AustLit

'This book is about how new media, and in particular, digital and social media, has changed the world of sports forever. The way fans receive information, communicate and form communities now predominantly lives online.  

'But perhaps even more significant is the evolution of the sports media industry, where digital media has impacted the broader media industry, stimulated new media organisations, changed old media organisations and altered old conventions of journalism in equal measure.

'It is no exaggeration to suggest that new media has turned the sports industry on its head. The implications for this are profound – both exciting and disturbing. So too is the impact on the way we form communities, the quality of news created, the way we receive information and prioritise news and content – all fundamental to our democratic processes and social and political lives.

'This study draws on the expertise of academics, scholars, experts and professionals at the forefront of the sports, media, and journalism fields. Calling upon the worldwide appeal of the sporting industry, this book is a prevailing testament to the pure influence of digital media on ALL parts of society.'

Source : publisher's blurb

'In June 1992 the High Court of Australia ruled in favour of a claim by a group of Indigenous Australians, led by Eddie Koiki Mabo, to customary, “native title” to land. In recognising prior Indigenous occupation of the continent, the Mabo decision shook the foundations of white Australia’s belief in the legitimate settlement of the continent by the British. Indeed, more than any other event in Australia’s legal, political and cultural history, the Mabo decision challenged previous ways of thinking about land, identity, belonging, the nation and history. Now, more than a quarter of a century after Mabo, this book examines the broader impacts of this ground-breaking legal decision on Australian culture and select forms of cultural practice. If Mabo represents a “psychological” turning point (Behrendt), a “paradigm shift” (Collins and Davis) in Australian historical consciousness, if we are meant to be living in “the age of Mabo” (Attwood) or in a “post-Mabo imaginary” (Gelder and Jacobs), how is this shift or this contemporary imaginary being reflected, refracted and articulated in Australian film, fiction, poetry, biography and other forms of cultural expression? To what extent has the discussion and the practice of history, linguistics, anthropology and other branches of the humanities been challenged or transformed by Mabo? While a number of individual studies have focussed on Mabo’s impact on law, politics, film or literature, no single book provides an overview of the diverse impact and discursive influence of Mabo on various fields of artistic endeavour and cultural practice in Australia today. This book fills that gap in literary and cultural enquiry.

'In considering the cultural legacies of the High Court’s landmark decision this book also engages in a critical dialogue with Mabo and post-Mabo discourse. While a number of Indigenous Australians have benefited, legally and politically from the Mabo decision, the majority of Indigenous peoples have gained nothing, materially, from subsequent native title rulings. In honouring Eddie Mabo’s achievement, then, the contributors also recognise that Indigenous sovereignty over the continent was denied by the High Court in Mabo, and that the struggle for the recognition of better and wider land rights recognition – indeed, of First Nations sovereignty, via a treaty, treaties or similar agreements – continues ‘beyond’ Mabo. 

'Keeping such an acknowledgement of Indigenous sovereignty in mind, this interdisciplinary book offers a transnational perspective of Mabo’s cultural legacy by presenting the work of scholars based in Australia, continental Europe and the UK.'

Source : publisher's blurb

'Colonial Australian Women Poets' examines the significant roles of five women poets: Eliza Hamilton Dunlop, Mary Bailey, Caroline Leakey, Emily Manning and Louisa Lawson. The work of these poets can outline the development of women’s poetry in Australia and internationally across the nineteenth century, and their inclusion radically alters current scholarship, rethinking the ways in which women poets, feminist politics, and the legacies of Romanticism relate to colonial poetry. Colonial poetry in Australia has generally been interpreted through a lens of oppositionality or insularity.

'Bush nationalism had come to be considered the essential ‘Australian literature’ and the colonial writings that preceded it have often been viewed as ineffectual precursors. Such masculine nationalist approaches have not acknowledged that colonial Australian women’s poetry represents an intellectually sophisticated, extensively networked and important contribution to the development of Australian poetry. Further, this poetry is often highly politically radical in ways that extend beyond emergent masculine nationalism. Australian literary studies have also typically viewed Romanticism as an absence. The gaps between the scholarship questioning the role of Romanticism in colonial Australian poetry and scholarship concerned with Australian women’s poetry produced at this time also suggests the legacy of Romantic issues around gender and political voice. These women poets were all concerned with what a feminist approach to class and all in various ways reflect ideas of both a class fall and radical social reform, closely associated with concepts of Australia’s relationship to the old world, through Romantic legacies. In positioning women poets from colonial Australia in relation to European and North American movements, this study challenges the dominant cartography of Australian literature’s relationship to Romanticism, as well as considers ways in which their inclusion re-maps Australian literary history. It foregrounds women’s contributions, particularly in assuming and mobilising a political voice, to ‘both’ a transnational Romantic tradition and what Katie Hansord terms a regional Australian Romanticism.

