DOCSLIB.ORG

14/06/2006 1 Gwen Harwood

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
14/06/2006 1 Gwen Harwood 14/06/2006 1 Gwen Harwood: Endnote Bibliography in Word Format £> ^Off" ^c^f\fif^ "GwenHarwood: 1920 - 1995." Antipodes 10.1 (1996): 59. "The Hoax That Misfired." The Bulletin 82.4253 (1961): 8. "Peaceful Death for Fine Poet Harwood." The Saturday Mercury 9 December 1995: 7. "Poet Gwen Harwood Dies at 75." The Sydney Morning Herald 9 December 1995: 8. "A Tribute." Island.67 (1996): 28. Adcock, F. "Aristotle with Wattles." TLS.4634 (1992): 23. Atherton, Cassandra. "Hashing Eyes and Floating Hair: A Reading of Gwen Harwoods' Pseudonymous Poetry." Melbourne University, 2004. —. "Tuck All Editors' : The Ern Malley Affair and Gwen Harwood's Bulletin Scandal." Tournal of Australian Studies.72 (2002): 151-57, notes 280-81. —. "'in the Dreaded Park' : Gwen Harwood and Subpersonality Theory." Tournal of Australian Studies.84 (2005): 133-39. —. '"in the Dreaded Park': Gwen Harwood and Subpersonality Theory." Jas, Australia's Public Intellectual Forum, No.84,2005: (133)-139,248-249. 2005. Baker, Candida. "Gwen Harwood." Yacker 3 : Australian Writers Talk About Their Work. Ed Candida Baker. Chippendale, New South Wales: Pan, 1989. 130-57. Bantick, Christopher. "Immortal Harwood." The Courier-Mail 8 March 2003: 8. Bennie, Angela "The Many Voices of Gwen Harwood." The Weekend Australian 31 December-1 January (1988-1989) 1988: 9. Beston, John. "Artists and Academics in the Poetry of Gwen Harwood." Quadrant 18.3 (1974): 21- 27. —. "An Interview with Gwen Harwood" Quadrant 19.7 (1975): 84-88. Bishop, T. G. "An Afternoon with Gwen Harwood" Antipodes 4.2 (1990): 92-94. 14/06/2006 2 —. "Gwen Harwood : Life Sentences." International Literature in English : Essays on the Major Writers. Ed Robert L. Ross. New York (City), New York (State), United States of America (USA): Garland, 1991. 621-35. Brissenden, & F. A Fire-Talented Tongue : Some Notes on the Poetry of Gwen Harwood Surry Hills, New South Wales: The Wentworth Press, 1978. Buckley, Vincent. "Gwen Harwood : Notes on the Dream." Gwen Harwood Ed Robert Sellick. Adelaide, South Australia: Centre for Research in the New Literatures in English, 1987. 65- 72. —. "The Search for an Australian Identity." Hemisphere 8.1 (1964): 14-17. Clarke, Patricia. "Poet's Fine Letters Nurtured Friends." The Canberra Times 5 January 2002: 14. Cotter, John. "Gwen Harwood, 1920-1995." Eureka Street 6.1 (1996): 51. Crane, Andrew. "Untitled" Preludes: A Literary Annual.6 (1990): 23-26. Cranston, C. A. "Gwen Harwood 1920-1995: A Personal Remembrance." Notes & Furphies.36 (1996): 3. Davies, Mark. "Interview with Poet Gwen Harwood" Northern Perspective 18.1 (1995): 55-62. Denholm, Michael. "Dorothy Hewett." The Tasmanian Review. 1 (1979): 6-8. Digby, Jenny. "The Evanescent Things." A Woman's Voice: Conversations with Australian Poets. Ed. Jenny Digby. St Lucia, Queensland University of Queensland Press, 1996. 44-66. Douglas, Dennis. "Gwen Harwood - the Poet as Doppelganger." Quadrant 13.2 (1969): 15-19. —. "A Prodigious Dilemma: Gwen Harwood's Professor Eisenbart and the Vices of the Intellect." Australian Literary Studies 6.1 (1973): 77-82. Dutton, Suzanne. "Freshness." The Adelaide Review.83 (1990): 39. Edgar, Stephen. "Gwen Harwood 1920/ 1995." Island (Sandy Bay, Tas).65 (1995): 7-10. Edgar, Stephen John. "Gwen Harwood 1920-1995." Island.65 (1995): 7-10. 