health information to patients and their carers to support continuity of care. If patients are well informed about their health condition and caring needs, particularly posthospital discharge into the community setting, this may support recovery and improve quality of life. As internet and mobile access reach every household, it is possible to deliver a new model of service using a digital education platform as a personal health hub where both patients and their providers of care can establish a more efficient information integration and exchange process. This protocol details proposed research, which aims to develop a ‘model of care’ by using a digital health solution that will allow delivery of high quality and patient-centred information, integrated into the existing process delivered within the community setting.Methods and analysisThis phase of the study uses a pragmatic mixed-methods design and a participatory approach through engagement of patients, their carers and healthcare providers from multiple disciplines to inform the development of a digital health platform. Quantitative methods will explore health literacy and e-health literacy among older people with hip fractures admitted to the two public tertiary care hospitals in Adelaide, South Australia. Qualitative methods will provide an understanding of aspects of content and context required for the digital health platform to be developed in order to deliver quality health information. The study will use appropriate theoretical frameworks and constructs to guide the design, analysis and overall conduct of the research study. The scope of the study intends to ultimately empower patients and their carers to improve self-management and to better use coordinated services at the community level. This could prevent further falls including associated injuries or new fractures; reduce new hospital admissions and improve confidence and engagement by limiting the psychologically restrictive ‘fear of falls’.Ethics and disseminationThe study has been approved by the Human Research Ethics Committee of the Central Adelaide Local Health Network, South Australia (SA) Health, Government of South Australia and the University of Adelaide Human Research Ethics Committee. Findings from the study will be published in suitable peer-reviewed journals and disseminated through workshops or conferences.

This article foregrounds the manifestation of a contemporary Orientalist discourse in the global media sphere by reading the increasingly robust non-Western ‘other’ that is the Indian TV media through its remediation in the Melbourne-based paper, The Age. The particular institutions have been chosen due to the ‘quality journalism’ reputation of the latter outlet, and the frequency of references to the Indian media – particularly its numerous news television channels – during the spate of allegedly racist attacks on Indian students in Melbourne in 2009–10. Feature articles, news items and opinion pieces appearing in the paper on this issue from May 2009 to June 2010 are examined for mentions of, and comments on, the Indian TV media. Conclusions are then drawn about how the remediation of India and its media offered by The Age effectively redraws a nation previously receiving limited coverage (literally and discursively) in Australia. What is significant here is not the resurgent Indian as reflected in the coverage of the Indian media, but its specific television might remediated by The Age as powerful yet Bollywood-esque in its drama and spectacle.

When George Chauncey'sGay New Yorkappeared a quarter century ago, it did so with deserved fanfare. Reviewers celebrated it as “brilliant,” “magisterial,” “exceptional,” “monumental,” “light-years ahead,” “masterful,” “seminal,” “groundbreaking,” “absolutely marvelous,” a “new beginning,” and a “landmark study.” While reviews ofGay New Yorkappeared in the usual American history journals, many of these were uncommonly long, indicating the book's immediate importance. This importance was also felt beyond the discipline of history with reviews appearing in sociological, anthropological, environmental, American Studies, and even speech journals. The Association of American Geographers held a roundtable onGay New Yorkin 1995 in which a participant dubbed it, “one of the more important texts written by a nongeographer to be included in a canon of new social geography.” Beyond the academy, the popular press also expressed considerable interest in the book, with theNew York Times, theNew Yorker, theNew Republic, and theGay Community Newseach taking up the matter ofGay New Yorkin its pages. And beyond the bounds of the United States, scholarly publications in Canada, Australia, and the United Kingdom also commissioned reviews ofGay New York. A year after its American debut with Basic Books, the parent firm of HarperCollins released it in the United Kingdom, and then eight years later the noted historian Didier Eribon translated it into French for the Parisian publisher Fayard. Within its first few years of publication,Gay New Yorkalso collected a number of notable prizes, including theLos Angeles TimesBook Prize for history, the Frederick Jackson Turner Award from the Organization of American Historians (OAH), the Lambda Literary Award for gay men's studies, and the Merle Curti Award from the OAH.

Background The current coronavirus disease 2019 pandemic highlights the potential of eHealth. Drawing the knowledge map of eHealth research through data mining and visual analysis technology was helpful to systematically present the research status and future trends of global academic circles. Methods Based on the web of Science Core Collection (SCIE/SSCI) database, using bibliometric theory and visual analysis technology, this work analyzed the global eHealth research publications from 2000 to 2021, and introduced the interdisciplinary characteristics, hot topics and future trends in this field. Results A total of 10188 authors, 891 journals, 3586 institutions, 98 countries using 12 languages had conducted eHealth research in the world. The United States, the Netherlands, Australia and the United Kingdom were the main forces and international cooperation. However, the international co-operation between Eastern and Western countries was still relatively few. The frontier of global eHealth research mainly focused on #0eHealth innovation, #1physical activity, #2generalised anxiety disorder, #3lightweight authentication protocol, #4 eHealth information, #5technology readiness, #6 ehealth literacy scale, #7family carer, #8citance analysis, #9 guiding patient. Clusters #3 lightweight authentication protocol and #9 guiding patient were the latest clusters, indicating the research trend and direction of eHealth in the future. Conclusions Cooperation network framework at the regional, national and global levels and the cooperation of multidisciplinary teams with complementary backgrounds and expertise were needed to realize the in-depth popularization and application of eHealth knowledge. Interdisciplinary international cooperation should be the trend of eHealth research in the future.

This is my first issue as senior editor of Theatre Research International. That the journal and I are almost exactly the same age is at once thrilling and a little unsettling. One feels both the weight of tradition, and the sense of mission and possibility that contemporaries can share. Indeed, looking through back issues, I am struck by how integrally TRI has both reflected and driven changes in performance practice and scholarship that I recognize from my own intellectual development. I began my undergraduate studies at Bristol University Drama Department – publisher, from 1959 to 1974, of one of TRI's two precursors, New Theatre Magazine (the other being Theatre Research/Recherches théâtrales). That was in 1992, in the same year an editorial by Claude Schumacher highlighted a reorientation of the journal away from text-based drama towards ‘the theory of theatre practice’. I left the UK to make theatre (and a life) in Singapore in 1996, just as the journal began notably to expand its international scope. And I commenced my PhD on cosmopolitanism and performance in 2001, at the same time as Brian Singleton's overhaul of the journal's structure and focus set the internationalizing standard for the publication that exists today. That year, I made my first trip to Australia, to present on a panel for emerging scholars at a conference of the International Federation for Theatre Research (IFTR, the organization with which this publication is affiliated), hosted by the University of New South Wales. Subsequent conference participation brought me into contact with TRI editors Christopher Balme, Freddie Rokem, Elaine Aston and Charlotte Canning, and, courtesy of the IFTR member's subscription, the material they were publishing.

IntroductionPhysical activity declines during adolescence, with the lowest levels of activity observed among those with disability. Schools are ideal settings to address this issue; however, few school-based interventions have been specifically designed for older adolescents with disability. Our aim is to investigate the effects of a school-based physical activity programme, involving high-intensity interval training (HIIT), on physical, mental and cognitive health in older adolescents with disability.Methods and analysisWe will evaluate the Burn 2 Learn adapted (B2La) intervention using a two-arm, parallel group, cluster randomised controlled trial with allocation occurring at the school level (treatment or waitlist control). Secondary schools will be recruited in two cohorts from New South Wales, Australia. We will aim to recruit 300 older adolescents (aged 15–19 years) with disability from 30 secondary schools (10 in cohort 1 and 20 in cohort 2). Schools allocated to the intervention group will deliver two HIIT sessions per week during scheduled specialist support classes. The sessions will include foundational aerobic and muscle strengthening exercises tailored to meet student needs. We will provide teachers with training, resources, and support to facilitate the delivery of the B2La programme. Study outcomes will be assessed at baseline, 6 months (primary endpoint), and 9 months. Our primary outcome is functional capacity assessed using the 6 min walk/push test. Secondary outcomes include physical activity, muscular fitness, body composition, cognitive function, quality of life, physical literacy, and on-task behaviour in the classroom. We will also conduct economic and process evaluations to determine cost-effectiveness, programme acceptability, implementation, adaptability, and sustainability in schools.Ethics and disseminationThis study has received approval from the University of Newcastle (H-2021–0262) and the New South Wales Department of Education (SERAP: 2021257) human research ethics committees. Findings will be published in peer-reviewed journals, and key stakeholders will be provided with a detailed report following the study.Trial registration numberAustralian New Zealand Clinical Trials Registry Number: ACTRN12621000884808.

A librarian in an academic institution plays a potentially very crucial role in the research output of the institution. Digital literacy of the librarian will be of immense help for the researchers and the institution with the ever increasing availability of internet and mobile tools. The wealth of information contained in the publicly accessible Google Scholar profiles is one such useful tool. A case study is carried out by analysing the profiles of research faculty in 12 (twelve) engineering colleges located in Madurai district. The user profiles having verified email IDs with the domain names of these institutions form part of this study. It has been demonstrated that the librarians can play an enhanced role in research output and its impact by effectively using such readily available information in a myriad ways. With the citation indicators viz. citations, h-index and i10-index for different researchers in the institution, the librarian can help the researcher and the institution compare the productivity and impact of research work. The librarian will be able to find out the publications with higher research impact and make informed decisions on subscriptions etc. Such bench marking will also help the institution to attract research talent; to identify and reward impactful works; and to publicize achievements. By creating a tag cloud of research areas in an engineering college derived through Google Scholar profiles it is illustrated how librarian can plan the library resources to be made available to the users. (S)he can further probe the above labels and find out the highly acclaimed journals in the field, post latest developments in the research field, help the users connect with the other leading researchers in the field etc. Similarly, a study of co-authors of a researcher in one of the colleges in Madurai reveals that the collaborative research network extends beyond district / state borders and comprises institutions of countries such as Australia, China and Korea. Having known this, a librarian can understand the research network – physical and virtual – and facilitate further collaboration. The readily available Google Scholar user profiles of researchers of an academic institution give a good deal of information that covers many of the impact indicators used in frameworks such as Becker Medical Library Model for Research Impact. Such possibilities are elaborated using a case study of the profiles of researchers in twelve Madurai based Engineering Colleges.