'The poets are examined through a transnational frame, which foregrounds challenges to women’s subjugation, as well as oppression relating to class and race. Since studies of colonial Australian women writers have tended to focus on those writing novels or journals, women’s poetry of the period has received less critical attention. The highly gender-conscious writing of these poets reflects knowledgeable and innovative political dialogues that consistently demonstrate the global context of colonial women’s poetry. These poets often took what may be considered a cosmopolitan approach, which extended beyond British or emergent Australian nationalisms, in which gender was recognised as a unifying category far more than nation or Empire, extending their interests across ancient cultures, including Greek, Roman, as well as Indian, Italian, North American, French and European cultures, and sometimes incorporating discourses around slavery, Indigeneity, and new and old-world dichotomies. These approaches were Anglophone, white and Eurocentric, but the cultural breadth of their feminist approaches often disrupts nationalist modes of thinking, and emergent Australian masculine nationalism specifically, and this is what Hansord means when she uses the term transnational in the book as a whole. Certainly, this transnational framing coincides with imperialist frames and these are operating simultaneously. In the contexts of these women’s writing, these frames are inseparable. This book is concerned with the related historical relationships of women’s political writing and gender to colonialism, literary Romanticism and emerging national identities. Themes explored in this study, demonstrating these poets’ access to a political discourse of gender and class, include abolitionism, Hellenism, eroticism and spiritualism. In prioritising the contributions of women, particularly through print culture, this study seeks to recognise colonial Australian women’s poetry as a transnational literature, politicised by its engagement with imperialist and nationalist discourses at a transnational level.'

Source: Publisher's blurb.

'In 1955 ‘Jedda’ was released in Australian cinemas and the international film world, starring Indigenous actors Rosalie Kunoth and Robert Tudawali. That year Eric Bell watched the film in the Liberty Cinema in Yass. Twelve years later he was dismayed to read a newly erected plaque in the main street of the Yass Valley village of Bowning. It plainly stated that the Ngunnawal people, on whose country Bowning stood, had been wiped out by an epidemic of influenza. The local Shire Council was responsible for the plaque; they also employed Bell’s father. The Bells were Ngunnawal people.

'The central paradox of 'Dispossession and the Making of Jedda (1955)' is the enthusiasm of a pastoral community, made wealthy by the occupation of Ngunnawal land, for a film that addressed directly the continuing legacy of settler-colonialism, a legacy that was playing out in their own relationships with the local Ngunnawal people at the time of their investment in the film. While the local council and state government agencies collaborated to minimize the visibility of Indigenous peoples, and the memory of the colonial violence at the heart of European prosperity, a number of wealthy and high-profile members of this pastoral community actively sought involvement in a film that would bring into focus the aftermath of colonial violence, the visibility of its survivors and the tensions inherent in policies of assimilation and segregation that had characterized the treatment of Ngunnawal people in their lifetimes.

'Based on oral histories, documentary evidence, images and film, 'Dispossession and the Making of Jedda (1955)' explores the themes of colonial nostalgia, national memory and family history. Charles Chauvel’s ‘Jedda’ (1955), a shared artefact of mid-twentieth-century settler-colonialism, is its fulcrum. The book newly locates the story of the genesis of ‘Jedda’ and, in turn, ‘Jedda’ becomes a cultural context and point of reference for the history of race relations it tells.' (Publication summary)