14/06/2006 3 —. "An Interview with Gwen Harwood" Island Magazine.25/26 (1986): 74-76. Fahey, Diane. "The Poetry of Gwen Harwood and Vincent Buckley." 1974. Felton, Heather. "A Celebration for Gwen Harwood" Tasmanian Writers Union Newsletter 11.1 (1991): 2-3. Frizell, Helen. "10,000 Accolades for Poet." The Sydney Morning Herald 17 November 1978: 7. Goldsworthy, Kenya "Gwen Will Write It Down." Australian Book Review.126 (1990): 10. Goldsworthy, Peter. "The Biology of Poetry: LM. Philip Hodgins, Gwen Harwood, John Forbes and Judith Wright. The Judith Wright Memorial Lecture." Adelaide Review.233 (2003): 22-23. —. "Gwen Harwood" The Sydney Review.84 (1996): 16. —. "Little Gwendoline Was Not Quite Like Other Girls." Voices 1.1 (1991): 101-02. Hall, Rodney. The Poetry of Gwen Harwood Sydney, New South Wales: ABC, 1977. Harrex, S. C. "Island Lyrics : Vivian Smith, Gwen Harwood and James Mcauley." Island Magazine.25/26 (1986): 67-73. Harris, John Michael. "The Significance of Meter in the Poems of J. R. Rowland, Gwen Harwood and the Post-War Poetry of Kenneth Mackenzie." 1979. Harwood, Gwen. Gainful Employment. -. "Gwen Harwood" Meaniin 39.4 (1980): 453. —. "Gwen Harwood" Yacker 3: Australian Writers Talk About Their Work. (1989): 130-157. —. "Interview with Gwen Harwood" Span (Brisbane, Qld).26 (1988): 1-11. —. "An Interview with Gwen Harwood by Stephen Edgar." Island Magazine.nos (1986): 74-76. —. "Interview with Poet Gwen Harwood" Northern Perspective 18.no.l (1995): 55-62. —. "Lamplit Presences." Southerly 40.3 (1980): 247-54. —. "The Seventh House." Overland 101 (1985): 13-14. 14/06/2006 4 —. "Time Beyond Reasoa" Gwen Harwood Ed Robert Sellick. Adelaide, South Australia: Centre for Research in the New Literatures in English, 1987. 13-21. —• The View from Seventy. Fictions. Sydney, New South Wales: ABC, 1990. —. "Words and Music." Southerly 46.4 (1986): 367-76. Heales, Robyn S. "The Poetry of Gwen Harwood" Language and the Inner Life : A Toint Seminar of the Department of English, Faculty of Military Studes, Duntroon and the School of Psychiatry, University of New South Wales. [Campbell, Australian Capital Territory]: [Australian Defence Force Academy. Dept. of English], 1985. 95-114. Hetherington, Graeme. "For Gwen Harwood" Voices 6.2 (1996): 58-59. —. "For Gwen Harwood" LiNQ 8.3 (1980): 18. Hoddinott, Alison, ed Blessed City: The Letters of Gwen Harwood to Thomas Riddell, Tanuary to September 1943. North Ryde, New South Wales: Angus and Robertson, 1990. —. "Celebrating Gwen Harwood" Island67 (1996): 18-24. —. "Childhood, Memory and the Preservation of the Past." -. "Friendship." —. Gwen Harwood : The Real and the Imagined World North Ryde, New South Wales: Collins/Angus and Robertson, 1991. —. "Gwen Harwood and Blessed City: Auchenflower in Brisbane Life." Tournal of the Royal Historical Society of Queensland (1988) 16.7 (1997): 300-06. —. "Gwen Harwood and the Philosophers." Southerly 41.3 (1981): 272-87. —. "Gwen Harwood and the Philosophors." Southerly 41.Sept (1981): 272-87. —. [Interview with Gwen Harwood in Hobart 18th-21st April, 19881.1988. —. "'Language, the Mirror of the World'." —. "Masks and Disguises." 14/06/2006 5 —. "Overlap and Interact." Australian Book Review. 147 (1992): 28-29. —. "Patterns of Experience." —."The Philosophers." —. "The Professors." —. "Serious Poet with a Zest for Laughter." The Australian 12 December 1995: 17. —. "Serious Poet with a Zest for Laughter." Australian 12 Dec 1995: 17. —. "Who Wrote These Poems?