A different name than English literature, ‘Anglo-Indian Literature’, was given to the body of literature in English that emerged on account of the British interaction with India unlike the case with their interaction with America or Australia or New Zealand. Even the Indians’ contributions (translations as well as creative pieces in English) were classed under the caption ‘Anglo-Indian’ initially but later a different name, ‘Indo-Anglian’, was conceived for the growing variety and volume of writings in English by the Indians. However, unlike the former the latter has not found a favour with the compilers of English dictionaries. With the passage of time the fine line of demarcation drawn on the basis of subject matter and author’s point of view has disappeared and currently even Anglo-Indians’ writings are classed as ‘Indo-Anglian’. Besides contemplating on various connotations of the term ‘Indo-Anglian’ the article discusses the related issues such as: the etymology of the term, fixing the name of its coiner and the date of its first use. In contrast to the opinions of the historians and critics like K R S Iyengar, G P Sarma, M K Naik, Daniela Rogobete, Sachidananda Mohanty, Dilip Chatterjee and Gayatri Chakravorty Spivak it has been brought to light that the term ‘Indo-Anglian’ was first used in 1880 by James Payn to refer to the Indians’ writings in English rather pejoratively. However, Iyengar used it in a positive sense though he himself gave it up soon. The reasons for the wide acceptance of the term, sometimes also for the authors of the sub-continent, by the members of academia all over the world, despite its rejection by Sahitya Akademi (the national body of letters in India), have also been contemplated on. References Alphonso-Karkala, John B. (1970). Indo-English Literature in the Nineteenth Century, Mysore: Literary Half-yearly, University of Mysore, University of Mysore Press. Amanuddin, Syed. (2016 [1990]). “Don’t Call Me Indo-Anglian”. C. D. Narasimhaiah (Ed.), An Anthology of Commonwealth Poetry. Bengaluru: Trinity Press. B A (Compiler). (1883). Indo-Anglian Literature. Calcutta: Thacker, Spink and Co. PDF. Retrieved from: https://books.google.co.in/books?id=rByZ2RcSBTMC&pg=PA1&source= gbs_selected_pages&cad=3#v=onepage&q&f=false ---. (1887). “Indo-Anglian Literature”. 2nd Issue. Calcutta: Thacker, Spink and Co. PDF. Retrieved from: http://www.jstor.org/stable/60238178 Basham, A L. (1981[1954]). The Wonder That Was India: A Survey of the History and Culture of the Indian Sub-Continent before the Coming of the Muslims. Indian Rpt, Calcutta: Rupa. PDF. Retrieved from: https://archive.org/details/TheWonderThatWasIndiaByALBasham Bhushan, V N. (1945). The Peacock Lute. Bomaby: Padma Publications Ltd. Bhushan, V N. (1945). The Moving Finger. Bomaby: Padma Publications Ltd. Boria, Cavellay. (1807). “Account of the Jains, Collected from a Priest of this Sect; at Mudgeri: Translated by Cavelly Boria, Brahmen; for Major C. Mackenzie”. Asiatick Researches: Or Transactions of the Society; Instituted In Bengal, For Enquiring Into The History And Antiquities, the Arts, Sciences, and Literature, of Asia, 9, 244-286. PDF. Retrieved from: https://archive.org/details/in.ernet.dli.2015.104510 Chamber’s Twentieth Century Dictionary [The]. (1971). Bombay et al: Allied Publishers. Print. Chatterjee, Dilip Kumar. (1989). Cousins and Sri Aurobindo: A Study in Literary Influence, Journal of South Asian Literature, 24(1), 114-123. Retrieved from: http://www.jstor.org/ stable/40873985. Chattopadhyay, Dilip Kumar. (1988). A Study of the Works of James Henry Cousins (1873-1956) in the Light of the Theosophical Movement in India and the West. Unpublished PhD dissertation. Burdwan: The University of Burdwan. PDF. Retrieved from: http://ir.inflibnet. ac.in:8080/jspui/bitstream/10603/68500/9/09_chapter%205.pdf. Cobuild English Language Dictionary. (1989 [1987]). rpt. London and Glasgow. Collins Cobuild Advanced Illustrated Dictionary. (2010). rpt. Glasgow: Harper Collins. Print. Concise Oxford English Dictionary [The]. (1961 [1951]). H. W. Fowler and F. G. Fowler. (Eds.) Oxford: Clarendon Press. 4th ed. Cousins, James H. (1921). Modern English Poetry: Its Characteristics and Tendencies. Madras: Ganesh & Co. n. d., Preface is dated April, 1921. PDF. Retrieved from: http://hdl.handle.net/ 2027/uc1.$b683874 ---. (1919) New Ways in English Literature. Madras: Ganesh & Co. 2nd edition. PDF. Retrieved from: https://archive.org/details/in.ernet.dli.2015.31747 ---. (1918). The Renaissance in India. Madras: Madras: Ganesh & Co., n. d., Preface is dated June 1918. PDF. Retrieved from: https://archive.org/details/in.ernet.dli.2015.203914 Das, Sisir Kumar. (1991). History of Indian Literature. Vol. 1. New Delhi: Sahitya Akademi. Encarta World English Dictionary. (1999). London: Bloomsbury. Gandhi, M K. (1938 [1909]). Hind Swaraj Tr. M K Gandhi. Ahmedabad: Navajivan Publishing House. PDF. Retrieved from: www.mkgandhi.org/ebks/hind_swaraj.pdf. Gokak, V K. (n.d.). English in India: Its Present and Future. Bombay et al: Asia Publishing House. PDF. Retrieved from: https://archive.org/details/in.ernet.dli.2015.460832 Goodwin, Gwendoline (Ed.). (1927). Anthology of Modern Indian Poetry, London: John Murray. PDF. Retrieved from: https://archive.org/details/in.ernet.dli.2015.176578 Guptara, Prabhu S. (1986). Review of Indian Literature in English, 1827-1979: A Guide to Information Sources. The Yearbook of English Studies, 16 (1986): 311–13. PDF. Retrieved from: https://www.jstor.org/stable/3507834 Iyengar, K R Srinivasa. (1945). Indian Contribution to English Literature [The]. Bombay: Karnatak Publishing House. PDF. Retrieved from: https://archive.org/details/ indiancontributi030041mbp ---. (2013 [1962]). Indian Writing in English. New Delhi: Sterling. ---. (1943). Indo-Anglian Literature. Bombay: PEN & International Book House. PDF. Retrieved from: https://archive.org/details/IndoAnglianLiterature Longman Dictionary of Contemporary English. (2003). Essex: Pearson. Lyall, Alfred Comyn. (1915). The Anglo-Indian Novelist. Studies in Literature and History. London: John Murray. PDF. Retrieved from: https://archive.org/details/in.ernet. dli.2015.94619 Macaulay T. B. (1835). Minute on Indian Education dated the 2nd February 1835. HTML. Retrieved from: http://www.columbia.edu/itc/mealac/pritchett/00generallinks/macaulay/ txt_minute_education_1835.html Mehrotra, Arvind Krishna. (2003). An Illustrated History of Indian Literature in English. Delhi: Permanent Black. ---. (2003[1992]). The Oxford India Anthology of Twelve Modern Indian Poets. New Delhi: Oxford U P. Minocherhomji, Roshan Nadirsha. (1945). Indian Writers of Fiction in English. Bombay: U of Bombay. Modak, Cyril (Editor). (1938). The Indian Gateway to Poetry (Poetry in English), Calcutta: Longmans, Green. PDF. Retrieved from http://en.booksee.org/book/2266726 Mohanty, Sachidananda. (2013). “An ‘Indo-Anglian’ Legacy”. The Hindu. July 20, 2013. Web. Retrieved from: http://www.thehindu.com/features/magazine/an-indoanglian-legacy/article 4927193.ece Mukherjee, Sujit. (1968). Indo-English Literature: An Essay in Definition, Critical Essays on Indian Writing in English. Eds. M. K. Naik, G. S. Amur and S. K. Desai. Dharwad: Karnatak University. Naik, M K. (1989 [1982]). A History of Indian English Literature. New Delhi: Sahitya Akademi, rpt.New Shorter Oxford English Dictionary on Historical Principles [The], (1993). Ed. Lesley Brown, Vol. 1, Oxford: Clarendon Press.Naik, M K. (1989 [1982]). A History of Indian English Literature. New Delhi: Sahitya Akademi, rpt. Oaten, Edward Farley. (1953 [1916]). Anglo-Indian Literature. In: Cambridge History of English Literature, Vol. 14, (pp. 331-342). A C Award and A R Waller, (Eds). Rpt. ---. (1908). A Sketch of Anglo-Indian Literature, London: Kegan Paul. PDF. Retrieved from: https://ia600303.us.archive.org/0/items/sketchofangloind00oateuoft/sketchofangloind00oateuoft.pdf) Advanced Learner’s Dictionary of Current English. (1979 [1974]). A. S. Hornby (Ed). : Oxford UP, 3rd ed. Oxford English Dictionary [The]. Vol. 7. (1991[1989]). J. A. Simpson and E. S. C. Weiner, (Eds.). Oxford: Clarendon Press, 2nd ed. Pai, Sajith. (2018). Indo-Anglians: The newest and fastest-growing caste in India. Web. Retrieved from: https://scroll.in/magazine/867130/indo-anglians-the-newest-and-fastest-growing-caste-in-india Pandia, Mahendra Navansuklal. (1950). The Indo-Anglian Novels as a Social Document. Bombay: U Press. Payn, James. (1880). An Indo-Anglian Poet, The Gentleman’s Magazine, 246(1791):370-375. PDF. Retrieved from: https://archive.org/stream/gentlemansmagaz11unkngoog#page/ n382/mode/2up. ---. (1880). An Indo-Anglian Poet, Littell’s Living Age (1844-1896), 145(1868): 49-52. PDF. Retrieved from: https://archive.org/stream/livingage18projgoog/livingage18projgoog_ djvu.txt. Rai, Saritha. (2012). India’s New ‘English Only’ Generation. Retrieved from: https://india.blogs.nytimes.com/2012/06/01/indias-new-english-only-generation/ Raizada, Harish. (1978). The Lotus and the Rose: Indian Fiction in English (1850-1947). Aligarh: The Arts Faculty. Rajan, P K. (2006). Indian English literature: Changing traditions. Littcrit. 32(1-2), 11-23. Rao, Raja. (2005 [1938]). Kanthapura. New Delhi: Oxford UP. Rogobete, Daniela. (2015). Global versus Glocal Dimensions of the Post-1981 Indian English Novel. Portal Journal of Multidisciplinary International Studies, 12(1). Retrieved from: http://epress.lib.uts.edu.au/journals/index.php/portal/article/view/4378/4589. Rushdie, Salman & Elizabeth West. (Eds.) (1997). The Vintage Book of Indian Writing 1947 – 1997. London: Vintage. Sampson, George. (1959 [1941]). Concise Cambridge History of English Literature [The]. Cambridge: UP. Retrieved from: https://archive.org/details/in.ernet.dli.2015.18336. Sarma, Gobinda Prasad. (1990). Nationalism in Indo-Anglian Fiction. New Delhi: Sterling. Singh, Kh. Kunjo. (2002). The Fiction of Bhabani Bhattacharya. New Delhi: Atlantic Publishers and Distributors. Spivak, Gayatri Chakravorty. (2012). How to Read a ‘Culturally Different’ Book. An Aesthetic Education in the Era of Globalization, Cambridge, Mass: Harvard University Press. Sturgeon, Mary C. (1916). Studies of Contemporary Poets, London: George G Hard & Co., Retrieved from: https://archive.org/details/in.ernet.dli.2015.95728. Thomson, W S (Ed). (1876). Anglo-Indian Prize Poems, Native and English Writers, In: Commemoration of the Visit of His Royal Highness the Prince of Wales to India. London: Hamilton, Adams & Co., Retrieved from https://books.google.co.in/ books?id=QrwOAAAAQAAJ Wadia, A R. (1954). The Future of English. Bombay: Asia Publishing House. Wadia, B J. (1945). Foreword to K R Srinivasa Iyengar’s The Indian Contribution to English Literature. Bombay: Karnatak Publishing House. Retrieved from: https://archive.org/ details/indiancontributi030041mbp Webster's Encyclopedic Unabridged Dictionary of the English Language. (1989). New York: Portland House. Yule, H. and A C Burnell. (1903). Hobson-Jobson: A Glossary of Colloquial Anglo-Indian Words and Phrases, and of Kindred Terms, Etymological, Historical, Geographical and Discursive. W. Crooke, Ed. London: J. Murray. 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Let me thank my audience for coming to listen to me today: let me thank the Foundation for Australian Literary Studies for inviting me to give this year’s Colin Roderick Lectures.<br />I like to think that Professor Roderick would have looked kindly on the choice of a lecturer drawn from the bleak, ambiguous demi-monde where journalism and literary endeavours meet - for he was involved, as many of you will know, during his days as an editor at Angus and Robertson, in the celebrated libel case in 1961 over “The Bandar-Log,” a novel, still unpublished, by the distinguished Canberra press gallery journalist, Alan Reid. Roderick’s own writings had a strong influence on me at a particular point in my path as an author: but the one act of his that resonates most strongly in my thoughts is the decision he made, 40 years ago, to establish a centre for the study of Australian writing here in the North.

