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This international collection of eleven original essays on
Australian Aboriginal literature provides a comprehensive critical
companion that contextualizes the Aboriginal canon for scholars,
researchers, students, and general readers. Australian Aboriginal
literature, once relegated to the margins of Australian literary
studies, now receives both national and international attention.
Not only has the number of published texts by contemporary
Australian Aboriginals risen sharply, but scholars and publishers
have also recently begun recovering earlier published and
unpublished Indigenous works. Writing by Australian Aboriginals is
making a decisive impression in fiction, autobiography, biography,
poetry, film, drama, and music, and has recently been anthologized
in Oceania and North America. Until now, however, there has been no
comprehensive critical companion that contextualizes the Aboriginal
canon for scholars, researchers, students, and general readers.
This international collection of eleven original essays fills this
gap by discussing crucial aspects of Australian Aboriginal
literature and tracing the development of Aboriginalliteracy from
the oral tradition up until today, contextualizing the work of
Aboriginal artists and writers and exploring aspects of Aboriginal
life writing such as obstacles toward publishing, questions of
editorial control (orthe lack thereof), intergenerational and
interracial collaborations combining oral history and life writing,
and the pros and cons of translation into European languages.
Contributors: Katrin Althans, Maryrose Casey, Danica Cerce, Stuart
Cooke, Paula Anca Farca, Michael R. Griffiths, Oliver Haag, Martina
Horakova, Jennifer Jones, Nicholas Jose, Andrew King, Jeanine
Leane, Theodore F. Sheckels, Belinda Wheeler. Belinda Wheeler is
Associate Professor of English at Claflin University, Orangeburg,
SC.
This international collection of eleven original essays on
Australian Aboriginal literature provides a comprehensive critical
companion that contextualizes the Aboriginal canon for scholars,
researchers, students, and general readers. Australian Aboriginal
literature, once relegated to the margins of Australian literary
studies, now receives both national and international attention.
Not only has the number of published texts by contemporary
Australian Aboriginals risen sharply, but scholars and publishers
have also recently begun recovering earlier published and
unpublished Indigenous works. Writing by Australian Aboriginals is
making a decisive impression in fiction, autobiography, biography,
poetry, film, drama, and music, and has recently been anthologized
in Oceania and North America. Until now, however, there has been no
comprehensive critical companion that contextualizes the Aboriginal
canon for scholars, researchers, students, and general readers.
This international collection of eleven original essays fills this
gap by discussing crucial aspects of Australian Aboriginal
literature and tracing the development of Aboriginalliteracy from
the oral tradition up until today, contextualizing the work of
Aboriginal artists and writers and exploring aspects of Aboriginal
life writing such as obstacles toward publishing, questions of
editorial control (orthe lack thereof), intergenerational and
interracial collaborations combining oral history and life writing,
and the pros and cons of translation into European languages.
Contributors: Katrin Althans, Maryrose Casey, Danica Cerce, Stuart
Cooke, Paula Anca Farca, Michael R. Griffiths, Oliver Haag, Martina
Horakova, Jennifer Jones, Nicholas Jose, Andrew King, Jeanine
Leane, Theodore F. Sheckels, Belinda Wheeler. Belinda Wheeler is
Associate Professor of English at Claflin University, Orangeburg,
SC.
English summary: At the heart of the Gothic novel proper lies the
discursive binary of "self" and "other," which in colonial
literature was quickly filled with representations of the colonial
master and his indigenous subject. Contemporary black Australian
artists have usurped this colonial Gothic discourse, torn it to
pieces, and finally transformed it into an Aboriginal Gothic. This
study first develops the theoretical concept of an Aboriginal
Gothic and then uses this term as a tool to analyse novels by
Vivienne Cleven, Mudrooroo, Kim Scott, Sam Watson, and Alexis
Wright as well as films directed by Beck Cole and Tracey Moffatt.
It centres on the question of how a genuinely European mode, the
Gothic, can be permeated and thus digested by elements of
indigenous Australian culture in order to portray the current
situation of Aboriginal Australians and to celebrate a recovered
cultural identity.
Ecocritical Concerns and the Australian Continent investigates
literary, historical, anthropological, and linguistic perspectives
in connection with activist engagements. The necessary
cross-fertilization between these different perspectives throughout
this volume emerges in the resonances between essays exploring
recurring concerns ranging from biodiversity and preservation
policies to the devastating effects of the mining industries, to
present concerns and futuristic visions of the effects of climate
change. Of central concern in all of these contexts is the impact
of settler colonialism and an increasing turn to indigenous
knowledge systems. A number of chapters engage with questions of
ecological imperialism in relation to specific sociohistorical
moments and effects, probing early colonial encounters between
settlers and indigenous people, or rereading specific forms of
colonial literature. Other essays take issue with past and present
constructions of indigeneity in different contexts, as well as with
indigenous resistance against such ascriptions, while the
importance of an understanding of indigenous notions of “care for
country” is taken up from a variety of different disciplinary
angles in terms of interconnectedness, anchoredness, living
country, and living heritage.
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