Marjorie Barnard: a Re-Examination of Her Life and Work
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(WA) from 1938 to 1980 and Its Role in the Cultural Life of Perth
The Fellowship of Australian Writers (WA) from 1938 to 1980 and its role in the cultural life of Perth. Patricia Kotai-Ewers Bachelor of Arts, Master of Philosophy (UWA) This thesis is presented for the degree of Doctor of Philosophy at Murdoch University November 2013 ABSTRACT The Fellowship of Australian Writers (WA) from 1938 to 1980 and its role in the cultural life of Perth. By the mid-1930s, a group of distinctly Western Australian writers was emerging, dedicated to their own writing careers and the promotion of Australian literature. In 1938, they founded the Western Australian Section of the Fellowship of Australian Writers. This first detailed study of the activities of the Fellowship in Western Australia explores its contribution to the development of Australian literature in this State between 1938 and 1980. In particular, this analysis identifies the degree to which the Fellowship supported and encouraged individual writers, promoted and celebrated Australian writers and their works, through publications, readings, talks and other activities, and assesses the success of its advocacy for writers’ professional interests. Information came from the organisation’s archives for this period; the personal papers, biographies, autobiographies and writings of writers involved; general histories of Australian literature and cultural life; and interviews with current members of the Fellowship in Western Australia. These sources showed the early writers utilising the networks they developed within a small, isolated society to build a creative community, which welcomed artists and musicians as well as writers. The Fellowship lobbied for a wide raft of conditions that concerned writers, including free children’s libraries, better rates of payment and the establishment of the Australian Society of Authors. -
Aboriginal History Journal
ABORIGINAL HISTORY Volume 38, 2014 ABORIGINAL HISTORY Volume 38, 2014 Published by ANU Press and Aboriginal History Inc. The Australian National University Canberra ACT 0200, Australia Email: [email protected] This title is also available online at: http://press.anu.edu.au All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying or otherwise, without the prior permission of the publisher. Aboriginal History Incorporated Aboriginal History Inc. is a part of the Australian Centre for Indigenous History, Research School of Social Sciences, The Australian National University, and gratefully acknowledges the support of the School of History and the National Centre for Indigenous Studies, The Australian National University. Aboriginal History Inc. is administered by an Editorial Board which is responsible for all unsigned material. Views and opinions expressed by the author are not necessarily shared by Board members. Editor Shino Konishi, Book Review Editor Luise Hercus, Copy Editor Geoff Hunt. About Aboriginal History Aboriginal History is a refereed journal that presents articles and information in Australian ethnohistory and contact and post-contact history of Aboriginal and Torres Strait Islander people. Historical studies based on anthropological, archaeological, linguistic and sociological research, including comparative studies of other ethnic groups such as Pacific Islanders in Australia, are welcomed. Subjects include recorded oral traditions and biographies, narratives in local languages with translations, previously unpublished manuscript accounts, archival and bibliographic articles, and book reviews. Contacting Aboriginal History All correspondence should be addressed to the Editors, Aboriginal History Inc., ACIH, School of History, RSSS, Coombs Building (9) ANU, ACT, 0200, or [email protected]. -
Jean Devanny, 1894–1962
