By means of contextualized readings, this work argues that autobiographic writing allows an intimate access to processes of colonization and decolonization, incorporation and resistance, and the formation and reformation of identities which occurs in postcolonial space. The book explores the interconnections between race, gender, autobiography and colonialism and uses a method of reading which looks for connections between very different autobiographical writings to pursue constructions of blackness and whiteness, femininity and masculinity, and nationality. Unlike previous studies of autobiography which focus on a limited Euro American canon, the book brings together contemporary and 19th-century women's autobiographies and travel writing from Canada, the Caribbean, Kenya, South Africa, Australia and New Zealand. With emphasis on the reader of autobiography as much as the subject, it argues that colonization and resistance are deeply embedded in thinking about the self.
This book introduces the unique archive of letters, textiles, hand-drawn maps, emails and photographs from asylum seekers held indefinitely in offshore detention at Topside Camp, Nauru 2001-5. These artefacts introduce the distinctive and creative forms of resistance produced by asylum seekers in the remote Pacific camps on Nauru and Manus Island, and they expose their experiential histories of radical suffering and trauma. Paying due deference to the creative and aesthetic agency of these various documents and artefacts created by the undocumented here, Gillian Whitlock generates a cultural biography of the Nauru camp that humanizes those who have remained unseen and unheard, and features the activist campaigns and the political resistance that assert the agency of witnessing refugees. Structured around the collections of various artefacts exchanged between detainees and humanitarian activists, Refugee Lives in the Archives draws on emerging theories from detention centres and the asylum seekers themselves in a distinctive and expansive Pacific imaginary of refugee life narrative. Building on Whitlock's substantial body of work in testimonial, documentary and archive practices, this book focuses on the 'testimony of things' and probes an approach to archival studies that moves life writing in new directions, to respond collaboratively to the diverse materiality of story-telling and exchanges in the unique and creative forms of asylum seekers' voices, stories and epistemologies.
The Oxford Studies in Postcolonial Literatures series offers stimulating and accessible introductions to definitive topics and key genres and regions within the rapidly diversifying field of postcolonial literary studies in English. Postcolonial Life Narrative draws together two dynamic fields of contemporary literature and criticism, postcolonialism and life narrative, to create a new assemblage: postcolonial life narrative. Focusing in particular on testimonial narrative, from slave narrative in the late eighteenth century to contemporary Anglophone life narrative from Africa, Australia, the Caribbean, Palestine, North America, and India, this study follows texts on the move through adaptation, appropriation, and remediation. For postcolonial subjects life narrative offers extraordinary opportunities to present accounts of social injustice and oppression, of violence and social suffering. Testimonial narrative can reach across cultures to produce intimate attachments between those who testify and those who bear witness to legacies of apartheid, slavery, rape warfare, genocide, and dispossession. Thresholds of testimony are subject to change and for some, for example refugees and asylum seekers, opportunities to engage a witnessing public and inspire campaigns for social justice on their behalf are curtailed--these are the 'ends of testimony'. The production, circulation, and reception of testimonial life narrative connects directly to the most fundamental questions of who counts as human, what rights follow from this, and what makes for grievable life. Postcolonial life narrative is a dynamic field of literature and criticism, and this book presents a series of proximate readings that outline its distinctive imaginative geographies.
In this rich, imaginative survey of variety musical theater, Gillian M. Rodger masterfully chronicles the social history and class dynamics of the robust, nineteenth-century American theatrical phenomenon that gave way to twentieth-century entertainment forms such as vaudeville and comedy on radio and television. Fresh, bawdy, and unabashedly aimed at the working class, variety honed in on its audience's fascinations, emerging in the 1840s as a vehicle to accentuate class divisions and stoke curiosity about gender and sexuality. Cross-dressing acts were a regular feature of these entertainments, and Rodger profiles key male impersonators Annie Hindle and Ella Wesner while examining how both gender and sexuality gave shape to variety. By the last two decades of the nineteenth century, variety theater developed into a platform for ideas about race and whiteness. As some in the working class moved up into the middling classes, they took their affinity for variety with them, transforming and broadening middle-class values. Champagne Charlie and Pretty Jemima places the saloon keepers, managers, male impersonators, minstrels, acrobats, singers, and dancers of the variety era within economic and social contexts by examining the business models of variety shows and their primarily white, working-class urban audiences. Rodger traces the transformation of variety from sexualized entertainment to more family-friendly fare, a domestication that mirrored efforts to regulate the industry, as well as the adoption of aspects of middle-class culture and values by the shows' performers, managers, and consumers.
