AustLit

Continuum began as a joint initiative between Tom O'Regan at Murdoch University and Brian Shoesmith at Edith Cowan University, Perth. From 1991-5 it was wholly located in the Centre for Research in Culture and Communication at Murdoch University. From mid-1995 it was located in the Department of Media Studies at Edith Cowan University.

Continuum is a thematically based cultural studies journal. The primary focus of the journal is upon screen media, but it also includes publishing, broadcasting and public exhibitionary media such as museums and sites. Journal editors are particularly interested in (1) the history and practice of screen media in Australasia and Asia ; (2) the connections between such media (particularly between film, TV, publishing, visual arts and exhibitionary sites). Each issue is devoted to the exploration of a particular cultural site. Sites have included Indigenous media, television, Asian cinema, media discourse, film style, publishing, photography, radio, 'Screening Cultural Studies', electronic arts in Australia and 'Critical Multiculturalism'. The journal is committed to articulating the energies, fragmentations, and loose coalitions that attend such cultural sites.

(Source : Continuum)

'Towards an Ecocritical Theatre investigates contemporary theatre through the lens of Anthropocene-oriented ecocriticism. It assesses how Anthropocene thinking engages different modes of theatrical representation, as well as how the theatrical apparatus can rise to the representational challenges of changing interactions between humans and the nonhuman world.

'To explore these problems, the book investigates international Anglophone plays and performances by Caryl Churchill, Stephen Sewell, Andrew Bovell, E.M. Lewis, Chantal Bilodeau, Jordan Hall, and Miwa Matreyek, who have taken significant steps towards re-orienting theatre from its traditional focus on humans to an ecocritical attention to nonhumans and the environment in the Anthropocene. Their theatrical works show how an engagement with the problem of scale disrupts the humanist bias of theatre, provoking new modes of theatrical inquiry that envision a scale beyond the human and realign our ecological culture, art, and intimacy with geological time. Moreover, the plays and performances studied here, through their liveness, immediacy, physicality, and communality, examine such scalar shifts via the problem of agency in order to give expression to the stories of nonhuman actants. These theatrical works provoke reflections on the flourishing of multispecies responsibilities and sensitivities in aesthetic and ethical terms, providing a platform for research in the environmental humanities through imaginative conversations on the world’s iterative performativity in which all bodies, human and nonhuman, are cast horizontally as agential forces on the theatrical world stage.

'This book will be of great interest to students and scholars of theatre studies, environmental humanities, and ecocritical studies.'(Publication summary)

'This book is about some of the ways we remember the dead through performance. It examines the dramaturgical techniques and strategies that enable artists to respond to the imperative: ‘Remember Me’ – the command King Hamlet’s ghost gives to his son in Shakespeare’s famous tragedy, Hamlet. The book develops the concept of hauntological dramaturgy by engaging with a series of performances that commemorate, celebrate, investigate, and sometimes seek justice for the dead.

'It draws on three interrelated discourses on haunting: Derrida’s hauntology with its ethical exhortation to be with ghosts and listen to ghosts; Abraham and Torok’s psychoanalytic account of the role spectres play in the transmission of intergenerational trauma; and, finally, Mark Fisher's and Simon Reynolds’ development of Derrida’s ideas within the field of popular culture. Taken together, these writers, in different ways, suggest strategies for reading and creating performances concerned with questions of commemoration. Case studies focus on a set of known and unknown figures, including Ian Charleson, Spalding Gray and David Bowie.

'This study will be of great interest to students, scholars and practitioners working within theatre and performance studies as well as philosophy and cultural studies.'  (Publication summary)

'This book offers the first major discussion of metatheatre in Australian drama of the late twentieth and early twenty-first centuries. It highlights metatheatre’s capacity to illuminate the wider social, cultural, and artistic contexts in which plays have been produced.

'Drawing from existing scholarly arguments about the value of considering metatheatre holistically, this book deploys a range of critical approaches, combining textual and production analysis, archival research, interviews, and reflections gained from observing rehearsals. Focusing on four plays and their Australian productions, the book uses these examples to showcase how metatheatre has been utilised to generate powerful elements of critique, particularly of Indigenous/non-Indigenous relations. It highlights metatheatre’s vital place in Australian dramatic and theatrical history and connects this Australian tradition to wider concepts in the development of contemporary theatre.

