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Exoticism Or Visceral Cosmopolitanism: Difference and Desire in Chinese Australian Women's Writing
University of Wollongong Research Online Faculty of Law, Humanities and the Arts - Papers Faculty of Arts, Social Sciences & Humanities 1-1-2019 Exoticism or visceral cosmopolitanism: difference and desire in Chinese Australian women's writing Wenche Ommundsen University of Wollongong, [email protected] Follow this and additional works at: https://ro.uow.edu.au/lhapapers Part of the Arts and Humanities Commons, and the Law Commons Recommended Citation Ommundsen, Wenche, "Exoticism or visceral cosmopolitanism: difference and desire in Chinese Australian women's writing" (2019). Faculty of Law, Humanities and the Arts - Papers. 4002. https://ro.uow.edu.au/lhapapers/4002 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] Exoticism or visceral cosmopolitanism: difference and desire in Chinese Australian women's writing Abstract In Visceral Cosmopolitanism, Mica Nava posits a positive and, by her own admission, utopian alternative to postcolonial readings of the sexualisation of difference: a cosmopolitanism located with the antiracist 'micro-narratives and encounters of the emotional, gendered and domestic everyday' (2007: 14). Olivia Khoo, in The Chinese Exotic, defines a new, diasporic Chineseness which 'conceives of women and femininity, not as the oppressed, but as forming part of the new visibility of Asia' (2007: 12). My reading of recent fiction by Chinese Australian women writers proposes to test these theories against more established models for understanding East/West intimate encounters such as exoticism, Orientalism and Occidentalism, speculating that they may offer a more nuanced understanding of both the complexity and the normalisation of difference in the affective cultures of the twenty-first century. -
September 2019 Catalogue Issue 41 Prices Valid Until Friday 25 October 2019 Unless Stated Otherwise
September 2019 Catalogue Issue 41 Prices valid until Friday 25 October 2019 unless stated otherwise ‘The lover with the rose in his hand’ from Le Roman de la 0115 982 7500 Rose (French School, c.1480), used as the cover for The Orlando Consort’s new recording of music by Machaut, entitled ‘The single rose’ (Hyperion CDA 68277). [email protected] Your Account Number: {MM:Account Number} {MM:Postcode} {MM:Address5} {MM:Address4} {MM:Address3} {MM:Address2} {MM:Address1} {MM:Name} 1 Welcome! Dear Customer, As summer gives way to autumn (for those of us in the northern hemisphere at least), the record labels start rolling out their big guns in the run-up to the festive season. This year is no exception, with some notable high-profile issues: the complete Tchaikovsky Project from the Czech Philharmonic under Semyon Bychkov, and Richard Strauss tone poems from Chailly in Lucerne (both on Decca); the Beethoven Piano Concertos from Jan Lisiecki, and Mozart Piano Trios from Barenboim (both on DG). The independent labels, too, have some particularly strong releases this month, with Chandos discs including Bartók's Bluebeard’s Castle from Edward Gardner in Bergen, and the keenly awaited second volume of British tone poems under Rumon Gamba. Meanwhile Hyperion bring out another volume (no.79!) of their Romantic Piano Concerto series, more Machaut from the wonderful Orlando Consort (see our cover picture), and Brahms songs from soprano Harriet Burns. Another Hyperion Brahms release features as our 'Disc of the Month': the Violin Sonatas in a superb new recording from star team Alina Ibragimova and Cédric Tiberghien (see below). -
A Good and Pleasant Thing
