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'In 'That Deadman Dance', Kim Scott draws on Noongar vocabulary and ontology to im merse readers in a world where rain cries and chuckles as it structures the land according to its own designs. This essay positions Scott' In 'That Deadman Dance', Kim Scott draws on Noongar vocabulary and ontology to immerse readers in a world where rain cries and chuckles as it structures the land according to its own designs. This essay positions Scott's novel as one manifestation of his ongoing commitment to the recovery of repressed Noongar knowledge, and it formulates a framework of ecospectrality to focus attention on the recovery of repressed knowledge of the nonhuman. It contends that Scott adapts the form of the novel to circulate this knowledge to local and global readers, offering it as a resource to shape the future rather than resolve the past. s novel as one manifestation of his ongoing commitment to the recovery of repressed Noongar knowledge, and it formulates a framework of ecospectrality to focus attention on the recovery of repressed knowledge of the nonhuman. It contends that Scott adapts the form of the novel to circulate this knowledge to local and global readers, offering it as a resource to shape the future rather than resolve the past.' (Publication abstract)

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y Commonwealth : Essays and Studies vol. 41 no. 1 Autumn 2018 15882228 2018 periodical issue Abstract
'Since the beginning of the twenty-first century Australia has entered a phase known as post-reconciliation, which for some artists and writers has marked a turning-point in race relations and issues of belonging to the multicultural society in an Asia-Pacific environment. While post-reconciliation has paved the way for constitutional recognition of Aboriginal and Torres Strait Islander peoples, the effects of settler history can still be perceived in debates on the nation and cultural identity. Recent nationalist claims and cultural tensions raise concerns about the country’s ability to overcome the colonial past and fully embrace the multicultural ideal. In his article on recent Australian fiction, Nicholas Birns reminds us that Sue Ryan-Fazilleau, in her extensive study of Peter Carey’s work, suggested that the novelist was engaged in a postcolonial quest for identity. Ryan-Fazilleau’s valuable contribution to the study of Australian literature is raised in Birns’s examination of the works of some twenty-first-century Australian authors and the place of technology in their sense of identity.' (From : Introduction)
2018
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2018
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pg. 63-74