'Recent years have seen the strong development of Neo-Victorian studies, including its theorisation by such scholars as Cora Kaplan, Sally Shuttleworth, Ann Heilmann, Christian Gutleben, Marie-Louise Kohlke, Mark Llewellyn and others. It is a focus that has engaged literary critics from around the globe like Carmen Veronica Borbély (Romania), Susanne Gruß (Germany), Tiffany Gagliardi Trotman (Spain), Hitomi Nakatani (Japan), Agnieszka Matysiak (Poland), Max Duperray (France), Jeanne Ellis (South Africa) and Van Leavenworth (Sweden) to name just a few. [NP] ‘Neo-Gothic Narratives’ defines and theorizes what, exactly, qualifies as such a text, what mobilises the employment of the Gothic to speak to our own times, whether nostalgia plays a role and whether there is room for humour besides the sobriety and horror in these narratives across various media. What attracts us to the Gothic that makes us want to resurrect, reinvent, echo it? Why do we let the Gothic redefine us? Why do we let it haunt us? Does it speak to us through intertexuality, self-reflectivity, metafiction, immersion, affect? Are we reclaiming the history of women and other subalterns in the Gothic that had been denied in other forms of history? Are we revisiting the trauma of English colonisation and seeking national identity? Or are we simply tourists who enjoy cruising through the otherworld? The essays in this volume investigate both the readerly experience of Neo-Gothic narratives as well as their writerly pastiche.'

Source : publisher's blurb

'‘Remembering Popular Music’s Past’ capitalises on the growing interest, globally, in the preservation of popular music’s material past and on scholarly explorations of the ways in which popular music, as heritage, is produced, legitimised and conferred cultural and historical significance. The chapters in this collection consider the spaces, practices and representations that constitute popular music heritage in order to elucidate how popular music’s past is lived in the present. Thus the focus is on the transformation of popular music into heritage, and the role of history and memory in this transformation. The collection is particularly interested in the ways in which popular music’s past becomes enacted in the present.'

'The chapters discuss a diverse array of topics but are unified by inquiry into the construction, curation, display, negotiation and perception of popular music’s past. The collection presents a critical perspective on academics’ involvement in ‘historian’s’ work of ‘reconstruction’ of the past through archival and analytical research. The cultural studies framework adopted in the collection encompasses unique approaches to popular music historiography, sociology, film analysis, and archival and museal work. Broadly ‘Remembering Popular Music’s Past’ deals with issues of precarity in popular music heritage, history and memory. The collection is a timely addition to a subfield of popular music studies and critical heritage studies that has grown exponentially in the past ten years.'

(Source: publisher's blurb)

'In the context of China’s ascendancy, the world watches and listens. China wants to project a soft power image. One channel for its soft power communication – about its success and international cooperation – is international broadcasting. ‘Chinese Television and Soft Power Communication in Australia’ discusses China’s soft power communication approach and investigates information handling between China and its targeted audiences in the eyes of key influencers – intermediate elites (public diplomacy policy elites in particular) in China and Australia. Drawing on the case of the state-owned broadcaster CGTN – viewed by China as an essential soft power tool for framing its voice – the book examines empirically the reception to China’s soft power messaging by Australian audiences and the factors underpinning its reception.

'The book provides a holistic, systemic evaluation of China’s soft power messaging seen as part of its power portfolio and what this means to the world order. Through media frame analysis of CGTN’s framing of China’s most ambitious and comprehensive initiative – the Belt and Road Initiative – and interviews with intermediate elites in China and the typical case of a Western target audience in Australia, it presents an in-depth theoretical discussion of the mechanisms of China’s communication approach through a soft power lens. It also reflects on an exploration of journalistic operations within CGTN (with staff from several professional cultures) and a systemic test of how successful/unsuccessful China’s soft power message projection is in terms of congruence between projected and received frames, as a pivotal factor of its power status.'

(Source: publisher's blurb)

'‘Imagined Sound’ is a unique cartography of the artistic, historical and political forces that have informed the post-World War II representation of Australian landscapes. It is the first book to formulate the unique methodology of ‘imagined sound’, a new way to read and listen to literature and music that moves beyond the dominance of the visual, the colonial mode of knowing, controlling and imagining Australian space. Emphasising sound and listening, this approach draws out and re-examines the key narratives that shape and are shaped by Australian landscapes and histories, stories of first contact, frontier violence, the explorer journey, the convict experience, non-Indigenous belonging, Pacific identity and contemporary Indigenous Dreaming. ‘Imagined Sound’ offers a compelling analysis of how these narratives are reharmonised in key works of literature and music.

