Cirrus@Austlit

Aboriginal life writing... 'is a syncretic practice: bound to postcolonial structure of mourning and trauma which while also deeply engaged with tradition and its restoration.' In this essay, the author offers a brief and partial survey of the bounds of life writing, and frames his approach to life writing.

In this essay, the authors 'examines the cross-cultural collaborations between editors and foundational Aboriginal writers in the social context of the protection, assimilation, and dawning self-determination eras.' (Introduction)

The author examines an narratological approach used in double-voiced narratives in which present two equally authoritative narrative voices. To exemplify aspects of the structure of 'double-voice', and its narrative complexity the author examines the life writing of Rita and Jackie Huggins biographical account Auntie Rita.

'Though the number of translated works written by Australian Aboriginals reflects the increasing interest in their culture, the way these books are translated and marketed often distorts the author's original intentions and distorts how Australian Aboriginals are perceived by many European communities.' In this essay the authors focus on Sally Morgan's My Place and Doris Pilkington's Rabbit Proof Fence to illustrate how European translations have misrepresented the original text for the purpose of adapting translated text to their targeted audience's culture.

In this essay the author concentrates on three Aboriginal poetics, to trace a trajectory between the avant-garde of contemporary Aboriginal poetry and the poetics of Aboriginal song-poetry.

The author focuses on the writings of three major young adult ficton writers, John Muk Muk Burke, Melissa Lucashenko, and Tara June Winch, which represent a genre in Aboriginal writing that traces a main character's journey from adolescence to adulthood. Further, the author pays particular attention to 'identity construction, belonging, and the search for a sense of place for the yound Aboriginal protagonists in late twentieth- and early twenty-first century Australia.' (Source: Introduction)

In this chapter the author explores the creation of humor in recent publications by Aboriginal authors who address issues of social injustice and racism.

In this chapter, the author argues '...to appreciate the many shapes of the Gothic in Aboriginal literature takes, it is necessary to consider the discursive peculiarities of the Gothic and to rewind to the eighteenth century before fast-forwarding to contemporary Aboriginal literature.' (Introduction)

In this essay the author attempts 'to account for the appearance of Aboriginals behind the camera beginning in the late 1980s.' (Introduction)

Throughout the history of diverse sounds and voices, 'different Indigenous artists have negotiated changing degrees of non-Indigenous criticism, patronage, and recognition'. This chapter attempts to capture these social and cultural changes in the history of popular Indigenous music. (Introduction)