99 Jean Devanny, 1894–1962 Carole Ferrier In 1980, Keri Hulme commented upon the ‘intense sisterhood’ that she felt with ‘women like Jean Devanny.’ She saw her as ‘exploring things on the fringes that were very important to women way back then’, and considered it ‘very freeing (and very oppressive at the same time) to realise how completely these women were submerged’ (101). To be on the fringes in the early years of the twentieth century could indeed be simultaneously oppressive and freeing, and this is illustrated in complex ways in Devanny's fiction, which negotiates issues of gender, race, ethnicity, sexuality and class, working with but also problematising the relationship between the material conditions of life and a variety of sometimes clashing ideologies. The specificities of the New Zealand and Australian contexts in which she lived and worked also produced particular effects. But, despite vicissitudes, Jean Devanny remained far from submerged and kept on waving — not drowning — as I demonstrated extensively when in 1999, after twenty years of research, I published her biography Jean Devanny: Romantic Revolutionary (hereafter RR). Devanny was born Jane Crook in 1894, the eighth of ten children, at Ferntown a small sea-side settlement at the top of the South Island. She wrote in her autobiography (a version was posthumously published as Point of Departure, hereafter PD) that her maternal grandparents were from an upper- class background. This seems to have been a family legend, and the alleged colonel actually a sergeant, although it is true that he was involved in military operations in India and then the Maori Wars. -
Christina Stead and the Socialist Heritage
CHRISTINA STEAD AND THE SOCIALIST HERITAGE CHRISTINA STEAD AND THE SOCIALIST HERITAGE Michael Ackland Cambria Australian Literature Series General Editor: Susan Lever 3¥, CAMBRIA PRESS Amherst, New York For Hans and Leo, Gunda and Olaf, Jochen, Jutta and Knut for fifty years of warmest trust and friendship: es hiitte kaum besser sein konnen. Copyright 2016 Cambria Press All rights reserved. Printed in the United States of America No part of this publication may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form, or by any means (electronic, mechanical, photocopying, recording, or otherwise), without the prior permission of the publisher. Requests for permission should be directed to [email protected], or mailed to: Cambria Press 100 Corporate Parkway, Suite 128 Amherst, New York 14226 Library of Congress Cataloging-in-Publication Data on file. ISBN 978-1-60497-933-6 (alk. paper) Image of Christina Stead on cover "PORTRAIT OF CHRISTINA STEAD, 1940s?" reproduced by permission from the National Library of Australia. TABLE OF CONTENTS Acknowledgements .......... .... .. .. .. ............. ..... ..... ... ... .. .. ..... xi Chapter 1: Prologue . 1 Chapter 2: A Socialist Awakening ............. .................. ... ...... 21 Chapter 3: Seven Poor Men OfSydney and the Proletarian Novel ......... ... ................................................. 59 Chapter 4: The Politics of Stead's Early Fiction .. ..... ....... ......... .. 95 Chapter 5: Finance Capitalism and House ofAll Nations . -
Surprised by Joy: Children, Text and Identity
The Seventh Royale Ormsby Martin Lecture 2000 Surprised by Joy: Children, Text and Identity Maurice Saxby The Royale Ormsby Martin Lecture is administered by the Anglican Education Commission, Diocese of Sydney (a division of Anglican Youthworks) on behalf of the trustees: the Archbishop of Sydney, the Dean of Sydney and the Director of Education 1 Maurice Saxby Maurice Saxby, who was trained at Balmain Teacher’s College but went on to complete an Honours Degree in English from Sydney University as an evening student, believes passionately in the power of literature to enhance life, both for children and adults. He has taught infants, primary and secondary school students, but his career has been mainly as a lecturer in tertiary institutions. He retired as Head of the English Department at Kuring-gai College of Advanced Education. He has lectured extensively in children’s literature both in Australia and overseas including England, America, Germany, Japan and China. Maurice was the first National President of the Children’s Book Council of Australia and has served on judging panels for children’s literature many times in Australia; and he is the only Australian to have been selected as a juror for the prestigious international Hans Andersen Awards. He has received the Dromkeen Medal, the Lady Cutler Award and an Order of Australia for his services to children’s literature. Maurice’s publications range from academic works such as Offered to Children: A History of Australian Children’s Literature 1841–1941; Give them Wings: The Experience of Children’s Literature and Teaching Literature to Adolescents. -