* Notes & Furphies.43 (2000): 3-4. —. "vWhyGive Death Fancy Names?". Hoddinott, Alison, and Gregory Kratzmann. "Celebrating Gwen Harwood" Island (Sandy Bay, Tas).67 (1996): 18-27. Hope, A. D. "Gwen Harwood and the Professors." Australian Literary Studes 5.3 (1972): 227-32. —. "My First Acquaintance with Poets." Native Companions : Essays and Comments on Australian Literature, 1936-1966. Ed. A. D. Hope. Sydney, New South Wales: Angus and Robertson, 1974. 13-25. —. "To Gwen Harwood" A Book of Answers. Ed A. D. Hope. Sydney, New South Wales: Angus and Robertson, 1978. 109-10. Horgan, Frances. Brode's Notes on Gwen Harwood's Selected Poems. Sydney, New South Wales: Pan, 1990. Hornsby, Eric. "A Juxtaposition of Poets: Gwen Harwood and Margaret Atwood" 1986. Hugo, Giles. "Critical Friendship for Tassie's Poetry Queen." The Saturday Mercury 21 September 1991: 20. —. "Gwen's Wild Passion and Stria Structures." The Saturday Mercury 7 October 1989: 19. Hunt, Kathy. "Miss En Scene." The Bulletin 119.6306 (2001): 110. 14/06/2006 6 Josephi, Beate. "Images of Suburbia : Bruce Dawe, Bruce Beaver, Gwen Harwood and Vincent Buckley." Quadrant 22.4 (1978): 64-67. Kane, Paul. "Gwen Harwood and Capable Negativity." Australian Poetry : Romanticism and Negativity. Ed Paul Kane: Press Syndcate of the University of Cambridge, 1996. 170-84, notes 235-37. Kay, Don. "A Celebration of Gwen Harwood" Notes & Furphies.36 (1996): 4-7. King, Richard "A Symphony Complete." Meanjin 63.1 (2004): 185-90. Kocher, Shari. '"to Show with Love Much That Cannot Be Spoken of : Reflections on Gwen Harwood Collected Poems 1943-1995." New England Review. 18 (2003): 18-19. Kratzmann, Gregory. "Boundaries and the Littoral: Gwen Harwood's Critics." Meridan 12.2 (1993): 186-90. —. "Celebrating Gwen Harwood" Island67 (1996): 24-27. —. "An Original Poet with an Ever-Widening Readership." The Age 121 December 1995: 14. —. "Remembering Gwen Harwood" Southerly 56.1 (1996): 184-87. —, ed A Steady Storm of Correspondence : Selected Letters of Gwen Harwood : 1943-1995. St Lucia, Queensland University of Queensland Press, 2001. —. "Who Was Alan Carvosso?: Essay." Meaniin (Melbourne) 63.1 (2004): 177-84. —. "Your Serviceable Muse: Gwen Harwood's Occasional Poetry (in Memoriam Gwen Harwood 8.Vi.20-5.Xii.95)." Meridan 15.1 (1996): 3-22. Law, Deborah. "Major Themes in Gwen Harwood's Poetry." 1975. Lawson, Elizabeth. "And Other Flowers." —. "And Other Ghosts." —. "An Impromptu for Gwen Harwood" —. "Laughter in the Suburbs." 14/06/2006 7 —. "Life Sentences on the Littoral." —. "The Light and Substance of the World" —. "Most Intimate Stranger." —. "Playing the Game." —. The Poetry of Gwen Harwood Horizon Studes in Literature. South Melbourne, Victoria: Sydney University Press in association with Oxford University Press, 1991. —. "The Slanted View: Some Perspectives of Alienation in Modern Poetry." 1982. —. '"They Trust Me with the Axe': The Poetry of Gwen Harwood" Poetry and Gender: Statements and Essays in Australian Women's Poetry and Poetics. (1989): (145)464. —. "Toward the Heart's True Speech : Voice-Conflict in the Poetry of Gwen Harwood" Southerly 43.1 (1983): 45-72. -. "Violets." Leach, Roland "Untided" Westerly 36.1 (1991): 93-94. Lear, Anne. "Interview with Gwen Harwood" Span.26 (1988): 1-11. Lucas, Rose. '"Lines of Confusion, Stones of Emptiness': The Place of Mourning in Gwen Harwood's Herongate'." Southerly 65.3 (2005): 146-55.