A Good and Pleasant Thing RR2020_Melanie Cheng_Good and Pleasant Thing [Music] Welcome to the Victorian Seniors Festival, In The Groove, Radio Reimagined in 2020. This project has been produced on the lands of the Woi Wurrung and Boon Wurrung peoples of the Kulin Nation. We pay our respects to Elders, past, present and emerging, and welcome all First Nations people listening today. As part of our Spoken Word series, please enjoy Melanie Cheng’s A Good and Pleasant Thing. Twenty years ago, supermarkets didn’t stock Chinese mushrooms. Now they had a whole aisle dedicated to international cuisine. Lebanese, Greek and Mexican on one side, Chinese, Vietnamese and Indian on the other. Mrs Chan hardly ever went to the shops by herself. On Wednesdays her eldest daughter, Lily, took her to Footscray Market to buy fresh vegetables, and every Friday her youngest daughter, Daisy, ordered bulky items, like toilet paper, for her online. But today was her grandson Martin’s twentieth birthday, and Mrs Chan wanted to surprise him—to surprise all of them—by cooking a family favourite. Chinese clay pot chicken and mushroom rice. She found the chicken thighs towards the front of the supermarket, cradled in polystyrene. The meat would be days old by now, but it would have to do. In Hong Kong, Mrs Chan would have sent her maid to choose a live chicken at Wan Chai Market and pick it up an hour later— dead, plucked and washed. When the Chan family feasted on the flesh for dinner, the meat would be less than six hours old. -
Rezensionen Für
Rezensionen für Franz Liszt: Künstlerfestzug - Tasso - Dante Symphony aud 97.760 4022143977601 allmusic.com 01.04.2020 ( - 2020.04.01) source: https://www.allmusic.com/album/franz-lis... Karabits's performance of this large work is several minutes longer than average, without dragging in the least: he gets the moody quality that is lost in splashier readings. A very strong Liszt release, with fine sound from the Congress Centrum Neue Weimarhalle. Full review text restrained for copyright reasons. American Record Guide August 2020 ( - 2020.08.01) In 1847 while touring as a pianist in Kiev, Liszt met Polish Princess Carolyne of Sayn–Wittgenstein, who became his companion for the rest of his life. In 1848 he accepted a conducting job in Weimar, where he and the Princess lived until 1861. Carolyne persuaded him to trade performing for composing, and those years, among his most prolific, produced the three works on this program. As a young man, Liszt was already an admirer of Dante Alighieri's Divine Comedy. In the 1840s he considered writing a chorus and orchestra work drawn from it, accompanied by a slideshow of scenes from the poem by German artist Bonaventura Genelli, but nothing came of it. In 1849, he composed Apres une Lecture du Dante: Fantasia quasi Sonata (the Dante Sonata) for piano. In 1855 he began the Dante Symphony based on the 'Inferno' and 'Purgatorio' sections of Dante's poem. He completed it in 1857. The work begins with Virgil and Dante descending into the Inferno. Liszt supplied no text save for the Magnificat, but he included a few lines from the poem under score staves to guide the conductor's interpretation, most notably the opening brass motifs to the rhythms of the text over the Gates of Hell. -
Book Kit List with Summaries.Xlsx
Hornsby Library Book Club Kits Prize ficton Kit No. AUTHOR No.Pages Australian? TITLE winner? or nf DESCRIPTION It is 1939. Nazi Germany. By her brother's graveside, Liesel's life is changed when she picks up a single object, partially hidden in the snow. It is The Gravedigger's Handbook, left there by accident, and it is her first act of 1 BOOK THIEF, THE Zusak, Markus 584 pages Y Y f book thievery. So begins a love affair with books and words, as Liesel learns to read. When Liesel's foster family hides a Jewish fist-fighter in their basement, Liesel's world is both opened up, and closed down. The Lieutenant is a story about a man discovering his true self in extraordinary circumstances. This powerful 2 LIEUTENANT, THE Grenville, Kate 307 pages Y Y f novel will enthral readers of Kate Grenville's bestselling The Secret River, winner of the Commonwealth Writers' Prize. Gina Davies is a 26-year-old pole dancer in Sydney. When she has a one-night stand with a man suspected of Flanagan, 5 UNKNOWN TERRORIST, THE 325 pages Y Y f plotting to plant bombs, Gina finds that she, too, is a wanted person who must endure trial by an increasingly Richard. hysterical media, as every truth of her life is turned into a lie. A small village on a lush tropical island in the South Pacific. War is encroaching from the other end of the island. When the villagers' safe, predictable lives come to a halt, Bougainville's children are surprised to find the 9 MISTER PIP Jones, Lloyd 220 pages n y f island's only white man, a recluse, re-opening the school. -
