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'This paper argues that the historical and discursive link between ordinariness and patriarchal whiteness has been finely explored by Patrick White in the novel, Voss (1957), which stands as a critique of the hegemonic effects of white affect in its engagement with the experiential diversity of the everyday.' Source: Katherine Russo.
'This paper aims at attempting an analysis, by force partial, of white Europe as such a metaphor in the light of recent critical work on whiteness within a European context. Quite obviously, the fall of the Berlin Wall in 1989 strongly impacted upon the numerous and often conflicting discourses related to the construction and reconstruction of global and European identities which followed that momentuous event; I refer here to the lacunar mythical roots Luisa Passerini finds in the idea of Europe itself (2002), to the shadows of the Shoah, but also to studies of European post-socialism in its unpredictable and still underrated connections with post-colonialism and the aftermath (and vampiric debris) of the Cold War.' Marilena Parlati.
'This paper examines the intersubjectivity of Noongar and the white settlers in That Deadman Dance. It borrows from social contract theory to develop the idea of a cross-racial contract and discusses whiteness and indigenous sovereignty in this context.' Source: Anne Brewster.
'At last count, Australians identify with over 270 ancestries, and speak over 400 languages, yet Australia continues to be represented as a racially and culturally homogenous society, especially in the field of mainstage Australian theatre. Using Ghassan Hage's concepts of containment, enrichment, and the dialectic of inclusion and exclusion, this paper examines the governance of multiculturalism and of multicultural workers in the field of Australian mainstage theatre, through contrapuntal readings of two recent theatre productions. It suggests that it is only through the self-representation of what Hage calls the multicultural Real that mainstage Australian theatre can move from specular distortion to a true mirror of contemporary Australia.' Source: Roanna Gonsalves.
'This article focuses on Drift, the fifth novel of contemporary Australian writer, Brian Castro, and concentrates on the ambiguous racial inscriptions of some of its characters. While white experimental British writer B.S. Johnson progressively becomes darker in the novel, his desire to escape his whiteness is complicated by another extreme, the albinism of Tasmanian Aboriginal Thomas McGann. This article discusses one essential aspect of these surprising fictional representations: the critique of whiteness that they articulate. The racial ambiguity of the two main characters offers a subtle reflection on Tasmania‟s colonial legacy. Yet beyond Castro's exploration of the contingencies of the Tasmanian context, the characters‟ racial ambivalence destabilises conventional representations of whiteness. The novel both exposes the metonymic nature of whiteness and critiques the specific modes of reading the body that are involved in preoccupations with whiteness.' Source: Marilyne Brun.
'This article focuses on two of Chauvel‟s early films to show how representations of Aboriginality and landscape often subtly, though sometimes violently, prioritise white sovereignty. Ultimately, whiteness (a way of seeing and being in the world) can be read as a lens Chauvel uses to both shape his representations of Aboriginality and landscape and simultaneously justify white sovereignty in Australia. When films such as Chauvel‟s are viewed with this relationship in mind, the fictionalised manipulation of landscape and Aboriginality, which is characteristic of whiteness in Australian cinema, is undermined as a legitimising discourse of white sovereignty.' Source: Ben Miller.