There are three traditional categories of empathy – emotional, cognitive and compassionate or radical. For decades, empathy was seen as the antithesis of any kind of good journalism; that the journalist must at all times maintain detachment in order to do her job. But this paper interrogates, through the textual analysis of two Australian long form texts, including several epitextual artefacts, how empathy can perform as an evocative tool of narrative literary journalism creating richer and deeper meaning and depth of understanding. Both texts are hybrids of the form, mixing narrative inquiry, reportage and personal reflective practice. Here I argue that the first text conflates emotional and compassionate empathy, while the second privileges cognitive and radical empathy, ultimately and startlingly advocating compassionate empathy. Both provide for their audience an intimate glimpse into the private lives of others affected by trauma or occupying a particular place in cyberspace.

Randolph Bedford (1868–1941) was an Australian journalist, politician and novelist, a lifelong socialist despite making a small fortune from mining. He was among the ‘brain drain’ of Australians at the turn of last century, who hoped to emulate Melba’s success in England. Many of his contemporaries, such as Henry Lawson, experienced disillusion and poverty, and returned home. Bedford differed in his versatility, and also his profound rejection of the British Empire. He could not sell his novels initially, nor his speculations to British investors, but was able to put his mining experience to use in Italy. There he became one of the first Australians to fall in love with the country. His attraction to Italy was partly aesthetic, its artistic glories, but also because it reinforced his sentimental Australian nationalism. He saw similarities in landscape, and also in climate. He wrote despatches back to the Bulletin called ‘Explorations in Civilization’, which became a book in 1916. The subtitle was ‘An Australian in Exile’, reversing the ‘Exiles We’, of the first settlers, with their nostalgia for Britain. In contrast, Bedford saw nothing good in London and the Empire. He disliked it upon first sight, and his irreverence and socialist sympathies had no place in the conservative British investment milieu. Bedford would sell two novels in Britain, via Henry Lawson (whom he helped in London) and his literary agent J. B. Pinker. But he returned home, certain expatriate life was not for him, and devoted his energies to Australia. His real success was in Explorations in Civilization, superb travel-writing, perhaps his best work. It shows his love for his country being reinforced through the perceived similarities between it and Italy, a second homeland for him. He even paid its people his highest compliment: that they were his preferred settlers for Australia.