Load more

Recommended publications
  • Almost Memories / Almost True Stories
    Selected Prose of Dorothy Hewett edited and introduced by Fiona Morrison (University of Western Australia Press, 2011) Editor Fiona Morrison points to a certain tradition of collecting the prose of poets (4); this collection brings together the literary criticism, political essays and writing on theatre of Dorothy Hewett, never only a poet. While Hewett’s manifold achievements across diverse genres, especially poetry, have been well surveyed, her voice as a critic has remained historical, muffled by its scattered presence in small, even forgotten journals and magazines, and unavailable as a discrete body of work. Great affection remains for Hewett as a writer and figure, among her readers but also her witnesses, and this collection will find interest from many. Her trajectory, from young modernist to committed communist, to melodramatic apostate and then contrarian grande dame, can be traced in these pieces, and they are rich biographical resources for a commanding figure in Australian literature. But not only such – Hewett deserves to be read for her reach into Australian and international culture as a critic and commentator in her own right, and in her own changing times. Morrison has collected 32 pieces of Hewett’s non-fiction prose, of differing size, weight and amplitude, grouped into three nominated sections, organised chronologically. The first of these presents literary critical pieces, and begins with two from 1945, when Hewett’s poem ‘Testament’ had just won the ABC Poetry Competition and she was writing for Black Swan, the student magazine of the University of Western Australia. Two pieces of greater contrast are hard to find: one on the British modernist poet, eccentric and wit Edith Sitwell; the other on the recently published first volume of the goldfields trilogy completed by communist and West Australian Katharine Susannah Prichard.
    [Show full text]
  • The Crimes That Rhyme Tom Clark
    cPoetry ando Poetics r Review d i t ISSNe 1328-2107 poems by domonique grandmont seamus heaney dorothy hewett mtc cronin rod mengham js harry john tranter eric beach michael farrell john mateer zan ross arthur spyrou hugh tolhurst eugenio montejo james lucas michael heald alain bosquet luke davies nicolae prelipceanu trevor poulton joseph zaresky reviews by mark o’flynn dorothy hewett kathielyn job mtc cronin translations by ian patterson peter boyle the crimes rae sexton intereview that rhyme $ peter minter and philip salom 5 page 2 cordite Nº 2 contents PHILIP SALOM and Peter Minter CATH BARCAN intereview woman with gun front cover Philip Salom THE ROME AIR NAKED summer holidays, and I seemed to be doing the same thing, when in fact we were, and still are, very much a couple who man with beer back cover Penguin 1996, 134pp, $18.95. ISBN 0 14 058773 feel inseparable. And so on. Under these circumstances, ear and shell 6 n the July issue of the AUSTRALIAN BOOK REVIEW, given also that my previous year had been utterly disruptive, man and woman 23 Philip Salom writes about TH E RO M E AI R NA K E D I was ripe for writing. All the merging and blurring filled me. and his affinity for poetry which is both emotionally ERIC BEACH I I’m not sure if the concurrent poems, for example, would and sensually honest. Having recently won the looking back on th sixties 3 have happened, otherwise; everything led to that kind of Newcastle Poetry Prize with a moving and complex outbreak.