By means of contextualized readings, this work argues that autobiographic writing allows an intimate access to processes of colonization and decolonization, incorporation and resistance, and the formation and reformation of identities which occurs in postcolonial space. The book explores the interconnections between race, gender, autobiography and colonialism and uses a method of reading which looks for connections between very different autobiographical writings to pursue constructions of blackness and whiteness, femininity and masculinity, and nationality. Unlike previous studies of autobiography which focus on a limited Euro American canon, the book brings together contemporary and 19th-century women's autobiographies and travel writing from Canada, the Caribbean, Kenya, South Africa, Australia and New Zealand. With emphasis on the reader of autobiography as much as the subject, it argues that colonization and resistance are deeply embedded in thinking about the self.
In Virtual Pedophilia Gillian Harkins traces how by the end of the twentieth century the pedophile as a social outcast evolved into its contemporary appearance as a virtually normal white male. The pedophile's alleged racial and gender normativity was treated as an exception to dominant racialized modes of criminal or diagnostic profiling. The pedophile was instead profiled as a virtual figure, a potential threat made visible only when information was transformed into predictive image. The virtual pedophile was everywhere and nowhere, slipping through day-to-day life undetected until people learned how to arm themselves with the right combination of visually predictive information. Drawing on television, movies, and documentaries such as Law and Order: SVU, To Catch a Predator, Mystic River, and Capturing the Friedmans, Harkins shows how diverse U.S. audiences have been conscripted and trained to be lay detectives who should always be on the lookout for the pedophile as virtual predator. In this way, the perceived threat of the pedophile legitimated increased surveillance and ramped-up legal strictures that expanded the security apparatus of the carceral state.
The digital revolution is transforming media and communications industries worldwide, and media companies are keen to emerge at the forefront of an increasingly transnational and competitive communications marketplace. However, the volume and scale of mergers and alliances involving media players has raised considerable challenges for regulators and state authorities alike. Media Ownership: - Investigates the commercial and strategic advantages of consolidation and cross-media expansion - Examines the socio-political and cultural implications of media concentration - Analyzes how policy makers have responded to media concentration and convergence - Assesses the relationship between media ownership and economic performance - Looks at the balance of power between politicians and media owners This book offers an up-to-date critical overview of the contemporary media environment, as such it will be an essential text for all those with an interest in media economics, media policy, media law and management.
In 2007 a librarian at the Library and Archives Canada Library came across a fragile sheet of paper inserted inside a book. It was the playbill advertising an evening of entertainment that had taken place halfway across the world, over two centuries before. The playbill is the earliest printed document in the history of Australia to be so far discovered and in 2011 it was included on the UNESCO Australian Memory of the World Register. As a piece of ephemera the playbill offers tantalizing glimpses of the social and cultural life of the early colony. What is the significance of the plays performed? Who were the players and their audiences? What kind of theatre did they play in? Gillian Russell answers all of these questions and more, in this fascinating account of the history and significance of the playbill.
This is a work of East Anglian oral history. Over a period of nearly 30 years I listened to and recorded a number people from different backgrounds, all born in the early years of the 20th century, in an attempt to capture and save the memories of those who had lived in such different times from our own just a few generations later. Most chapters concentrate on one individual. One man was put to the plough, with a horse, aged eight, another went to sea in a steam drifter at sixteen and there is a woman whose children were born in the workhouse. It was a period blighted by war and some share their sombre experiences. They invite us into their kitchens and onto their farms to experience just what life was like for them as we listen to them reminiscing. They worked hard but nevertheless were more contented than many are in the 21st century. We hear about their lives in their own words. They make us laugh and sometimes weep. They are ordinary people, but we learn that there are no such things as ordinary lives.
Supported by a companion skills volume and website, Foundation Studies for Caring is a comprehensive introductory text for all health professionals, which maps directly on to the key skills framework. Taking a student-centred learning and interprofessional approach, it is the most inclusive and engaging theory text in the market.
... This book brings together for the first time the best of Hyde's journalism. Alongside extracts from the now out of print Journalese (1934) are previously uncollected articles and reviews from newspapers and magazines, ranging in subject matter from the Treaty of Waitangi to the Spanish Civil War, from China in the thirties to the Queen Street Riots. These detailed and vivid accounts of aspects of New Zealand society and the international situation have an urgency with makes them relevant to us all.The biographical introduction offers a fuller picture than we have had of this remarkable writer, drawing on interviews, letters and the work itself." -- Back cover.