Australia Day
TEXT PUBLISHING Book Club Notes Australia Day Melanie Cheng ISBN 9781925498592 FICTION, TRADE PAPERBACK www.textpublishing.com.au/book-clubs PRAISE FOR AUSTRALIA DAY ‘The author’s empathetic eye and easy facility with Winner of the Victorian Premier’s Literary Award for an dialogue make the anthology a strong debut.’ BIG ISSUE Unpublished Manuscript, 2016 ‘A bittersweet, beautifully crafted collection.’ ‘Melanie Cheng is an astonishingly deft and incisive BOOKS+PUBLISHING writer. With economy and elegance, she creates a dazzling mosaic of contemporary life, of how we live now. ABOUT MELANIE CHENG Hers is a compelling new voice in Australian literature.’ CHRISTOS TSIOLKAS Melanie Cheng is a writer and general practitioner. She was born in Adelaide, grew up in Hong Kong and ‘What a wonderful book, a book with bite. These stories now lives in Melbourne. In 2016 she won the Victorian have a real edge to them. They are complex without Premier’s Literary Award for an Unpublished Manuscript. being contrived, humanising, but never sentimental or Australia Day is her first book. cloying—and, ultimately, very moving.’ ALICE PUNG ‘In each story, Melanie Cheng creates an entire A READER’S INTRODUCTION TO AUSTRALIA DAY microcosm, peeling back the superficial to expose the raw nerves of contemporary Australian society. Her eye is Melanie Cheng has populated these beautifully written sharp and sympathetic, her characters flawed and funny stories with a rich variety of characters, all with vivid inner and utterly believable.’ JENNIFER DOWN lives, conflicting emotions and intangible motivations. She skilfully draws their worlds, their families and their ‘Melanie Cheng’s stories are a deep dive into the relationships. -
Directory of Chinese-Australian Writers a Resource for Literary Organisations, Programmers and Publications
Directory of Chinese-Australian Writers A resource for literary organisations, programmers and publications This resource has been created as a directory of Chinese-Australian writers (mostly living in Victoria, Australia) to assist literary organisations, programmers and publications increase the diversity of their programs and journals. Adrian Yeung Her work appears in The Oxford Book of Australian Schooldays and Growing Up Asian in Australia. Adrian is the Managing Editor of Centrethought, an online publication focussing on politics and current Contact: amychoirevival.blogspot.com.au affairs. He is currently studying at the University of Melbourne and in his spare time acts on a television show on Channel 31 Ashley Brown Contact: [email protected] Ashley Brown is an Australian who spent eight and a half years teaching in Chinese universities - primarily in Wuhan and Nanjing - and wrote about all of his Alice Pung experiences there. These writings are shortly to be online, and, eventually, in print form. His writings Alice is the author of 'Unpolished Gem' which won the have been compared to the styles of Douglas Australian Book Industry Newcomer of the Year Adams/Bill Bryson, but with a particularly sarcastic Award and was shortlisted in the Victorian and NSW Australian flavour. Premiers’ Literary awards. Her other works include: 'Her Father’s Daughter' and 'Laurinda'. She edited the Contact: [email protected] collection 'Growing Up Asian in Australia' which is studied in secondary schools. Bella Li Website: www.alicepung.com Bella Li is a freelance writer and editor. Her work has been published in a range of journals and anthologies, Alistair Ong including Meanjin, Cordite and Best Australian Poems. -
Media Release
