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Issue Details: First known date: 1971... 1971 Songs of Central Australia
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Notes

  • translation
  • To be indexed

Contents

* Contents derived from the Sydney, New South Wales,:Angus and Robertson , 1971 version. Please note that other versions/publications may contain different contents. See the Publication Details.
Ankota Song, Anonymous , T. G. H. Strehlow (translator), single work poetry (p. 110)

Publication Details of Only Known VersionEarliest 2 Known Versions of

Notes:
illus; map; music
    • Sydney, New South Wales,: Angus and Robertson , 1971 .
      Extent: 775p.
      Description: col. ill., col. map, music
      Note/s:
      • Map in pocket inside back cover. Thesis (D. Litt.) from the University of Adelaide. Includes bibliographical references and index. Also available online. On 11 September 2009 title page and contents pages freely available from The University of Adelaide Digital Library at http://digital.library.adelaide.edu.au/theses/09LI/09lis915.pdf
      ISBN: 0207946574

Works about this Work

The Power and Purpose of Literature : Boisbouvier Oration 2018 Alexis Wright , 2018 single work essay
— Appears in: Meanjin , Summer vol. 77 no. 4 2018; (p. 209-218)

'I thought I would begin this talk about the power and purpose of literature by talking about my 1998 book Take Power. The title came from a Gurindji Elder while telling the story of the ten-year battle his people fought against Vestey’s, a British pastoral company that owned the Wave Hill pastoral property in the north-west of the Northern Territory, when in 1966, 200 Gurindji, the traditional landowners, walked off the cattle station where they worked on their stolen lands because of the harsh treatment they were receiving from the management of the pastoral property. Vincent Lingiari, who led his people off Wave Hill, said: ‘We can’t go back to that Vestey’s. Vestey’s been treating me like a walagu (dog). Make mefella worry.’ The Gurindji kept telling their story straight, and eventually they achieved land rights over part of their traditional lands.' (Introduction)

EarthSong and Desert Art : Painted Literature from Sacred Ground Lloyd D. Graham , 2017 single work criticism
— Appears in: Literature and Theology , June vol. 31 no. 2 2017; (p. 164–186)

'Like the travel memoirs of writers who have wandered the Songlines of the Australian desert under the guidance of indigenous custodians, Aboriginal desert art offers a window into the lyrical and sacred world of the Dreaming. The paintings of the EarthSong exhibition (Australian Catholic University, 2015) embody excerpts from the song-myth cycles of the Western Desert; using ceremonial iconography to portray the actions of Ancestral Beings at specific sites, they form maps of terrain and title deeds to country. An exploration of several of the exhibition’s paintings affords a sense of the beauty, drama and complexity of the song-myth cycles that underpin and connect all of the paintings in the collection.'  (Publication abstract)

"We Sing Our Law, Is That Still TEK?" : Traditional Ecological Knowledge and Can the West Come to Know? John Bradley , Stephen Johnson , 2014 single work criticism
— Appears in: PAN , no. 11 2014-2015; (p. 19-26)

'Throughout history, anthropologists have confronted a number of uncomfortable truths around the supposed nature of reality. The anthropological maxim, "through the study of others we learn more about ourselves" has been sorely tested en route. Arguably, this challenge reached culmination during the 1970s and 80s, with several prominent social commentators from Geertz to Clifford suggesting that anthropologists had, in both past and present, been much more concerned with the study of 'others' than of 'ourselves' (Nader 1964:289). In essence, this reflexive critique suggested that ethnographers were in the business of writing fiction and more insidiously came to the field equipped with a set of assumptions and presuppositions about the world in all its variety. These universal verities functioned to reduce all subjects of study into conformity with the observer's sense of what was real and of import and what was not and inconsequential.' (Publication summary)

Negotiating 'Negative Capability' : The Role of Place in Writing for Two Australian Poets Lynda Hawryluk , Leni Shilton , 2014 single work criticism
— Appears in: Axon : Creative Explorations , July vol. 4 no. 1 2014; Coolabah , no. 16 2015; (p. 48-73)

'This paper takes its lead from the poet John Keats’ notion of ‘negative capability’ (1891: 48), exploring some of the key methodologies of representing landscapes in writing, specifically using place to effect the process of ‘… being capable of being in uncertainties, Mysteries, doubt, without any irritable reaching after fact and reason …’ (48).

