y separately published work icon Australian Humanities Review periodical issue   peer reviewed assertion
Issue Details: First known date: 2016... no. 59 April / May 2016 of Australian Humanities Review est. 1996 Australian Humanities Review
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Notes

  • Contents indexed selectively.

Contents

* Contents derived from the 2016 version. Please note that other versions/publications may contain different contents. See the Publication Details.
Small Publishers and the Emerging Network of Australian Literary Prosumption, Emmett Stinson , single work criticism

'This article examines recent debates around the decline of Australian literary production, focusing on the various methods used by Mark Davis, David Carter and Katherine Bode to quantify literary publishing activity. Following this analysis, the article surveys Australian literary production in 2012 in order to make four key claims: 1) a fundamental shift has occurred in the mediation of literary production, which is now principally undertaken by small and independent publishers; 2) this shift in mediation has profoundly affected the audience for most literary works, which now circulate amongst a smaller readership who have some stake in the production of literature as authors or mediators; 3) this contemporary form of literary ‘prosumption’ resembles the mode of literary production of the avant-garde as described by Pierre Bourdieu; 4) while this network of prosumption may appear insular, the complex social position of ‘authorship’, as noted by Bernard Lahire, means that literary culture brings together a network of agents who might otherwise remain unconnected.' (Publication abstract)

Middlebrow Media and The Politics of Contemporary Fiction, Andrew McCann , single work criticism
Review : Christos Tsiolkas and the Fiction of Critique : Politics, Obscenity, Celebrity, Ken Gelder , single work review
— Review of Christos Tsiolkas and the Fiction of Critique : Politics, Obscenity, Celebrity Andrew McCann , 2015 selected work criticism ;
Orbits, Mobilities, Scales : Kim Scott’s That Deadman Dance as Transcultural Remembrance, Rosanne Kennedy , single work criticism

'Writing in the wake of Moby Dick, which haunts all later fictions on whaling, Kim Scott brings an Indigenous imaginary to reflect on the ‘enlightened world’ that was brought to the ‘pestiferously barbarous’ shores of Australia by whale-ships (Melville 120). His novel That Deadman Dance spans the two decades from 1826 to 1844, a period during which pelagic and shore whaling brought substantial income to the fledging settler colony (Gibbs). In the late-eighteenth and nineteenth centuries, the whaling industry lit the world and played a significant role in the great movement and intermingling of populations.  In 1844, the peak of colonial whaling in Australia, there were over three hundred whaling ships in the Southern Ocean. Foreign whaling ships brought settlers, convicts and explorers, and left with a cargo of whale oil—an exchange that contributed to the dispossession of Indigenous people and the depletion of the whale population. In his collaborative family memoir Kayang and Me Scott notes that during the bay-whaling boom of the 1840s ‘some Noongars joined the whaling parties’ (37). That Deadman Dance was, Scott states, ‘inspired by the history of early contact between Aboriginal people—the Noongar—and Europeans’ on the remote south coast of Western Australia, near his hometown of Albany, described by some historians as the ‘friendly frontier’ (That Deadman Dance 397; see also Shellam, Shaking Hands). While the novel remediates archives, material traces and histories of early contact, the past it remembers is imaginatively refigured in and for the present. This orientation signifies it as an act of cultural remembrance and a contribution to the transcultural memory of contact on the maritime frontier.' (Introduction)

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Last amended 11 Apr 2019 07:47:09
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