    [Show full text]
  • 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.
    [Show full text]
  • Full Thesis Draft No Pics
    A whole new world: Global revolution and Australian social movements in the long Sixties Jon Piccini BA Honours (1st Class) A thesis submitted for the degree of Doctor of Philosophy at The University of Queensland in 2013 School of History, Philosophy, Religion & Classics Abstract This thesis explores Australian social movements during the long Sixties through a transnational prism, identifying how the flow of people and ideas across borders was central to the growth and development of diverse campaigns for political change. By making use of a variety of sources—from archives and government reports to newspapers, interviews and memoirs—it identifies a broadening of the radical imagination within movements seeking rights for Indigenous Australians, the lifting of censorship, women’s liberation, the ending of the war in Vietnam and many others. It locates early global influences, such as the Chinese Revolution and increasing consciousness of anti-racist struggles in South Africa and the American South, and the ways in which ideas from these and other overseas sources became central to the practice of Australian social movements. This was a process aided by activists’ travel. Accordingly, this study analyses the diverse motives and experiences of Australian activists who visited revolutionary hotspots from China and Vietnam to Czechoslovakia, Algeria, France and the United States: to protest, to experience or to bring back lessons. While these overseas exploits, breathlessly recounted in articles, interviews and books, were transformative for some, they also exposed the limits of what a transnational politics could achieve in a local setting. Australia also became a destination for the period’s radical activists, provoking equally divisive responses.
    [Show full text]
  • 'Put on Dark Glasses and a Blind Man's Head': Poetic Defamation and The
    CHAPTER 12 ‘Put on dark glasses and a blind man’s head’: Poetic defamation and the question of feminist privacy in 1970s Australia Nicole Moore The only successful defamation case ever run against poetry in Australia has at its centre a contest more precisely about changing definitions of privacy than of public reputation. Launched against Australian writer Dorothy Hewett by her former husband Lloyd Davies, the charge was not restricted to a single poem or piece of writing, nor to a single Australian jurisdiction, and in the first instance was scheduled to be heard by the High Court before being settled on legal advice. The multiplying offences and charges are best outlined in a narrative, clarifying the detailed roles of the various agents and actors in what became a high-profile cause célèbre in the late 1970s that ramified across Australia’s expanding culture industry. At stake was a highly gendered question about art’s access to the private sphere—its ability to represent intimate life acutely, even savagely—and then, more than this, about poetry’s ability to challenge legal measures of public truth. Stretching from 1969 into the early 1980s, notable dimensions of the case make it both exceptional and representative—a synecdoche for its times, in its conflicts and ambiguities, as well as a point of departure, in legal terms and in literary terms—in ways that illuminate transformative political and social change across the decade. 223 EVERYDAY REVOLUTIONS Second-wave feminist critiques of the legal concept of privacy can be seen to have arisen as part of attempts to break down gendered boundaries between the public and private spheres, which, in the long wake of first-wave feminism, targeted historical legal formations that subsumed women and children to a male political subject.
