counter

dimanche 20 décembre 2009

Season's greetings: Joyeux Noël

In 1997 Australian artist Peter Milne pioneered the use of large format scrolling projection in Australia with the creation of "The Electric Canvas", a company that utilises the French PIGI system to project colour and imagery onto buildings, screens and structures. He came to Nouméa in December and tried out his skills on our barracks and here's the result -- Enjoy!


jeudi 17 décembre 2009

Conférence le 05 janvier à Paris sur le roman aborigène

Veuillez cliquer sur l'image pour pouvoir la lire, merci.

Bonjour à tous,

C'est avec plaisir que je vous retrouverai à Paris le 05 janvier 2010, à 19 h à la Maison de la Nouvelle-Calédonie (http://www.mncparis.fr/) pour donner une conférence sur le roman aborigène (avec une présentation Powerpoint) sous l'égide de la Maison de la Nouvelle-Calédonie et de l'ambassade d'Australie. J'en profiterai pour présenter mon dernier livre qui sera proposé à la vente sur place :


Synopsis:

Du récit à valeur documentaire de l’époque coloniale à la tendance contemporaine de l’illustration graphique, le roman australien a connu un essor spectaculaire en l’espace de plus de 150 ans. En filant la métaphore filmique, ce Panorama du roman australien des origines à nos jours se propose de livrer une vaste vision des métamorphoses du roman australien tout en s’appesantissant ici et là sur un aspect de cette littérature, un auteur ou un titre remarquable, voire plus largement l’ensemble d’une production romanesque. Dans cette somme, j’analyse les six seuils qui jalonnent l’évolution du genre romanesque aux antipodes et montre le chemin parcouru depuis l’avènement du roman à l’invention littéraire.

Plan de la conférence:

I. DEFINITION : CARACTERISTQUES DU ROMAN ABORIGENE

II. FAUX DEPART : L’IMPOSTURE DE COLIN JOHNSON

III. LE DROIT A LA REPRESENTATION DES ABORIGENES EN LITTERATURE: JOHNSON vs Dr. HEISS

IV. DEUX TRADITIONS : L’INSCRIPTION PATRIMONIALE ET LA VALEUR PAMPHLETAIRE

Extrait:

En pleine émergence dans les années 1960, la littérature aborigène se distingue par des préoccupations qui lui sont propres. Alors que la mouvance générale de la littérature australienne reflétait encore un certain lien à l’Angleterre, les auteurs aborigènes cultivaient, selon la formule de Jean-Marc Moura, une « esthétique de la résistance » par la mise en valeur du concept d’aboriginalité.
La littérature aborigène est une littérature du « quart-monde », pour reprendre le mot de Colin Johnson. En d’autres termes, c’est une littérature d’une minorité indigène submergée et gouvernée par une majorité environnante et dominante.

La suite le 05 janvier.

Réservations auprès de :

SERVICE DES PUBLIC, DE L'ACTION CULTURELLE ET DE LA COMMUNICATION
Adresse: 4, rue de Ventadour, 75001 PARIS

Merci de bien vouloir confirmer votre présence au 01.42.86.70.00
ou à centre-documentation@mncparis.fr

Secretariat : 01.42.86.70.09
Fax : 01.42.86.70.39 pac@mncparis.fr

Je remercie la Province Sud pour avoir apporté son soutien à cette action culturelle.

English readers, please click here to get the info:

http://www.austlit.edu.au/run?ex=ShowDirectoryEvent&tid=2D4

A très bientôt,

Jean-François Vernay.

mardi 15 décembre 2009

Forthcoming conference: Reading across the Pacific

“American Friends” and the Globalisation of Australian Studies Through the Looking Glass of an “Outsider”.

Back in November 2005, Australian creative writer Nicholas Jose observed in an essay retracing the genesis of the PEN anthology project that “An earlier generation’s commitment to putting Australian literature on the world map has waned, leaving it pretty well off the world’s map, except for the representative writer or two who fills the slot. Australian literature has been squeezed by globalisation in the marketplace, intellectual fashion in the academy and opposition to cultural intervention in the public sphere.” (Australian Book Review 276, p.27) In the current debate on the globalisation of Australian Studies, my paper will compare and contrast the various efforts recently made by three American publishers and Antipodes Editor Nicholas Birns to give Australian literature more international visibility.

Jean-François VERNAY.

About the author:

Born in New Caledonia, Jean-François Vernay is the author of Water From the Moon: Illusion and Reality in the Works of Australian Novelist Christopher Koch (New York: Cambria Press, 2007) and of a conspectus of the Australian novel: Panorama du roman australien des origines à nos jours (Paris: Hermann, 2009), soon available in translation. He is also Co-Guest Editor of Antipodes: A North American Journal of Australian Literature. Special Issue: Fear in Australian Literature and Film (June 2009). Vernay has been rewarded with an Excellence Award 2009 by the THESE-PAC jury in the South Pacific-Australasia category for his PhD on Christopher Koch



Jean-François VERNAY.

Excerpt:

"First and foremost, I wish to address my heartfelt thanks to Pr. Robert Dixon for granting me a travel scholarship, which made it possible for me to present my paper at this high-caliber international conference. This financial aid is the first I have ever received within the 14 years I have spent researching Australian fiction. As such, I take it as being an additional token of recognition of my work, which – incidentally – is often perceived as that of an outsider.
When reviewing Water From the Moon, my monograph on Chris Koch’s fiction, C.A. Cranston declared it to be “a work by someone situated outside the literary and geographical context of ‘Australia’.” (Cranston 117) Not that she was trying to make an uncharitable observation of any kind, but every time an Australian scholar singles me out as a "French scholar" or anything else along these lines, I always find myself guilty of not having been born and bred in Australia. From such awareness derives the feeling that anyone writing in the field of Australian Studies beyond the boundaries of Australia would lack some kind of legitimacy."

Work Cited:

Cranston, CA. ‘Reviews’. JASAL 7 (2007): 116-21. Also available online.

