y separately published work icon Humanities Research periodical issue   peer reviewed assertion
Issue Details: First known date: 2011... vol. 17 no. 2 2011 of Humanities Research est. 1997 Humanities Research
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Contents

* Contents derived from the , 2011 version. Please note that other versions/publications may contain different contents. See the Publication Details.
‘Going Back’ : Journeys with David MacDougall’s Link-Up Diary, Catherine Summerhayes , single work criticism
'This paper analyses several journeys of memory and ‘return’ that are derived from ethnographic filmmaker David MacDougall’s2 1987 feature-length documentary film, Link-Up Diary. The first section of the paper addresses the history and social issues that lie in the film’s content. The second section analyses the film further via the text of a conversation held about the film in 2007 and the third continues with my analysis of how the film and this conversation interact.' (Introduction)
(p. 37-59)
Country Love (day 1), Pamela Lofts , single work prose (p. 75-79)
‘We’re Not Truckin’ around’ : On and Off-road in Samuel Wagan Watson’s Smoke Encrypted Whispers, Katherine Bode , single work essay
'Cars and roads traverse the poetry of Samuel Wagan Watson, a self-identified Aboriginal man of Bundjalung, Birri Gubba, German and Irish ancestry. The narrator/s of the poems in Smoke Encrypted Whispers are repeatedly on the road or beside it, and driving is employed as a metaphor for everything from addiction and memory to the search for love. Road kill litters the poems, while roads come to life, cars become men, and men have ‘gas tanks that can’t see empty’. Watson’s poetry has received significant critical attention and acclaim: his ‘haunting, uncanny, layered poetics of history’ and depiction of ‘colonial degradation’ have been explored, and his poems—including those featuring cars and roads—have been analysed in relation to such themes as the sacred, locatedness, and creative processes. Given the extent to which cars and roads dominate Watson’s poetry, it is notable, however, that his use of both to explore and resist ‘colonial degradation’ has not received sustained attention.' (Introduction)
(p. 109-119)
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