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Julie Mullaney Julie Mullaney i(A23160 works by)
Gender: Unknown
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1 Storying Sovereignty and ‘Sustainable Self-Determination’ in Alexis Wright’s Carpentaria and Warwick Thornton’s Samson and Delilah Julie Mullaney , 2017 single work criticism
— Appears in: Performing Identities : Celebrating Indigeneity in the Arts 2017; 'Documenting the limited success of land rights alone in securing the basic infrastructure for indigenous people, such that they might 'enjoy' those rights, and 'grow the land', Tracker Tilmouth's warnings about the dangers of ignoring both the structural aspects of indigenous disadvantage and the cultivation of local processes in addressing it, appeared not in 2007, when the plot of the Australian federal government's Northern Territory (`national emergency') intervention into remote indigenous communities came to light, but in 1997, in the introduction to an anthology of writings compiled by Alexis Wright (1998) for the Central Land Council.' Preceding the intervention's belated interest in questions of indigenous security, health (itself 'one of the most highly politicized domains of Indigenous affairs in Australia') (Sutton 2009: 115) and well-being, Tilmouth acknowledges how the (politico-legal) battle for land rights may have distracted the parties engaged from the larger project of creating and supporting a 'sustainable self-determination' (Corntassel 2008: 105-32) for indigenous Australians. Acknowledging that `sustainable development Implies meeting the needs of the present without compromising the ability of future generations to meet their own needs' (Ibid.: 105). the Native American scholar Jeff Comtassel promotes the idea of developing a 'sustainable self-determination' in order to emphasize the necessity of 'a more holistic and dynamic approach to regenerating indigenous nations' and as a means to combat the ways in which, as he sees it, the dominant framing of self-determination rights as 'political/ legal entitlements' have 'de-emphasised the responsibilities and relationships that indigenous people have with their families and the natural world that are critical for the health and well being of future generations' (ibid.). For Comtassel, 'sustainable self-determination' must become a 'benchmark for the restoration of indigenous livelihoods and territories' and for future political agitation (ibid.: 109). Tilmouth's emphasis on building upon successful local Indigenous models is shared by Comtassel who documents how discourses of sustainability have, in the past, often worked against the greater good of indigenous. He argues that 'what Is considered sustainable practice by states comes at a high price for indigenous communities, often leading to the further degradation of their homelands and natural resources (ibid.: 108). Consequently, he suggests, the time has come for indigenous peoples to reassert sustainability on their teams. If Tilmouth's comments in 1997 anticipate a renewed focus on 'indigenous' ecosystems, his emphasis on the enjoyment of land rights reflects too the permutations marking the major documents and instruments that articulate the ambitions of both local and transnational indigenous movements, not least the United Nations (UN) 'Declaration on the Rights of Indigenous Peoples' which reiterates the right of indigenous to 'be secure in the enjoyment of their own means of subsistence and development. and to engage freely in all their traditional and other economic activities'. I don't mean to suggest here that the UN's formulation captures the fullness of indigenous ambitions, for such documents are always a compromise, the product of a coalition of diversely oriented interests and agreements/disagreements. Rather, I mean to denote a continuity of emphasis across spheres of interest, local and transnational. (Introduction)

 
1 'This is Dog Country': Reading off Coetzee in Alex Miller's 'Journey to the Stone Country' Julie Mullaney , 2008 single work criticism
— Appears in: Postcolonial Text , vol. 4 no. 3 2008; This article explores how Alex Miller excavates the terrain of the animal mined by JM Coetzee in Disgrace, to reconsider Australian belongings post-Mabo. It distinguishes Miller's interventions from Coetzee's, while noting that Coetzee's animals are part of a wider consideration of the limits of the sympathetic imagination in encountering alterity, with peculiar resonances in Australian locations post-Mabo. Miller's novel encapsulates some of the challenges in reconfiguring Australian belongings across difference by facing the intractability of difference in Australian locations. His dogs suggest the deleterious effects of a particular mode of occupation peculiar to pastoralism, while his wild bulls denote a more elusive form of habitation, attuned to the contingencies of place post-Mabo, but formed out of the traumatic rememory of the hidden histories of pastoralism. Dogs and cattle are linked in Miller's work too in the focus on the nature of the appeal the suffering animal makes to the human. Miller is, I argue, still preoccupied by the animal as a repository of allegory and metaphor, and by the various historical resonances of the animal as an index of indigeneity. This means that his configuration of the animal risks repeating as well as illustrating settler tropes of the indigene as animal striating colonial racism. His modulation of the idea of the sacrificial animal or scapegoat to configure pastoralism in its dying throes foregrounds how the failure or exhaustion of one mode of engagement can facilitate the beginnings of a more ethically directed encounter with alterity. -- Author's abstract
1 New Labour, Older Nativisms? Australian Critical Whiteness Studies, Indigeneity and David Malouf's Harland's Half Acre Julie Mullaney , 2007 single work criticism
— Appears in: The Journal of Commonwealth Literature , vol. 42 no. 1 2007; (p. 97-116) The author argues that Malouf in Harland's Half Acre deploys representations of white indigeneity that perpetuate colonial constructs of Aboriginality and fail to acknowledge the distance between Indigenous sovereignty and non-indigenous discourses of sovereignty (113).
1 'Passing Ghosts' : Reading the Family Album in Thea Astley's It's Raining in Mango and Reaching Tin River Julie Mullaney , 2001 single work criticism
— Appears in: Australian Studies , Summer vol. 16 no. 1 2001; (p. 23-44)
1 'The Bee in the Hive' : Women and Knowledge in Patrick White's The Tree of Man and A Fringe of Leaves Julie Mullaney , 1999 single work criticism
— Appears in: A Fringe of Papers : Offshore Perspectives on Australian History and Literature 1999; (p. 87-105) Examines the construction of woman and the status of her knowledge within the pre-pastoral, pastoral, and anti-pastoral worlds evoked in the two novels by White.
1 Untitled Julie Mullaney , 1998 single work review
— Appears in: Australian Studies , Summer vol. 13 no. 1 1998; (p. 169-170)
— Review of Australian Melodramas : Thomas Keneally's Fiction Peter Pierce , 1995 single work criticism
1 Untitled Julie Mullaney , 1997 single work review
— Appears in: Australian Studies , Winter vol. 12 no. 2 1997; (p. 127-128)
— Review of Aratjara : Aboriginal Culture and Literature in Australia 1997 anthology criticism
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