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Publication Details of Only Known VersionEarliest 2 Known Versions of
Works about this Work
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BlackWords : Writers on Identity
2014
single work
criticism
— Appears in: JASAL , vol. 14 no. 3 2014; The BlackWords Essays 2015; (p. 2) The BlackWords Essays 2019;'In the 1960s Oodgeroo Noonuccal (then Kath Walker) hit the literary limelight as Australia’s first published ‘Aboriginal poet’ and since then Aboriginal writers have used their work as a form of self-definition and to defend our rights to our identity. Many authors are inspired by the need to redress historical government definitions of Aboriginality, to reclaim pride in First Nation status, to explain the diversity of Aboriginal experience, and to demonstrate the realities and complexities of ‘being Aboriginal’ in the 21st century.'
Source: Author's introduction.
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Aboriginal Children's Literature : More Than Just Pretty Pictures
2008
single work
criticism
— Appears in: Just Words? : Australian Authors Writing for Justice 2008; (p. 102-117) The BlackWords Essays 2015; (p. 7) The BlackWords Essays 2019;'This essay explores how some recent Aboriginal and Torres Strait Islander authored titles have used local languages and personal histories - including complex stories which deal with the Stolen Generations - to engage and educate young Australian readers, while providing much needed inspiration to nurture Indigenous audiences.' (Source: Heiss, Anita, Aboriginal Literature for Children: More Than Just Pretty Pictures, 2015)
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Are You Talking to Me? : Hailing the Reader in Indigenous Children's Literature
2006
single work
criticism
— Appears in: Papers : Explorations into Children's Literature , December vol. 16 no. 2 2006; (p. 112-117) This analysis discusses two indigenous authored children's texts, My Girragundji (Meme McDonald and Boori Pryor) and Tell Me Why (Robyn Templeton and Sarah Jackson), in relation to critical strategies, audience address and textual authorisation. In particular, Davie looks at 'paratexts' - the material that comes before and after a text, including blurbs, introductions, acknowledgements, titles, covers, art - as an interpellation device (112). Drawing upon the concept of interpellation, or the way in which the subject is addressed by the 'authority of the state', Davie argues that the paratexts of contemporary Indigenous texts offer an 'entry point' for the direct voice of the author who can 'hail readers' without the mediation of white voices, which (in the pas) have not only spoken for Indigenous people, but had the power to police their voices and frame the narrative in ways that suited a non-Indigenous audience (116). -
[Review] Tell Me Why
2005
single work
review
— Appears in: Reading Time : The Journal of the Children's Book Council of Australia , May vol. 49 no. 2 2005; (p. 23)
— Review of Tell Me Why 2004 single work picture book -
[Review] Tell Me Why
2004
single work
review
— Appears in: Reading Time : The Journal of the Children's Book Council of Australia , November vol. 48 no. 4 2004; (p. 23)
— Review of Tell Me Why 2004 single work picture book
-
[Review] Tell Me Why
2005
single work
review
— Appears in: Reading Time : The Journal of the Children's Book Council of Australia , May vol. 49 no. 2 2005; (p. 23)
— Review of Tell Me Why 2004 single work picture book -
[Review] Tell Me Why
2004
single work
review
— Appears in: Reading Time : The Journal of the Children's Book Council of Australia , November vol. 48 no. 4 2004; (p. 23)
— Review of Tell Me Why 2004 single work picture book -
Are You Talking to Me? : Hailing the Reader in Indigenous Children's Literature
2006
single work
criticism
— Appears in: Papers : Explorations into Children's Literature , December vol. 16 no. 2 2006; (p. 112-117) This analysis discusses two indigenous authored children's texts, My Girragundji (Meme McDonald and Boori Pryor) and Tell Me Why (Robyn Templeton and Sarah Jackson), in relation to critical strategies, audience address and textual authorisation. In particular, Davie looks at 'paratexts' - the material that comes before and after a text, including blurbs, introductions, acknowledgements, titles, covers, art - as an interpellation device (112). Drawing upon the concept of interpellation, or the way in which the subject is addressed by the 'authority of the state', Davie argues that the paratexts of contemporary Indigenous texts offer an 'entry point' for the direct voice of the author who can 'hail readers' without the mediation of white voices, which (in the pas) have not only spoken for Indigenous people, but had the power to police their voices and frame the narrative in ways that suited a non-Indigenous audience (116). -
Aboriginal Children's Literature : More Than Just Pretty Pictures
2008
single work
criticism
— Appears in: Just Words? : Australian Authors Writing for Justice 2008; (p. 102-117) The BlackWords Essays 2015; (p. 7) The BlackWords Essays 2019;'This essay explores how some recent Aboriginal and Torres Strait Islander authored titles have used local languages and personal histories - including complex stories which deal with the Stolen Generations - to engage and educate young Australian readers, while providing much needed inspiration to nurture Indigenous audiences.' (Source: Heiss, Anita, Aboriginal Literature for Children: More Than Just Pretty Pictures, 2015)
-
BlackWords : Writers on Identity
2014
single work
criticism
— Appears in: JASAL , vol. 14 no. 3 2014; The BlackWords Essays 2015; (p. 2) The BlackWords Essays 2019;'In the 1960s Oodgeroo Noonuccal (then Kath Walker) hit the literary limelight as Australia’s first published ‘Aboriginal poet’ and since then Aboriginal writers have used their work as a form of self-definition and to defend our rights to our identity. Many authors are inspired by the need to redress historical government definitions of Aboriginality, to reclaim pride in First Nation status, to explain the diversity of Aboriginal experience, and to demonstrate the realities and complexities of ‘being Aboriginal’ in the 21st century.'
Source: Author's introduction.