/pdf/ambivalent-encounters-law-and-the-construction-of-jewish-2retwoarmn.pdf

Ambivalent Encounters: Law and the Construction of Jewish Difference

The success so far of Spatial Humanities as a field can be summarized in the increasing amount of research and publications engaging with the exploration of geographies in literary and historical t...

/pdf/towards-the-spatial-analysis-of-vague-and-imaginary-place-2vf7se84yv.pdf

Towards the Spatial Analysis of Vague and Imaginary Place and Space: Evolving the Spatial Humanities through Medieval Romance

/pdf/sounding-country-tracking-cultural-representations-in-the-5rcbko8m1e.pdf

Sounding Country: Tracking Cultural Representations in the Soundtracks of Contemporary Australian Landscape Cinema

Space, Place and Story: Museum Geographies and Narratives of the American West

There has been a popular resurgence of the Gothic sensibility in Australian drama in recent years, yet the term Australian Gothic is difficult to define in contemporary Australian performance and playwriting. From the perspective of three playwrights writing in the field, this paper analyses the gothic, suggesting that playwrights utilise the form as a way of opening up discourse about historical truths and about our contemporary relationship to the past, to each other and the land we supposedly share.

What is Australian Gothic Theatre? Three Playwrights enter the Conversation

Imagined Landscapes teams geocritical analysis with digital visualization techniques to map and interrogate films, novels, and plays in which space and place figure prominently. Drawing upon A Cultural Atlas of Australia, a database-driven interactive digital map that can be used to identify patterns of representation in Australia’s cultural landscape, the book presents an integrated perspective on the translation of space across narrative forms and pioneers new ways of seeing and understanding landscape. It offers fresh insights on cultural topography and spatial history by examining the technical and conceptual challenges of georeferencing fictional and fictionalized places in narratives. Among the items discussed are Wake in Fright, a novel by Kenneth Cook, adapted iconically to the screen and recently onto the stage; the Australian North as a mythic space; spatial and temporal narrative shifts in retellings of the story of Alexander Pearce, a convict who gained notoriety for resorting to cannibalism after escaping from a remote Tasmanian penal colony; travel narratives and road movies set in Western Australia; and the challenges and spatial politics of mapping spaces for which there are no coordinates.

Imagined Landscapes: Geovisualizing Australian Spatial Narratives

Marvin Carlson tells us that theatre is the most haunted of artistic mediums. 'All plays in general', he writes,'might be called Ghosts [after Ibsen], since ... one of the universals of performance, both East and West, is its ghostliness, its sense of return, the uncanny but inescapable impression imposed upon its spectators that "we are seeing what we saw before'". While this sense of familiarity - with plot-line, with genre - might also be applicable to film and literature, for Carlsondrama, more than any other literary form, seems to be associated in all cultures with the retelling again and again of stories that bear a particular religious, social or political significance for their public. There clearly seems to be something in the nature of dramatic presentation that makes it a particularly attractive repository for the storage and mechanism for the continued recirculation of cultural memory.1Carlson's reading of theatre as a haunted medium elegantly provides one frame of analysis for Gothic drama. This article outlines Gothic theatre texts in Australia over 140 years, including some not hitherto identified as such, and reads them sequentially in order to examine the precise nature of the cultural memories being circulated in Australian sociological, theatrical and literary contexts. It therefore offers a longitudinal study of Australian Gothic drama and argues for the pertinence of such a venture in aligning Gothic theatrical activity with broader cultural anxieties and sites of cultural rupture. A longitudinal reading allows the mapping of key foundational traumas (which we will see include the early convict experience, the violent dispossession of Aboriginal cultures from the land, as well as an upsurge in 'ghostly' theatrical activity dealing with the trauma and aftermath of World War I) and offers a psychoanalytic 'snapshot' of the nation's collective subconscious over time, at least as far as this has been identified by playwrights working in the field of the Gothic. Rather than being a reiteration of an orthodox historiographical claim that Australian playwrights have long been preoccupied with the bush and its range of stock characters and appurtenances (such as the escaped convict, the bushranger, the heroic bushman, the stoic drover's wife, the faithful Aboriginal sidekick and all of these characters' contemporary postcolonial iterations), the claim being made here is that the larger repertoire of Australian plays has not been examined consistently through a Gothic filter before. Individual texts or the corpuses of certain authors (as the scholarship referred to in this article will illustrate) have certainly been identified as Gothic from time to time, but the disparate texts and timelines have not been put into cohesive conversation through this particular generic lens. The key focus of the study comprises the questions of which foundational instances of national shame, guilt or trauma continue to haunt us, and the particular historical circumstances that act as a trigger for their theatrical release.Jeffrey Cox's tripartite definition of the Gothic frames this discussion, and is applied to an Australian body of work from Victorian era melodrama to contemporary performance. More than thirty plays comprise a Gothic Australian theatrical core sample (annotated in Appendices One to Four). However, the titles identified in this article are only a summary list; many more - particularly recent - plays and contemporary performance texts could be added. So the detailed analysis of individual texts is restricted by the parameters of the diachronic survey. What can be identified and discussed, however, are the overarching patterns of representation made discernible by placing such a large number of texts into conversation with one another.HISTORICAL BACKGROUND AND DEFINING THE GOTHICAs many scholars in the field contend, the Gothic often arises historically as a literary or (at the turn of the eighteenth century, at least) theatrical response to social rupture and national or regional cultural anxieties. …

Australian Gothic Drama: Mapping a Nation’s Trauma from Convicts to the Stolen Generation.

Australian Gothic: Theatre and the Northern Turn

Second production of 'Constance Drinkwater and the Final Days of Somerset'. Darwin Festival, Darwin Theatre Company and JUTE Theatre Company Cairns. It is 1899 and only the resolve of Lady Constance Drinkwater has kept the Far North Queensland settlement of Somerset from crumbling. Beset by storms, ill-luck and a mysterious disease that has killed all but two of Constance's children, it is the arrival of strangers - anthropologist Professor Cornelius Crabbe and his companion, Mr Hop Lee - that sets in motion the final catastrophic days of Somerset. Stephen Carleton's award-winning play is a post-colonial melodrama, hilarious and sad in equal measure, and a proud addition to the growing genre of Australian gothic.

Constance Drinkwater and the final days of Somerset

The review and analysis of the film epic 'Australia' by Baz Luhrmann is discussed. Some of the other films and their varied description of life in the Australian North are highlighted.

Cinema and the Australian North: Tracking and Troping Regionally Distinct Landscapes via Baz Luhrmann's 'Australia'

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