A Career in Writing
A Career in Writing Judah Waten and the Cultural Politics of a Literary Career David John Carter MA Dip Ed (Melb) Thesis submitted as total fulfilment of requirements for the degree of Doctor of Philosophy, Faculty of Arts, Deakin University, March 1993. Summary This thesis examines the literary career of Judah Waten (1911-1985) in order to focus on a series of issues in Australian cultural history and theory. The concept of the career is theorised as a means of bringing together the textual and institutional dimensions of writing and being a writer in a specific cultural economy. The guiding question of the argument which re-emerges in different ways in each chapter is: in what ways was it possible to write and to be a writer in a given time and place? Waten's career as a Russian-born, Jewish, Australian nationalist, communist and realist writer across the middle years of this century is, for the purposes of the argument, at once usefully exemplary and usefully marginal in relation to the literary establishment. His texts provide the central focus for individual chapters; at the same time each chapter considers a specific historical moment and a specific set of issues for Australian cultural history, and is to this extent self-contained. Recent work in narrative theory, literary sociology and Australian literary and cultural studies is brought together to revise accepted readings of Waten's texts and career, and to address significant absences or problems in Australian cultural history. The sequence of issues shaping Waten's career in -
Places of Publication and the Australian Book Trade: a Study of Angus & Robertson’S London Office, 1938-1970
Places of Publication and the Australian Book Trade: A Study of Angus & Robertson’s London Office, 1938-1970 By Jason Donald Ensor BA (UQ) Post Grad Dip Australian Studies (UQ) MA (UQ) Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Humanities Research Institute and School of Media, Communications and Culture Murdoch University Perth, Western Australia October 2010 CONTENTS Abstract iv Statement of Originality v Acknowledgements iv Author’s Note x Photo: The London Office Circa 1950s ix 1 Introduction 1 Sample Documents 24 2 Is a Picture Worth 10,175 Australian Novels? 28 The Australian Book Trade, 1930 to the Second World War 3 Reprints, International Markets and Local Literary Taste 54 4 “The special preserve” of British publishers: Imported Titles and the Australian Book Trade, 1930 68 5 “A policy of splendid isolation”: Angus & Robertson (Sydney), British Publishers and the Politics of Co-operation, 1933 to the Second World War 101 Angus & Robertson’s London Office, Second World War to 1956 6 “We are just boys from the bush when it comes to publishing in London”: Angus & Robertson’s London Office, Second World War to 1949 130 7 The Case of the “Bombshell Salesman”: Angus & Robertson’s London Office, 1950 to 1952 159 8 “Too Australian to be any good in England”: Angus & Robertson’s London Office, 1953 to 1956 191 Angus & Robertson’s London Office, 1957-1970 9 “Kicked to pieces”: Angus & Robertson’s London Office, 1957 to 1961 216 10 “Re-assembling the pieces”: Angus & Robertson’s London Office, 1962-1965 255 11 “Taking some of the sail off the ship”: Angus & Robertson’s London Office, 1966-1970 289 12 Learning from a Distance (Conclusion): Angus & Robertson, Exports and Places of Publication 316 Appendixes A-E 325 Bibliography 374 ABSTRACT Places of Publication is a sustained study of the practice of Angus & Robertson’s London office as publishers and exporters / importers, using a mixed-methods approach combining the statistical analysis of bibliographic data with an interpretative history of primary resource materials. -
CONCLUSION This Literary Study and Close Account of Her Social