'To listen to and read imagined sound is to examine how works of literature and music evoke and critique landscapes and histories using sound. It is imagined sound because it is created by descriptive language and imaginative thought, and is as such an extension of the range of heard sound. The concept is inspired by Benedict Anderson’s key study of nationalism, ‘Imagined Communities’ (1983). Discussing official (and unofficial) national anthems, Anderson argues the imagined sound of these songs connects us all. This conception of sound operates in two ways: it places the listener within ‘the nation’ and it bypasses the problem of both space and time, enabling listeners from across a vast space to, simultaneously, become one. Following Anderson, imagined sound emphasises the importance of the imagination in the formation of landscapes and communities, and in the telling and retelling of histories. 

'’Imagined Sound’ encounters the different forms and tonalities of imagined sound – the soundscape, refrain, song, lyric, scream, voice and noise ¬– in novels, poems, art music, folk, rock, jazz and a film clip. To listen to these imagined sounds is to encounter the diverse ways that writers and musicians have reimagined and remapped Australian colonial/postcolonial histories, landscapes and mythologies. Imagined sound links the past to the present, enabling colonial landscapes and traumas to haunt the postcolonial; it carries and expresses highly personal and interior experiences and emotions; and it links people to the landscapes they inhabit and to the narratives and myths that give place meaning. As a reading and listening practice imagined sound pursues the unresolved conflicts that echo across the haunted soundscapes connecting the colonial past to the postcolonial present. The seeds of regeneration also bear fruit as writers and musicians imagine the future. ‘Imagined Sound’ fuses the spirit of close reading common to literary studies and the score analysis familiar to musicology with ideas from sound studies, philosophy, Island studies and postcolonial studies.' (Publication summary)

'Australia has a fascinating history of visions. As the antipode to Europe, the continent has provided a radically different and uniquely fertile ground for envisioning places, spaces and societies. ‘The Antipodal Utopia’ evaluates this complex intellectual history by mapping out how Western visions of Australia evolved from antiquity to the modern period, with particular focus on the long nineteenth century. The book is underpinned by the provocative argument that due to its unique ‘antipodality’ (its antipodal relationship with Europe), Australia is imagined as a particular form of utopia – but since one person’s utopia is, more often than not, another’s dystopia, Australia’s utopian quality is both complex and highly ambiguous. Drawing on the rich field of utopian studies, ‘The Antipodal Utopia’ provides an original and insightful study of Australia’s place in the Western imagination and makes meaningful conceptual and analytical contributions to the fields of utopian theory, Australian studies and intellectual history.'

Source: Publisher's blurb.

'Locating Australian Literary Memory’ explores sites which are explicitly connected with Australian authors through material forms of commemoration such as writers’ houses, graves, statues and trails. The focus is on a selected group of notable ‘heritage’ authors who have been celebrated through tangible memorials including Adam Lindsay Gordon, Henry Lawson, A. B. ‘Banjo’ Paterson, Joseph Furphy, Henry Handel Richardson, Nan Chauncy, Katharine Susannah Pritchard, Eleanor Dark and P. L Travers. Although inherited traditions have shaped local forms of literary memorialisation, some colourful, idiosyncratic rituals have evolved in the Australian context.

'Through the interweaving of Brigid Magner’s impressions of specific sites with biographical, literary and scholarly material, this book speculates on the intensities and attractions that underpin the preservation of literary places and the practices enacted within them. Key themes such as haunting, pilgrimage and nostalgia are drawn out from her discussion of these places in order to understand the fascination with literary places and the tensions and ambiguities associated with their perpetuation.

'Compared with attractions in Europe and the United States, Australian literary commemorations are relatively modest, with very few ‘grand’ houses, reflecting the impoverishment of local authors as well as a tendency to celebrate their humble origins, a literary paradigm which has been described as the 'success of failure'. The book argues that literary places – and the artefacts residing in them – often tell us more about the memorialisers, and their rituals, than the authors themselves.'

Source: Publisher's blurb.

'Thomas Keneally is known as a best-selling novelist and public figure in his Australian homeland and has also managed a transnational career. He is, however, something of a conundrum in being regularly disparaged by critics and often failing to meet expectations of sales. ‘Thomas Keneally’s Career and the Literary Machine’ explains some of the reasons behind such disparities, focusing in part on his deliberate transition from high-style modernist to ‘journeyman’ entertainer while continuing to write across both modes.