Many films of the Australian New Wave (or Australian film renaissance) of the 1970s and 1980s can be defined as gothic, especially following Jonathan Rayner’s suggestion that “Instead of a genre, Australian Gothic represents a mode, a stance and an atmosphere, after the fashion of American Film Noir, with the appellation suggesting the inclusion of horrific and fantastic materials comparable to those of Gothic literature” (25). The American comparison is revealing. The 400 or so film productions of the Australian New Wave emerged, not in a vacuum, but in an increasingly connected and inter-mixed international space (Godden). Putatively discrete national cinemas weave in and out of each other on many levels. One such level concerns the reception critics give to films. This article will drill down to the level of the reception of two examples of Australian gothic film-making by two well-known American critics. Rayner’s comparison of Australian gothic with American film noir is useful; however, it begs the question of how American critics such as Pauline Kael and Andrew Sarris influentially shaped the reception of Australian gothic in America and in other locations (such as Australia itself) where their reviews found an audience either at the time or afterwards. The significance of the present article rests on the fact that, as William McClain observes, following in Rick Altman’s footsteps, “critics form one of the key material institutions that support generic formations” (54). This article nurtures the suggestion that knowing how Australian gothic cinema was shaped, in its infancy, in the increasingly important American market (a market of both commerce and ideas) might usefully inform revisionist studies of Australian cinema as a national mode. A more nuanced, globally informed representation of the origins and development of Australian gothic cinema emerges at this juncture, particularly given that American film reviewing in the 1970s and 1980s more closely resembled what might today be called film criticism or even film theory. The length of individual reviews back then, the more specialized vocabulary used, and above all the tendency for critics to assume more knowledge of film history than could safely be assumed in 2014—all this shows up the contrast with today. As Christos Tsiolkas notes, “in our age… film reviewing has been reduced to a thumbs-up or a thumbs-down” (56)! The 1970s and 1980s is largely pre-Internet, and critical voices such as Kael and Sarris dominated in print. The American reviews of Australian gothic films demonstrate how a different consciousness suffuses Kael’s and Sarris’s engagements with “Antipodean” (broadly Australian and New Zealand) cinema. Rayner’s locally specific definition of Australian gothic is distorted in their interpretations of examples of the genre. It will be argued that this is symptomatic of a particular blindspot, related to the politics and art of place, in the American reception of Wake in Fright (initially called Outback in America), directed by the Canadian Ted Kotcheff (1971) and The Year of Living Dangerously, directed by Peter Weir (1982). Space and argument considerations force this article to focus on the reviews of these films, engaging less in analysis of the films themselves. Suffice to say that they all fit broadly within Rayner’s definition of Australian gothic cinema. As Rayner states, three thematic concerns which permeate all the films related to the Gothic sensibility provide links across the distinctions of era, environment and character. They are: a questioning of established authority; a disillusionment with the social reality that that authority maintains; and the protagonist’s search for a valid and tenable identity once the true nature of the human environment has been revealed. (25) “The true nature of the human environment….” Here is the element upon which the American reviews of the Australian gothic founder. Explicitly in many films of this mode, and implicitly in nearly all of them, is the “human environment” of the Australian landscape, which operates less as a backdrop and more as a participating element, even a character, in the drama, saturating the mise-en-scène. In “Out of Place: Reading (Post) Colonial Landscapes as Gothic Space in Jane Campion’s Films,” Eva Rueschmann quotes Ross Gibson’s thesis from South of the West: Postcolonialism and the Narrative Construction of Australia that By featuring the land so emphatically… [Australian] films stake out something more significant than decorative pictorialism. Knowingly or unknowingly, they are all engaging with the dominant mythology of white Australia. They are all partaking of the landscape tradition which, for two hundred years, has been used by white Australians to promote a sense of the significance of European society in the “Antipodes”. (Rueschmann) The “emphatic” nature of the land in films like Wake in Fright, Mad Max 2 and Picnic at Hanging Rock actively contributes to the “atmosphere” of Australian gothic cinema (Rayner 25). This atmosphere floats across Australian film and literature. Many of the films mentioned in this article are adaptations from books, and Rayner himself stresses the similarity between Australian gothic and gothic literature (25). Significantly, the atmosphere of Australian gothic also floats across the fuzzy boundary between the gothic and road movies or road literature. Mad Max 2: The Road Warrior is obviously a road movie as well as a gothic text; so is Wake in Fright in its way; even Picnic at Hanging Rock contains elements of the road movie in all that travelling to and from the rock. Roads, then, are significant for Australian gothic cinema, for the road traverses the Australian (gothic) landscape and, in the opportunity it provides for moving through it at speed, tantalizes with the (unfulfillable) promise of an escape from its gothic horror. Australian roads are familiar, part of White European culture referencing the geometric precision of Roman roads. The Australian outback, by contrast, is unfamiliar, uncanny. Veined with roads, the outback invites the taming by “the landscape tradition” that it simultaneously rejects (Rueschmann). In the opening 360° pan of Wake in Fright the land frightens with its immensity and intensity, even as the camera displays the land’s “conquering” agent: not a road, but the road’s surrogate—a railway line. Thus, the land introduces the uncanny into Australian gothic cinema. In Freudian terms, the uncanny is that unsettling combination of the familiar and the unfamiliar. R. Gray calls it “the class of frightening things that leads us back to what is known and familiar” (Gray). The “frightening” land is the very condition of the “comforting” road; no roads without a space for roads, and places for them to go. In her introduction to The Penguin Book of the Road, Delia Falconer similarly sutures the land to the uncanny, linking both of these with the first peoples of the Australian land: "Of course there is another 'poetry of the earth' whispering from the edges of our roads that gives so many of our road stories an extra charge, and that is the history of Aboriginal presence in this land. Thousands of years of paths and tribal boundaries also account for the uncanny sense of being haunted that dogs our travellers on their journeys (xvii). White Australia, as the local saying goes, has a black past, played out across the land. The film The Proposition instances this, with its gothic portrayal of the uncanny encroachments of the Australian “wilderness” into the domain of “civilization”. Furthermore, “our” overweening literal and metaphoric investment in the traditional quarter-acre block, not to mention in our roads, shows that “we” haven’t reconciled either with the land of Australia or with its original inhabitants: the Aboriginal peoples. Little wonder that Kael and Sarris couldn’t do so, as White Americans writing some forty years ago, and at such a huge geographic remove from Australia. As will be seen, the failure of these American film critics to comprehend the Australian landscape comes out—as both a “critical reaction” and a “reactive compensation”—in two, interwoven strands of their interpretations of Australian New Wave gothic cinema. A repulsion from, and an attraction to, the unrecognized uncanny is evidenced. The first strand is constituted in the markedly anthropological aspect to the film reviews: anthropological elements of the text itself are either disproportionately magnified or longed for. Here, “anthropological” includes the sociological and the historical. Secondly, Kael and Sarris use the films they review from Australian gothic cinema as sites upon which to trial answers to the old and persistent question of how the very categories of art and politics relate. Initially sucked out of the reviews (strand one), politics and art thus rush back in (strand two). In other words, the American failure to engage deeply with the land triggers an initial reading of films like Wake in Fright less as films per se and more as primary texts or one-to-one documentations of Australia. Australia presents for anthropological, even scientific atomization, rather than as a place in active, creative and complex relationship with its rendering in mise-en-scène. Simultaneously though, the absence of the land nags—eats away at the edges of critical thinking—and re-emerges (like a Freudian return of the repressed) in an attempt by the American critics to exploit their film subjects as an opportunity for working out how politics and art (here cinema) relate. The “un-seen” land creates a mis-reading amongst the American critics (strand one), only to force a compensatory, if somewhat blindsided, re-reading (strand two). For after all, in this critical “over-looking” of the land, and thus of the (ongoing) Aboriginal existence in and with the land, it is politics and art that is most at stake. How peoples (indigenous, settler or hybrid peoples) are connected to and through the land has perhaps always been Australia’s principal political and artistic question. How do the American reviews speak to this question? Sarris did not review Wake in Fright. Kael reviewed it, primarily, as a text at the intersection of fiction and documentary, ultimately privileging the latter. Throughout, her critical coordinates are American and, to a degree, literary. Noting the “stale whiff of Conrad” she also cites Outback’s “additional interest” in its similarity with “recent American movies [about] American racism and capitalist exploitation and the Vietnam war” (415). But her most pointed intervention comes in the assertion that there is “enough narrative to hold the social material together,” as if this were all narrative were good for: scaffolding for sociology (416). Art and culture are left out. Even as Kael mentions the “treatment of the Aborigines,” she misses the Aboriginal cultural moment of the opening shot of the land; this terrain, she writes, is “without a trace of culture” (416). Then, after critiquing what she sees as the unconvincing lesson of the schoolteacher’s moral demise, comes this: “But a more serious problem is that (despite the banal photography) the semi-documentary aspects of the film are so much more vivid and authentic and original than the factitious Conradian hero that we want to see more of that material—we want to learn more” (416-417). Further on, in this final paragraph, Kael notes that, while “there have been other Australian films, so it’s not all new” the director and scriptwriter “have seen the life in a more objective way, almost as if they were cultural anthropologists…. Maybe Kotcheff didn’t dare to expand this vision at the expense of the plot line, but he got onto something bigger than the plot” (417). Kael’s “error”, as it were, is to over-look how the land itself stretches the space of the film, beyond plot, to occupy the same space as her so-called “something bigger”, which itself is filled out by the uncanniness of the land as the intersections of both indigenous and settler (road-based) cultures and their representations in art (417). The “banal photography” might be better read as the film’s inhabitation of these artistic/cultural intersections (416). Kael’s Wake in Fright piece illustrates the first strand of the American reviews of Australian gothic cinema. Missing the land’s uncanniness effectively distributes throughout the review an elision of culture and art, and a reactive engagement with the broadly anthropological elements of Kotcheff’s film. Reviews of The Year of Living Dangerously by Kael and Sarris also illustrate the first strand of the American-Australian reviewing nexus, with the addition, also by each critic, of the second strand: the attempt to reconnect and revitalize the categories of politics and art. As with Wake in Fright, Kael introduces an anthropological gambit into Weir’s film, privileging its documentary elements over its qualities as fiction (strand one). “To a degree,” she writes, “Weir is the victim of his own skill at creating the illusion of authentic Third World misery, rioting, and chaos” (454). By comparison with “earlier, studio-set films” (like Casablanca [452]), where such “backgrounds (with their picturesque natives) were perfectly acceptable as backdrops…. Here… it’s a little obscene” (454). Kael continues: “Documentaries, TV coverage, print journalism, and modern history itself have changed audiences’ responses, and when fake dilemmas about ‘involvement’ are cooked up for the hero they’re an embarrassment” (454-455). Film is pushed to cater to anthropology besides art. Mirroring Kael’s strand-one response, Sarris puts a lot of pressure on Weir’s film to “perform” anthropologically—as well as, even instead of, artistically. The “movie”, he complains “could have been enjoyed thoroughly as a rousingly old-fashioned Hollywood big-star entertainment were it not for the disturbing vistas of somnolent poverty on view in the Philippines, the location in which Indonesian poverty in 1965 was simulated” (59). Indeed, the intrusive reality of poverty elicits from Sarris something very similar to Kael’s charge of the “obscenity of the backdrop” (454): We cannot go back to Manderley in our movie romances. That much is certain. We must go forward into the real world, but in the process, we should be careful not to dwarf our heroes and heroines with the cosmic futility of it all. They must be capable of acting on the stage of history, and by acting, make a difference in our moral perception of life on this planet. (59) Sarris places an extreme, even outrageous, strand-one demand on Weir’s film to re-purpose its fiction (what Kael calls “romantic melodrama” [454]) to elicit the categories of history and anthropology—that last phrase, “life on this planet”, sounds like David Attenborough speaking! More so, anthropological atomization is matched swiftly to a strand-two demand, for this passage also anticipates the rapprochement of politics and art, whereby art rises to the level of politics, requiring movie “heroes and heroines” to make a “moral difference” on a historical if not on a “cosmic” level (59). It is precisely in this, however, that Weir’s film falls down for Sarris. “The peculiar hollowness that the more perceptive reviewers have noted in The Year of Living Dangerously arises from the discrepancy between the thrilling charisma of the stars and the antiheroic irrelevance of the characters they play to the world around them” (59). Sarris’s spatialized phrase here (“peculiar hollowness”) recalls Kael’s observation that Wake in Fright contains “something bigger than the plot” (417). In each case, the description is doubling, dis-locating—uncanny. Echoing the title of Eva Rueschmann’s article, both films, like the Australian landscape itself, are “out of place” in their interpretation by these American critics. What, really, does Sarris’s “peculiar hollowness” originate in (59)? In what “discrepancy” (59)? There is a small but, in the context of this article, telling error in Sarris’s review of Weir’s film. Kael, correctly, notes that “the Indonesian settings had to be faked (in the Philippines and Australia)” (inserted emphasis) (452). Sarris mentions only the Philippines. From little things big things grow. Similar to how Kael overlooks the uncanny in Wake in Fright’s mise-en-scène, Sarris “sees” a “peculiar hollowness” where the land would otherwise be. Otherwise, that is, in the perspective of a cinema (Kotcheff’s, Weir’s) that comprehends “the true nature of the [Australian, gothic] human environment” (Rayner 25). Of course, it is not primarily a matter of how much footage Weir shot in Australia. It is the nature of the cinematography that matters most. For his part, Sarris damns it as “pretentiously picturesque” (59). Kael, meanwhile, gets closer perhaps to the ethics of the uncanny cinematography of The Year of Living Dangerously in her description of “intimations, fragments, hints and portents… on a very wide screen” (451). Even so, it will be remembered, she does call the “backgrounds… obscene” (454). Kael and Sarris see less than they “see”. Again like Sarris, Kael goes looking in Weir’s film for a strand-two rapprochement of politics and art, as evidenced by the line “The movie displays left-wing attitudes, but it shows no particular interest in politics” (453). It does though, only Kael is blind to it because she is blind to the land and, equally, to the political circumstances of the people of the land. Kael likely never realized the “discrepancy” in her critique of The Year of Living Dangerously’s Billy Kwan as “the same sort of in-on-the-mysteries-of-the-cosmos character that the aborigine actor Gulpilil played in Weir’s 1977 The Last Wave” (455). All this, she concludes, “might be boiled down to the mysticism of L.A.: ‘Go with the flow’” (455)! Grouping characters and places together like this, under the banner of L.A. mysticism, brutally erases the variations across different, uncanny, gothic, post-colonial landscapes. It is precisely here that politics and art do meet, in Weir’s film (and Kotcheff’s): in the artistic representation of the land as an index of the political relations of indigenous, settler and hybrid communities. (And not down the rabbit hole of the “specifics” of politics that Kael claims to want [453]). The American critics considered in this article are not in “bad faith” or a-political. Sarris produced a perceptive, left-leaning study entitled Politics and Cinema, and many of Kael’s reviews, along with essays like “Saddle Sore: El Dorado, The War Wagon, The Way West,” contain sophisticated, liberalist analyses of the political circumstances of Native Americans. The crucial point is that, as “critics form[ing] one of the key material institutions that support generic formations,” Sarris and Kael impacted majorly on the development of Australian gothic cinema, in the American context—impacted especially, one could say, on the (mis-)understanding of the land-based, uncanny politics of this mode in its Australian setting (McClain 54). Kael’s and Sarris’s reviews of My Brilliant Career, along with Judith Maslin’s review, contain traits similar to those considered in depth in the reviews studied above. Future research might usefully study this significant impact more closely, weaving in an awareness of the developing dynamics of global film productions and co-productions since the 1970s, and thereby focusing on Australian gothic as international cinema. Was, for example, the political impact of later films like The Proposition influenced, even marginally, by the (mis-)readings of Sarris and Kael? In conclusion here, it suffices to note that, even as the American reviewers reduced Australian cinema art to “blank” documentary or “neutral” anthropology, nevertheless they evidenced, in their strand-two responses, the power of the land (as presented in the cinematography and mise-en-scène) to call out—across an increasingly globalized domain of cinematic reception—for the fundamental importance of the connection between politics and art. Forging this connection, in which all lands and the peoples of all lands are implicated, should be, perhaps, the primary and ongoing concern of national and global cinemas of the uncanny, gothic mode, or perhaps even any mode. References Casablanca. Dir. Michael Curtiz. Warner Bros, 1942. Falconer, Delia. “Introduction.” The Penguin Book of the Road. Ed. Delia Falconer. Melbourne: Viking-Penguin Books, 2008. xi-xxvi. Gibson, Ross. South of the West: Postcolonialism and the Narrative Construction of Australia. Bloomington, Indiana: Indiana University Press, 1992. Godden, Matt. “An Essay on Australian New Wave Cinema.” 9 Jan. 2013. 18 Aug. 2014 ‹http://www.golgotha.com.au/2013/01/09/an-essay-on-australian-new-wave-cinema/›. Gray, R. “Freud, ‘The Uncanny.’” 15 Nov. 2013. 18 Aug. 2014 ‹http://courses.washington.edu/freudlit/Uncanny.Notes.html›. Kael, Pauline. “Australians.” Review of My Brilliant Career. 15 Sep. 1980. Taking It All In. London: Marion Boyars, 1986. 54-62. Kael, Pauline. “Literary Echoes—Muffled.” Review of Outback [Wake in Fright]. 4 March 1972. Deeper into Movies. Boston: Atlantic Monthly Press-Little, Brown and Company, 1973. 413-419. Kael, Pauline. “Saddle Sore: El Dorado, The War Wagon, The Way West.” Kiss Kiss Bang Bang. London: Arrow Books, 1987. 38-46. Kael, Pauline. “Torrid Zone.” Review of The Year of Living Dangerously. 21 Feb. 1983. Taking It All In. London: Marion Boyars, 1986. 451-456. Mad Max 2: The Road Warrior. Dir. George Miller. Warner Bros, 1981. Maslin, Janet. “Film: Australian ‘Brilliant Career’ by Gillian Armstrong.” Review of My Brilliant Career. New York Times (6 Oct. 1979.): np. McClain, William. “Western, Go Home! Sergio Leone and the ‘Death of the Western’ in American Film Criticism.” Journal of Film and Video 62.1-2 (Spring/Summer 2010): 52-66. My Brilliant Career. Dir. Gillian Armstrong. Peace Arch, 1979. Picnic at Hanging Rock. Dir. Peter Weir. Picnic Productions, 1975. Rayner, Jonathan. Contemporary Australian Cinema: An Introduction. Manchester: Manchester University Press, 2000. Rueschmann, Eva. “Out of Place: Reading (Post) Colonial Landscapes as Gothic Space in Jane Campion’s Films.” Post Script (22 Dec. 2005). 18 Aug. 2014 ‹http://www.thefreelibrary.com/Out+of+place%3A+reading+%28post%29+colonial+landscapes+as+Gothic+space+in...-a0172169169›. Sarris, Andrew. “Films in Focus.” Review of My Brilliant Career. Village Voice (4 Feb. 1980): np. Sarris, Andrew. “Films in Focus: Journalistic Ethics in Java.” Review of The Year of Living Dangerously. Village Voice 28 (1 Feb. 1983): 59. Sarris, Andrew. “Liberation, Australian Style.” Review of My Brilliant Career. Village Voice (15 Oct. 1979): np. Sarris, Andrew. Politics and Cinema. New York: Columbia University Press, 1978. The Last Wave. Dir. Peter Weir. Ayer Productions, 1977. The Proposition. Dir. John Hillcoat. First Look Pictures, 2005. The Year of Living Dangerously. Dir. Peter Weir. MGM, 1982. Tsiolkas, Christos. “Citizen Kael.” Review of Pauline Kael: A Life in the Dark by Brian Kellow. The Monthly (Feb. 2012): 54-56. Wake in Fright. Dir. Ted Kotcheff. United Artists, 1971.