To be continued on D-day.

More about the conference:

Reading Across the Pacific: Australian-United States Intellectual Histories

http://conferences.arts.usyd.edu.au/index.php?cf=26

lundi 14 décembre 2009

Lauréat du Prix Thèse-Pac 2009 dans la catégorie Grand Jury Pacifique Sud-Australasie

Lectrices, lecteurs,

Je viens d'apprendre dans Les Nouvelles calédoniennes (quotidien publié en Nouvelle-Calédonie) en date du mardi 15 décembre 2009 que l'on m'a attribué le prix THESE-PAC, Prix Jean-Pierre Piérard (LIONS CLUB), dans la catégorie Grand Jury Pacifique Sud-Australasie.

http://www.info.lnc.nc/articles/article_71604_265717_71604.htm

Parmi les travaux récompensés, il s'agissait de la seule thèse portant sur l'Australie. C'est la raison pour laquelle je n'évoque pas les 9 autres lauréats à qui j'adresse mes plus sincères félicitations.

Je remercie vivement le jury Thèse-Pac pour son choix et cette distinction qui, je l'espère, mettront la littérature australienne sous les feux de la rampe.

Je fais don aux Archives de la Nouvelle-Calédonie d'un double jeu de micro-fiches pour permettre la consultation de ma thèse intitulée Illusion et réalité dans l'oeuvre romanesque de Christopher John Koch. Elle fut soutenue à l'Université Toulouse-Le Mirail en septembre 2004, sous la direction du Professeur Xavier Pons, une thèse de doctorat nouveau régime qui obtint la mention très honorable à l'unanimité.

Cette thèse a été traduite par l'auteur pour faire l'objet d'une publication commerciale chez des presses universitaires new yorkaises, Cambria Press. Water from the Moon: Illusion and Reality in the Works of Australian Novelist Christopher Koch. L'ouvrage est préfacé par le Pr. Xavier Pons.

Disponible en cliquant sur le lien suivant: http://www.cambriapress.com/cambriapress.cfm?template=5&bid=48

A ce jour, des recensions ont paru dans Australian Book Review, Australian Literary Studies, JASAL, Postcolonial Text, Correspondances Océaniennes...

Avec toute ma gratitude,

Jean-François Vernay

dimanche 6 décembre 2009

John Ramsland: A prolific historian

Dear blog fans,

I would like to inform you of the publication of two fascinating books by John Ramsland, specialized in Aboriginal and regional history. Available from the best bookstores!

Brave and Bold : Manly Village Public School (1858-2008) : Brolga, 2008.
This historical account is a graphic saga of a school which was often challenged by over-crowding and lack of room and resources during its eventful 150 year history. And yet it was set in the idyllic, fabled surrounds of Manly as a sea-side suburb — a paradise for children growing up. The personalities and characters who inhabited the school as pupils, students and teachers are vividly brought to life, both the famous and the not so famous. There are many voices recounting their compelling experiences. The Manly school was representative of every form of government schooling in New South Wales over the years — first as a National School, then a Public School and Superior Public School, an Intermediate High, and a Domestic and Home Science School — all on the same tiny asphalted site in Darley Road, Manly. At times, there were over 2,000 students attending from kindergarten to fifteen-year-olds crammed into classrooms and play areas. But a vibrant and all-conquering spirit prevailed. Manly Village Public School has always played a central part in Manly’s cultural and social development.
The Rainbow Beach man : the life and times of Les Ridgeway : Brolga, 2009.

In 1928 on the cusp of the Great Depression, Les Ridgeway was born into a world that was short of his people, the Worimi, and struggling to keep those it had.The Rainbow Beach Man is the fascinating story of Les Ridgeway, Worimi Elder, and his struggle against adversity and racial discrimination. The eldest son of a family of eight, he was raised in straightened circumstances on reserves in Karuah, Port Stephens, and Purfleet, Taree. He witnessed the Great Depression of the 1930s at Purfleet Aboriginal Station and left school at fourteen at theheight of the Second World War to join the workforce as a farm labourer.Like the ebb and flow of the waves on Rainbow Beach, his life continued to change directions.From an Assistant Manager of the remote Murrin Bridge Aboriginal Station to a Senior Welfare Officer at Moree, before being recruited by Charles Perkins to become a significant part of the fledgling Commonwealth Department of Aboriginal Affairs.Having travelled by car and caravan all over New South Wales, he now has many astory and tale to tell from where he lives in retirement in a small mobile home on RainbowBeach near Port Macquarie.

samedi 28 novembre 2009

Les publications littéraires australiennes

Bonjour à tous,

Vous trouverez ci-dessous quelques liens utiles pour vous informer sur les principales publications littéraires qui se spécialisent dans la littérature australienne :

Antipodes. Nicholas Birns (dir.), www.australianliterature.org/
Austlit: bibliographie exhaustive de la littérature australienne : http://www.austlit.edu.au/
Australian Book Review. Peter Rose (dir.), http://www.australianbookreview.com.au/
Australian Literary Compendium. Catherine Cole & Lyn Gallaher (dir.), http://australianliterarycompendium.businesscatalyst.com/
Australian Literary Studies. Leigh Dale (dir.), http://als.id.au/
Australian Studies. Guy Robinson (dir.), www.kcl.ac.uk/schools/humanities/depts/menzies/basa/journal.html
Commonwealth. Marta Dvorak (dir.), http://commonwealth.univ-paris3.fr
Etchings. Sabina Hopfer & al. (dir.), www.ilurapress.com/index.php?pid=2
Heat. Ivor Indyk (dir.), www.mypostbox.com/heat
Island Magazine. Gina Mercer (dir.), http://www.islandmag.com/
JASAL. Paul Genoni & Susan Lever (dir.), www.nla.gov.au/openpublish/index.php/jasal
LINQ. Lindsay Simpson & Victoria Kuttainen (dir.), http://www.jcu.edu.au/sass/humanities/JCUPRD_026012.html
Meanjin. Sophie Cunningham (dir.), www.meanjin.unimelb.edu.au/about/
Southerly. David Brooks & Elizabeth McMahon (dir.), www.brandl.com.au/southerly/index.html
Overland. Jeff Sparrow (dir.), www.overlandexpress.org/
Quadrant. Keith Windschuttle (dir.), http://www.quadrant.org.au/
Westerly. Delys Bird & Dennis Haskell (dir.), http://westerly.uwa.edu.au/

SSS Publications : An India-based publisher

Dear blog readers,

Please note the reprint of David Walker's seminal work on fear in Australian culture, a work that has been discussed at length in the June 2009 special issue of Antipodes. See JF Vernay and Nathanael O'Reilly.