Keats refers to the poet as ‘taking part’ in the life of the poem; and being in the poem. This paper features our own poetry, located in two different landscapes and with its own understanding of place, which captures a sense of connection to rugged and remote terrains. To evoke this sense of connection, Keats’ negative capability comes into play—understood in this paper as a metaphysical space where a meditative state provides the writer with a ‘glimpse’; a recognition of that moment of connection without which ‘poetry cannot happen’ (Oliver 1994: 84)

Our writing, as will be discussed, is individually informed by knowledge about environment and notions of poetic space, where ‘aspects of the unconscious move into consciousness’ (Hetherington 2012: 8). This paper explores the commonalities and distinctions between our work, using brief examples.' (Publication abstract)

The Politics of the Voice : Ethnographic Fetishism and Australian Literary Studies Richard J. Martin , 2013 single work criticism
— Appears in: JASAL , vol. 13 no. 2 2013;
'The politics of representing Aboriginality often focuses on questions of authorship and appropriation. Much of this criticism rests on the simplistic assumption that texts created by collaboration and even uneven collaboration are not in some respects voiced by their subject or subjects. This paper discusses two popular texts about Aboriginal ceremonial songs or ‘songlines’ in order to challenge this assumption, reading Bill Harney with A. P. Elkin’s Songs of the Songmen: Aboriginal Myths Retold (1949), and John Bradley with Yanyuwa Families’ Singing Saltwater Country: Journey to the Songlines of Carpentaria (2010) as Aboriginal texts. These texts are particularly interesting insofar as they focus attention on the relationship between voice and text, as well as Aboriginal and non-Aboriginal people, being the products of collaboration by the anthropologists Elkin and Bradley with, on the one hand, a non-Aboriginal ‘Protector’ and popular writer (Harney), and, on the other, the subjects of the ethnography themselves (that is Yanyuwa Families). As I argue, the shifting ways in which the songlines of northern Australia are voiced in Songs of the Songmen and Singing Saltwater Country provides insights into the politics of representing Aboriginality in Australia, and the forces that have historically affected it. The close analysis of these texts focuses attention on the role of ethnographic fetishism for the exotic and authentic within the changing context of cultural production in Australia.' (Author's abstract)
An Essential Ambivalence Robert Manne , 2002 single work criticism
— Appears in: Eureka Street , December vol. 12 no. 10 2002; (p. 34-36)
Hon'yakushite Tasha No Uchi Ni Hairu : T. G. H. Shutoreirou Akiko Kunimi , 2004 single work criticism
— Appears in: Eigo Seinen/Rising Generation , March vol. 149 no. 12 2004; (p. 748)
Romancing the Stones John Morton , 1993 single work criticism
— Appears in: Arena Magazine , April/May no. 4 1993; (p. 39-40)
John Morton on the past and future of the Strehlow Collection.
The Forest in the Clearing : The Environmental Poetics of John Shaw Neilson Paul Carter , 2010 single work criticism
— Appears in: Halfway House : The Poetics of Australian Spaces 2010; (p. 133-157)
On Tjukurrpa, Painting Up and Building Thought Craig San Roque , 2009 single work criticism
— Appears in: PAN , no. 6 2009; (p. 40-60)
'This article contemplates the possible relationship of Central Australian "Dreaming," or Tjukurrpa, to symbol and thought formation in desert Aboriginal culture. Acknowledgement is given to the diversity and complexity of descriptions ofTjukurrpa. The author is concerned with how thoughts are made, what they are made of, and how thinking might go wrong, that is, how disorders of thought in the intercultural matrix might arise. Thinking as a form of mental activity may be deeply related with the ontopoetic ancestry of language and locations of human movement and activity. The author suggests that through an analysis of detailed, grounded, intercultural conversations and an understanding of the structure and content of Tjukurrpa, non-Indigenous people working in health and law might appreciate and comprehend Aboriginal thinking and behaviour (and thus be more effective in various aspects of mutual engagement). The challenge is mutual and reciprocal.' (Source: Editor's abstract)
Last amended 24 May 2016 10:43:02
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