AustLit
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Contents
- Ladies' Loungei"straddled across", single work poetry (p. 3)
- The Bulbul Birdi"Bulbul is here = Bulbul pannii nurdu,", C. G. von (Carl Georg von) Brandenstein (translator) single work poetry (p. 7)
- The Star-Tribesi"Look, among the boughs. Those stars are men.", Roland Robinson , Fred Biggs , single work poetry (p. 9)
- West Windi"I've tossed it now, wind and song,", single work poetry (p. 11-12)
- Thunderstormi"After sundown the clouds start to burn, = taruru kardini pirdiri kambani nangali", C. G. von (Carl Georg von) Brandenstein (translator) single work poetry (p. 14)
- Tjanu Anu Wilurarai"One time I was standing, staring", single work lyric/song (p. 21)
- Doolargarl, single work biography (p. 24)
- The Spirit Song about Lake Eyrei""Only Eyebrows" he is called,", Jimmy Russell , Leslie Russell , single work poetry (p. 25)
- The Song of the Vinei"There was a vine whose spirit was a man.", Charlotte Williams , Roland Robinson , single work poetry dreaming story (p. 29-30)
- The Platyusi"Djanbun's the platypus. He was a man one time.", single work poetry dreaming story (p. 30-31)
- Untitledi"Ngaa...now then", Paddy Biran , single work poetry (p. 46-47)
- Frog, single work lyric/song (p. 53)
- The Seed Song, single work lyric/song (p. 54-56)
- The Seed Song from Pulawanii"Dry leaves everywhere,", single work poetry (p. 54-56)
- The Ant-Monsteri"To bring them to an end, as they come here dancing,", single work poetry (p. 58)
- Torres Strait Island Pigeoni"Where is she?", single work poetry (p. 59)
- Morning Gloriesi"You two!", single work poetry (p. 59)
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Buddgelin Beyi"Dark clouds are gathering a way up in the sky",
single work
poetry
(p. 61)
Note: With title: Budgellin Bey
- Untitled, single work lyric/song (p. 69)
-
Took the Children Awayi"This story's right, this story's true",
single work
lyric/song
'Although not the first song about the enforced separation of Indigenous children from their families, Archie Roach’s song, based on his own life and experience, was released at a time when there was increasing public focus on the Stolen Generations. The significance of the song also resonated outside the Indigenous community with Roach winning ARIA Awards for Best Indigenous Release and Best New Talent in 1991. Took the Children Away received an international Human Rights Achievement Award, the first time that the award had been bestowed on a songwriter.'
Source: NFSA (https://www.nfsa.gov.au/collection/curated/took-children-away-archie-roach). Sighted: 21/02/2019)
Publication Details of Only Known VersionEarliest 2 Known Versions of
Works about this Work
-
Sovereign Bodies of Feeling—‘Making Sense’ of Country
2014
single work
criticism
— Appears in: JASAL , vol. 14 no. 3 2014;' What is the meaning of the claim made by many Aboriginal people that their relationship to country is a vital one: vital in the sense of a living relation, one that might be said to carry life itself? (Rose) It can be taken to be a claim of sovereignty, not only in relation to the land but, inextricably bound with this, a claim of a sovereign subject, or what Alexis Wright has called a sovereignty of the mind. To speak of sovereignty is always to speak of difference: different claims to land, but claims, too, about differences between the people making those claims. Into considerations of what these differences might be, I would like to install questions of embodiment and different capacities to feel, to sense, the country. This is not to speak of an essential difference, if by ‘essential’ we mean something immutable or fixed, but a difference made in cultural practices. For instance, being an embodied subject made in the context of practices associated with contemporary Anmatyerre culture might make for a differently sensate body than a settler subject made in cultural practices that are significantly different to Anmatyerre ones. In this regard, we could say that the Anmatyerre subject and the settler subject do not live in the same country as each other, even if they are living in the same coordinates of longitude and latitude.' (Author's introduction)
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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; -