As an upcoming independent book publishing house based in New Delhi, India, SSS Publications aims at promoting "high quality, scholarly, student friendly and easily accessible books while maintaining high academic & literary merit and international production standards to advance knowledge." (Vimal Kumar Sharma, Marketing Manager)
In November 2009, they have published the 2nd (Special Indian) Edition of David Walker's Anxious Nation: Australia and the Rise of Asia, 1850-1939 that has won the prestigious Ernest Scott Prize for History in 2001 and is "one of the best known works on Australian history and culture". (Vimal Kumar Sharma)

It has been noted that "Recent attacks on Indian students in Australia have attracted extensive and often very hostile commentary in India. Accusations that Australia is a racist society have resurfaced...Anxious Nation provides a frank and detailed history of Australia’s representations of Asia, including India, from the mid-nineteenth century to the outbreak of the Second World War. In doing so the book provides Indian readers with a comprehensive account of the making of the Australian nation, not least its often awkward and always sensitive relationship with Asia."

Details:

Anxious Nation: Australia and the Rise of Asia, 1850-1939
David Walker
New Delhi: SSS Publications, 2009
ISBN No. 81-902282-5-0; Pages: 348; Dimension: 6" X 9" (Hardbound)
2nd Edition (Special Indian Edition)
Price in India: Rs 1595.00
Price outside India: US $45.00

If you have any further questions related to purchase, please do not hesitate to get in touch with SSS Publications:

Correspondence Address:

SSS Publications D-2/107A, Jeevan Park, Pankha Road,
PO - Uttam Nagar,New Delhi – 110059, INDIA.

Ph. No. - 09871578998

E-mail – General Information: info@s3publications.comssspublications@gmail.com
Sales and Marketing:sales@s3publications.com marketing.sssp@gmail.com
Proposal Submission/Editor:editor@s3publications.com

Visit us at our website: www.s3publications.com

mercredi 18 novembre 2009

Opinion: Creative Nation: Australian Cinema and Cultural Studies Reader


Amit Sarwal and Reema Sarwal (ed.). Creative Nation: Australian Cinema and Cultural Studies Reader. New Delhi: SSS, 2009, xlix + 600 pp. Hardback. ISBN: 9788190228206.

This collection of essay on Australian Studies is the second one of its kind edited by Amit Sarwal and Reema Sarwal, a dynamic couple of India-based scholars who has become instrumental in promoting Australian culture on their home continent. If Fact & Fiction: Readings in Australian Fiction (2008) was altogether an infelicitous experience, Creative Nation: Australian Cinema and Cultural Studies Reader shows how the Sarwals have improved their editing skills and the quality of their publications.

The Editors claim that this new project “is an effort on [their] part to compile the first Reader in this field for a non-Australian scholarship with a view towards adding onto critical works produced from India on Australian texts (going beyond conference proceedings on literature and social sciences), and to further nurture an exchange of ideas in the fields of Cinema and Cultural Studies.” (xiii) It is a fair attempt, which indeed testifies to “the vast potential of this rich minefield for study and research.” (xiii)

The delightful foreword by John Ramsland – a high-profile scholar specialized in Australian national and local history, now moving into the field of cinema studies – demonstrates that “Australian cinema has come a long way since its beginnings” (xxv) by running the gamut of 20th and 21st century Australian movies.

The rich volume is divided into two sections, Cinema Studies (pp.1-277) and Cultural Studies (pp.281-515), followed by a 51-page bibliography, a 20-page filmography and a 3-page musicography, plus notes on contributors.

The first section deals with critical perspectives, cinema genesis, genre theory, contemporary works, theoretical frameworks, covering feature films, short films, documentaries and low-budget digital cinema. The subject matter of these articles is eclectic, ranging from specific historical aspects like the Anzac Legend and identity issues like masculinity or Aboriginality, to postcolonial concepts like hybridity.

The second section provides a useful history of Cultural Studies and explores new directions before segueing into a few sample articles and popular culture. Chris Healy argues that “At the most general level [he sees] cultural studies research in Australia as having been chiefly concerned with public cultures, with that shifting terrain of the exercise of power, in both a productive and constraining sense, through various forms of media and popular culture, in the practices of everyday life and through the governmental regulation of conduct.” (311)

Katherine Bode builds up on gender theory to explore White Australian masculinity, Baden Offord has recourse to queer theory to make his case while Robert Dixon covers photographic culture. But this is not it. There is heaps more to read as many issues are canvassed in the pages of this fat volume, which successfully gives a panoramic view of Australian studies moving into the 21st century.

Jean-François Vernay.

lundi 16 novembre 2009

Nouvelle Parution: L’ILE AUX ETOILES



On me prie d'annoncer le roman d’aventure de Hélène SAVOIE-COLOMBANI, une Néo-Calédonienne, universitaire, sociétaire de la SGDL et déléguée pour le Pacifique de la société des poètes Français de Paris. Le roman se présente comme "une réflexion sans fard sur les sociétés insulaires d’Océanie, une description poétique de la ville de Sydney et ainsi que des traditions aborigènes du bush." (dixit le communiqué presse).
Ce roman est publié chez l'Harmattan, à ne pas cofondre avec les éditions Hermann!