'This illuminating text will be of interest to students and scholars of Australian theatre (historic and contemporary) as well as those researching and studying drama and theatre studies more broadly.' (Publication summary)

'This book discusses the evolution of Commedia dell’Arte in the Asia-Pacific where through the process of reinvention and recreation it has emerged as a variety of hybrids and praxes, all in some ways faithful to the recreated European genre.

'The contributors in this collection chart their own training in the field and document their strategies for engaging with this form of theatre. In doing so, this book examines the current thoughts, ideas, and perceptions of Commedia – a long-standing theatre genre, originating in a European-based collision between neo-classical drama and oral tradition. The contributing artists, directors, teachers, scholars and theatre-makers give insight into working styles, performance ideas, craft techniques and ways to engage an audience for whom Commedia is not part of their day-to-day culture. The volume presents case studies by current practitioners, some who have trained under known Commedia ‘masters’ (e.g. Lecoq, Boso, Mazzone-Clementi and Fava) and have returned to their country of origin where they have developed their performance and teaching praxis, and others (e.g. travelling from Europe to Japan, Thailand, Singapore and China) who have discovered access points to share or teach Commedia in places where it was previously not known.

'This book will be of great interest to students and scholars in Performing arts, Italian studies, and History as well as practitioners in Commedia dell’Arte.'  (Publication summary)

'This book is the first to examine gender and violence in Australian literature. It argues that literary texts by Australian women writers offer unique ways of understanding the social problem of gendered violence, bringing this often private and suppressed issue into the public sphere. It draws on the international field of violence studies to investigate how Australian women writers challenge the victim paradigm and figure women's agencies. In doing so, it provides a theoretical context for the increasing number of contemporary literary works by Australian women writers that directly address gendered violence, an issue that has taken on urgent social and political currency.

'By analysing Australian women's literary representations of gendered violence, this book rethinks victimhood and agency, particularly from a feminist perspective. One of its major innovations is that it examines mainstream Australian women's writing alongside that of Indigenous and minoritised women. In doing so it provides insights into the interconnectedness of Australia's diverse settler, Indigenous and diasporic histories in chapters that examine intimate partner violence, violence against Indigenous women and girls, family violence and violence against children, and the war and political violence.' (Publication summary)

'Expeditionary journeys have shaped our world, but the expedition as a cultural form is rarely scrutinized. This book is the first major investigation of the conventions and social practices embedded in team-based exploration. In probing the politics of expedition making, this volume is itself a pioneering journey through the cultures of empire. With contributions from established and emerging scholars, Expedition into Empire plots the rise and transformation of expeditionary journeys from the eighteenth century until the present. Conceived as a series of spotlights on imperial travel and colonial expansion, it roves widely: from the metropolitan centers to the ends of the earth. This collection is both rigorous and accessible, containing lively case studies from writers long immersed in exploration, travel literature, and the dynamics of cross-cultural encounter.'

Source: Publisher's blurb.

Throughout the world, the number of festivals has grown exponentially in the last two decades, as people celebrate local and regional cultures, but perhaps more importantly as local councils and other groups seek to use festivals both to promote tourism and to stimulate rural development. However, most studies of festivals have tended to focus almost exclusively on the cultural and symbolic aspects, or on narrow modelling of economic multiplier impacts, rather than examining their long-term implications for rural change. This book therefore has an original focus. It is structured in two parts: the first discusses broad issues affecting music festivals globally, especially in the context of rural revitalisation. The second part looks in more detail at a range of types of festivals commonly found throughout North America, Europe and Australasia, such as country music, jazz, opera and alternative music festivals. The authors draw on in-depth research undertaken over the past five years in a range of Australian places, which traces the overall growth of festivals of various kinds, examines four of the more important and distinctive music festivals, and makes clear conclusions on their significance for rural and regional change.

Source: Publisher's blurb