Media Release Perpetual announces longlists for the 2018 Nita B Kibble Literary Awards Longlist authors are competing for $35,000 in prizes Friday, 20 April 2018 16 female authors were announced on the longlists today for this year’s Kibble and Dobbie Awards (the Kibble Awards), as the proud legacy established by Nita May Dobbie to celebrate and recognise Australian female writers continues in 2018. The Awards, run biennially, are presented to female authors lauded for “improving and advancing literature for the benefit of our community” and recognise both established (Kibble Award) and first-published authors (Dobbie Award). This year, applications were open for works published since the last awards in 2016. Eight authors have been announced on each of the longlists for 2018. The judging panel of the Kibble Awards includes Emeritus Professor Elizabeth Webby AM, State Library of New South Wales Coordinator – Education and Scholarship, Dr Rachel Franks, and Author Dr Eleanor Limprecht. Speaking on behalf of the panel, Ms Webby said: “Australian women’s life writing has continued its remarkable growth in both quantity and quality, requiring us once again to expand the size of the longlists for both the Kibble and Dobbie Awards. “Most of the sixteen titles longlisted this year focus on life in contemporary Australia and demonstrate the increasing diversity of Australian women’s lives and voices,” Ms Webby said. The 2018 longlisted authors are: Kibble Literary Award for an established author ($30,000 prize) Maxine Beneba Clarke The Hate Race -
Riki Turofsky Master Class in Voice with Joyce El-Khoury, Soprano Thursday, March 18, 2021 from 3 to 5:30 Pm
Riki Turofsky Master Class in Voice with Joyce El-Khoury, soprano Thursday, March 18, 2021 from 3 to 5:30 pm PROGRAM Caro nome che il mio cor (from Rigoletto, G. Verdi) Heidi Duncan, soprano; Sandra Horst, piano Bella siccome un Angelo (from Don Pasquale, G. Donizetti) Alex Mathews, baritone; Andrea Grant, piano Coeur sans amour (from Cendrillon, J. Massenet) Alessia Vitali, mezzo-soprano; Sandra Horst, piano Chi il bel sogno di Doretta (from La rondine, G. Puccini) Juliana Krajčovič, soprano; Andrea Grant, piano Vision fugitive (from Hérodiade, J. Massenet) Danlie Rae Acebuque, baritone; Sandra Horst, piano Alternate: Lieben, hassen (from Ariadne auf Naxos, R. Strauss) Nicholas Higgs, baritone; Andrea Grant, piano A message from Riki Turofsky When I was a student at Opera School, we did not have Master Classes with visiting artists. After graduation I participated in classes with exceptional artists like Lotte Lehmann, Pierre Bernac and Martial Singher. Those unique experiences are indelibly printed in my memory and were crucial to my development as a singer. It gives me great pleasure to fund this series of Master Classes in Voice, and to have the brilliant Joyce El-Khoury as our special guest this year. I plan to continue to sponsor other great artists in this series in the years to come. Sincerely, Riki T urofsky We wish to acknowledge this land on which the University of Toronto operates. For thousands of years it has been the traditional land of the Huron-Wendat, the Seneca, and most recently, the Mississaugas of the Credit First Nation. Today, this meeting place is still the home to many Indigenous people from across Turtle Island and we are grateful to have the opportunity to work on this land. -
M. Fátima Rosa the Legend of Sardanapalus
The Legend of Sardanapalus: From ancient Assyria to European stages and screens Maria de Fátima ROSA CHAM e DH, FCSH, Universidade NOVA de Lisboa Email: [email protected] ORCID: 0000-0003-2302-7751 Abstract “Adieu, Assyria! / I loved thee well”. These were the last words of king Sardanapalus, the last king of Assyria, according to Lord Byron. Throughout the centuries, Europe was confronted with the tragic story of Mesopotamia’s last monarch, a king more effeminate than a woman, a lascivious and idle man, a governor who loathed all expressions of militarism and war. But this story was no more than it proposed to be: a story, not history. Sardanapalus was not even real! The Greeks conceived him; artists, play writers, and cineastes preserved him. Through the imaginative minds of early Modern and Modern historians, artists and dramaturgs, Sardanapalus’ legend endured well into the 20th-century in several different media. Even after the first excavations in Assyria, and the exhumation of its historical archives, where no king by the name of Sardanapalus was recorded, fantasy continued to surpass history. Keywords: Reception of Antiquity, Mesopotamia, Greek Mythology, Opera, Italian Cinema. 