Cirrus@Austlit

'This unique book on neurocognitive interpretations of Australian literature covers a wide range of analyses by discussing Australian Literary Studies, Aboriginal literary texts, women writers, ethnic writing, bestsellers, neurodivergence fiction, emerging as well as high profile writers, literary hoaxes and controversies, book culture, LGBTIQA+ authors, to name a few. It eclectically brings together a wide gamut of cognitive concepts and literary genres at the intersection of Australian literary studies and cognitive literary studies in the first single-author volume of its kind. It takes Australian Literary Studies into the age of neuroawareness and provides new pathways in contemporary criticism.'

Source: Publisher's blurb.

'In November 2016, the Australian Productivity Commission (PC) released a report proposing a ‘fair use exception to replace the current system of fair dealing exceptions’ (ACC 1) in the Australian Copyright Act 1968. The Commission’s recommendation supported the Australian Legal Reform Commission’s (ALRC) findings in its 2013 report ‘Copyright and the Digital Economy’, which stated that a flexible fair use provision would ‘“enable the Act to adapt to changing technologies and uses without the need for legislative intervention”’ (ALRC 95). In the event that a fair use exception is not viable, the ALRC also proposed an alternative ‘new fair dealing’ exception, to broaden the doctrine’s purposes for educational institutions and commercial organisations.' (Introduction)

'This chapter focuses on the period from the mid-1970s to the late 1980s, a watershed period in Australia-US literary relations, which saw the publication in the US of Australian novelists Peter Carey, David Malouf, Jessica Anderson, Thea Astley, Elizabeth Jolley, Helen Garner, Tim Winton and Beverley Farmer among others, but which was also crossed by tensions and contradictions which led to confusion, disappointment, lost opportunities, and sometimes the outright rejection of important Australian authors and their books. Among these tensions, we look at three in particular: the promising but limited role played by the multinational publisher (in this case Penguin Books) offering Australian titles through its US affiliate (Viking Penguin); the intervention by literary agents in Australia - US literary publishing relations; and the difference in values between the two cultures, which served to hinder the appreciation of important works of Australian writing.' (p. 309)