School of Culture and Communication - Research Publications

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    Poetic Encounters
    Niaz, N (The Centre for Creative & Cultural Research, University of Canberra, 2019)
    Sound is essential to poetry and poetry is an essential element of human language. As a simultaneous trilingual engaged in the study of multilingual poetic expression, I will use the development of my own plurilingual poetic ‘instinct’ to map the location of poetry within and between languages. I argue that poetry does not grow out of language so much as inhabits the basic aural building blocks of language, the potential for it existing always just beneath the surface of speech. This is tested by examining multilingual poetry as well as translations of poetry across languages to see what is lost and what emerges.
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    Forgetting and remembering the Irish famine orphans: A critical survey
    Noone, V ; Malcolm, E (Irish Studies Association of Australia and New Zealand, 2020)
    A decade ago, while researching family history, Richard Olive of Melbourne was pleased to discover shipping records that revealed his great-grandmother, Johanna Sullivan from County Cork, had arrived in Adelaide in September 1849 on the Elgin. Noticing that she was only 15 years old, he began to search the records for her parents, only to find, to his surprise, that all the 190 passengers on the ship were teenage girls. As Richard drove his granddaughter, Eva, home from school that afternoon, he told her about his discovery. She asked him in what year Joanna Sullivan had arrived and, when he replied '1849', they both quickly realised that this was during the Great Famine. Eva said: 'Sounds to me like she was an Earl Grey orphan'. But, although Richard knew his Australian history well, he had never heard of Earl Grey-beyond it being a type of tea. Eva told him that she had come across the Earl Grey orphans in a novel she had recently read: 'Bridie's Fire', written by Kirsty Murray and published in Sydney in 2003.
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    Is This How Participation Goes?
    Papastergiadis, N ; Wyatt, D (The Department of Visual Arts, University of California, 2019)
    If the neoliberal regime is a constitutive force in a decentered and globalizing world, then what is the starting point for determining its flows, and what is its impact on art and culture? Conversely, have we not also seen art swell and expand through new kinds of transnational collaborations that are giving aesthetic form to cosmopolitan ideals? Are artists at the vanguard of the resistance against the gaping inequalities threatening to rip apart the social fabric or are they, despite their democratising intentions, an extension of an invidious system? These contradictory forces are played out on many fronts and with divergent inflections. In this brief essay we sketch out the hydraulic tensions between the corporate global culture and mass cultural participation by focusing on recent events in Melbourne. As a second-tier global city, celebrated for its livability and cultural vitality, the development of Melbourne’s cultural scene over the last fifteen years exemplifies the various spatial formations around which aesthetic experience is being organized and redistributed.
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    The Practice of Being Human: Narrative Medicine and Cultural Representation
    Ng, L (St. Cloud State University Digital Archives, 2020)
    Narrative medicine may take certain methodological cues from literary studies, linguistics and narrative theory, but until now it has remained firmly grounded in the health sector. It views storytelling and narrative as tools that can improve the performance of medical practitioners – first, by helping them process the confronting nature of their everyday jobs, and then by facilitating more effective communication with patients. Narrative competence thus provides an important supplement to the medical gaze, enhancing the clinical experience for practitioner and patient alike. But narrative medicine also has important implications from a literary point of view. It highlights the special position that the medical worker occupies in terms of being able to observe a cross-section of society. When a medical practitioner decides to engage not only with the scientific method of evidence-based medicine but also in the arts-based practice of narrative medicine, he or she has the opportunity to make an intervention in the broader culture. Consequently, the literature that emerges almost as an offshoot of narrative medicine is capable of creating forms of representation that more accurately reflect the heterogeneity of social conformance. It is a literature that draws attention to demographic sectors of society that might otherwise be denied mainstream representation. This essay examines the ways in which a medical practice can inform a writing practice, and vice versa. Using the work of Chinese-Australian author Melanie Cheng as a case study, I show how narrative medicine traverses an important space between the medical gaze and the empathetic instinct. Cheng has worked as a General Practitioner (GP) for over ten years, whilst developing a parallel writing career. Her debut collection of short stories, Australia Day (2017), functions on one level as a therapeutic outlet for Cheng’s day job. In addition, by recasting the GP as a repository of secrets, her stories provide matchless insights into the lives of people from a range of different cultural and socio-economic backgrounds. Cheng’s writing therefore transcends the boundaries of her own personal history and ethnicity, pointedly venturing beyond the territory expected of her as a Chinese-Australian author. Viewing Cheng’s work through the lens of her medical training shows us how the practice of medicine can work alongside that of writing to deepen our understanding of what is commonly referred to as the ‘human condition’.
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    Australian Photography and Transnationalism
    Maxwell, EA (Association for the Study of Australian Literature (ASAL), 2020)
    Until very recently, histories of Australian photography have remained primarily (and some would say stubbornly) nation-based, but this trend has begun to change under the impact of studies aimed at exploring the wider cultural influences impacting on the literature and artworks produced in the late colonial period. In this paper, I explore some of the more obvious transnational features of late nineteenth and early twentieth century Australian photography using examples drawn from the two most popular genres of the day – portrait and landscape photography. Although I draw on only a few examples, it is enough to show that Australian photographers of the nineteenth century and early twentieth centuries were not just reliant on British conventions, they were also deploying the styles and conventions used by photographers in the other Pacific-based settler colonies of Canada, USA and New Zealand, a phenomenon that points to the increasingly connected world that was formed by what Caroline Elkins and Susan Pedersen have classed the white settler societies or ‘new world states’ of the Pacific region.
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    Mosiacally Speaking: Pieces of Lionel Fogarty's Poetics
    Sumner, T (Cordite Publishing Inc., 2019)
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    Ensamble Animal: Los cuerpos del Sensory Ethnography Lab y Deleuze
    Escobar Duenas, C (Revista Cinematográfica, 2016)
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    Human Infancy and the Language of Beginnings
    Escobar Duenas, C (The University of Melbourne, 2020)
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    En conversación con el colectivo Mafi.tv
    Escobar Duenas, C ; Barceló, G ; Escobar Duenas, C (LaFuga Film Journal, 2017)
    El colectivo cinematográfico MAFI (Mapa Fílmico de un País) se ha dedicado en los últimos seis años a la construcción animada de una memoria territorial. Sus fragmentos audiovisuales, todos derivados de la singularidad creativa y la mirada fija de sus colaboradores, han ido interrogando la geografía social, cultural, económica y política de Chile para mostrarnos sus rostros y lugares con nueva luz. En esta conversación colectiva, Christopher Murray, Josefina Bushmann, Ismael Pimentel, Juan Francisco González y Tamara Uribe nos hablan de un mapa fílmico que busca operar al margen de la institucionalidad oficial, es decir, como una suerte de panóptico invertido. Con proyectos que recorren el área digital y cinematográfica, con visionados y escuelas emplazadas a lo largo del país, MAFI nos invita a “desconfiar de las imágenes”, para recordarnos que, tal como sucede en el cine, quizá sea la misma imagen de la realidad la que siempre deviene montada.