'Reactions to this shift have been framed by critical and cultural investments, and by an idea of the literary career common to both high literary and popular taste. This study examines the complex network that is a career, considering personality traits, authorial agency, agents, editors and shifts in publishing from colonial control to multinational corporations. As such, the study moves across and beyond conventional literary biography and literary history, incorporating aspects of book history and celebrity studies.

'‘A Cultural History of the Bushranger Legend in Theatres and Cinemas, 1828–2017’ is a cultural history of the bushranger legend on stage and screen from colonial to contemporary Australia. It provides a detailed analysis of the mechanisms through which bushrangers became an indelible part of the Australian cultural consciousness.'

Source: Publisher's blurb.

'‘Australian Theatre, Modernism and Patrick White’ details the rejection of two Patrick White plays by the Adelaide Festival of Arts in Australia in the early 1960s. In 1961 the board of governors rejected a proposal to include the world premiere of White’s first major play ‘The Ham Funeral’ for the 1962 festival. In 1963 it rejected a proposal to premiere a subsequent play ‘Night on Bald Mountain’ for the 1964 festival. These two rejections were taken up in the press where the former was referred to as the ‘affaire “Ham Funeral”’ and the latter was greeted as ‘here we go again’. ‘Australian Theatre, Modernism and Patrick White’ documents the scandal that followed the board’s rejections of White’s plays, especially as it acted against the advice of its own drama committee and artistic director on both occasions.

'Denise Varney and Sandra D’Urso analyze the two events by drawing on the performative behaviour of the board of governors to focus on the question of governance. They shed new light on the cultural politics that surrounded the rejections, arguing that it represents an instance of executive governance of cultural production, in this case theatre and performance. The governing body was a self-appointed private board comprising wealthy men, who were representative of an Adelaide establishment made up of business, farming, newspaper and military interests.

'The central argument of ‘Australian Theatre, Modernism and Patrick White’ is that aesthetic modernism in theatre and drama struggled to achieve visibility and acceptability, and was perceived as a threat to the norms and values of early to mid-twentieth-century Australia. The authors argue that when modern drama entered the stage, its preference for aesthetic experimentation over commercial considerations challenged regimes of value based on the popular appeal of musicals, touring productions and overseas imports. The resistance to that prevailing theatre culture and the provocation of Patrick White’s plays provide a prime example of Australia in transition between its colonial heritage and modern future. The 1960s set the scene for the confrontation between modernist experimentation and arts governance, and between aesthetic and commercial values.' (Publication summary)

'‘Post-Multicultural Writers as Neo-Cosmopolitan Mediators’ argues the need to move beyond the monolingual paradigm within Anglophone literary studies. Using Lyotard’s concept of post as the future anterior (back to the future), this book sets up a concept of post-multiculturalism salvaging the elements within multiculturalism that have been forgotten in its contemporary denigration. Gunew attaches this discussion to debates in neo-cosmopolitanism over the last decade, creating a framework for re-evaluating post-multicultural and Indigenous writers in settler colonies such as Canada and Australia. She links these writers with transnational writers across diasporas from Eastern Europe, South-East Asia, China and India to construct a new framework for literary and cultural studies.

'This book provides an overview of concepts in the field of literary and cultural neo-cosmopolitanism, demonstrating their usefulness in re-interpreting notions of the spatial and the temporal to create a new cultural politics and ethics that speak to our challenging times. The neo-cosmopolitan debates have shown how we are more connected than ever and how groups and geo-political areas that were overlooked in the past need to be brought to the center of our cultural criticism so that we can engage more ethically and sustainably with global cultures and languages at risk. In her wide-ranging study of world writers, Gunew juxtaposes Christos Tsiolkas, Brian Castro and Kim Scott from Australia with Canadian writers such as Shani Mootoo, Anita Rau Badami and Tomson Highway, connecting them to other Europeans such as Dubravka Ugresic and Herta Müller. [NP] This book analyses diaspora texts within neo-imperial globalization where global English often functions as metonym for Western values. By introducing the acoustic ‘noise’ of multilingualism (accents within writing) in relation to the constitutive instability within monolingual English studies, Gunew shows that within global English diverse forms of ‘englishes’ provide routes to more robust recognition of the significance of other languages that create pluralized perspectives on our social relations in the world.'  (Publication summary)