‘Singing Up’ the Silences : Australian Nature Writing as Disruption and Invocation
2011
single work
criticism
— Appears in: Australasian Journal of Ecocriticism and Cultural Ecology , Summer vol. 1 no. 2011; 'There is a strong, though not uncontested view, that a tradition of 'place' or 'nature' writing has, until relatively recently, been largely absent in Australia. This essay examines the veracity of this claim, and suggests reasons for this alleged gap or 'silence' in our literature. It also considers the distinctive characteristics of Australian place writing as it has emerged over more recent decades and the ways in which this writing disrupts early representations of the continent as 'empty', particularly of Indigenous presence, but also of sound, of speech, of agency. This essay also suggests the potential for Australian nature writing to function contrapuntally, as both a form of response to this lively and expressive land, and as a means by which this same land may be invoked or 'sung' into the communicative space.' (Author's abstract)
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Colonial Knowledge, Post-Colonial Poetics
2010
single work
criticism
— Appears in: Postcolonial Issues in Australian Literature 2010; (p. 255-277) -
German Romanticism, British Property and Indigenous Sovereignty : Landscape and Literature in Australia
2010
single work
criticism
— Appears in: Halfway House : The Poetics of Australian Spaces 2010; (p. 158-169)
-
Aboriginal Views of Wilderness in Spotlight
1996
single work
review
— Appears in: Koori Mail , 10 April no. 123 1996; (p. 17)
— Review of Nourishing Terrains : Australian Aboriginal Views of Landscape and Wilderness 1996 single work poetry non-fiction -
Changescapes
2010
single work
criticism
— Appears in: Halfway House : The Poetics of Australian Spaces 2010; (p. 17-33) Meanjin Online 2016; -
German Romanticism, British Property and Indigenous Sovereignty : Landscape and Literature in Australia
2010
single work
criticism
— Appears in: Halfway House : The Poetics of Australian Spaces 2010; (p. 158-169) -
Colonial Knowledge, Post-Colonial Poetics
2010
single work
criticism
— Appears in: Postcolonial Issues in Australian Literature 2010; (p. 255-277) -
On Tjukurrpa, Painting Up and Building Thought
2009
single work
criticism
— Appears in: PAN , no. 6 2009; (p. 40-60) 'This article contemplates the possible relationship of Central Australian "Dreaming," or Tjukurrpa, to symbol and thought formation in desert Aboriginal culture. Acknowledgement is given to the diversity and complexity of descriptions ofTjukurrpa. The author is concerned with how thoughts are made, what they are made of, and how thinking might go wrong, that is, how disorders of thought in the intercultural matrix might arise. Thinking as a form of mental activity may be deeply related with the ontopoetic ancestry of language and locations of human movement and activity. The author suggests that through an analysis of detailed, grounded, intercultural conversations and an understanding of the structure and content of Tjukurrpa, non-Indigenous people working in health and law might appreciate and comprehend Aboriginal thinking and behaviour (and thus be more effective in various aspects of mutual engagement). The challenge is mutual and reciprocal.' (Source: Editor's abstract)
-
‘Singing Up’ the Silences : Australian Nature Writing as Disruption and Invocation
2011
single work
criticism
— Appears in: Australasian Journal of Ecocriticism and Cultural Ecology , Summer vol. 1 no. 2011; 'There is a strong, though not uncontested view, that a tradition of 'place' or 'nature' writing has, until relatively recently, been largely absent in Australia. This essay examines the veracity of this claim, and suggests reasons for this alleged gap or 'silence' in our literature. It also considers the distinctive characteristics of Australian place writing as it has emerged over more recent decades and the ways in which this writing disrupts early representations of the continent as 'empty', particularly of Indigenous presence, but also of sound, of speech, of agency. This essay also suggests the potential for Australian nature writing to function contrapuntally, as both a form of response to this lively and expressive land, and as a means by which this same land may be invoked or 'sung' into the communicative space.' (Author's abstract)