1. Introduction (Brinkman 1984, 85-92), his capacity to rule and to subdue his enemies, and for his love for culture. Who was Sardanapalus? To speak about him means Besides a faithful servant of his gods, a provider of to immerse oneself in the history of the ancient his people and a caretaker of his/the god’s land, as world and the genesis of Eastern and Western a Mesopotamian king should be, Ashurbanipal was cultures. -
Cultural Perspectives on Lord Byron's Image in Brazilian Romanticism
Brigham Young University BYU ScholarsArchive Theses and Dissertations 2005-03-18 The Byronic Myth in Brazil: Cultural Perspectives on Lord Byron's Image in Brazilian Romanticism Matthew Lorin Squires Brigham Young University - Provo Follow this and additional works at: https://scholarsarchive.byu.edu/etd Part of the English Language and Literature Commons BYU ScholarsArchive Citation Squires, Matthew Lorin, "The Byronic Myth in Brazil: Cultural Perspectives on Lord Byron's Image in Brazilian Romanticism" (2005). Theses and Dissertations. 289. https://scholarsarchive.byu.edu/etd/289 This Thesis is brought to you for free and open access by BYU ScholarsArchive. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. THE BYRONIC MYTH IN BRAZIL: CULTURAL PERSPECTIVES ON LORD BYRON’S IMAGE IN BRAZILIAN ROMANTICISM by Matthew Lorin Squires A thesis submitted to the faculty of Brigham Young University in partial fulfillment of the requirements for the degree of Master of Arts Department of English Brigham Young University April 2005 BRIGHAM YOUNG UNIVERSITY GRADUATE COMMITTEE APPROVAL of a thesis submitted by Matthew Lorin Squires This thesis has been read by each member of the following graduate committee and by majority vote has been found to be satisfactory. ________________________ ____________________________________ Date Nicholas Mason, Chair ________________________ ____________________________________ -
LE SARDANAPALO (1678) DE FRESCHI Pratiques Théâtrales Et Musicales Du Contraste Dans L'opéra Vénitien Du Xviie Siècle
Chroniques italiennes web 30 (2/2015) LE SARDANAPALO (1678) DE FRESCHI Pratiques théâtrales et musicales du contraste e dans l’opéra vénitien du XVII siècle En 1678, le librettiste Carlo Maderni et le compositeur Domenico Freschi donnent, pour le théâtre Sant’ Angelo de Venise, un opéra de sujet historique : Sardanapalo. Centré autour de la figure royale de Sardanapale, l'ouvrage reprend et développe les éléments que nous transmet l'historien latin Justin dans son Abrégé des histoires philippiques. Homme avide de sexe, aimant filer et s'habiller en femme, il incarne l'immoralité et la luxure. Le choix d'un tel sujet est inédit dans la programmation du théâtre Sant’Angelo mais aussi dans les répertoires des théâtres italiens du XVIIe siècle. Ainsi, Sardanapalo interroge cette notion de nouveauté en termes de création poétique et lyrique : plus qu'un phénomène artistique, celle-ci devient un enjeu économique et esthétique. Venise occupe une place d’importance sur les scènes lyriques italiennes du XVIIe siècle. Dès la création du premier théâtre public en 1637, elle se démarque des autres cités italiennes par la qualité des spectacles produits et la richesse des créations. Ville d’opéras, elle permet de faire rencontrer alors les librettistes, compositeurs et les hommes d’influence qui œuvrent pour la réalisation du théâtre lyrique. Venise est ainsi une plaque tournante dans le domaine de la création musicale. Les compositeurs affluent des provinces de l’Italie du Nord pour pouvoir faire représenter leurs opéras. Cette volonté de réussir une carrière théâtrale dans la cité lacustre est donnée en exemple par Domenico Freschi, maître de chapelle à Vicence.