‘“It didn’t happen here.” What do people forget? Why do they forget? Can memory and history meet? This beautifully written book explores these and similar questions, especially around early settler treatment of Aborigines. A book for all Australia.’ —Bill Gammage, Emeritus Professor, Humanities Research Centre, Australian National University, Canberra, Australia

‘This fine new work on the communal memory of rural Australians explores how settler narratives of belonging are made, and how they obscure, mitigate or intersect with histories of indigenous dispossession. It shows us more than ever that, in addition to nation-wide political campaigns and legislative reform, processes of reconciliation demand a deeper engagement with intimate histories of place. This is a book that offers all settler nations a powerful reminder of our shared responsibility to unsettle the colonial past.’ —Amanda Nettelbeck, Professor in Department of History, School of Humanities, University of Adelaide, Australia

‘Skye Krichauff delves into the historical consciousness of Australian settler-colonialism and explores the contested memories of places and pasts. In doing so, she shows us that history-making is as much about forgetting as remembering, and that these “silences” are critical to understanding how we think about our history and ourselves.’ —Anna Clark, ARC Future Fellow, Co-director, Australian Centre for Public History, University of Technology, Sydney, Australia

'The written histories, built memorials and spoken narratives of settler descendants often reveal an absence of Aboriginal people in Australian settlers’ historical consciousness and a lack of empathy for those whose lands were taken over. This absence reflects an intellectual and emotional disconnect from Aboriginal people’s experiences and from recent national debates about reconciling contested pasts. The aim of ‘Memory, Place and Settler‒Aboriginal History’ is to understand the evolution and endurance of this disconnect. Drawing on archival research, interviews and fieldwork, Skye Krichauff fuses the methodologies and theories of historical enquiry, anthropology and memory studies to investigate the multifaceted processes through which current generations of rural settler descendants come to know the colonial era. Primarily focussing on analysing and comparing the historical consciousness of a specific group of settler descendants – namely those who have grown up on land in the mid-north of South Australia that was occupied by their forebears in the nineteenth century – this book is additionally informed by interviews and fieldwork conducted with Aboriginal descendants. In addition, as a fifth-generation settler descendant herself, Krichauff utilises her insider status to provide personal insights and reflections with her analysis.

'Within spoken narratives and during site visits, settler descendants demonstrate that their consciousness of the colonial past has been formed by growing up in places surrounded by people and objects that provide continuous reminders and physical evidence of the lives of previous generations. This book argues that the primary and most powerful way through which this group knows the colonial past is through lived experience. A recognition that (and how) previous generations’ experiences transfer through the generations is crucial to any investigation into the past known and understood through lived experience. As such, this monograph investigates and contextualises the timing, speed and intensity with which rural districts were occupied, Aboriginal people were dispossessed, and the extent and nature of previous generations’ relations with Aboriginal people.

'Included in this monograph is an analysis of public histories (local written histories and plaques, monuments and information boards) which demonstrates a settler-colonial historical epistemology that frames the way mid-northern settler descendants make sense of the past. Memories of personal lived experiences are remembered, understood and articulated – are composed and constructed – using the public language and the meanings available in the wider culture in which individuals live. Krichauff provides concrete examples which demonstrate how, amongst many settler descendants, the memories, family stories and lived experiences of Aboriginal presence and positive settler‒Aboriginal interaction (stories which fall outside the dominant epistemology) are ignored or neglected. While knowledge about the past learned through external sources (books, films, documentaries) can, to varying degrees, shape and inform settler descendants’ consiousness of the colonial era, Krichauff argues that it is the degree of connection with experience that is crucial to understanding the extent to which external knowledge is absorbed and remembered. By connecting Aboriginal people (past and present) with people and places known through everyday life, settler descendants are more likely to intellectually and emotionally connect their own histories with those of the victims of colonialism. This book concludes by demonstrating how it is possible to unsettle settler descendants’ consciousness of the colonial past in ways that enable a tentative connection with Aboriginal people and their experiences.' (Publication summary)