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* Contents derived from the Melbourne,Victoria,:Oxford University Press,1965 version. Please note that other versions/publications may contain different contents. See the Publication Details.
Wright examines Harpur's unpublished poetry and prose to demonstrate that (in 1965) Harpur has been underrated for too long because of the slightness and editorial interventions of the 1883 edition of his poetry. Wright argues that Harpur deserves more attention because of the quality of poetry and prose found in his manuscripts and because his life and work personify the attempts of a young Australia to assert its own identity while still exhibiting the influences of English tradition. But Wright recognizes that Harpur's exploration of controversial themes such as physical evolution were not favoured by his only possible audience, partly explaining the unpublished state of much of Harpur's poetry and prose.
Compared with Charles Harpur, Wright sees Kendall as a minor poet, pointing to his vast output of poor verse as a testament to this judgement. While Harpur consistently offers poetry of the highest quality, Kendall's frequent "occasional" verse does not support a similar reputation. Wright sees the poem, 'To a Mountain' as Kendall's strongest because it rises to the level of Wordsworth's pantheism with a form and feeling far superior to most of his work.
Wright offers a very useful introduction to Brennan's poetry, arguing that "There are few figures in literature so convincing, so deep in their conception and so towering in their realization, as Brennan's dreadful and ambiguous figure of Night".
“Where’s Home, Ulysses?” Judith Wright in Europe 1937Sarah Kennedy,
2017single work criticism — Appears in:
The Journal of Commonwealth Literature,Junevol.
52no.
22017;(p. 331–349)'When Judith Wright travelled to Europe in the “loaded spring” of February 1937, the 22-year-old poet found herself witness to “a break in the consciousness of Europe”. This article argues that Wright’s experience of being an outsider in Europe at this crucial historical moment had profound implications for her poetics, in the form of a compound and productive series of displacements. Her peripatetic encounters with European cultures-in-crisis caused Wright to despair of Europe as a source of political and creative renewal, and exposed fault lines in her own cultural orientation. Sundered from her Anglophile cultural inheritance, and able to reflect on home with the distance and imaginative ambivalence of an outsider, Wright invoked Ulysses — that archetypal poetic wanderer — whose experience of archipelagic journeying came to express for her the contingencies and hauntedness of Australia’s palimpsestic identity. This essay positions the shifting perspectives and excursive patterns of Wright’s developing poetics in relation to concepts of outsideness and embodiment, drawing on the work of Mikhail Bakhtin and phenomenological philosophies of mind.' (Publication abstract)
Mediation at Work : Tim Winton's Fiction in ItalianDenise Maree Formica,
2011single work criticism — Appears in:
Long Paddock,vol.
71no.
12011;'Australian literary production reflects those nation-specific values and discourses that have been historically constrained and enabled by a complex system of institutions, individuals, practices and values. However, upon entering a foreign literary market through translation, Australian literary narratives are subjected to further constraints imposed by similar agencies within that culture which mediate the processes of selection, translation and critical reception. My analysis of Tim Winton's Dirt Music (2001) enables a greater understanding of how the writer's use of landscape positions him within that post-Romantic tradition of Australian literature that incorporates major Australian writers of prose and poetry such as Randolph Stow, Patrick White, Judith Wright and Les Murray...' (Author's introduction p. 1)
The Lyric StanceMark Tredinnick,
2011single work essay — Appears in:
Island,Spring
no.
1262011;(p. 60-70)In this essay Mark Tredinnick advocates the lyric essay.
The Lyric StanceMark Tredinnick,
2011single work essay — Appears in:
Island,Spring
no.
1262011;(p. 60-70)In this essay Mark Tredinnick advocates the lyric essay.
Mediation at Work : Tim Winton's Fiction in ItalianDenise Maree Formica,
2011single work criticism — Appears in:
Long Paddock,vol.
71no.
12011;'Australian literary production reflects those nation-specific values and discourses that have been historically constrained and enabled by a complex system of institutions, individuals, practices and values. However, upon entering a foreign literary market through translation, Australian literary narratives are subjected to further constraints imposed by similar agencies within that culture which mediate the processes of selection, translation and critical reception. My analysis of Tim Winton's Dirt Music (2001) enables a greater understanding of how the writer's use of landscape positions him within that post-Romantic tradition of Australian literature that incorporates major Australian writers of prose and poetry such as Randolph Stow, Patrick White, Judith Wright and Les Murray...' (Author's introduction p. 1)