Australian suburbia, historically and culturally, has been viewed as a feminised domain, associated with the domestic and family, routine and order. Where “the city is coded as a masculine and disorderly space… suburbia, as a realm of domesticity and the family, is coded as a feminine and disciplinary space” (Wilson 46). This article argues how the treatment of suburbia in fiction as “feminine” has impacted not only on the representation and development of the character of the “suburban female”, but also on the shape and form of her narrative journeys. Suburbia’s subordination as domestic and everyday, a restrictive realm of housework and child rearing, refers to the anti-suburban critique and establishes the dichotomy of suburbia/feminine/domesticity in contrast to bush or city/masculine/freedom as first observed by Marilyn Lake in her analysis of 1890s Australia. Despite the fact that suburbia necessarily contains the “masculine” as well as the “feminine”, the “feminine” dominates to such an extent that positive masculine traits are threatened there. In social commentary and also literature, the former is viewed negatively as a state from which to escape. As Tim Rowse suggests, “women, domesticity = spiritual starvation. (Men, wide open spaces, achievement = heroism of the Australian spirit)” (208). In twentieth-century Australian fiction, this is especially the case for male characters, the preservation of whose masculinity often depends on a flight from the suburbs to elsewhere—the bush, the city, or overseas. In Patrick White’s The Tree Of Man (1955), for example, During identifies the recurrent male character of the “tear-away” who “flee(s) domesticity and family life” (96). Novelist George Johnston also establishes a satirical depiction of suburbia as both suffocatingly feminine and as a place to escape at any cost. For example, in My Brother Jack (1964), David Meredith “craves escape from the ‘shabby suburban squalor’ into which he was born” (Gerster 566). Suburbia functions as a departure point for the male protagonist who must discard any remnants of femininity, imposed on him by his suburban childhood, before embarking upon narratives of adventure and maturation as far away from the suburbs as possible. Thus, flight becomes essential to the development of male protagonist and proliferates as a narrative trajectory in Australian fiction. Andrew McCann suggests that its prevalence establishes a fictional “struggle with and escape from the suburb as a condition of something like a fully developed personality” (Decomposing 56-57). In this case, any literary attempt to transform the “suburban female”, a character inscribed by her gender and her locale, without recourse to flight appears futile. However, McCann’s assertion rests on a literary tradition of male flight from suburbia, not female. A narrative of female flight is a relatively recent phenomenon, influenced by the second wave feminism of the 1970s and 1980s. For most of the twentieth century, the suburban female typically remained in suburbia, a figure of neglect, satire, and exploitation. A reading of twentieth-century Australian fiction until the 1970s implies that flight from suburbia was not a plausible option for the average “suburban female”. Rather, it is the exceptional heroine, such as Teresa in Christina Stead’s For Love Alone (1945), who is brave, ambitious, or foolish enough to leave, and when she does there were often negative consequences. For most however, suburbia was a setting where she belonged despite its negative attributes. These attributes of conformity and boredom, repetition, and philistinism, as presented by proponents of anti-suburbanism, are mainly depicted as problematic to male characters, not female. Excluded from narratives of flight, for most of the twentieth-century the suburban female typically remained in suburbia, a figure of neglect, satire, and even exploitation, her stories mostly untold. The character of the suburban female emerges out of the suburban/feminine/domestic dichotomy as a recurrent, albeit negative, character in Australian fiction. As Rowse states, the negative image of suburbia is transferred to an equally negative image of women (208). At best, the suburban female is a figure of mild satire; at worst, a menacing threat to masculine values. Male writers George Johnston, Patrick White and, later, David Ireland, portrayed the suburban female as a negative figure, or at least an object of satire, in the life of a male protagonist attempting to escape suburbia and all it stood for. In his satirical novels and plays, for example, Patrick White makes “the unspoken assumption… that suburbia is an essentially female domain” (Gerster 567), exemplifying narrow female stereotypes who “are dumb and age badly, ending up in mindless, usually dissatisfied, maternity and domesticity” (During 95). Feminist Anne Summers condemns White for his portrayal of women which she interprets as a “means of evading having to cope with women as unique and diverse individuals, reducing them instead to a sexist conglomerate”, and for his use of women to “represent suburban stultification” (88). Typically “wife” or “mother”, the suburban female is often used as a convenient device of oppositional resistance to a male lead, while being denied her own voice or story. In Johnston’s My Brother Jack (1964), for example, protagonist David Meredith contrasts “the subdued vigour of fulfillment tempered by a powerful and deeply-lodged serenity” (215) of motherhood displayed by Jack’s wife Shelia with the “smart and mannish” (213) Helen, but nothing deeper is revealed about the inner lives of these female characters. Feminist scholars identify a failure to depict the suburban female as more than a useful stereotype, partially attributing the cause of this failure to a surfeit of patriarchal stories featuring adventuresome male heroes and set in the outback or on foreign battlefields. Summers states how “more written words have been devoted to creating, and then analysing and extolling… [the] Australian male than to any other single facet of Australian life” (82-83). Where she is more active, the suburban female is a malignant force, threatening to undermine masculine goals of self-realisation or achievement, or at her worst, to wholly emasculate the male protagonist such that he is incapable of escape. Even here the motivations behind her actions are not revealed and she appears two-dimensional, viewed only in relation to her destructive effect on the weakened male protagonist. In her criticism of David Ireland’s The Glass Canoe (1976), Joan Kirkby observes how “the suburbs are populated with real women who are represented in the text as angry mothers and wives or simply as the embodiment of voraciously feral sexuality” (5). In those few instances where the suburban female features as more than an accessory to the male narrative, she lacks the courage and inner strength to embark upon her own journey out of suburbia. Instead, she is depicted as a victim, misunderstood and miserable, entrapped by the suburban milieu to which she is meant to belong but, for some unexplored reason, does not. The inference is that this particular suburban female is atypical, potentially flawed in her inability to find contentment within a region strongly designated her own. The unhappy suburban female is therefore tragic, or at least pitiable, languishing in a suburban environment that she loathes, often satirised for her futile resistance to the status quo. Rarely is she permitted the masculine recourse of flight. In those exceptional instances where she does leave, however, she is unlikely to find what she is looking for. A subsequent return to the place of childhood, most often situated in suburbia, is a recurrent narrative in many stories of Australian female protagonist, but less so the male protagonist. Although this mistreatment of the suburban female is most prevalent in fiction by male writers, female writers were also criticised for failing to give a true and authentic voice to her character, regardless of the broader question of whether writers should be truthful in their characterisations. For example, Summers criticises Henry Handel Richardson as “responsible for, if not creating, then at least providing a powerful reinforcement to the idea that women as wives are impediments to male self-realisation” with characters who “reappear, with the monotonous regularity of the weekly wash, as stereotyped and passive suburban housewives” (87-88). All this changed, however, with the arrival of second wave feminism leading to a proliferation of stories of female exodus from the suburbs. A considered portrait of the life of the suburban female in suburbia was neglected in favour of a narrative journey; a trend attributable in part to a feminist polemic that granted her freedom, adventure, and a story so long as she did not dare choose to stay. During the second wave feminism of the 1970s and 1980s, women were urged by leading figures such as Betty Friedan and Germaine Greer to abandon ascribed roles of housewife and mother, led typically in the suburbs, in pursuit of new freedoms and adventures. As Lesley Johnson and Justine Lloyd note, “in exhorting women to ‘leave home’ and find their fulfillment in the world of work, early second wave feminists provided a life story through which women could understand themselves as modern individuals” (154) and it is this “life story” which recurs in women’s fiction of the time. Women writers, many of whom identified as feminist, mirrored these trajectories of flight from suburbia in their novels, transplanting the suburban female from her suburban setting to embark upon “new” narratives of self-discovery. The impact of second wave feminism upon the literary output of Australian women writers during the 1970s and 1980s has been firmly established by feminist scholars Johnson, Lloyd, Lake, and Susan Sheridan, who were also active participants in the movement. Sheridan argues that there has been a strong “relationship of women’s cultural production to feminist ideas and politics” (Faultlines xi) and Johnson identifies a “history of feminism as an awakening” at the heart of these “life stories” (11). Citing Mary Morris, feminist Janet Woolf remarks flight as a means by which a feminine history of stagnation is remedied: “from Penelope to the present, women have waited… If we grow weary of waiting, we can go on a journey” (xxii). The appeal of these narratives may lie in attempts by their female protagonists to find new ways of being outside the traditional limits of a domestic, commonly suburban, existence. Flight, or movement, features as a recurrent narrative mode by which these alternative realities are configured, either by mimicking or subverting traditional narrative forms. Indeed, selection of the appropriate narrative form for these emancipatory journeys differed between writers and became the subject of vigorous, feminist and literary debate. For some feminists, the linear narrative was the only true path to freedom for the female protagonist. Following the work of Carolyn G. Heilbrun and Elaine Showalter, Joy Hooton observes how some feminist critics privileged “the integrated ego and the linear destiny, regarding women’s difference in self-realization as a failure or deprivation” (90). Women writers such as Barbara Hanrahan adopted the traditional linear trajectory, previously reserved for the male protagonist as bushman or soldier, explorer or drifter, to liberate the “suburban female”. These stories feature the female protagonist trading a stultifying life in the suburbs for the city, overseas or, less typically, the outback. During these geographical journeys, she is transformed from her narrow suburban self to a more actualised, worldly self in the mode of a traditional, linear Bildungsroman. For example, Hanrahan’s semi-autobiographical debut The Scent of Eucalyptus (1973) is a story of escape from oppressive suburbia, “concentrating on that favourite Australian theme, the voyage overseas” (Gelder and Salzman, Diversity 63). Similarly, Sea-green (1974) features a “rejection of domestic drabness in favour of experience in London” (Goodwin 252) and Kewpie Doll (1984) is another narrative of flight from the suburbs, this time via pursuit of “an artistic life” (253). In these and other novels, the act of relocation to a specific destination is necessary to transformation, with the inference that the protagonist could not have become what she is at the end of the story without first leaving the suburbs. However, use of this linear narrative, which is also coincidentally anti-suburban, was criticised by Summers (86) for being “masculinist”. To be truly free, she argued, the female protagonist needed to forge her own unique paths to liberation, rather than relying on established masculine lines. Evidence of a “new” non-linear narrative in novels by women writers was interpreted by feminist and literary scholars Gillian Whitlock, Margaret Henderson, Ann Oakley, Sheridan, Johnson, and Summers, as an attempt to capture the female experience more convincingly than the linear form that had been used to recount stories of the journeying male as far back as Homer. Typifying the link between the second wave feminism and fiction, Helen Garner’s Monkey Grip features Nora’s nomadic, non-linear “flights” back and forth across Melbourne’s inner suburbs. Nora’s promiscuity belies her addiction to romantic love that compromises her, even as she struggles to become independent and free. In this way, Nora’s quest for freedom­—fragmented, cyclical, repetitive, impeded by men— mirrors Garner’s “attempt to capture certain areas of female experience” (Gelder and Salzman, Diversity 55), not accessible via a linear narrative. Later, in Honour and Other People’s Children (1980) and The Children’s Bach (1984), the protagonists’ struggles to achieve self-actualisation within a more domesticated, family setting perhaps cast doubt on the efficacy of the feminist call to abandon family, motherhood, and all things domestic in preference for the masculinist tradition of emancipatory flight. Pam Gilbert, for instance, reads The Children’s Bach as “an extremely perceptive analysis of a woman caught within spheres of domesticity, nurturing, loneliness, and sexuality” (18) via the character of “protected suburban mum, Athena” (19). The complexity of this characterisation of a suburban female belies the anti-suburban critique by not resorting to satire or stereotype, but by engaging deeply with a woman’s life inside suburbia. It also allows that flight from suburbia is not always possible, or even desired. Also seeming to contradict the plausibility of linear flight, Jessica Anderson’s Tirra Lirra by the River (1978), features (another) Nora returning to her childhood Brisbane after a lifetime of flight; first from her suburban upbringing and then from a repressive marriage to the relative freedoms of London. The poignancy of the novel, set towards the end of the protagonist’s life, rests in Nora’s inability to find a true sense of belonging, despite her migrations. She “has spent most of her life waiting, confined to houses or places that restrict her, places she feels she does not belong to, including her family home, the city of Brisbane, her husband’s house, Australia itself” (Gleeson-White 184). Thus, although Nora’s life can be read as “the story of a very slow emergence from a doomed attempt to lead a conventional, married life… into an independent existence in London” (Gelder and Salzman, Diversity 65), the novel suggests that the search for belonging—at least for Australian women—is problematic. Moreover, any narrative of female escape from suburbia is potentially problematic due to the gendering of suburban experience as feminine. The suburban female who leaves suburbia necessarily rejects not only her “natural” place of belonging, but domesticity as a way of being and, to some extent, even her sex. In her work on memoir, Hooton identifies a stark difference between the shape of female and male biography to argue that women’s experience of life is innately non-linear. However, the use of non-linear narrative by feminist fiction writers of the second wave was arguably more conscious, even political in seeking a new, untainted form through which to explore the female condition. It was a powerful notion, arguably contributing to a golden age of women’s writing by novelists Helen Garner, Barbara Hanrahan, Jessica Anderson, and others. It also exerted a marked effect on fiction by Kate Grenville, Amanda Lohrey, and Janette Turner Hospital, as well as grunge novelists, well into the 1990s. By contrast, other canonical, albeit older, women writers of the time, Thea Astley and Elizabeth Jolley, neither of whom identified as feminist (Fringe 341; Neuter 196), do not seek to “rescue” the suburban female from her milieu. Like Patrick White, Astley seems, at least superficially, to perpetuate narrow stereotypes of the suburban female as “mindless consumers of fashion” and/or “signifiers of sexual disorder” (Sheridan, Satirist 262). Although flight is permitted those female characters who “need to ‘vanish’ if they are to find some alternative to narrow-mindedness and social oppression” (Gelder and Salzman, Celebration 186), it has little to do with feminism. As Brian Matthews attests of Astley’s work, “nothing could be further from the world-view of the second wave feminist writers of the 1980s” (76) and indeed her female characters are generally less sympathetic than those inhabiting novels by the “feminist” writers. Jolley also leaves the female protagonist to fend for herself, with a more optimistic, forceful vision of “female characters who, in their sheer eccentricity, shed any social expectations” to inhabit “a realm empowered by the imagination” (Gelder and Salzman, Celebration 194). If Jolley’s suburban females desire escape then they must earn it, not by direct or shifting relocations, but via other, more extreme and often creative, modes of transformation. These two writers however, were exceptional in their resistance to the influence of second wave feminism. Thus, three narrative categories emerge in which the suburban female may be transformed: linear flight from suburbia, non-linear flight from suburbia, or non-flight whereby the protagonist remains inside suburbia throughout the entire novel. Evidence of a rejection of the flight narrative by contemporary Australian women writers may signal a re-examination of the suburban female within, not outside, her suburban setting. It may also reveal a weakening of the influence of both second wave feminism and anti-suburban critiques on this much maligned character of Australian fiction, and on suburbia as a fictional setting. References Anderson, Jessica. Tirra Lirra by the River. Melbourne: Macmillan, 1978. Astley, Thea. “Writing as a Neuter: Extracts from Interview by Candida Baker.” Eight Voices of the Eighties: Stories, Journalism and Criticism by Australian Women Writers. Ed. Gillian Whitlock. St Lucia, Qld: U of Queensland P, 1989. 195-6. Durez, Jean. “Laminex Dreams: Women, Suburban Comfort and the Negation of Meanings.” Meanjin 53.1 (1994): 99-110. During, Simon. Patrick White. Melbourne: Oxford UP, 1996. Friedan, Betty. The Feminine Mystique. Harmondsworth, Middlesex: Penguin, 1965. Garner, Helen. Honour and Other People’s Children. Ringwood, Vic.: Penguin, 1982. ———. The Children’s Bach. Melbourne: McPhee Gribble, 1984. ———. Monkey Grip. Camberwell, Vic.: Penguin, 2009. Gelder, Ken, and Paul Salzman. The New Diversity. Melbourne: McPhee Gribble, 1989. ———. After the Celebration. Melbourne: UP, 2009. Gerster, Robin. “Gerrymander: The Place of Suburbia in Australian Fiction.” Meanjin 49.3 (1990): 565-75. Gilbert, Pam. Coming Out from Under: Contemporary Australian Women Writers. London: Pandora Press, 1988. Gleeson-White, Jane. Australian Classics: 50 Great Writers and Their Celebrated Works. Sydney: Allen & Unwin, 2007. Goodwin, Ken. A History of Australian Literature. Basingstoke: Macmillan Education, 1986. Greer, Germain. The Female Eunuch. London: Granada, 1970. Hanrahan, Barbara. The Scent of Eucalyptus. St Lucia, Qld: U of Queensland P, 1973. ———. Sea-Green. London: Chatto & Windus, 1974. ———. Kewpie Doll. London: Hogarth Press, 1989. Hooton, Joy. Stories of Herself When Young: Autobiographies of Childhood by Australian Women Writers. Melbourne: Oxford UP, 1990. Ireland, David. The Glass Canoe. Melbourne: Macmillan, 1976. Johnson, Lesley. The Modern Girl: Girlhood and Growing Up. Sydney: Allen & Unwin, 1993. ———, and Justine Lloyd. Sentenced to Everyday Life: Feminism and the Housewife. New York: Berg, 2004. Johnston, George. My Brother Jack. London: Collins/Fontana, 1967. Jolley, Elizabeth. “Fringe Dwellers: Extracts from Interview by Jennifer Ellison.” Eight Voices of the Eighties: Stories, Journalism and Criticism by Australian Women Writers. Ed. Gillian Whitlock. St Lucia, Qld: U of Queensland P, 1989. 334-44. Kirkby, Joan. “The Pursuit of Oblivion: In Flight from Suburbia.” Australian Literary Studies 18.4 (1998): 1-19. Lake, Marilyn. Getting Equal: The History of Australian Feminism. St Leonards, NSW: Allen & Unwin, 1999. McCann, Andrew. “Decomposing Suburbia: Patrick White’s Perversity.” Australian Literary Studies 18.4 (1998): 56-71. Matthews, Brian. “Before Feminism… After Feminism.” Thea Astley’s Fictional Worlds. Eds. Susan Sheridan and Paul Genoni. Newcastle: Cambridge Scholars Press, 2006. 72-6. Rowse, Tim. Australian Liberalism and National Character. Melbourne: Kibble Books, 1978. Saegert, Susan. “Masculine Cities and Feminine Suburbs: Polarized Ideas, Contradictory Realities.” Signs 5.3 (1990): 96-111. Sheridan, Susan. Along the Faultlines: Sex, Race and Nation in Australian Women’s Writing 1880s–1930s. St Leonards, NSW: Allen & Unwin, 1995. ———. “Reading the Women’s Weekly: Feminism, Femininity and Popular Culture.” Transitions: New Australian Feminisms. Eds. Barbara Caine and Rosemary Pringle. St Leonards, NSW: Allen & Unwin, 1995. ———. "Thea Astley: A Woman among the Satirists of Post-War Modernity." Australian Feminist Studies 18.42 (2003): 261-71. Sowden, Tim. “Streets of Discontent: Artists and Suburbia in the 1950s.” Beasts of Suburbia: Reinterpreting Cultures in Australian Suburbs. Eds. Sarah Ferber, Chris Healy, and Chris McAuliffe. Melbourne: Melbourne UP, 1994. 76-93. Stead, Christina. For Love Alone. Sydney: Collins/Angus and Robertson, 1990. Summers, Anne. Damned Whores and God’s Police. Melbourne: Penguin, 2002. White, Patrick. The Tree of Man. London: Eyre & Spottiswoode, 1956. ———. A Fringe of Leaves. Harmondsworth: Penguin Books, 1977. Wolff, Janet. Resident Alien: Feminist Cultural Criticism. Cambridge: Polity Press, 1995.