    [Show full text]
  • Westerly Magazine
    Provisional Maps: Critical Essays On DAVID MALOUF edited by Amanda Nettelbeck Amanda Nettelbeck has gathered new critical essays by Thomas Shapcott, Dennis Haskell, Andrew Taylor, Samar Attar, Gillian Whitlock, Leigh Dale and Helen Gilbert, Amanda Nettelbeck, Maryanne Dever, Annie Patrick, Paul Kavanagh, Patrick Buckridge, and Peter Pierce, plus an interview by Beate Josephi and a detailed critical bibliography. $18'.00 The Centre for Studies in Australian Literature Department of English The University of Western Australia Nedlands WA 6009 CONTENTS WESTERLY VOLUME 39, No.2, WINTER 1994 STORIES The Musings of Marion Fiona Crago 5 Therapy Justin D'Ath 7 Private Matters Margaret Betts 32 The Escaping Housewife Joy Kilian 57 Miranda Fair David Levell 59 Pale Sand, Dark Sand Sarah French 81 POEMS Anthony Lawrence 12 David Ray 69 Vivienne Plumb 15 Andrew Burke 73 Les Harrop 38 Jan Owen 74 Eric Beach 39 Syd Harrex 84 Anna Brooks 40 Jena Woodhouse 85 Paul Hetherington 54 Roland Leach 86 ARTICLES The Iphigenia Complex: Repression and Empowerment in Michael Ackland 17 Australian Colonial Women's Verse Reading Aboriginal Writing Veronica Brady 41 A Hard Freedom - The Poetry of Lee Knowles Hal Colebatch 61 The Dancing Body - Somantic Expression in Julie Carr 75 Elizabeth Jolley's Fiction REVIEWS Dorothy Hewett, 'Peninsula' Tracy Ryan 87 The Penguin Book of Australian Ballads' Gareth Griffiths 88 Tracy Ryan, 'Killing Delilah' Lucy Dougan 90 Judith Wright Shirley Walker 91 Philip Neilsen, The Sting in the Wattle' Ross Fitzgerald 93 'Shrieks - A Horror Anthology' Stephanie Green 95 Carmel Bird, 'Not Now Jack, I'm Writing a Novel' Georgia Richter 97 Giovanna Capone, 'Percorsi Immaginati' Antonio Casella 98 Ric Throssell, 'In a Wilderness of Mirrors' Cathy Greenfield & Peter Williams 100 CONTRIBUTORS 103 Cover design by Robyn Mundy of Mundy Design.
    [Show full text]
  • Vatra Veche 8, 2019
    8 Români din toate ţă rile, uni ţi-vă! Lunar de cultur ă * Serie veche nou ă* Anul XI, nr. 8 (128) august 2019 *ISSN 2066-0952 VATRA, Foaie ilustrat ă pentru familie (1894) *Fondatori I. Slavici, I. L. Caragiale, G. Co şbuc VATRA, 1971 *Redactor-şef fondator Romulus Guga* VATRA VECHE, 2009, Redactor-şef Nicolae B ăciu ţ _____________________________________________________________________________________________ _______________________________________________________________________________ INSCRIP ȚIE Tot ce se poate-nțelege E f ără speran ță și lege Și cre ște dospind din eres Tot ce e f ără-nțeles. ANA BLANDIANA Marcel Lup șe, Buzduganul florilor de in _____________________________________________________________________________________________________________________ Inscrip ție, de Ana Blandiana/1 Vatra veche dialog cu Ana Blandiana, de Nicolae B ăciu ț/3 Cununa de Aur a Serilor de Poezie de la Struga, de Nicolae Băciu ț/4 Cuvântul de acceptare al laureatului, de Ana Blandiana,/5 Cununa de Aur, 2019, de Nicolae Băciu ț/5 Eseu. Staulul Miori ței, de A.I. Brumaru/6 Mai altfel, despre Veronica Micle, de Dumitru Hurubă/ 9 Eminescum, de Răzvan Ducan/10 Remember -30. N. Steinhardt, de Veronica Pavel Lerner/11 Poeme de Dumitru Ichim/12 Ognean Stamboliev, Premiul pentru traducerea lui Eminescu/12 Elisabeta Bo țan, Premiul European Clemente Rebora 2018- 2019/12 Să ne reamintim de… Valentin Silvestru, de Dumitru Hurub ă/13 Coresponden ţa lui Dimitrie Stelaru, de Gheorghe Sar ău/14 Inedit. Blestemul chinezesc, de Francisc P ăcurariu/15 Vremea întreb ărilor (Octavian Paler), de Nicolae Postolache/17 Text și context în diarismul românesc (Eugen Simion), de Florian Copcea/20 Poeme de Tania Nicolescu/23 Scrisori deschise, de Constantin Stancu/24 Ochean întors.
