School of Culture and Communication - Theses
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ItemBurrowing on the beach: satire in the poetry of A.D. Hope, John Forbes, and J.S. Harry( 2014)This thesis proposes a new method of reading satire in the work of three white postcolonial Australian poets. Making detailed use of French theorists Gilles Deleuze and Félix Guattari’s concept of the rhizome, the thesis argues that the satire of A.D. Hope, John Forbes, and J.S. Harry can be read as a dually deconstructive and generative machine. Such a view questions the existent, structural models of satire proposed by theorists in the field, as well as the stylistic designations made regarding each of these poets’ work. The thesis begins with a nominal definition of the genre of satire which is thereafter deployed in the three chapters of close-readings: it is crucial to the method that such a definition must itself be questioned by the poets themselves. Such a method, in its dual movement of proposition and self-critique, performs what this thesis regards as the very process of satire, thereby embodying the kind of reading for which the thesis argues. Chapter One examines the theme of self-sacrifice in A.D. Hope’s work and argues that it constitutes his satirical will to criticism; Chapter Two places the 1988 bicentenary of European settlement as the satiric object of John Forbes’ collection, The Stunned Mullet; and Chapter Three tracks the nomadic, satirical movement of J.S. Harry’s rabbit character, Peter Henry Lepus, and his interactions with the figure and philosophy of Ludwig Wittgenstein. The thesis therefore tries to think about the intersection of genre, poetics, and nation. In doing so, it demonstrates a model for interpreting such discourses as ecopoetics and decolonising poetics, and for revisiting texts not commonly associated with these contemporary movements.
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ItemUncollected verse: an analysis of the decline of the national poetry anthology( 2007)In this thesis I show that there has been a decline in the production of "national poetry anthologies" in Australia since the end of the 1990s and seek to understand the reasons behind this decline. The first chapter examines changes in the economics of publishing and asks how these impact on literary texts, including the poetry anthology. I argue that with the increasing influence of a neo-liberal, deregulated industry context, production is concentrated within a smaller number of firms and that these firms concentrate on titles that might become blockbusters and are reluctant to produce texts — like anthologies — which will never be bestsellers. This is in spite of the fact that, I argue, there remains demand for them. I consider other factors including the introduction of a GST in 2000; the arrival of Nielsen BookScan, also in 2000; changes at Oxford University Press in the late 1990s; and adjustments in Australia Council funding since 1996, which I argue have aided the decline. The second chapter looks at cultural changes that have threatened the legitimacy of the national poetry anthology, including the "new" reality of social fragmentation in Australia and moves within the intellectual environment to express a more complex, diverse image of national culture. The challenge posed to national poetry anthologies by thematic anthologies produced in the 1970s and 1980s is also considered. In Chapter Two, I go on to provide a close textual reading of the eight major national poetry anthologies produced between 1986 and 1998 by focusing on their "paratextual" apparatus, including the Introduction, the cover, the publisher's and anthologist's reputations and the critical reception of these works. In the past, commentaries have tended to look at the selection of poems or poets in an anthology but these paratextual elements shape our reading of the poems in powerful ways and so deserve careful examination. In considering these anthologies, I argue that national poetry anthologists in the 1980s and 1990s were, for the most part, unable to make the anthology reflect social diversity and this made the anthology appear out-dated and irrelevant to contemporary reality. In the conclusion I argue that there is a need for the form of the national poetry anthology to change in order to try to accommodate current social and intellectual conditions.