This year marks several anniversary milestones of an eminent Australian and Medal of the Order of Australia (OAM) recipient, Dr Geoffrey James Cornish MBBS, abbreviated as GC throughout this letter. GC is especially renowned for a long and esteemed career in medicine, and for playing an integral, real-life role as a prisoner-of-war (POW) in World War II’s tragic "Great Escape", upon which the popular 1963 movie is based. Several journalistic and literary works (cited later) that celebrate and underscore GC’s remarkable life/professional career have previously been published through or in association with: the Aircrew Association, the Australian Broadcasting Corporation, Australian ex-POW Associations, the Australians at war film archive, an authorised biography, a community radio interview of a Cornish Family member, a historiographer’s (class) treatise, the Royal Australian Air Force (RAAF), various newspapers, and 60 Minutes Australia. The esteemed medical career of GC includes, but is certainly not limited to, innovations in cardiac rehabilitation and anaesthetics, as well the establishment of vital Red Cross blood banks throughout regional Australia, all having significant community impact. Indeed, GC’s life of service, that extended into his eighties, contains many other dimensions and achievements of distinction which this letter briefly summarises. Additionally, original to this letter are ten short audio messages of inspiration from GC that the first Author recorded almost 20 years ago and which to best knowledge have until now never been publically released. While other more formal audio recordings of GC are available online (e.g., award acceptance speech, interview), the audio recordings of this letter are unique in their manner of personal articulation, especially towards those within his famed walking program, and the manner in which they exude the optimism and warmth that were synonymous with GC. Along with the aforementioned life summary and audio recordings, the letter also contains memoirs and photographs donated by the Cornish Family (via the second Author, daughter of GC), and subtly explores the spirituality of the quietly determined and modest man that was GC. The primary GC milestone falling in 2021 is the 100th year birthday (June) anniversary, but this year also coincides with 80th and 75th year anniversaries of respective capture as a POW whilst a Captain in the Royal Air Force (RAF), and returning to Australia to commence medical studies. Perhaps fittingly, the 100th year birthday anniversary is shared with the 2021 service centenary of the RAAF which in 1939 processed GC’s service application on behalf of the RAF. However, this socially significant letter in no way aims to glorify its unavoidable war aspect, but instead glorifies faith and humanity, as well as the strength of a man constituted by caring and generosity towards others, found within the confines of such conflict and other adversities. In a perfectly succinct narrative, journalist Tara Brown of 60 Minutes Australia describes in [1] GC’s life as a touching and inspirational story of humble heroism and enduring spirit resembling an adventure novel, but being far more fascinating than any work of fiction.

