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Notes
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A selection made by H. Drake-Brockman from Langloh Parker's Australian Legendary Tales : folk-lore of the Noongahburrahs as told to the piccanninies, Woggheeguy : Australian Aboriginal legends, More Australian Legendary Tales and The Walkabouts of Wur-run-nah.
Contents
- Dinewan the Emu and Goomble-Gubbon the Turkey, single work prose Indigenous story (p. 1-5)
- How the Sun was Made, single work prose Indigenous story (p. 7-8)
- The Southern Cross, single work prose Indigenous story (p. 9-10)
- The Beginning of the Narran Lake, single work prose Indigenous story (p. 12-14)
- The Bora of Baiame, single work prose Indigenous story (p. 15-24)
- The Goodoo of Wirreebilla, single work prose Indigenous story (p. 25-26)
- The Finding of the Eleanba Wunda, single work prose Indigenous story (p. 28-29)
- The Baby-Makers, single work prose Indigenous story (p. 31-34)
- The Mopoke and the Moon, single work prose Indigenous story (p. 35)
- The Frog Heralds, single work prose Indigenous story (p. 36-37)
- The Fire-Makers, single work prose Indigenous story (p. 39-42)
- The Iguana and the Black Snake, single work prose Indigenous story (p. 43-47)
- Weedah the Mocking Bird, single work prose Indigenous story (p. 48-51)
- Deegeenboya the Soldier-Bird, single work prose Indigenous story (p. 52-56)
- Mullian-ga the Morning Star, single work prose Indigenous story (p. 57-58)
- Wahn the Crow Wirinun, single work prose Indigenous story (p. 60-66)
- The Rain-Bird, single work prose Indigenous story (p. 67-69)
- The Rain-Maker Wirinun, single work prose Indigenous story (p. 70-73)
- The Dogs of Bahloo, single work prose Indigenous story (p. 75-76)
- A Legend of the Flowers, single work prose Indigenous story (p. 77-80)
Publication Details of Only Known VersionEarliest 2 Known Versions of
Other Formats
- Also braille.
Works about this Work
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Traversing the Unfamiliar : German Translations of Aboriginality in James Vance Marshall’s The Children and Phillip Gwynne’s Deadly Unna? and Nukkin Ya
2014
single work
criticism
— Appears in: JASAL , vol. 14 no. 1 2014;'The tendency for Western cultures to emphasise imperial attitudes and experiences in their literature has been described by Edward Said as the primary means by which colonised people assert their identity and the existence of their own history (xii). The tradition of Australian children’s literature, which first grew out of contributions made by European colonisers and largely ignored any indigenous past has been referred to as a “product of colonial history” (Bradford, “Representing Indigeneity” 90) and “a shamelessly racist catalogue of prejudice and misinformation, of superficial clichés, offensive stereotyping and entirely subjective interpretation” (McVitty 7). Historians Robert Hodge and Vijay Mishra use the term Aboriginalism – a variation of Said’s notion of Orientalism – to describe the way in which colonial powers traditionally constructed ideas about the colonised other within patterns of discourse, aptly masking their racist objective and appearing to function constructively (27).