Synopsis de L’ILE AUX ETOILES.

(Nocturne australien)


Sarah est une jeune femme dont le mari, Jérémie, est nommé en Nouvelle-Calédonie dans les années 1984. L’implication de celui-ci dans les événements politiques qui précèdent le conflit aura des conséquences décisives sur leur destinée.
Des premiers barrages insurrectionnels, au drame qui frappe Jérémie, jusqu’au retour de Sarah à Sydney, ce roman vous fait partager vingt ans de la vie d’une femme à la recherche de son bonheur . Son itinéraire est jalonné de rencontres : Stefan le violoniste, Suzanne la romancière qui vit dans le bush, Geoffrey l’Australien, Mihal le peintre de « L’île aux étoiles », et surtout la jeune Wanda, croisée à Prague, dont l’histoire semble étrangement liée à la sienne.
Sarah se retire dans le désert australien auprès d’un clan aborigène dont elle partage la vie nomade qui lui inspire un film. Plus tard, elle accompagne à Paris un vieux peintre aborigène appelé à décorer le Musée du quai Branly si controversé…

Bonne lecture!

NB: Vous pouvez me contacter pour proposer une critique de cet ouvrage que nous publierons à la suite de cette présentation.

mardi 10 novembre 2009

Winner of the 2009 Dobell Prize for Drawing


Friday 6 November 2009:
It was announced today at the Art Gallery of New South Wales that Pam Hallandal is the winner of
the 2009 Dobell Prize for Drawing for her work, Tsunami.

Pam Hallandal was awarded $25,000 for winning Australia’s most important prize for drawing. This year there were 649 drawings entered, of which 46 are included in the exhibition.
The winning drawing is an apocalyptic vision inspired by the 2004 Indian Ocean tsunami, a subject which has engaged Pam Hallandal in the years since. A swirling vortex of figures composed in a circle, this masterfully rendered drawing evokes the human drama of the cataclysmic tsunami in the oceans to Australia’s north.
Pam Hallandal is a widely respected artist and teacher; this is the second time she has won the Dobell Prize. Hallandal won the prize in 1996, with Self portrait and judged the prize in 1999.
Born in Melbourne in 1929, Hallandal studied sculpture at RMIT and at the Central School of Art, London. She subsequently taught drawing at the George Bell School and drawing, sculpture and ceramics at Prahran Senior Technical College, Melbourne for over thirty years.
The Dobell Prize for Drawing, initiated by the Trustees of the Sir William Dobell Art Foundation, is an acquisitive prize, first awarded in 1993. This year the prize has increased in value to $25,000.
This year’s judge was Melbourne artist Nick Mourtzakis. Mr Mourtzakis has won the Dobell Prize twice, in 2000 and 2006. He currently lectures in drawing in the Faculty of Art and Design at Monash University and his work is represented in state and national collections.
Nick Mourtzakis comments: “Pam Hallandal’s drawing Tsunami, engages a subject of monumental destruction and yet in its totality the work achieves a profound equilibrium. Infused with a subtle and powerful poetry of form this drawing is a deeply moving work of art.”

lundi 9 novembre 2009

Archive Madness — ASAL Annual Conference

Archive Madness — ASAL Annual Conference

Where? The University of New South Wales
When? July 7—10 2010

Conference Organisers: Elizabeth McMahon and Brigitta Olubas

The theme of the ASAL 2010 conference is “Archive Madness”, and aims to promote and enable consideration of the limits of disciplinary borders andthe revival of the archive in literary analysis. The title echoes andredirects Derrida’s famous study “Archive Fever: A Freudian Impression”.Archive fever is, for Derrida, is “a compulsive, repetitive, and nostalgicdesire for the archive, an irrepressible desire to return to the origin, ahomesickness, a nostalgia for the return to the most archaic place ofabsolute commencement” (p. 91.) The archive is simultaneously a site ofrevelation and concealment, both of which are accorded the authority of theactual trace.
The conference theme is timely given the new role of the archive in digitalinformation systems and as a rubric to consider the archive of theliterary-disciplinary formation itself, which is currently undergoingradical revisions. The conference asks how we think about the trace of word,text and object in the formation of literary cultures? How do we account forour increasing attachment to the archival trace? And how are theseconsiderations inflected by questions of the national literature and theannals of nation-formation?We invite proposals for 20-minute papers and for 60 or 90-minute paneldiscussions (2—3 speakers) that address any aspect of Australian literatureand the archive in its historical, material and graphic forms, including thefollowing (if space in the program permits we will also consider papersunrelated to the conference theme):


o Australian literary disciplinarity
o Inter/disciplinary institutions
o Literature and the ‘sister arts’
o Australian literary inter/nationalism
o Colonial nostalgia
o National memory, conservation, amnesia
o Literary commemoration and monumentality
o Questions of national residence
o Australia’s diverse beginnings / arrivals
o Biography
o Queer traces and Gender traces
o Unhomely archives
o Histories of reading and writing
o Virtual and new media orthographies
o Signature, inscription, citation, pseudonym
o Printing, publication, circulation and reception

Please send 200-word abstracts of papers or panel proposals, with a brief biographical note, to ASAL2010@unsw.edu.au by Friday 19 February 2010.

We welcome proposals from postgraduate students. Copyright Agency Limited(CAL) has generously provided ten postgraduate scholarships, covering costsof travel and accommodation, available to postgraduate students whose own institutions are unable to support their attendance. To enquire about postgraduate scholarships, please contact us.

