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Hanne Birk (International) assertion Hanne Birk i(10694413 works by)
Gender: Female
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Works By

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1 A 'Place to Start' : First Australian Stories Negotiating the Intervention Hanne Birk , 2017 single work criticism
— Appears in: 'And There'll Be NO Dancing' : Perspectives on Policies Impacting Indigenous Australia since 2007 2017; (p. 198-211)
1 '[P]ulling Tomorrow's Sky from [the] Kete' : Culture-Specific Narrative Representations of Re/Membering in Contemporary Māori and First Australian Novels Hanne Birk , 2015 single work criticism
— Appears in: Narrative and Identity Construction in the Pacific Islands 2015; (p. 209-223) 'Aotearoa New Zealand and Australia constitute plural, heterogeneous and hybrid spaces, in which a multiplicity of Indigenous and non-Indigenous cultures live together but are not treated equally. How can indigenous novels contribute to ensuing transcultural negotiations of competitive and synergetic processes of re/membering in “post”-colonial contexts? What roles do the texts play in the construction processes of different versions of the past and of cultural identities? Proposed answers rely on a cultural contextualization of “classic” categories of narratology: Indigenized methods of a “post”-colonial narratology are used to interpret culture-specific representations of cultural re/membering and to outline transcultural functional potentials of a contemporary Māori novel, Patricia Grace’s Potiki (1986), complemented by references to a First Australian text, Bruce Pascoe’s Earth (2001).' (Publication abstract)
1 y separately published work icon Pride and Prejudice 2.0 : Interpretations, Adaptations and Transformations of Jane Austen's Classic Hanne Birk (editor), Marion Gymnich (editor), Gottingen : Bonn University Press , 2015 10694432 2015 anthology criticism

'Austen's Pride and Prejudice has been adapted, transformed and translated into numerous languages. Thus the classic today constitutes an international, transcultural, transmedial and iconic phenomenon of pop culture that transcends genre boundaries as easily as centuries. The vitality of the book at the crossroads of the literary canon and pop culture is analysed by contributions focusing on its translations, Bollywood adaptations, iconic TV versions or vlog adaptations, on erotic rewritings or generic transformations into Chick-Lit, crime fiction or the Gothic mode, on teaching contexts or on a diachronic analysis of its illustrations. Complemented by a compilation of student essays, this volume affirms and celebrates Pride and Prejudice being perhaps more alive than ever before.' (Publication summary)
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