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Margaret Clunies Ross Margaret Clunies Ross i(A523 works by)
Born: Established: 1942 ;
Gender: Female
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Works By

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1 [Review] Eucalyptus : A Novel Margaret Clunies Ross , 2003 single work review
— Appears in: Southerly , vol. 63 no. 1 2003; (p. 220-222)
— Review of Eucalyptus : A Novel Murray Bail , 1998 single work novel Margaret Cluines Ross reviews the icelandic translation of Murray Bail's novel Eucalyptus.
1 Untitled Margaret Clunies Ross , 1991 single work review
— Appears in: Australian Literary Studies , May vol. 15 no. 1 1991; (p. 93-94)
— Review of Back to the Future. Australian Aboriginal Literature Since 1964 Eva Rask Knudsen , 1989 single work criticism
1 Some Anbarra Songs Margaret Clunies Ross , 1990 single work criticism
— Appears in: The Honey-Ant Men's Love Song and Other Aboriginal Song Poems 1990; (p. 73-74)
1 1 Wild Honey i "A full Sugar Bag drips Honey, drips Honey,", Margaret Clunies Ross , 1987 single work poetry
— Appears in: Quadrant , December vol. 31 no. 12 1987; (p. 71)
1 1 Yam i "True substance of the Wodbarridja plant,", Margaret Clunies Ross , 1987 single work poetry
— Appears in: Quadrant , December vol. 31 no. 12 1987; (p. 71)
1 1 Bandicoot i "Long snout and sharp teeth digs little holes,", Margaret Clunies Ross , 1987 single work poetry
— Appears in: Quadrant , December vol. 31 no. 12 1987; (p. 71)
1 y separately published work icon Songs of Aboriginal Australia Tamsin Donaldson (editor), Margaret Clunies Ross (editor), Stephen A. Wild (editor), Sydney : Sydney University Press , 1987 14083280 1987 anthology criticism
1 Australian Aboriginal Oral Traditions Margaret Clunies Ross , 1986 single work criticism
— Appears in: Oral Tradition , May vol. 1 no. 2 1986; (p. 231-271)
1 Two Aboriginal Oral Texts from Arnhem Land North Australia, and Their Cultural Context Margaret Clunies Ross , 1983 single work criticism
— Appears in: Words and Worlds : Studies in the Social Role of Verbal Culture 1983; ' This study examines two Aboriginal oral texts, recorded on tape and 16mm. film during the course of a mortuary ritual in Arnhem Land during August, 1978.1 Their subject-matter is similar but their nature as utterance is different, as each belongs to a different oral register. Both texts concern two related sacred forces: the first is a spirit-being, or totem, as it would be called in the older anthropological literature, which takes the shape of a sea-bird named Mulanda and the second is a large black rock, Ngaliya, Mulanda's home. Text 1 is an oration, made by one of the senior men present at the ritual, to a gathering of male participants, shortly after he had supervised the execution of two icons, representing the two sacred forces, on the hollow log ossuary which had been prepared to house the bones of the man in whose honour the mortuary ceremony was held. The speaker has a double audience: he directs himself at times to the eye of the camera, but more often to his Aboriginal hearers. Text 2 is a single song-verse, which belongs to the standardised oral form~ that Aborigines from North-East and North-Central Arnhem Land call manikay. The word is usually translated as "clan-song series". The song-verse in this instance, which also celebrates the same two sacred forces as the oration, formed part of the conventional musical and choreographic accompaniment to the mortuary ritual, whose nature will be described briefly below.' (Publication abstract)
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