Exhibition: Rupert Bunny, artist in Paris


Caption:
Summer time
c1907
Art Gallery of New South Wales, Sydney Purchased 1928





Rupert Bunny, artist in Paris

When n where? Art Gallery of New South Wales
21 November 2009 – 21 February 2010

Rupert Bunny (1864–1947) was one of the most successful expatriate artists of his generation. No other Australian artist achieved the critical acclaim that he enjoyed in Paris. An erudite painter of ideal themes, and the creator of the most ambitious Salon paintings produced by an Australian, Bunny is an exotic in the history of Australian art.
An exhibition, Rupert Bunny artist in Paris, curated by Deborah Edwards, Senior Curator of Australian Art, will honour the work of this great Australian artist. The exhibition will showcase more than 85 of his most significant paintings, many unseen in Australia, including works from the Musée d’Orsay and Fonds national d’art contemporain in Paris and private lenders including Kerry Stokes, Jeffrey Archer and Dame Elisabeth Murdoch. As a serious musician, fluent in French and German, and one of seven children of a prosperous Melbourne family, Bunny left Australia in 1884, accompanying his father, Victorian Judge Brice Bunny to Carlsbad. After brief study in London, he settled permanently in Paris. Whilst he joined Melbourne colleagues such as Bertram Mackennal and Charles Conder as expatriates in Europe, Bunny lived outside the characteristic experience of an Australian in Paris: he associated closely with American and French artists, he married a French woman, (the artist and model Jeanne Morel) and he remained in France for five decades. He returned to Australia permanently in 1933, nearly 70, recently widowed and in financial difficulty, and spent the remaining years of his life in Melbourne in genteel poverty, painting and pursuing his love of music.
Bunny worked consciously to align his art to the great masters and traditions of European painting. The Italian primitives, Venetian colourists, British Pre-Raphaelites, and tonalists Manet and Velàzquez captivated him. But he also wished to be a modern painter, and established masters of his own time, from Whistler and John Singer Sargent to Gauguin, Bonnard and Matisse also had great impact.
During his decades in Paris, Bunny accumulated a string of successes: he was the first Australian to gain honourable mention at the Paris Salon (in 1890 with Tritons), gained a bronze medal at the 1900 Paris Exposition Universelle (with Burial of St Catherine of Alexandria c1896), held a string of solo shows, and exhibited throughout Europe. Bunny was patronised by the French state which had, by the end of his career acquired no less than 13 of his works for the Musée de Luxembourg and regional collections – a first for any Australian artist. His art was acquired by Hungary’s Museum of Fine Arts and National Museum, by the Wilstach Collection in the Philadelphia Museum of Art, and by collectors across Britain, Hungary, the US, Chile, Argentina and Russia. When Scottish millionaire George McCulloch exhibited his collection at the Royal Academy in 1909, Bunny’s Summer dance c.1894 was the only Australian painting shown amongst major works by Whistler, Millais and others.
In Australia enthusiasm for Bunny’s great mythological Salon paintings, his sumptuous portrayals of Parisian women at leisure, Provence landscapes, and his monotypes have successively gripped collectors and galleries since the 1940s. Such was his standing in Melbourne after his return that the National Gallery of Victoria mounted its first retrospective on a living artist on Bunny, in 1946. Yet, despite his formidable successes, Rupert Bunny is not a household name in Australia.
Bunny experienced the ongoing fate of the Australian expatriate; largely dismissed from attention once leaving local shores. Bunny however, was offered French citizenship and with it official commissions, but refused.
The details of Bunny’s life and art have been elusive. His secretiveness encouraged speculation, as do his enigmatic self portraits. In this context one of our most significant finds has been an 1888 diary by Hungarian writer Zsigmond Justh, a close friend of Bunny in Paris. This journal provides a wealth of new information on the artist’s early life. Bunny, was described by Justh as ‘six foot tall [with] curly blonde hair, pointy blonde beard and moustache in the French style’. He was a frequent visitor to the theatres, concerts and renowned meeting places of Paris, an attendee at the apartment of Sarah Bernhardt and a regular at prominent literary and artistic salons.
Bunny was the focus of consistently favourable attention from notable Parisian critics including scholar Gustave Geffroy (a friend of Monet) who first identified Bunny as a ‘brilliant and spirited artist’ in 1890. Coming to creative maturity in an era when the work of the Post-Impressionists was focused on increasingly powerful colouristic effects, Bunny developed as an exceptional colourist and decorative painter.
Over the 1890s and 1900s Bunny focussed almost exclusively on painting women; women at leisure, in gardens, at sea-side resorts and in parks. These highly successful works, like A summer morning c1908, have been widely seen as epitomising the charm of France’s belle époque; his subjects were beautiful women, fashionable frills, sun, sensuous music and glamour of an endless summer; soon be swept away by war.
At the centre of Bunny’s imaging of women was his enigmatic wife Jeanne Morel who was the constant motif until he moved to a new preoccupation with Fauve-inspired mythologies from 1912. Progressive artist George Bell described these late works as a ‘a glorious riot of colour from the finest imaginative artist Australia has produced’

jeudi 29 octobre 2009

ABR launches a new website

ABR launches a new website


Australian Book Review’s
website has been fully redeveloped in keeping with recent scrutiny of the magazine’s design. The new http://www.australianbookreview.com.au boasts several new features, including easy online subscription options and a free archive of recent reviews.

In order to experience the new site in full, existing bookmarks for ABR on the web need to be updated. To do this, simply delete your old bookmark; open a new Internet Explorer window; type in ABR’s address http://www.australianbookreview.com.au; and create a new bookmark.

Don’t forget to vote in the ABR FAN Poll – see the website for details. Hundreds of people have voted already. Voting closes on December 15, and there are three great prizes to be won.

We hope you enjoy it!

lundi 26 octobre 2009

Opinion: Making Books: Contemporary Australian Publishing


Making Books: Contemporary Australian Publishing edited by David Carter and Anne Galligan. St Lucia: University of Queensland Press, 2007, xv + 416 pp. Paperback. ISBN: 978 0 7022 3469 9.