‘Historiographic Metafiction’ (HM) is a literary term first coined by creative writing academic Linda Hutcheon in 1988, and which refers to the postmodern practice of a fiction author inserting imagined--or illegitimate--characters into narratives that are intended to be received as authentic and historically accurate, that is, ostensibly legitimate. Such adventurous and bold authorial strategies frequently result in “novels which are both intensely self-reflexive and yet paradoxically also lay claim to historical events and personages” (Hutcheon, A Poetics 5). They can be so entertaining and engaging that the overtly intertextual, explicitly inventive work of biographical HM can even change the “hegemonic discourse of history” (Nunning 353) for, as Philippa Gregory, the author of HM novel The Other Boleyn Girl (2001), has said regarding this genre of creative writing: “Fiction is about imagined feelings and thoughts. History depends on the outer life. The novel is always about the inner life. Fiction can sometimes do more than history. It can fill the gaps” (University of Sussex). In a way, this article will be filling one of the gaps regarding HM.Forrest Gump (Robert Zemeckis, 1994) is possibly the best known cinematic example of HM, and this film version of the 1986 novel by Winston Groom particularly excels in seamlessly inserting images of a fictional character into verified history, as represented by well-known television newsreel footage. In Zemeckis’s adaptation, gaps were created in the celluloid artefact and filled digitally with images of the actor, Tom Hanks, playing the eponymous role. Words are often deemed less trustworthy than images, however, and fiction is considered particularly unreliable--although there are some exceptions conceded. In addition to Gregory’s novel; Midnight’s Children (1980) by Salman Rushdie; The Name of the Rose (1983) by Umberto Eco; and The Flashman Papers (1969-2005) by George MacDonald Fraser, are three well-known, loved and lauded examples of literary HM, which even if they fail to convince the reader of their bona fides, nevertheless win a place in many hearts. But despite the genre’s popularity, there is nevertheless a conceptual gap in the literary theory of Hutcheon given her (perfectly understandable) inability in 1988 to predict the future of e-publishing. This article will attempt to address that shortcoming by exploring the potential for authors of HM e-novels to use hyperlinks which immediately direct the reader to fact providing webpages such as those available at the website Wikipedia, like a much speedier (and more independent) version of the footnotes in Fraser’s Flashman novels.Of course, as Roland Barthes declared in 1977, “the text is a tissue of quotations drawn from innumerable centres of culture” (146) and, as per any academic work that attempts to contribute to knowledge, a text’s sources--its “quotations”--must be properly identified and acknowledged via checkable references if credibility is to be securely established. Hence, in explaining the way claims to fact in the HM novel can be confirmed by independently published experts on the Internet, this article will also address the problem Hutcheon identifies, in that for many readers the entirety of the HM novel assumes questionable authenticity, that is, the novel’s “meta-fictional self-reflexivity (and intertextuality) renders their claims to historical veracity somewhat problematic, to say the least” ("Historiographic Metafiction: Parody", 3). This article (and the PhD in creative writing I am presently working on at Murdoch University in Perth, Western Australia) will possibly develop the concept of HM to a new level: one at which the Internet-connected reader of the hyperlinked e-novel is made fully (and even instantly) aware of those literary elements of the narrative that are legitimate and factual as distinct from those that are fictional, that is, illegitimate. Furthermore, utilising examples from my own (yet-to-be published) hyperlinked HM e-novel, this article demonstrates that such hyperlinking can add an ironic sub-text to a fictional character’s thoughts and utterances, through highlighting the reality concerning their mistaken or naïve beliefs, thus creating HM narratives that serve an entertainingly complex yet nevertheless truly educational purpose.As a relatively new and under-researched genre of historical writing, HM differs dramatically from the better known style of standard historical or biographical narrative, which typically tends to emphasise mimesis, the cataloguing of major “players” in historical events and encyclopaedic accuracy of dates, deaths and places. Instead, HM involves the re-contextualisation of real-life figures from the past, incorporating the lives of entirely (or, as in the case of Gregory’s Mary Boleyn, at least partly) fictitious characters into their generally accepted famous and factual activities, and/or the invention of scenarios that gel realistically--but entertainingly--within a landscape of well-known and well-documented events. As Hutcheon herself states: “The formal linking of history and fiction through the common denominators of intertextuality and narrativity is usually offered not as a reduction, as a shrinking of the scope and value of fiction, but rather as an expansion of these” ("Intertextuality", 11). Similarly, Gregory emphasises the need for authors of HM to extend themselves beyond the encyclopaedic archive: “Archives are not history. The trouble with archives is that the material is often random and atypical. To have history, you have to have a narrative” (University of Sussex). Functionally then, HM is an intertextual narrative genre which serves to communicate to a contemporary audience an expanded story or stories of the past which present an ultimately more self-reflective, personal and unpredictable authorship: it is a distinctly auteurial mode of biographical history writing for it places the postmodern author’s imaginative “signature” front and foremost.Hutcheon later clarified that the quest for historical truth in fiction cannot possibly hold up to the persuasive powers of a master novelist, as per the following rationale: “Fact is discourse-defined: an event is not” ("Historiographic Metafiction", 843). This means, in a rather simplistic nutshell, that the new breed of HM novel writer is not constrained by what others may call fact: s/he knows that the alleged “fact” can be renegotiated and redefined by an inventive discourse. An event, on the other hand, is responsible for too many incontrovertible consequences for it to be contested by her/his mere discourse. So-called facts are much easier for the HM writer to play with than world changing events. This notion was further popularised by Ansgar Nunning when he claimed the overtly explicit work of HM can even change the “hegemonic discourse of history” (353). HM authors can radically alter, it seems, the way the reader perceives the facts of history especially when entertaining, engaging and believable characters are deliberately devised and manipulated into the narrative by the writer. Little wonder, then, that Hutcheon bemoans the unfortunate reality that for many readers the entirety of a HM work assumes questionable “veracity” due to its author’s insertion of imaginary and therefore illegitimate personages.But there is an advantage to be found in this, the digital era, and that is the Internet’s hyperlink. In our ubiquitously networked electronic information age, novels written for publication as e-books may, I propose, include clickable links on the names of actual people and events to Wikipedia entries or the like, thus strengthening the reception of the work as being based on real history (the occasional unreliability of Wikipedia notwithstanding). If picked up for hard copy publication this function of the HM e-novel can be replicated with the inclusion of icons in the printed margins that can be scanned by smartphones or similar gadgets. This small but significant element of the production reinforces the e-novel’s potential status as a new form of HM and addresses Hutcheon’s concern that for HM novels, their imaginative but illegitimate invention of characters “renders their claims to historical veracity somewhat problematic, to say the least” ("Historiographic Metafiction: Parody", 3).Some historic scenarios are so little researched or so misunderstood and discoloured by the muddy waters of time and/or rumour that such hyperlinking will be a boon to HM writers. Where an obscure facet of Australian history is being fictionalised, for example, these edifying hyperlinks can provide additional background information, as Glenda Banks and Martin Andrew might have wished for when they wrote regarding Bank’s Victorian goldfields based HM novel A Respectable Married Woman. This 2012 printed work explores the lives of several under-researched and under-represented minorities, such as settler women and Aboriginal Australians, and the author Banks lamented the dearth of public awareness regarding these peoples. Indeed, HM seems tailor-made for exposing the subaltern lives of those repressed individuals who form the human “backdrop” to the lives of more famous personages. Banks and Andrew explain:To echo the writings of Homi K. Bhaba (1990), this sets up a creative site for interrogating the dominant, hegemonic, ‘normalised’ master narratives about the Victorian goldfields and ‘re-membering’ a marginalised group - the women of the goldfields, the indigenous [sic], the Chinese - and their culture (2013).In my own hyperlinked short story (presently under consideration for publishing elsewhere), which is actually a standalone version of the first chapter of a full-length HM e-novel about Aboriginal Australian activists Eddie Mabo and Chicka Dixon and the history of the Aboriginal Tent Embassy in Canberra, entitled The Bullroarers, I have focussed on a similarly under-represented minority, that being light-complexioned, mixed race Aboriginal Australians. My second novel to deal with Indigenous Australian issues (see Starrs, That Blackfella Bloodsucka Dance), it is my first attempt at writing HM. Hopefully avoiding overkill whilst alerting readers to those Wikipedia pages with relevance to the narrative theme of non-Indigenous attitudes towards light-complexioned Indigenous Australians, I have inserted a total of only six hyperlinks in this 2200-word piece, plus the explanatory foreword stating: “Note, except where they are well-known place names or are indicated as factual by the insertion of Internet hyperlinks verifying such, all persons, organisations, businesses and places named in this text are entirely fictitious.”The hyperlinks in my short story all take the reader not to stubs but to well-established Wikipedia pages, and provide for the uninformed audience the following near-unassailable facts (i.e. events):The TV program, A Current Affair, which the racist character of the short story taken from The Bullroarers, Mrs Poulter, relies on for her prejudicial opinions linking Aborigines with the dealing of illegal drugs, is a long-running, prime-time Channel Nine production. Of particular relevance in the Wikipedia entry is the comment: “Like its main rival broadcast on the Seven Network, Today Tonight, A Current Affair is often considered by media critics and the public at large to use sensationalist journalism” (Wikipedia, “A Current Affair”).The Aboriginal Tent Embassy, located on the lawns opposite the Old Parliament House in Canberra, was established in 1972 and ever since has been the focus of Aboriginal Australian land rights activism and political agitation. In 1995 the Australian Register of the National Estate listed it as the only Aboriginal site in Australia that is recognised nationally for representing Aboriginal and Torres Strait Islander people and their political struggles (Wikipedia, “The Aboriginal Tent Embassy”).In 1992, during an Aboriginal land rights case known as Mabo, the High Court of Australia issued a judgment constituting a direct overturning of terra nullius, which is a Latin term meaning “land belonging to no one”, and which had previously formed the legal rationale and justification for the British invasion and colonisation of Aboriginal Australia (Wikipedia, “Terra Nullius”).Aboriginal rights activist and Torres Strait Islander, Eddie Koiki Mabo (1936 to 1992), was instrumental in the High Court decision to overturn the doctrine of terra nullius in 1992. In that same year, Eddie Mabo was posthumously awarded the Australian Human Rights Medal in the Human Rights and Equal Opportunity Commission Awards (Wikipedia, “Eddie Mabo”).The full name of what Mrs Poulter blithely refers to as “the Department of Families and that” is the Australian Government’s Department of Families, Housing, Community Services and Indigenous Affairs (Wikipedia, “The Department of Families, Housing, Community Services and Indigenous Affairs”).The British colonisation of Australia was a bloody, murderous affair: “continuous Aboriginal resistance for well over a century belies the ‘myth’ of peaceful settlement in Australia. Settlers in turn often reacted to Aboriginal resistance with great violence, resulting in numerous indiscriminate massacres by whites of Aboriginal men, women and children” (Wikipedia, “History of Australia (1788 - 1850)”).Basically, what is not evidenced empirically with regard to the subject matter of my text, that is, the egregious attitudes of non-Indigenous Australians towards Indigenous Australians, can be extrapolated thanks to the hyperlinks. This resonates strongly with Linda Tuhiwai Smith’s assertion in 2012 that those under-represented by mainstream, patriarchal epistemologies need to be engaged in acts of “reclaiming, reformulating and reconstituting” (143) so as to be re-presented as authentic identities in these HM artefacts of literary research.Exerting auteurial power as an Aboriginal Australian author myself, I have sought to imprint on my writing a multi-levelled signature pertaining to my people’s under-representation: there is not just the text I have created but another level to be considered by the reader, that being my careful choice of Wikipedia pages to hyperlink certain aspects of the creative writing to. These electronic footnotes serve as politically charged acts of “reclaiming, reformulating and reconstituting” Aboriginal Australian history, to reuse the words of Smith, for when we Aboriginal Australian authors reiterate, when we subjugated savages wrestle the keyboard away from the colonising overseers, our readers witness the Other writing back, critically. As I have stated previously (see Starrs, "Writing"), receivers of our words see the distorted and silencing master discourse subverted and, indeed, inverted. Our audiences are subjectively repositioned to see the British Crown as the monster. The previously presumed rational, enlightened and civil coloniser is instead depicted as the author and perpetrator of a violently racist, criminal discourse, until, eventually, s/he is ultimately eroded and made into the Other: s/he is rendered the villainous, predatory savage by the auteurial signatures in revisionist histories such as The Bullroarers.Whilst the benefit in these hyperlinks as electronic educational footnotes in my short story is fairly obvious, what may not be so obvious is the ironic commentary they can make, when read in conjunction with the rest of The Bullroarers. Although one must reluctantly agree with Wayne C. Booth’s comment in his classic 1974 study A Rhetoric of Irony that, in some regards, “the very spirit and value [of irony] are violated by the effort to be clear about it” (ix), I will nevertheless strive for clarity and understanding by utilizing Booth’s definition of irony “as something that under-mines clarities, opens up vistas of chaos, and either liberates by destroying all dogmas or destroys by revealing the inescapable canker of negation at the heart of every affirmation” (ix). The reader of The Bullroarers is not expecting the main character, Mrs Poulter, to be the subject of erosive criticism that destroys her “dogmas” about Aboriginal Australians--certainly not so early in the narrative when it is unclear if she is or is not the protagonist of the story--and yet that’s exactly what the hyperlinks do. They expose her as hopelessly unreliable, laughably misinformed and yes, unforgivably stupid. They reveal the illegitimacy of her beliefs. Perhaps the most personally excoriating of these revelations is provided by the link to the Wikipedia entry on the Australian Government’s Department of Families, Housing, Community Services and Indigenous Affairs, which is where her own daughter, Roxy, works, but which Mrs Poulter knows, gormlessly, as “the Department of Families and that”. The ignorant woman spouts racist diatribes against Aboriginal Australians without even realising how inextricably linked she and her family, who live at the deliberately named Boomerang Crescent, really are. Therein lies the irony I am trying to create with my use of hyperlinks: an independent, expert adjudication reveals my character, Mrs Poulter, and her opinions, are hiding an “inescapable canker of negation at the heart of every affirmation” (Booth ix), despite the air of easy confidence she projects.Is the novel-reading public ready for these HM hyperlinked e-novels and their potentially ironic sub-texts? Indeed, the question must be asked: can the e-book ever compete with the tactile sensations a finely crafted, perfectly bound hardcover publication provides? Perhaps, if the economics of book buying comes into consideration. E-novels are cheap to publish and cheap to purchase, hence they are becoming hugely popular with the book buying public. Writes Mark Coker, the founder of Smashwords, a successful online publisher and distributor of e-books: “We incorporated in 2007, and we officially launched the business in May 2008. In our first year, we published 140 books from 90 authors. Our catalog reached 6,000 books in 2009, 28,800 in 2010, 92,000 in 2011, 191,000 in 2012 and as of this writing (November 2013) stands at over 250,000 titles” (Coker 2013). Coker divulged more about his company’s success in an interview with Forbes online magazine: “‘It costs essentially the same to pump 10,000 new books a month through our network as it will cost to do 100,000 a month,’ he reasons. Smashwords book retails, on average, for just above $3; 15,000 titles are free” (Colao 2012).In such a burgeoning environment of technological progress in publishing I am tempted to say that yes, the time of the hyperlinked e-novel has come, and to even predict that HM will be a big part of this new wave of postmodern literature. The hyperlinked HM e-novel’s strategy invites the reader to reflect on the legitimacy and illegitimacy of different forms of narrative, possibly concluding, thanks to ironic electronic footnoting, that not all the novel’s characters and their commentary are to be trusted. Perhaps my HM e-novel will, with its untrustworthy Mrs Poulter and its little-known history of the Aboriginal Tent Embassy addressed by gap-filling hyperlinks, establish a legitimising narrative for a people who have traditionally in white Australian society been deemed the Other and illegitimate. Perhaps The Bullroarers will someday alter attitudes of non-Indigenous Australians to the history and political activities of this country’s first peoples, to the point even, that as Nunning warns, we witness a change in the “hegemonic discourse of history” (353). If that happens we must be thankful for our Internet-enabled information age and its concomitant possibilities for hyperlinked e-publications, for technology may be separated from the world of art, but it can nevertheless be effectively used to recreate, enhance and access that world, to the extent texts previously considered illegitimate achieve authenticity and veracity.ReferencesBanks, Glenda. A Respectable Married Woman. Melbourne: Lacuna, 2012.Banks, Glenda, and Martin Andrew. “Populating a Historical Novel: A Case Study of a Practice-led Research Approach to Historiographic Metafiction.” Bukker Tillibul 7 (2013). 19 Sep. 2014 ‹http://bukkertillibul.net/Text.html?VOL=7&INDEX=2›.Barthes, Roland. Image, Music, Text. Trans. Stephen Heath. London: Fontana Press, 1977.Booth, Wayne C. A Rhetoric of Irony. Chicago: U of Chicago P, 1974.Colao, J.J. “Apple’s Biggest (Unknown) Supplier of E-books.” Forbes 7 June 2012. 19 Sep. 2014 ‹http://www.forbes.com/sites/jjcolao/2012/06/07/apples-biggest-unknown-supplier-of-e-books/›.Coker, Mark. “Q & A with Smashwords Founder, Mark Coker.” About Smashwords 2013. 19 Sep. 2014 ‹https://www.smashwords.com/about›.Eco, Umberto. The Name of the Rose. Trans. William Weaver, San Diego: Harcourt, 1983.Forrest Gump. Dir. Robert Zemeckis. Paramount Pictures, 1994.Fraser, George MacDonald. The Flashman Papers. Various publishers, 1969-2005.Groom, Winston. Forrest Gump. NY: Doubleday, 1986.Gregory, Philippa. The Other Boleyn Girl. UK: Scribner, 2001.Hutcheon, Linda. A Poetics of Postmodernism: History, Theory, Fiction, 2nd ed. Abingdon, UK: Taylor and Francis, 1988.---. “Intertextuality, Parody, and the Discourses of History: A Poetics of Postmodernism History, Theory, Fiction.” 1988. 19 Sep. 2014 ‹http://ieas.unideb.hu/admin/file_3553.pdf›.---. “Historiographic Metafiction: Parody and the Intertextuality of History.” Eds. P. O’Donnell and R.C. Davis, Intertextuality and Contemporary American Fiction. Baltimore, Maryland: John Hopkins UP, 1989. 3-32.---. “Historiographic Metafiction.” Ed. Michael McKeon, Theory of the Novel: A Historical Approach Baltimore, Maryland: Johns Hopkins UP, 2000. 830-50.Nunning, Ansgar. “Where Historiographic Metafiction and Narratology Meet.” Style 38.3 (2004): 352-75.Rushdie, Salman. Midnight’s Children. London: Jonathan Cape, 1980.Starrs, D. Bruno. That Blackfella Bloodsucka Dance! Saarbrücken, Germany: Just Fiction Edition (paperback), 2011; Starrs via Smashwords (e-book), 2012.---. “Writing Indigenous Vampires: Aboriginal Gothic or Aboriginal Fantastic?” M/C Journal 17.4 (2014). 19 Sep. 2014 ‹http://journal.media-culture.org.au/index.php/mcjournal/article/viewArticle/834›.Tuhiwai Smith, Linda. Decolonizing Methodologies. London & New York: Zed Books, 2012.University of Sussex. “Philippa Gregory Fills the Historical Gaps.” University of Sussex Alumni Magazine 51 (2012). 19 Sep. 2014 ‹http://www.scribd.com/doc/136033913/University-of-Sussex-Alumni-Magazine-Falmer-issue-51›.Wikipedia. “A Current Affair.” 2014. 19 Sep. 2014 ‹http://en.wikipedia.org/wiki/A_Current_Affair›.---. “Aboriginal Tent Embassy.” 2014. 19 Sep. 2014 ‹http://en.wikipedia.org/wiki/Aboriginal_Tent_Embassy›.---. “Department of Families, Housing, Community Services and Indigenous Affairs.” 2014. 19 Sep. 2014 ‹http://en.wikipedia.org/wiki/Department_of_Families,_Housing,_Community_Services_and_Indigenous_Affairs›.---. “Eddie Mabo.” 2014. 19 Sep. 2014 ‹http://en.wikipedia.org/wiki/Eddie_Mabo›.---. “History of Australia (1788 – 1850).” 2014. 19 Sep. 2014 ‹http://en.wikipedia.org/wiki/History_of_Australia_(1788%E2%80%931850)#Aboriginal_resistance›.---. “Terra Nullius.” 2014. 19 Sep. 2014 ‹http://en.wikipedia.org/wiki/Terra_nullius›.