224 CONCLUSION This literary study and close account of her social philosophy has demonstrated that the novelist, Eleanor Dark, was also a vigorous social protester and moralist, both concerned with pressing contemporary problems and with their psychological origins, and bent on showing in her fiction a close connection between political forces and individual lives. It has been made clear in this critical treatment .:hat, with a romantics revolutionary turn of mind, she was determined to open her readers eyes to so many social injustices. These were all too often perpetrated by mediocre leaders, and yet the people, in their ignorance and apathy, were hardly aware of them. To illustrate this she created a series of idealistic, independently thinking characters who set out to right social wrongs by exercising heroic personal integrity, by being true to their own consciences, and by establishing ideals which would enrich, rather than constrict, both the individual and society as a whole. The study has shown, however, that Dark always emphasised the need to put theory into action, and to curb simplistic idealism with a measure of lived practicality. There was presented in Chapter 2 the writers perception of human existence as a progression or journey, with her questing protagonists energetically engaging with all aspects of life as they struggled toward the goal of social harmony and the desired realisation of personal potential. Throughout, there has been critical emphasis upon the novels impressive celebration of life, and I have endeavoured to show that the vitality of Darks daring protagonists became a means of judging the behaviour of others, as she contrasted them with those lesser and more timid characters who refused Ito participate willingly in the mortal contest. -
PLEASE DO NOT REMOVE THIS PAGE Finding Furphy Country: Such Is Life and Literary Tourism
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by RMIT Research Repository Thank you for downloading this document from the RMIT Research Repository 7KH50,75HVHDUFK5HSRVLWRU\LVDQRSHHQDFFHVVGDWDEDVHVKRZFDVLQJWWKHUHVHDUFK RXWSXWVRI50,78QLYHUVLW\UHVHDUFKHUV 50,755HVHDUFK5HHSRVLWRU\KWWSUHVHDUFKEDQNUPLWHGXDX Citation: Magner, B 2013, 'Finding Furphy country: such is life and literary tourism', JASAL - Journal of the Association for the Study of Australian Literature, vol. 13, no. 1, pp. 1-18. See this record in the RMIT Research Repository at: http://researchbank.rmit.edu.au/view/rmit:22904 Version: Published Version Copyright Statement: © 2013 Author, Association for the Study of Australian Literature Link to Published Version: http://www.nla.gov.au/openpublish/index.php/jasal/article/view/2597 PLEASE DO NOT REMOVE THIS PAGE Finding Furphy Country: Such is Life and Literary Tourism BRIGID MAGNER RMIT University Joseph Furphy, considered to be ‘the father of the Australian novel’, is best known for Such is Life, a little-read and often baffling novel about life in rural Australia. In 1981 Manning Clark claimed that Furphy is ‘the author of a classic which few were to read and no one was ever to establish clearly what it was all about’. Julian Croft observes that Such is Life is a ‘cultural monument’ which is ‘more often referred to than read for pleasure’ since it ‘tests the skill, patience and endurance of those who attempt it’ (TC 275). The demanding nature of the novel, with its unusually complex narrative structure, inter- textual references and playful use of language, can be off-putting to many readers but it has attracted a small number of dedicated followers, who have been largely responsible for the efforts to memorialise Furphy and his contribution to Australian literary culture. -
Christina Stead and the Synecdochic Scam: the Little Hotel
Christina Stead and the Synecdochic Scam: The Little Hotel JUDITH KEGAN GARDINER, UNIVERSITY OF ILLINOIS AT CHICAGO In this essay celebrating Christina Stead’s Centenary, I first review American Stead scholarship, as I’ve personally participated in it, before performing a close reading of The Little Hotel.1 My argument is that this wonderful short novel is underappreciated and that a formal approach can discern its shapely rhetorical structures. By drawing attention to Stead’s “synecdochic scams,” I highlight the way that she uses synecdoche, the literary figure of representing a whole through one of its parts, in order to portray the economic, sexual, and gender structures of her society. She critiques these structures as one colossal “scam” or scheme of exploitation with many manifestations. Then I break away from the formal restraints of New Critical explication to read The Little Hotel through the lenses of two contemporary theorists of masculinity, Australian sociologist Bob Connell and the late French post-structuralist theorist, Pierre Bourdieu. I I don’t know how I first heard of Stead, but in the mid-1970s she was one of the authors on lists of women writers all feminists should know. For example, The Man Who Loved Children, House of All Nations, The Puzzleheaded Girl and Miss Herbert are listed in Women and Literature: An Annotated Bibliography of Women Writers published in 1976 by the Women and Literature Collective of Cambridge, Massachusetts. This source cites only two other Australian women writers, Henry Handel Richardson and Shirley Hazzard. Accompanied by a flattering line drawing of a composed, middle-aged woman, it comments, “Stead herself presents an enigma to feminist readers: outspokenly scornful of the Women’s Liberation 13 14 JASAL 2 2003 Movement [. -