Given that publishing studies are slowly emerging on Australian university curricula, it is no wonder that critical material on the subject is scarce, to put it bluntly. Before 2001, scholars and students alike could only access academic sources on the book industry such as narrow-focussed government and industry reports which were mostly published from the 1990s onwards – the latest being Jeremy Fischer’s Current Publishing Practice: An Australian Report (Sydney: ASA, 2005). In 2001, the University of Queensland Press started to show a growing interest in publishing, as exemplified by the release of A History of the Book in Australia 1891-1945: A National Culture in a Colonised Market, followed by Richard Nile’s well-informed monograph entitled The Making of the Australian Literary Imagination (2002) and the second volume of A History of the Book in Australia 1946-2005: Paper Empires (2005).

Making Books: Contemporary Australian Publishing is thus not only a welcome addition to this cluster of studies but also a timely appraisal of the Australian publishing industry which, more than being a riddle, is riddled with paradoxes. First, we are told “that book publishers in Australia produce more income than music and theatre production and performing arts festivals combined” (1), a most startling observation when we repeatedly hear people in the book trade pleading poverty. Second, we cannot say Australia lives up to her reputation of being a nation of voracious readers when publishers are driven to take scant risk and published literary novels are fewer in numbers than, say, 10 or 15 years ago. Third, publishers and writers alike crave for opening up to new international markets while they strongly support Australia’s protectionist territorial copyright regime. Fourth, it is not uncommon that authors who strive after making a living out of their skills end up eking out a living on derivative income provided by Public Lending Right, Educational Lending Right and the Copyright Agency Limited.

Making Books comprises three uneven sections detailed as follows: 8 contributions in “Industry dynamics”, 4 in “The industry and new technologies” and 11 chapters in “Industry sectors and genre publishing”. The final pages are filled with appendices, a glossary, notes and an index. A chronology of the major landmarks would have come in handy to get a bird eye’s view of the major issues discussed even though the back cover provides the top four broad lines of argument: “Is the Australian publishing industry floundering or flourishing? What is the future of the book? Has lifestyle replaced literary publishing? Have new technologies revolutionised the nature of the industry?” But the monograph itself does not seem to bring any clear or definite answers – all the more as there is no roundup conclusion.

In this most informative collection of articles, contributors provide hard-to-find data and figures on the book trade which, traditionally, only publishers are privy to. Making Books assesses how globalisation has impacted on the book industry: the cannibalisation of independent publishers, the glamorisation of books, the recourse to protectionist laws like the 30 and 90-day-rules, the new book selling strategies such as using just-in-time methods and sales-tracking systems, to mention a few. All these reforms turn out to be a double edge sword: though they have contributed to a sounder knowledge of the market and to an even greater professionalization of the book trade, the sudden leap Australian publishing has taken over the last thirty odd years has spawned angst-ridden concerns that points to an ailing industry.

There is no questioning the research quality of this reader-friendly volume, and no doubt that contributors know their subject like a book, but some pithy turns of phrase insidiously morph into provocative statements. Former managing director of University of New South Wales Press Robin Derricourt contends that “Arguably, there is no scholarly book (‘academic monograph’) publishing industry in Australia. Australian academics turn to overseas publishers to publish their specialist monographs and (sometimes via local distributors) to supply their libraries with their reference needs.” (225) To be sure scholarly book publishing is on the wane in Australia and most university presses (MUP, UNSWP, UQP, UWAP, etc.) are cutting down on their academic monograph production. Most releases are now heavily subsidized and are sometimes only made possible through requesting the author to provide matching funds. As it happens, Derricourt’s press asks for $5,000 – a disguised form of vanity publishing, some would say. But more than just taking stock, why not try and analyse why scholarly book publishing is in dire straits?

While it can be argued that some academics tend to write monographs for their peers rather than for students, there also seems to be no Australian nationwide policy devised to back up what is to be considered national heritage in print. If a body like the Australia Council could indirectly reward monograph writers and publishers by donating funds to all libraries in Australia to systematically purchase any commendable book published in the field of Australian Studies (when the print run for such studies is generally 500 copies), there could be well over 50 copies of a specific title held in the various libraries scattered throughout the country (quite a realistic figure given that there are 39 universities, 6 State Libraries, 1 National Library and heaps of local ones). This minimum of 50 books in Australia will ensure that monograph authors are eligible for PLR along with ELR and will be a first step towards rewarding their painstaking efforts. What is more, these monographs, which help mentoring students, will only meet their targeted readership once they have been set on the compulsory reading list of senior high schools and tertiary institutions.

Knowledge does not come cheap in many ways and so it is not uncommon for students to pay over $140 for their textbooks. The odds are that students enrolled in economics see this kind of purchase as a worthwhile investment to read high-quality research and data gathered over many years; and it is to be hoped that students in other fields feel just the same, but alas!there is little room for optimism. What is worse, not everybody benefits from funding programs and prizes attached with a tidy sum, particularly those who undertake independent research and authors unaffiliated to universities or working on the margins of academia. So if monograph writers cannot bank on royalties or prizes to break even, are they expected to become philanthropists? The injustice is all the ranker that less esteemed and less demanding publications allow their authors to make money hand over fist. If this becomes a sore point, I feel that there will come a time when Australian academics will no longer be able to turn to overseas publishers to see their intellectual efforts in print.

But to get back to the subject, I confess that little has been left out of this comprehensive study – though the 2006 Wraith Picket hoax is a glaring omission. David Carter and Anne Galligan will surely take post-2007 publishing issues into account before Making Books is reprinted. The editors will probably tackle the more recent ventures such as micropublishing which Antoni Jach defines as “an act of optimism – to bring words out into the light of day rather than remaining in the bottom drawer” (quoted in Simon Caterson, “From little ventures small wonders emerge”, The Age, 24 January 2009, A2, p.27 and online), along with the current ongoing heated debate on the jeopardizing of territorial rights, a protectionist regulation writers such as Peter Carey vocally champion. Far from closing the book on the publishing industry, Making Books helps readers to have an inkling of what is going on behind the scenes. Hats off to the editors and their contributors for this remarkable study which has found a cosy home on my bookshelves.

