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Notes on Contributors Has Had Poems Published in Australian Women's
Notes on Contributors Notes on Contributors Chris Adler lives in Elvina Bay, an off-shore community iust outside Sydney. She was born in Mill Valley, California and moved to Australia in 1994 to study at the University of Wollongong. She has been writing poems since she was a child as a way of capturing life on the page, similar to a photo or painting. She has had poems published in Australian Women's Book Review, The West Pitt.'ater Perspective, POETALK (Berkeley, California) and others. Jordie Albiston was born in Melbourne in 1961. Her first poetry collection Nervous Arcs (Spinifex 1995) won first prize in the Mary Gilmore Award, second in the Anne Elder Award, and was shortlisted for the NSW Premier's Award. Her second book was entitled Botany Bay Document: A Poetic History of the Women of Botany Bay (Black Pepper 1996). Her most recent collection, The Hanging of Jean Lee (Black Pepper 1998), explores the life and death of the last woman hanged in Australian in 1951. Jordie was recipient of the Dinny O'Hearn Memorial Fellowship in 1997. She holds a PhD in literature and has two teenage children. Lucy Alexander grew up in a family of English teachers, with too many books in their lives. As a result she began to write from an early age. It seemed like the only alternative to teaching. She was encouraged in her endeavours by becoming a finalist in the Sydney Morning Herald Young Writer of the Year Award in 1992. At the end of her university degree she was published by Five Island Press in Fathoms a collection of the poetry of three student writers. -
Vernacular and Middle Styles in Australian Poetry
Kunapipi Volume 3 Issue 1 Article 7 1981 Vernacular and middle styles in Australian poetry Mark Oconnor Follow this and additional works at: https://ro.uow.edu.au/kunapipi Part of the Arts and Humanities Commons Recommended Citation Oconnor, Mark, Vernacular and middle styles in Australian poetry, Kunapipi, 3(1), 1981. Available at:https://ro.uow.edu.au/kunapipi/vol3/iss1/7 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] Vernacular and middle styles in Australian poetry Abstract It is generally recognized that there is a move at present towards the ver· nacular style in poetry; and it seems obvious that this bears some relation to the increasing literary confidence and national assertiveness of the sixties and seventies, and to the upsurge in other Australian art·forms, most notably film and drama. Undoubtedly there has been a change not only in the writers but in public taste. Readership or audience that wants the home product and the local theme is one of the phenomena that connect the new drama, the new films, and much of the new poetry and the new short stories. This journal article is available in Kunapipi: https://ro.uow.edu.au/kunapipi/vol3/iss1/7 MARK O'CONNOR Vernacular and Middle Styles in Australian Poetry It is generally recognized that there is a move at present towards the ver· nacular style in poetry; 1 and it seems obvious that this bears some relation to the increasing literary confidence and national assertiveness of the sixties and seventies, and to the upsurge in other Australian art·forms, most notably film and drama. -
LIVINGS Edward-Thesis.Pdf
OPEN SILENCE: AN APPLICATION OF THE PERENNIAL PHILOSOPHY TO LITERARY CREATION by EDWARD A R LIVINGS Principal Supervisor: Professor John McLaren Secondary Supervisor: Mr Laurie Clancy A thesis submitted in complete fulfilment of the requirements for PhD, 2006. School of Communication, Culture and Languages Victoria University of Technology © Edward A R Livings, 2006 Above the senses are the objects of desire, above the objects of desire mind, above the mind intellect, above the intellect manifest nature. Above manifest nature the unmanifest seed, above the unmanifest seed, God. God is the goal; beyond Him nothing. From the Kāthak Branch of the Wedas (Katha-Upanishad)1 1 Shree Purohit Swāmi and W B Yeats, trans., The Ten Principal Upanishads (1937; London: Faber and Faber, 1985) 32. 2 ACKNOWLEDGEMENTS I wish to acknowledge the efforts of my supervisors Professor John McLaren and Laurie Clancy and those of John Jenkins, Jordie Albiston and Joanna Steer, all of whom contributed, directly or indirectly, to the production of this thesis and to whom I am most grateful. I hope the quality of the dissertation reflects the input of these people, who have so ably assisted in its production. Any faults found within the thesis are attributable to me only. 3 ABSTRACT Open Silence: An Application of the Perennial Philosophy to Literary Creation is a dissertation that combines a creative component, which is a long, narrative poem, with a framing essay that is an exegesis on the creative component. The poem, entitled The Silence Inside the World, tells the story of four characters, an albino woman in a coma, an immortal wizard, a dead painter, and an unborn soul, as they strive to comprehend the bizarre, dream-like realm in which they find themselves. -
JOHN SHAW NEILSON and TIW FLORAL Mefaphor