Azar Nafisi’s Reading Lolita in Tehran,Marjane Satrapi’s comics, and “Baghdad Blogger” Salam Pax’s Internet diary are just a few examples of the new face of autobiography in an age of migration, globalization, and terror. But while autobiography and other genres of life writing can help us attend to people whose experiences are frequently unseen and unheard, life narratives can also be easily co-opted into propaganda. In Soft Weapons, Gillian Whitlock explores the dynamism and ubiquity of contemporary life writing about the Middle East and shows how these works have been packaged, promoted, and enlisted in Western controversies. Considering recent autoethnographies of Afghan women, refugee testimony from Middle Eastern war zones, Jean Sasson’s bestsellers about the lives of Arab women, Norma Khouri’s fraudulent memoir Honor Lost, personal accounts by journalists reporting the war in Iraq, Satrapi’s Persepolis, Nafisi’s book, and Pax’s blog, Whitlock explores the contradictions and ambiguities in the rapid commodification of life memoirs. Drawing from the fields of literary and cultural studies, Soft Weapons will be essential reading for scholars of life writing and those interested in the exchange of literary culture between Islam and the West.
The Oxford Studies in Postcolonial Literatures series offers stimulating and accessible introductions to definitive topics and key genres and regions within the rapidly diversifying field of postcolonial literary studies in English. Postcolonial Life Narrative draws together two dynamic fields of contemporary literature and criticism, postcolonialism and life narrative, to create a new assemblage: postcolonial life narrative. Focusing in particular on testimonial narrative, from slave narrative in the late eighteenth century to contemporary Anglophone life narrative from Africa, Australia, the Caribbean, Palestine, North America, and India, this study follows texts on the move through adaptation, appropriation, and remediation. For postcolonial subjects life narrative offers extraordinary opportunities to present accounts of social injustice and oppression, of violence and social suffering. Testimonial narrative can reach across cultures to produce intimate attachments between those who testify and those who bear witness to legacies of apartheid, slavery, rape warfare, genocide, and dispossession. Thresholds of testimony are subject to change and for some, for example refugees and asylum seekers, opportunities to engage a witnessing public and inspire campaigns for social justice on their behalf are curtailed--these are the 'ends of testimony'. The production, circulation, and reception of testimonial life narrative connects directly to the most fundamental questions of who counts as human, what rights follow from this, and what makes for grievable life. Postcolonial life narrative is a dynamic field of literature and criticism, and this book presents a series of proximate readings that outline its distinctive imaginative geographies.
Azar Nafisi’s Reading Lolita in Tehran,Marjane Satrapi’s comics, and “Baghdad Blogger” Salam Pax’s Internet diary are just a few examples of the new face of autobiography in an age of migration, globalization, and terror. But while autobiography and other genres of life writing can help us attend to people whose experiences are frequently unseen and unheard, life narratives can also be easily co-opted into propaganda. In Soft Weapons, Gillian Whitlock explores the dynamism and ubiquity of contemporary life writing about the Middle East and shows how these works have been packaged, promoted, and enlisted in Western controversies. Considering recent autoethnographies of Afghan women, refugee testimony from Middle Eastern war zones, Jean Sasson’s bestsellers about the lives of Arab women, Norma Khouri’s fraudulent memoir Honor Lost, personal accounts by journalists reporting the war in Iraq, Satrapi’s Persepolis, Nafisi’s book, and Pax’s blog, Whitlock explores the contradictions and ambiguities in the rapid commodification of life memoirs. Drawing from the fields of literary and cultural studies, Soft Weapons will be essential reading for scholars of life writing and those interested in the exchange of literary culture between Islam and the West.
Waiting for Asylum: "Ten years since the SIEV X tragedy, the plight of the asylum seeker still provokes strong political, emotional and ideological responses across all ranks of Australian society. Working with the Fryer Library archive of refugee ephemera, collaborating artists Ross Gibson and Carl Warner interpret the precarious position of the asylum seeker in Australia past and present". Curators: Dr Prue Ahrens & Michele Helmrich Project Researcher: Professor Gillian Whitlock.
This will help us customize your experience to showcase the most relevant content to your age group
Please select from below
Login
Not registered?
Sign up
Already registered?
Success – Your message will goes here
We'd love to hear from you!
Thank you for visiting our website. Would you like to provide feedback on how we could improve your experience?
This site does not use any third party cookies with one exception — it uses cookies from Google to deliver its services and to analyze traffic.Learn More.