Jean-François Vernay is the author of Water From the Moon: Illusion and Reality in the Works of Australian Novelist Christopher Koch (2007), the first monograph on an Australian writer to be accepted and published through Cambria Press – a New York-based commercial publisher asking for no matching funds. This critically well-acclaimed scholarly book is currently held in 13 Australian libraries.

To purchase a copy of Making Books: Contemporary Australian Publishing:

http://www.uqp.uq.edu.au/book_details.php?id=9780702234699



mardi 20 octobre 2009

CONFERENCE : Reading Across the Pacific: Australian-United States Intellectual Histories

Dans le cadre des diverses opinions exprimées sur l'internationalisation des études sur la question australienne, je présenterai une communication à la conférence organisée par les Professeurs Robert Dixon et Nicholas Birns. Cette intervention portera sur la publication Antipodes et son rôle dans la promotion de la discipline sur un plan international. Cette année, la littérature australienne a eu le privilège de s'exporter grâce à l'initiative de trois personnes: Nicholas Jose qui a dirigé le Macquarie PEN Anthology of Australian Literature,

http://www.macquariepenanthology.com.au/aboutproject.html

Peter Pierce qui vient de publier son ouvrage collectif The Cambridge History of Australian Literature

http://www.cambridge.org/aus/catalogue/catalogue.asp?isbn=9780521881654

et votre serviteur, dont la deuxième monographie intitulée Panorama du roman australien a paru chez Hermann

http://www.editions-hermann.fr/ficheproduit.php?lang=fr&menu=&ref=Critiques+litt%E9raire+Panorama+du+roman+australien&prodid=664

http://www.obiwi.fr/culture/lectures/80791-zoom-sur-le-roman-australien

Ces publications s'inscrivent dans le sillage de l'ouvrage dirigé par Nichoals Birns et Rebecca McNeer, A Companion to Australian Literature since 1900:

http://www.boydell.co.uk/71133496.HTM

Voir ma recension à ce sujet:

http://web.overland.org.au/?page_id=254

Vous retrouverez les informations relatives à cette conférence ci-dessous:

Reading Across the Pacific: Australian-United States Intellectual Histories

http://conferences.arts.usyd.edu.au/index.php?cf=26

Antipodes and the Globalisation of Australian Studies Through the Looking Glass of an “Outsider”

Since its very beginning in 1987 under Robert Ross’s editorship, the flagship journal of the American Association of Australian Literary Studies has basically stuck to the same formula: Antipodes: A North American Journal of Australian Literature publishes a careful balance of Australian fiction (poetry and fiction mainly) and non-fiction work (essays and reviews, along with interviews and miscellaneous items). Nicholas Birns, by taking over Robert Ross, has maintained this tradition of instilling into international readers the love of Australian literature and the determination of being kept updated with the latest trends in literary criticism. But more than just promoting Australian Studies, the Antipodes Editors have been mainly concerned with putting Australian literature on the world map by celebrating in their pages the works of critics from all around the world. One of the most obvious consequences was that Australian Studies were no longer the prerogative of Australian nationals.

My paper aims at exploring the fruitful exchanges between American scholars willing to globalise Australian fiction and Australian writers seeking new publishing opportunities overseas.

Jean-François VERNAY.

Excerpt:

"First and foremost, I wish to address my heartfelt thanks to Pr. Robert Dixon for granting me a travel scholarship, which made it possible for me to present my paper at this high-caliber international conference. This financial aid is the first I have ever received within the 14 years I have spent researching Australian fiction. As such, I take it as being an additional token of recognition of my work, which – incidentally – is often perceived as that of an outsider.
When reviewing Water From the Moon, my monograph on Chris Koch’s fiction, C.A. Cranston declared it to be “a work by someone situated outside the literary and geographical context of ‘Australia’.” (Cranston 117) Not that she was trying to make an uncharitable observation of any kind, but every time an Australian scholar singles me out as a "French scholar" or anything else along these lines, I always find myself guilty of not having been born and bred in Australia. From such awareness derives the feeling that anyone writing in the field of Australian Studies beyond the boundaries of Australia would lack some kind of legitimacy."

Work Cited:

Cranston, CA. ‘Reviews’. JASAL 7 (2007): 116-21. Also available online.



To be continued on D-day.

jeudi 15 octobre 2009

Naissance d'une revue savante : Journal of Postcolonial Cultures and Societies

Journal of Postcolonial Cultures and Societies est une revue savante qui paraîtra en décembre 2009 sur les cultures postcoloniales publiée par Wright State University aux États-Unis. Le numéro inaugural sera consacré aux sociétés postcoloniales des Antipodes (Australie et Nouvelle-Zélande), sous la direction de Joel Gwynne qui enseigne à Nanyang Technological University, à Singapour.

Pour en savoir plus:

Journal Issue on the Postcolonial Cultures and Societies of Australia and New Zealand

The peer-reviewed quarterly Journal of Postcolonial Cultures and Societies will be published online from Wright State University’s Lake Campus and will be published in limited print runs from the United States. The journal’s editorial board is being finalized but already includes academics from a truly international range of colleges and universities.

The journal will include articles of 4,000 to 7,000 words on all aspects of postcolonial cultures and societies, including the diasporic communities of Europe and North America. We invite submissions from a broad range of disciplines, including but not limited to business, communication, comparative studies, economics, education, fine arts, geography, history, language studies, literature, political science, regional studies, sociology, and rural and urban studies. Each issue of the journal will also include a section devoted to creative writing—fiction, poetry, drama, and creative nonfiction. There are no restrictions on style or subject, except that the author should be a native of a postcolonial region or a member of a diasporic community or the subject should be related directly to the journal’s focus. We also invite photos and artwork, which should be submitted initially as low-resolution bitmaps.

Manuscript submissions should be made in Microsoft Word and sent to the editor O. P. Dwivedi at om_2003@yahoo.com or dropdwivedi@gmail.com

Inquiries are welcomed and should be addressed to the editor.