Noel Macalnsh JOHN SHAW NEILSON AND TIW FLORAL MEfAPHOR The femme fatale was a fascinating figure of art in Victorian times. Mario Praz, in his well-known book, The Romantic Agony, has described her manifestations in several European literatures, including English. In Australia too, "Ia belle dame sans merci," the beautiful woman, imperious, fascinating and cruel, appears in various forms in the poetry of Christopher Brennan, Kenneth Slessor, A.D. Hope and others. Norman Lindsay has painted her image. The femme fatale is a striking creation, threatening pain, castration, delusion and death, but also suggesting the possibility of ecstatic union. She is of both heaven and hell, is sought among the stars and in the underworld, is Lilith, Persephone, Circe, a Siren or heartless cocette; she promises immor- tality or obsession and ruin. Nevertheless, the femme fatale is not the only distinctive projec- tion of femininity to be found in Australian poetry. Inherently less striking, but complementary in its displacement from everyday reality is the figure of the fragile girl, the delicate child-woman, a tender and transient flower, a beautiful ideal doomed to wither before the crude demands of life. John Shaw Neilson is the supreme representative of this figure in Australian poetry. In Neilson, the femme fragile, as she will be called here, rather than the femme enfant, is typically presented as a girl, who "innocent/in the whistling Spring," will not survive into Summer. She is "the tenderest of pale girls." 1 She grows ill and must die. The theme was popular in Neilson's time. Edgar Allen Poe wrote that "The death, then, of a beautiful woman is, unquestionably, the most poetical topic in the world." 2 If, for "beautiful woman," we substitute "young girl" or occasionally "young boy," this statement becomes quite applicable to Neilson also. -
Introduction
INTRODUCTION In early 1970, I took a position as an education officer at Pentridge Prison in the Melbourne suburb of Coburg. Assigned to the high- security B Division, where the chapel doubled as the only classroom on weekdays, I became tutor, confidant and counsellor to some of Australia’s best-known criminals. I’d previously taught adult students at Keon Park Technical School for several years, but nothing could prepare me for the inhospitable surrounds I faced in B Division. No bright and cheerful classroom or happy young faces here – just barren grey walls and barred windows, and the sad faces of prisoners whose contact with me was often their only link to a dimly remembered world outside. The eerie silence of the empty cell block was only punctuated by the occasional approach of footsteps and the clanging of the grille gate below. Although it’s some forty years since I taught in Pentridge, the place and its people have never left me. In recent times, my adult children encouraged me to write an account of my experiences there, and this book is the result. Its primary focus is on the 1970s, which were years of rebellion in Pentridge, as in jails across the Western world. These were also the years when I worked at Pentridge, feeling tensions rise across the prison. The first chapter maps the prison’s evolution from its origins in 1850 until 1970, and the prison authorities’ struggle to adapt to changing philosophies of incarceration over that time. The forbidding exterior of Pentridge was a sign of what lay inside; once it was constructed, this nineteenth-century prison was literally set in stone, a soulless place of incarceration that was nevertheless the only home that many of its inmates had known. -
Issue 98, Autumn 2007 Ease the Burden and Find a Cure Stand by Me Where There’S a Will There’S a Way by Extreme Sports Enthusiast Eddie Canales
Parkinson’s NEW SOUTH WALES IINC. Newsletter – IIssue 98, Autumn 2007 Ease the Burden and Find a Cure Stand By Me Where there’s a will there’s a way by extreme sports enthusiast Eddie Canales My name is Eddie Canales. I am 41 years old, married at 14,000 feet, free falling for 60 seconds at speeds of and a father to three boys aged seven, five and five in excess of 220 kms/hour, breath-taking views of the months. I’m also a director of my own print management coastline and landing softly on your behind as if you were company. sitting on your lounge. After being diagnosed with Parkinson’s disease at the Sky-diving, bungee jumping, whitewater rafting all done ... age of 36, I was determined to continue to live my life as what’s next on the list – any suggestions? normally as possible. By the way I still ride a motorcross bike and provide the I’ve always been an avid sportsman and have comic relief when we go riding due to my mishaps (much represented New South Wales and Australia in Judo. This to the concern of my wife). gave me more determination to stay sports-minded and accomplish more than what would be expected. Sky-diving was a challenge I wanted to fulfill by the time I turned 40. FEATURES • Experimental Research on Surgery for Pd ..... page 4 I did my jump in December last year and would do it again at the drop of a hat. The adrenalin rush of jumping out • Fatigue Studies ....................................................... -
University of Queensland Library
