The True History of Beruk single work   prose  
Issue Details: First known date: 2006 2006
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Notes

  • Author's note: William Barak : Archive Box-No.3.

Publication Details of Only Known VersionEarliest 2 Known Versions of

  • Appears in:
    y Meanjin Blak Times : Indigenous Australia vol. 65 no. 1 Peter Minter (editor), 2006 Z1261361 2006 periodical issue

    'The resurgence of Indigenous culture and thought continues. Confident, smart and sensitive Aboriginal artists, writers and theorists create world-class work in every genre. Tough and autonomous critical milieux have developed, liberated from colonial and modern mythologies about Aboriginal culture and its relations to Western ways of thinking and seeing. Flourishing Indigenous arts and literary scenes have grown around a new generation of Aboriginal publishers, curators, writers, editors, film-makers, choreographers and savvy arts entrepreneurs...' (Minter, Peter, Listen Up, Meanjin Vol 65 No. 1 2006: 1-2)

    2006
    pg. 72-76

Works about this Work

Counter-Poetics Lyn McCredden , 2011 single work criticism
— Appears in: Australian Literary Studies , June vol. 26 no. 2 2011; (p. 91-108)
'Michel Foucault defined history as 'the discourse of power' (Society 68), arguing that the function of a 'counter-history' is 'to show that laws deceive, that kings wear masks, that power creates illusions, and the historians tell lies' (Bainbridge 58). Writing on the relationship of poetry to power, critic Simon Bainbridge argues, citing Byron's Don Juan, that in 'the face of a model of "History" which can only take "things in the gross", Foucault offers a counter history which enables us to "know them in detail"' (50). By disciplinary analogy, I will argue that the poetry of Indigenous Australian Tony Birch can best be read not only as a counter-history, but as a 'counter-poetics'. However, I will also ask whether this notion of poetic 'countering' is inherently oxymoronic, given that poetry is highly performative, writerly and readerly; at its best always a self-questioning and critical art.' (Author's introduction p. 91)
Colonial Knowledge, Post-Colonial Poetics Lyn McCredden , 2010 single work criticism
— Appears in: Postcolonial Issues in Australian Literature 2010; (p. 255-277)
The Locatedness of Poetry Lyn McCredden , 2009 single work criticism
— Appears in: JASAL , Special Issue 2009; Interpretations , July vol. 43 no. 2010; (p. 28-34)
This essay argues that understanding the locatedness of poetry is crucial as a measure by which to sift the high rhetorics of national, cosmopolitan, globalising discourses. In an analysis of the poetry of Indigenous writers Tony Birch, Sam Wagan Watson and Lionel Fogarty, and of the Federal Government's Apology to the Stolen Generations, we can see more clearly the role of literature, and particularly poetry, in debates between the local and the global.
The True History of Beruk 'My Words, Beruk - Ngamajet - 1835 Tony Birch , 2008 extract prose
— Appears in: Macquarie PEN Anthology of Aboriginal Literature 2008; (p. 230-233)
The True History of Beruk 'My Words, Beruk - Ngamajet - 1835 Tony Birch , 2008 extract prose
— Appears in: Macquarie PEN Anthology of Aboriginal Literature 2008; (p. 230-233)
The Locatedness of Poetry Lyn McCredden , 2009 single work criticism
— Appears in: JASAL , Special Issue 2009; Interpretations , July vol. 43 no. 2010; (p. 28-34)
This essay argues that understanding the locatedness of poetry is crucial as a measure by which to sift the high rhetorics of national, cosmopolitan, globalising discourses. In an analysis of the poetry of Indigenous writers Tony Birch, Sam Wagan Watson and Lionel Fogarty, and of the Federal Government's Apology to the Stolen Generations, we can see more clearly the role of literature, and particularly poetry, in debates between the local and the global.
Colonial Knowledge, Post-Colonial Poetics Lyn McCredden , 2010 single work criticism
— Appears in: Postcolonial Issues in Australian Literature 2010; (p. 255-277)
Counter-Poetics Lyn McCredden , 2011 single work criticism
— Appears in: Australian Literary Studies , June vol. 26 no. 2 2011; (p. 91-108)
'Michel Foucault defined history as 'the discourse of power' (Society 68), arguing that the function of a 'counter-history' is 'to show that laws deceive, that kings wear masks, that power creates illusions, and the historians tell lies' (Bainbridge 58). Writing on the relationship of poetry to power, critic Simon Bainbridge argues, citing Byron's Don Juan, that in 'the face of a model of "History" which can only take "things in the gross", Foucault offers a counter history which enables us to "know them in detail"' (50). By disciplinary analogy, I will argue that the poetry of Indigenous Australian Tony Birch can best be read not only as a counter-history, but as a 'counter-poetics'. However, I will also ask whether this notion of poetic 'countering' is inherently oxymoronic, given that poetry is highly performative, writerly and readerly; at its best always a self-questioning and critical art.' (Author's introduction p. 91)
Last amended 27 May 2008 18:16:55
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