'Focusing on three Australian children’s texts translated into German, this paper examines how the notion of Aboriginality – at different points in time – is presented in the source text and dealt with in translation. While consideration of the purpose – the skopos (Vermeer 1989/2004) – of the translation forming the backbone of contemporary translation theory, the so-called aims of children’s literary translation also cast an important light on the way in which translation strategies are informed. Furthering the international outlook and understanding of young readers remains the most commonly agreed-upon objective of children’s literary translation. In real terms, the execution of this aim often comes down to the decision to foreignise or domesticate. The problem, as translator Anthea Bell writes, is that “one wants readers of the translated text to feel that they are getting the real book, as close as possible to the original”, but which – vitally – includes respecting the foreign aspects of the source text (62). Yet translators of children’s literature (unlike translators of adult literature) have the added challenge of having to negotiate a variety of what Katharina Reiss calls ‘Vermittlerinstanzen’ (intermediaries): parents, teachers, librarians and publishers, who place pressure on the translator (in regards to taboos and pedagogical aspects of the text), so much so that the outcome (i.e. the target text) is affected (7).' (Publication abstract)
-
The Pleiades and the Dreamtime : An Aboriginal Women's Story and Other Ancient World Traditions
2012
single work
criticism
— Appears in: Coolabah , no. 9 2012; -
The Genesis and Commodification of Katherine Langloh Parker's Australian Legendary Tales (1896)
2005
single work
criticism
— Appears in: JASAL , vol. 4 no. 2005; (p. 159-172) -
Unsettling Sympathetic Women : Katharine Langloh Parker and Catherine Martin's An Australian Girl
2004
single work
criticism
— Appears in: Settler Romances and the Australian Girl 2004; (p. 74-105, notes 149-156) -
Australia's Best-known Folkloric Text and Its Several Fates
2001
single work
criticism
— Appears in: Australian Folklore , October no. 16 2001; (p. 146-163) Discusses the various editions and versions of K. L. Parker's Australian Legendary Tales, including a forthcoming new edition of the collections.
-
Australia's Best-known Folkloric Text and Its Several Fates
2001
single work
criticism
— Appears in: Australian Folklore , October no. 16 2001; (p. 146-163) Discusses the various editions and versions of K. L. Parker's Australian Legendary Tales, including a forthcoming new edition of the collections. -
Unsettling Sympathetic Women : Katharine Langloh Parker and Catherine Martin's An Australian Girl
2004
single work
criticism
— Appears in: Settler Romances and the Australian Girl 2004; (p. 74-105, notes 149-156) -
The Genesis and Commodification of Katherine Langloh Parker's Australian Legendary Tales (1896)
2005
single work
criticism
— Appears in: JASAL , vol. 4 no. 2005; (p. 159-172) -
The Pleiades and the Dreamtime : An Aboriginal Women's Story and Other Ancient World Traditions
2012
single work
criticism
— Appears in: Coolabah , no. 9 2012; -
Traversing the Unfamiliar : German Translations of Aboriginality in James Vance Marshall’s The Children and Phillip Gwynne’s Deadly Unna? and Nukkin Ya
2014
single work
criticism
— Appears in: JASAL , vol. 14 no. 1 2014;'The tendency for Western cultures to emphasise imperial attitudes and experiences in their literature has been described by Edward Said as the primary means by which colonised people assert their identity and the existence of their own history (xii). The tradition of Australian children’s literature, which first grew out of contributions made by European colonisers and largely ignored any indigenous past has been referred to as a “product of colonial history” (Bradford, “Representing Indigeneity” 90) and “a shamelessly racist catalogue of prejudice and misinformation, of superficial clichés, offensive stereotyping and entirely subjective interpretation” (McVitty 7). Historians Robert Hodge and Vijay Mishra use the term Aboriginalism – a variation of Said’s notion of Orientalism – to describe the way in which colonial powers traditionally constructed ideas about the colonised other within patterns of discourse, aptly masking their racist objective and appearing to function constructively (27).
'Focusing on three Australian children’s texts translated into German, this paper examines how the notion of Aboriginality – at different points in time – is presented in the source text and dealt with in translation. While consideration of the purpose – the skopos (Vermeer 1989/2004) – of the translation forming the backbone of contemporary translation theory, the so-called aims of children’s literary translation also cast an important light on the way in which translation strategies are informed. Furthering the international outlook and understanding of young readers remains the most commonly agreed-upon objective of children’s literary translation. In real terms, the execution of this aim often comes down to the decision to foreignise or domesticate. The problem, as translator Anthea Bell writes, is that “one wants readers of the translated text to feel that they are getting the real book, as close as possible to the original”, but which – vitally – includes respecting the foreign aspects of the source text (62). Yet translators of children’s literature (unlike translators of adult literature) have the added challenge of having to negotiate a variety of what Katharina Reiss calls ‘Vermittlerinstanzen’ (intermediaries): parents, teachers, librarians and publishers, who place pressure on the translator (in regards to taboos and pedagogical aspects of the text), so much so that the outcome (i.e. the target text) is affected (7).' (Publication abstract)