A Writer's Calendar
A WRITER’S CALENDAR Compiled by J. L. Herrera for my mother and with special thanks to Rose Brown, Peter Jones, Eve Masterman, Yvonne Stadler, Marie-France Sagot, Jo Cauffman, Tom Errey and Gianni Ferrara INTRODUCTION I began the original calendar simply as a present for my mother, thinking it would be an easy matter to fill up 365 spaces. Instead it turned into an ongoing habit. Every time I did some tidying up out would flutter more grubby little notes to myself, written on the backs of envelopes, bank withdrawal forms, anything, and containing yet more names and dates. It seemed, then, a small step from filling in blank squares to letting myself run wild with the myriad little interesting snippets picked up in my hunting and adding the occasional opinion or memory. The beginning and the end were obvious enough. The trouble was the middle; the book was like a concertina — infinitely expandable. And I found, so much fun had the exercise become, that I was reluctant to say to myself, no more. Understandably, I’ve been dependent on other people’s memories and record- keeping and have learnt that even the weightiest of tomes do not always agree on such basic ‘facts’ as people’s birthdays. So my apologies for the discrepancies which may have crept in. In the meantime — Many Happy Returns! Jennie Herrera 1995 2 A Writer’s Calendar January 1st: Ouida J. D. Salinger Maria Edgeworth E. M. Forster Camara Laye Iain Crichton Smith Larry King Sembene Ousmane Jean Ure John Fuller January 2nd: Isaac Asimov Henry Kingsley Jean Little Peter Redgrove Gerhard Amanshauser * * * * * Is prolific writing good writing? Carter Brown? Barbara Cartland? Ursula Bloom? Enid Blyton? Not necessarily, but it does tend to be clear, simple, lucid, overlapping, and sometimes repetitive. -
Visitor Responses to Palm Island in the 1920S and 1930S1
‘Socialist paradise’ or ‘inhospitable island’? Visitor responses to Palm Island in the 1920s and 1930s1 Toby Martin Tourists visiting Queensland’s Palm Island in the 1920s and 1930s followed a well-beaten path. They were ferried there in a launch, either from a larger passenger ship moored in deeper water, or from Townsville on the mainland. Having made it to the shallows, tourists would be carried ‘pick a back’ by a ‘native’ onto a ‘palm-shaded’ beach. Once on the grassy plains that stood back from the beach, they would be treated to performances such as corroborees, war dances and spear-throwing. They were also shown the efforts of the island’s administration: schools full of happy children, hospitals brimming with bonny babies, brass band performances and neat, tree-fringed streets with European- style gardens. Before being piggy-backed to their launches, the tourist could purchase authentic souvenirs, such as boomerangs and shields. As the ship pulled away from paradise, tourists could gaze back and reflect on this model Aboriginal settlement, its impressive ‘native displays’, its ‘efficient management’ and the ‘noble work’ of its staff and missionaries.2 By the early 1920s, the Palm Island Aboriginal reserve had become a major Queensland tourist destination. It offered tourists – particularly those from the southern states or from overseas – a chance to see Aboriginal people and culture as part of a comfortable day trip. Travellers to and around Australia had taken a keen interest in Aboriginal culture and its artefacts since Captain Cook commented on the ‘rage for curiosities amongst his crew’.3 From the 1880s, missions such as Lake Tyers in Victoria’s Gippsland region had attracted 1 This research was undertaken with the generous support of the State Library of NSW David Scott Mitchell Fellowship, and the ‘Touring the Past: History and Tourism in Australia 1850-2010’ ARC grant, with Richard White.