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Notes
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Originally published as 'Ginger Mick' in The Bulletin; subsequently published as 'The Call of the Stoush' with variant first line as part of Dennis' anthology The Moods of Ginger Mick.
Publication Details of Only Known VersionEarliest 2 Known Versions of
Works about this Work
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Australian and Wartime Chorography : Showing and Telling the Story of Home
2015
single work
criticism
— Appears in: Children’s Literature and Culture of the First World War 2015; (p. 139-161)'This chapter explores some of the ways in which the literary arts of poetry and novels, especially those for children and young people, and the visual arts of paintings and posters, often depicting children, were used in Australia during the First World War to show and tell not only the idea of war to those at home, but the idea of home for those at war. It is part of wartime rhetoric to set personal identity and home place as core (as something worth fighting for), but simultaneously to indent that core with qualities and places beyond the personal and the personally experienced: thus not just my home, my
family, my community, but our family, our community, our nation. This concept of home becomes imbued with symbols that both represent and unite and that establish a semiotics of home that includes both abstractions – a deep inner sense of shared cause alongside like-minded companions, and the materiality of physical space. This physical space expands into the metaphysical, into not just images of home and place and landscape, but potent metonymous and synechdocal imageries of home and place and landscapes.'Source: introduction.
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Poetry as Cinema : A Discursive Screening from 1913-2006
2011
single work
criticism
— Appears in: Southerly , vol. 71 no. 3 2011; (p. 135-148) 'Australian cinema began with a confident leap into the future. Charles Tait's The Story of the Kelly Gang, made in Melbourne in 1906, is credited as the world's first narrative feature. Post-Federation years continued to see poetry influence the national imagination, and occasionally inspire cinema on its journey.' (Author's abstract)
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The Songs of a Sentimental Bloke and The Moods of Ginger Mick
2009
single work
criticism
— Appears in: Serious Frolic : Essays on Australian Humour 2009; (p. 16-27) -
C.J. Dennis
2008
single work
criticism
— Appears in: Writing Across the Continent 2008; -
'The Sentimental Bloke' : Chat with C. J. Dennis
1917
single work
essay
— Appears in: The North Queensland Register , 27 August 1917; (p. 43)
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'The Sentimental Bloke' : Chat with C. J. Dennis
1917
single work
essay
— Appears in: The North Queensland Register , 27 August 1917; (p. 43) -
The Songs of a Sentimental Bloke and The Moods of Ginger Mick
2009
single work
criticism
— Appears in: Serious Frolic : Essays on Australian Humour 2009; (p. 16-27) -
C.J. Dennis
2008
single work
criticism
— Appears in: Writing Across the Continent 2008; -
Poetry as Cinema : A Discursive Screening from 1913-2006
2011
single work
criticism
— Appears in: Southerly , vol. 71 no. 3 2011; (p. 135-148) 'Australian cinema began with a confident leap into the future. Charles Tait's The Story of the Kelly Gang, made in Melbourne in 1906, is credited as the world's first narrative feature. Post-Federation years continued to see poetry influence the national imagination, and occasionally inspire cinema on its journey.' (Author's abstract)
-
Australian and Wartime Chorography : Showing and Telling the Story of Home
2015
single work
criticism
— Appears in: Children’s Literature and Culture of the First World War 2015; (p. 139-161)'This chapter explores some of the ways in which the literary arts of poetry and novels, especially those for children and young people, and the visual arts of paintings and posters, often depicting children, were used in Australia during the First World War to show and tell not only the idea of war to those at home, but the idea of home for those at war. It is part of wartime rhetoric to set personal identity and home place as core (as something worth fighting for), but simultaneously to indent that core with qualities and places beyond the personal and the personally experienced: thus not just my home, my
family, my community, but our family, our community, our nation. This concept of home becomes imbued with symbols that both represent and unite and that establish a semiotics of home that includes both abstractions – a deep inner sense of shared cause alongside like-minded companions, and the materiality of physical space. This physical space expands into the metaphysical, into not just images of home and place and landscape, but potent metonymous and synechdocal imageries of home and place and landscapes.'Source: introduction.
- 1910s