    [Show full text]
  • 'I'll Tell My Mother': Dorothy Hewett And
    ‘I’ll Tell My Mother’: Dorothy Hewett and Literary Feminism after #Metoo Dorothy Green Lecture, July 2020 NICOLE MOORE UNIVERSITY OF NEW SOUTH WALES I start by acknowledging and offering my thanks to the Ngunnawal people, on whose land I live and work. Their generosity seeks to keep those of us who live in the ‘Canberra bubble’ safe and educated about the land we occupy. I pay tribute to Elders past, present and emerging, and also to any First Nations people present for the initial online video delivery of this essay, in July 2020, including members of the Association for the Study of Australian Literature. When my colleague Paul Eggert retired from the University of New South Wales in Canberra, he passed on a portrait of the writer and critic Dorothy Auchterlonie Green that now hangs on my office wall. Paul was briefly a colleague of hers in the English discipline here and she is now a ghostly colleague of mine. In formulating this lecture in her name, I thought of her while we fight the same fights she fought—about the worth of literature and the humanities in contemporary education, now under multiform threat; about the uses of Australian literature, identified as such, in thinking and as thinking about the world. I thought about her involvement in the Vietnam moratorium marches and anti-nuclear protest, including protests at the Australian War Memorial against Australian involvement in what was argued to be Cold War aggression in South East Asia and even an imperial war. Anti-war protests, as well as protests calling for the inclusion of the Frontier Wars in AWM and ANZAC memorialisation, are now no longer allowed on any sites close to that institution.
    [Show full text]
  • Gwen Harwood
    Classic Poetry Series Gwen Harwood - 12 poems - Publication Date: 2012 Publisher: PoemHunter.Com - The World's Poetry Archive Gwen Harwood (8 June 1920 – 4 December 1995) Gwen Harwood AO, née Gwendoline Nessie Foster, was an Australian poet and librettist. Gwen Harwood is regarded as one of Australia's finest poets, publishing over 420 works, including 386 poems and 13 librettos. She won numerous poetry awards and prizes. Her work is commonly studied in schools and university courses. Gwen Harwood is the mother of the author John Harwood. Life She was born in Taringa, Queensland and brought up in Brisbane. She attended Brisbane Girls Grammar School and was an organist at All Saints Church when she was young. She completed a music teacher's diploma, and also worked as a typist at the War Damage Commission from 1942. Early in her life, she developed an interest in literature, philosophy and music. She moved to Tasmania after her marriage to linguist William Harwood in September 1945. Here she developed her lifelong interest in the work of philosopher Ludwig Wittgenstein "which informs her entire opus". Her father played piano, violin, guitar and the flute. Both Gwen and her brother were given piano lessons, and originally Gwen wanted to be a musician. Gwen's grandmother introduced her to poetry; this inspired her and became her life long calling and passion. Literary Career Gwen Harwood had written poetry for many years, and her first poem was published in Meanjin in 1944, but her work did not start appearing regularly in journals and books until the 1960s.
    [Show full text]
  • An Assessment of the Contribution to Australian String Pedagogy and Performance of Jan Sedivka
    \ AN ASSESSMENT OF THE CONTRIBUTION TO AUSTRALIAN STRING PEDAGOGY AND PERFORMANCE OF JAN SEDIVKA BY MARlNA LOUISE PHILLIPS B.Mus (Hons) (The University of Western Australia) M.Mus (The University of Western Australia) SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY (VIOLIN PERFORMANCE) UNIVERSITY OF TASMANIA HOBART, DECEMBER 2001 f~ I LL\fS y ',.\ t'h .1)_ I 2w l vof.1 This exegesis contains no material which has been accepted for a degree or diploma by the University or any other institution, nor is it material published or written by another person except where due acknowledgment has been made in the text. 2g 11 0 ' Date Jk,,~ touiu, P~· 11,f~ Marina Louise Phillips This exegesis may be made available for loan and limited copying in accordance with the Copyright Act 1968. 18 / 11 o / Date PL11°j1/ Marina Louise Phillips ABSTRACT The doctoral exegesis presented here has assessed the contribution to Australian string performance and pedagogy of Jan Sedivka, Professor of Violin for almost forty years at the Tasmanian Conservatorium of Music. The exegesis examines and documents the pedagogical philosophy, content, and process of Jan Sedivka. A biographical overview _of his musical life and a brief outline of signiflGant developments in the evolution of the Australian string culture precede a literature review. The methodology employed in this research included questionnaires, an extensive series of interviews and many hours of observation. The interviews were conducted with Sedivka and his former students from each five-year period of his teaching in Australia, in addition to prominent associates and colleagues.