/heuhu} CATALOGUE OF MANUSCRIPTS from THE HAYES COLLECTION In tlie UNIVERSITY OF QUEENSLAND LIBRARY edited by Margaret Brenan, Marianne Ehrhardt and Carol Heiherington t • i w lA ‘i 1 11 ( i ii j / | ,'/? n t / i i / V ' i 1- m i V V 1V t V C/ U V St Lucia, University of Queensland Library 1976 CATALOGUE OF MANUSCRIPTS from THE HAYES COLLECTION CATALOGUE OF MANUSCRIPTS from THE HAYES COLLECTION in the UNIVERSITY OF QUEENSLAND LIBRARY edited by Margaret Brenan, Marianne Ehrhardt and Carol Hetherington St Lucia, University of Queensland Library 1976 Copyright 1976 University of Queensland Library National Library of Australia card number and ISBN 0 9500969 8 9 CONTENTS Page Frontispiece: Father Leo Hayes ii Foreword vii Preface ix Catalogue of the Hayes Manuscript Collection 1 Subject index 211 Name index: Correspondents 222 Name index - Appendix 248 Colophon 250 V Foreword University Libraries are principally agencies which collect and administer collections of printed, and in some cases, audio-visual information. Most of their staff are engaged in direct service to the present university community or in acquiring and making the basic finding records for books, periodicals, tapes and other information sources. Compiling a catalogue of manuscripts is a different type of operation which university libraries can all too seldom afford. It is a painstaking, detailed, time-consuming operation for which a busy library and busy librarians find difficulty in finding time and protecting that time from the insistent demand of the customer standing impatiently at the service counter. Yet a collection of manuscripts languishes unusable and unknown if its contents have not been listed and published. -
Contributors Antipodes Editors
Antipodes Volume 29 | Issue 1 Article 16 2020 Contributors Antipodes Editors Follow this and additional works at: http://digitalcommons.wayne.edu/antipodes Recommended Citation Editors, Antipodes (2020) "Contributors," Antipodes: Vol. 29: Iss. 1, Article 16. Available at: http://digitalcommons.wayne.edu/antipodes/vol29/iss1/16 CONTRIBUTORS Luma Balaa is Assistant Professor of English Studies in the Department of English at the Lebanese American University of Beirut. Her research interests include fairytales, Anglophone Lebanese Australian writers, women’s writing, feminism, and representations of women in Cinema. Her scholarship has been published in Antipodes, Hawwa: Journal of Women of the Middle East and the Islamic World, and Australian Feminist Studies. Gillian Bouras is an expatriate Australian writer who has written several books, stories, and articles, many of them dealing with her experiences as an Australian woman in Greece. John Carmody is a retired academic physiologist (UNSW) and lively music critic and author. In 1978, he became the writer on opera and concert music for the National Times and subsequently wrote for the Australian Financial Review and the Sun-Herald. He has contributed extensively to the Australian Dictionary of Biography and a number of other encyclopedias and reference publications. He has broadcast frequently on ABC radio, notably on music, religion, history, and medicine. Julie Chevalier lives in western Sydney and teaches poetry and short story workshops for New South Wales Writers’ Centre, South Coast Writers’ Centre, Central Coast Poetry Group, Gloucester Poetry Group, and the Sydney WEA. Eileen Chong is a Sydney poet. Her work has been shortlisted for the Anne Elder Award, the Peter Porter Prize, and the Prime Minister’s Literary Awards, amongst others. -
AUS079 Villainelles Program-FA.Indd
Arts House The Villainelles is presented by Arts House, Arts House, North Melbourne Town Hall a City of Melbourne contemporary arts 521 Queensberry Street initiative which offers producing and North Melbourne 3051 presentation support, funding, brokers artshouse.com.au international and national opportunities for artists, hosts and partners festivals and other agencies, provides creative development residencies and commissions, develops and realises new artistic work. Each year Arts House presents a curated program of contemporary art featuring performances, exhibitions, live art, installations and cultural events which are programmed to inspire dynamic community engagement. The 2008 program, Beyond Bread and Circus, celebrates artists who are questioning artistic boundaries and challenging all of us to think and see in new ways. Beyond Bread and Circus continues a commitment to contemporary arts practices which question our values and preconceptions. In a complex global context, Arts House in 2008 refl ects a growing dissatisfaction with short term cultural, social and political fi xes and the fl eeting emptiness of high availability entertainment. ANDRÉE GREENWELL’S THE VILLAINELLES A Green Room Music Production Arts House, North Melbourne Town Hall 21 + 22 August 2008 BEYOND BREAD AND CIRCUS SEASON 2008 AUS079 Villainelles Program-FA.indd 1 21/8/08 1:34:56 PM Thankyous Green Room Music was founded by artistic Performers Creative Team Writers and Words Auspicious Arts, the Australian the Youth director and composer Andrée Greenwell in Voice: Andrée Greenwell + Donna Hewitt Composer: Andrée Greenwell Alison Croggon is a Melbourne writer. Orchestra, The Astra Choir, Urban Theatre 1998, to develop unique music performance Violin: Naomi Radom Words: Jordie Albiston, Alison Croggon and She is an award winning poet, and has Projects, Ben Hauptmann, Damien and screen projects from a music Cello: Jane Williams Andrée Greenwell after Kathleen Mary Fallon published nine collections of poetry. -
The Poetry of John Shaw Neilson