Abstract Background Evidence showed that mental health literacy reduces stigma and promotes help-seeking intentions. This study provides a bibliometric analysis of global research activity on mental health literacy. A bibliometric method was applied using Scopus. The term “mental health literacy” was searched in the title, abstract, and author keywords for the study period from 1900 to 2019. Conventional bibliometric indicators and mapping were generated. Results The search query found 945 documents. The earliest documents were published in 1997. The retrieved documents received an average of 25.3 citations per document and an h-index of 67. Authors from 68 different countries participated in publishing the retrieved documents. Australia ranked first (n=354, 37.5%) followed distantly by the USA (n=172, 18.2%). In total, 362 different journals participated in publishing the retrieved documents. The Australian and New Zealand Journal of Psychiatry (n=43, 11.8%) ranked first followed by the BMC Psychiatry (n=40, 11.0%). Documents published in the BMC Psychiatry journal received the highest number (60.4) of citations per document. In total, 3906 authors participated in publishing the retrieved documents. The average number of authors per document was 4.1. Jorm, A.F ranked first (n=96, 10.2%). Data analysis indicated that the University of Melbourne (n=136, 14.1%) ranked first in the number of publications. Conclusions Literature on “mental health literacy” is growing rapidly mainly in high-income countries. Research collaboration between active countries and low- and middle-income countries is important since many developing countries lack expertise and the infrastructure for mental health literacy research.

Abstract Public interest journalism is an important determinant of health, due to its roles in accountability and holding power to account, empowering communities, and contributing to health literacy. The capacity of public interest journalism to contribute to planetary health and health equity, as well as healthier people, societies, and systems of governance is under attack. Reasons include the collapse of the underpinning business model, the market power of digital platforms, neoliberalism, the rise of authoritarianism, and attacks on press freedom and safety. This paper presents an ecological analysis of the upstream determinants of a healthy and sustainable public interest journalism sector, which is informed by Aboriginal ways of knowing, being and doing, and a decolonising methodology. It also presents a case study of innovation in health-related public interest journalism in Australia, and includes clear calls to action for public health practitioners, researchers and advocates, as well as wider policy making. Key messages Public interest journalism is an important determinant of health. Threats to public interest journalism are a threat to public health. Collaborations strengthen public interest journalism: this presentation provides an example.

This paper examines the careers of two Australian writers who left Sydney for London at the end of the nineteenth century to explore questions of cultural, as well as literary, identity and affiliation. Louise Mack, as a poet, novelist, writer of romances, journalist and war correspondent, combined a fluid sense of national identity with a flexibility in writing across genres and readerships that makes her hard to categorise. Arthur Maquarie’s career as an Australian poet aspiring to fit into an essentially ‘English’ cultural niche provides a model of Anglo-Australianness that appears to fit a conservative model, called somewhat imprecisely from an Australian perspective, expatration - but which nonetheless retains layers of identity and experience which made complete assimilation virtually impossible. At a time when there was no clear or inevitable choice between being British or Australian, it is apparent that these writers never fully renounced (indeed, could not completely lose) either their British heritage or their colonial identity, whether working in commercial or literary milieux. Living and working in London, they were not simply expatriates or exiles, but carriers of complex and often shifting roles and identities that insisted on hybridity. Despite this theoretical hybridity being inevitable to some extent, it is still possible to distinguish between them. The colonial transnational writer’s position is differently inflected from the expatriate’s, as it entails the carrying of several layers of identity without an ideologically driven impulse to assert, renounce or choose between them. By comparison with Maquarie, Louise Mack appears to be far less troubled by notions of cultural identity, whether political or more broadly literary. Her greater mobility between genres, and her lack of any fixed status or position in social or institutional settings of the kind that Maquarie adhered to, correspond to a greater flexibility in her cultural affiliations, and produced a more fluid form of ‘colonial transnational’ identity.