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AbstractHistoryArchive Description
'When we first announced the international symposium, Inside/Outside/Carnival, that took place at the University of Winchester, UK, in June 2017 (a collaboration between the International Poetry Studies Institute (IPSI) at the University of Canberra, and the University of Winchester, with invited guest speakers from the USA, Australia and the UK) we prefaced it with, ‘Into the cauldron of 21st century writing - Tipping a hat at Bakhtin the word Carnival is ambiguous. It tilts at blurred edges, a world upside down and inside out.’ We had no idea what would come about and a cauldron seemed a relevant metaphor at the time. And so it proved because we now have this collection of articles, essays, prose, prose poetry and poetry, which shows how a simple idea can have such a remarkable melting pot response.' (Introduction)
Notes
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Only literary material within AustLit's scope individually indexed. Other material in this issue includes:
Bakhtin, Bourdieu And The Aesthetics Of The Carnivalesque Essay by Michael Grenfell
Carnival by Wendy Falla
Bruegel’s Dishonest Woman And Cuckold Man Make Strange Bedfellows :As Preparatory Research For A Creative Piece by Lisa Koning
Diversions by Georgia Hilton
Sixty People with Flickering Lamps by Julian StannardLiving Inside and Outside Songs : The experiences of a non-singing songwriter and his vocalist collaborators by Glenn Fosbraey
Inside Outside The Ever Changing Carnival And The Story Of A Better Life : Protest Art, Protest Books And Protest Songs As A Creative Force For Good by Andrew Melrose
Mozart in Nairobi by Maria Stadnicka
In the House of Legends by Ishaq Imruh Bakari
Remember this Man? Double Dialectics in a Hybrid Post-Memoir by Adelaide Morris
Exitus by Maria Stadnicka
She is Older than I by Bridget Egan
On Exquisite Pain by Sally Russell
Unexpected Journey by Lynda S. Robertson
Between Opalescence and Obsession by Julian Stannard
Contents
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Feasting,
single work
prose
'The mature loquat tree hung over their fence and every spring dropped succulent, silky-stoned fruit into their yard, while other fruit hung on the tree in abundant oversized clusters like tarnished yellow stones.' (Introduction)
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Sticks, Masks, Straw,
single work
prose
'Mardi Gras, Shrove Tuesday. You get up and pad to the window. Part the curtains. Pitch dark behind the frost on the window pane. You don’t need to see through. You know it snowed overnight. Not a sound. All is blanketed. Hushed. You tiptoe to the landing past the mirror with your shadow in it. Past your uncle Gustave’s bedroom. Rrrr-snorrR. Rrrr-snorrR. The coast is clear, as they say. You fix your gaze to the ray of light at the bottom of the flight of stairs. You go down, careful to skip the step that creaks—fourth from the bottom. A smell of coffee seeps from under the door. Muffled noises. A fart. You hold your breath. Put your eye to the key hole.' (Introduction)
- Summeri"Scorched pines. A sweltering stasis. The heat", single work poetry
- After the Carnivali"Bittersweet. The honey on my tongue. The scent of flowers when they’re on the turn. You", single work poetry
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After the Carnival,
single work
criticism
'Academics and artists have been talking about carnival-the-concept for about a century now, and still finding fresh things to say. In very broad terms, the concept can be understood as bifurcated between two opposing logics. The first, somewhat nostalgically, celebrates carnival as a space of freedom, and of opposition to the established relations of power (e.g. Bakhtin 1984a). The second, somewhat unsentimentally, identifies carnival as a means for authority to mask, and thereby maintain, the status quo (e.g. Turner 1969).' (Introduction)