'CITY OF SIGHS': THE POETRY OF JOHN SHAW NEILSON LAUR.IE CLANCY read through the body ofNeilson's poetry-and to read the autobiography and correspondence on top of that - and then to tum to criticism of it is, in my own case at any rate, enormously irritating. The problem begins as early as H. M. lloGreen in his pioneering History of Australian Literature. In the ten pages that he devotes to Neilson's work in the first volume of that book (two less than Hugh McCrae receives), he says, among other things, 'Neilson is in fact a mystic, perhaps the most notable of all Australia's mystic poets: that he is not a mystic merely, that he did not call himself a mystic, and that he may very likely have known nothing about mysticism is nothing to the point' (483). Neilson, as it were, has mysticism thrust upon him. He goes on, 'The range ofNeilson 's verse is narrow. He wrote three kinds ofpoem', we are told (486), the purely lyrical, the ballad-like, and the satirical. Green strongly implies that it was necessary for A. G. Stephens to help knock the poems into shape and he goes on to say, 'and, since on the one hand he lacks the balladists' matter, and on the other hand his contemplation is mainly emotional, for as a rule he does not so much think as perceive and feel, his verses are apt quickly to run thin ...he cannot develop a theme or a thought or an emotion' (488). Green was writing many years ago, of course, but it is interesting that in the revised edition of his book his widow, the late Dorothy Green, sees it unnecessary to add very much to this judgment: ' Witnesses o[Sp ring, consisting ofpreviously unpublished poems of Neilson's, does not add much to one's assessment of his achievement, though it contains several interesting poems' (491). -
Gibbons 2012.Pdf (854.1Kb)
School of Media, Communication and Creative Arts “A Bag, A Beret and a Book of Poems”: A Verse Novel & An Exploration of Generic Hybridity: An Exegesis Maureen Gibbons This thesis is presented for the Degree of Doctor of Creative Arts of Curtin University June 2012 Declaration To the best of my knowledge and belief this thesis contains no material previously published by any other person except where due acknowledgement has been made. This thesis contains no material that has been accepted for the award of any other degree or diploma in any university. ______________________________ Maureen Gibbons ___________________ Date 2 Acknowledgments I would like to thank the following people, without whose help this thesis could never have been accomplished. First, to my principal supervisor, Dr Julienne van Loon, for her unparalleled belief in my ability to bring the creative component of this work to fruition; for her honesty, humour, scholarship and commitment to a collaborative working relationship. Heartfelt thanks also to Dr Ann McGuire, for her intellectual enthusiasm and sensitive guidance throughout all aspects of the theoretical inquiry underpinning the creative proJect. I am privileged to have such professional and respectful supervisors who have guided and challenged me throughout and shown me compassionate support. Sincere thanks to my late husband whose support and belief in my ability to be successful in anything I set out to do still inspires me. I am also extremely grateful to my family for their constant support, their respectful attitudes and their understanding of my commitment to study and writing. My sincere thanks to close friends who have been there with editorial advice or an encouraging word when needed. -
Theatres of Music’: Recent Composition-Led Works by Andrée Greenwell Andrée Greenwell University of Wollongong
University of Wollongong Research Online University of Wollongong Thesis Collection University of Wollongong Thesis Collections 2012 ‘Theatres of Music’: recent composition-led works by Andrée Greenwell Andrée Greenwell University of Wollongong Recommended Citation Greenwell, Andrée, ‘Theatres of Music’: recent composition-led works by Andrée Greenwell, Doctor of Creative Arts thesis, Faculty of Creative Arts, University of Wollongong, 2012. http://ro.uow.edu.au/theses/3795 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] ‘Theatres of Music’: recent composition-led works by Andrée Greenwell A thesis submitted in partial fulfillment of the requirements for the award of the degree Doctor of Creative Arts from the University of Wollongong by Andrée Greenwell B.A. Music, P.G. Diploma in Music (VCA) Faculty of Creative Arts May, 2012 Abstract This exegesis provides an exposition of the theoretical basis for my two most recent music-theatre compositions The Hanging of Jean Lee and The Villainelles, both developed from poetic collections of Dr Jordie Albiston. This written documentation primarily concerns the creative adaptation of extant literary works to composition-led interdisciplinary performance. As a companion to the documented folio works that form the greater part of this DCA, this exegesis is intended to illuminate the artistic inception, rationale and creative methodologies of these two major works created in the period of 2003- 2008, and for which I undertook a variety of creative roles including composer, artistic director, image researcher, image director and performer. Together, these works assist the identification of my artistic practice as particular within the broader context of Australian and international music-theatre.