    [Show full text]
  • Australian Women's Book Review
    Australian Women’s Book Review 26 Nos. 1 / 2 2014 ISSN: 1033 9434 Editor: Carole Ferrier Editorial Advisory Board: Sharon Bickle Barbara Brook Susan Carson Margaret Henderson Bronwen Levy Nicole Moore Brigid Rooney Editorial Assistance: Angel Browning ISSN: 1033 9434 Cover artwork: Will somebody please help me take this knot out of my mouth (2009) Jenny Watson See p. 48 for acknowledgement and detail of artwork and artist. (1951--) Submissions: Potential reviewers of recent books, please email Professor Carole Ferrier, in the School of Communication and Arts at The University of Queensland. Email Address: [email protected] Australian Women’s Book Review Volume 26 Nos. 1/2 2014 2 Memory in a Curiously Conservative Francesca Rendle-Short. Bite Queensland Your Tongue. Marcus Breen 8 The Artistic Journey of Two Ingenues Jeanette Hoorn. Hilde Rix in Tangier Nicholas and Elsie Rix’s Carol Schwarzman Moroccan Idyll: Art and Orientalism. 13 Life Writing as Conundrum Jill Hellyer. Letters to Huldah. Suzanne Dixon 18 Thrilled Even Without an Audience: Rachael Munro. Indigo Thoughts About Poetic Engagement Morning. Ynes Sanz Pam Brown. Home by Dark. Ray Tyndale. Café Poet. 26 The Plague of Love Merlinda Bobis. Locust Girl: A Emily Yu Zong Lovesong. 30 Courting Blakness: Fiona Foley, Louise Martin- Recalibrating Knowledge in the Chew and Fiona Nicoll. Sandstone University Courting Blakness. Yamini Krishna 35 Coming up for Air Jena Woodhouse. Dreams of Alison Cotes Flight. 38 You Don’t Need To Be a Karen Lamb. Thea Astley: Weatherwoman To Know Which Way Inventing Her Own Weather. the Wind Blows Christina Ealing-Godbold 41 Gwen Harwood’s Competing Robyn Mathison and Robert Identities Cox.
    [Show full text]
  • Place and Property in Post-Mabo Fiction by Dorothy Hewett, Alex Miller and Andrew Mcgahan
    Place and Property in Post-Mabo Fiction by Dorothy Hewett, Alex Miller and Andrew McGahan KIERAN DOLIN University of Western Australia ‘My idea of Australia changed when I bought a few acres of it.’ With these words Martin Harrison introduces his essay of 2004, ‘Country and How to Get There’ (100). Becoming the owner of a small country property leads him to a new sense of place and nation, which he connects with the word ‘country.’ Harrison argues that ‘country’ has developed a distinctive Australian inflection through its usage by Aboriginal people in relation to their traditional lands, and has become a polyvalent term which makes history visible: ‘Country’ is a word which upsets the neat overlaps of meaning in terms like ‘land,’ ‘property,’ ‘farm,’ ‘home,’ ‘district,’ ‘landscape,’ separating these meanings out from each other and stressing how each brings with it its own slant of non- Indigenous colonial history. (101) He suggests that this word draws readers, writers and owners into an enlarged and more self- conscious understanding of place, one that even affects their notions of property: ‘many of my neighbours (not all) see their tenure as temporary, and by their own lights, custodial.’ (107). My paper seeks to explore this proposed link between the affects of ownership and relationships to place, by examining the interplay between the language of law and discourses of topography. How do the experience of ownership and notions of property, especially the recognition of native title, inform representations of place and identity in contemporary white Australian fiction? I examine these questions through texts that explicitly engage with the challenge that native title presents to the culture of property, particularly Dorothy Hewett’s 1999 novel, Neap Tide, Alex Miller’s Journey to the Stone Country (2002) and Andrew McGahan’s The White Earth (2004).
    [Show full text]