The first issue will be devoted, however, to postcolonial topics and issues related to the cultures and societies of Australia and New Zealand. Moreover, a section of the issue will be devoted to the literary works produced in the two nations since World War II. Articles, and creative work, for this issue should be submitted by September 30th 2009, to the Guest Editor, Joel Gwynne, at joel.gwynne@googlemail.com or, by post, to Joel Gwynne, English Language and Literature Academic Group, National Institute of Education, Nanyang Technological University, 1 Nanyang Walk, Singapore 637616. Inquiries on this first issue are welcomed and should be addressed to Dr. Gwynne.

Lastly, reviews of books, journals, audio-visual materials, and web sites related postcolonial studies are invited for inclusion in the database, Writing beyond the Margins, which will be maintained as a complement to the Journal of Postcolonial Culture and Societies at Wright State University’s Lake Campus. The reviews can range from 500 to 3,000 words and should be informative and evaluative, without being dismissive: that is, the reviewer should find some value in the work being reviewed, and we would prefer that the reviews be illuminating and thought-provoking, without being polarizing. The database’s co-editors are Martin Kich and O. P. Dwivedi. Reviews can be sent to martin.kich@wright.edu, and materials for review can be sent to Martin Kich, English Department, Wright State University Lake Campus 7600 Lake Campus Drive, Celina, OH 45822.

mardi 13 octobre 2009

Nouvelle parution: Messengers of Eros

Bonjour à tous les lecteurs de blog!

Je viens de recevoir Messengers of Eros: Representations of Sex in Australian Writing, le dernier livre de Xavier Pons, Professeur à l'Université Toulouse-Le Mirail. Ce livre élégant à la couverture sensuelle, sinon aguicheuse, traite des représentations de la sexualité dans la littérature australienne. Le graphisme se présente comme une invite à la concupiscence tout en laissant présager que le lecteur ne fera qu'une bouchée de ces nourritures de l'esprit.
J'ai entamé la lecture au delà des pages introductives et je reconnais bien là le style de l'auteur: une formulation précise et une concision du savoir, un exposé logique et argumentatif au contenu quasi exhaustif et très documenté, tels sont les éléments clefs qui forgent la griffe des écrits de Xavier Pons. Un régal! A consommer sans modération.
Pour se procurer l'ouvrage, cliquez sur ce lien:

http://www.c-s-p.org/Flyers/Messengers-of-Eros--Representations-of-Sex-in-Australian-Writing1-4438-0523-8.htm

jeudi 8 octobre 2009

Exhibition : Ricky Swallow, The Bricoleur:


Ricky Swallow born Australia 1974, lived in England 2003–06, United States 2006– A sad but very discreet recollection of beloved things and beloved
beings
2005 (detail) watercolour (1-10) 35.0 x 28.0 cm (each) Private collection © Ricky Swallow Photo: courtesy Stuart Shave/Modern Art, London

Ricky Swallow: The Bricoleur at The Ian Potter Centre: NGV Australia

16 October 2009 – 28 February 2010

“I’ve always been interested in how an object can be remembered and how that memory can be sustained and directed sculpturally, pulling things in and out of time, passing objects through the studio as a kind of filter returning them as new forms”

Ricky Swallow in Goth: Reality of the Departed World, Yokohama: Yokohama Museum of Art, 2007

A new exhibition featuring the work of internationally renowned Australian artist Ricky Swallow will open at The Ian Potter Centre: NGV Australia on 16 October 2009.

Ricky Swallow: The Bricoleur is the artist’s first major exhibition in Australia since 2006. This exhibition will feature several of the artist’s well-known intricately detailed, carved wooden sculptures as well as a range of new sculptural works in wood, bronze and plaster. The exhibition will also showcase two large groups of watercolours, an aspect of Swallow’s practice that is not as well known as his trademark works.

Salad days (2005) and Killing time (2003-04), which were featured in the 2005 Venice Biennale and are considered Swallow icons, will strike a familiar chord with Melbourne audiences.

Sculptures completed over the past year include bronze balloons on which bronze barnacles seamlessly cling (Caravan, 2008); a series of cast bronze archery targets (Bowman’s Record, 2008) that look like desecrated minimalist paintings; and carved wooden sculpture of a human skull inside what looks like a paper bag (Fig 1, 2008).

A highlight of the show will be Swallow’s watercolour, One Nation Underground (2007), recently acquired by the NGV. The work presents a collection of images based on 1960s musicians including Tim Buckley, Denny Doherty, Brian Jones and John Phillips.

Alex Baker, Senior Curator, Contemporary Art, NGV said the works in this exhibition explore the themes of life and death, time and its passing, mortality and immortality.

“Swallow’s art investigates how memory is distilled within the objects of daily life. His work addresses the fundamental issues that lie at the core of who we are, reminding us of our deep symbiotic relationship to the stuff of everyday life.”

“The exhibition’s title The Bricoleur refers to the kind of activities performed by a handyman or tinkerer, someone who makes creative use of whatever might be at hand. The Bricoleur is also the title of one of the sculptures in the exhibition, which depicts a forlorn houseplant with a sneaker wedged between its branches,” said Dr Baker.

Gerard Vaughan, Director, NGV, said this exhibition reinforces the NGV’s commitment to exhibiting and collecting world-class contemporary art.

Ricky Swallow
born Australia 1974, lived in England 2003–06, United States 2006–
Caravan
2008
bronze, ed. 1/3
(1-2) 35.6 x 25.4 x 27.9 cm (each); (3) 30.5 x 22.9 x 25.4 cm; (1-3) (variable) (installation)
Private collection, Auckland
© Ricky Swallow
Photo: Courtesy Stuart Shave/Modern Art, London


“The NGV has enjoyed a long and successful relationship with Ricky Swallow, exhibiting and acquiring a number of his works over the years. His detailed and exquisitely crafted replicas of commonplace objects never fail to inspire visitors to the Gallery.”

Ricky Swallow was born in Victoria in 1974 and currently lives and works in Los Angeles, California. His career has enjoyed a meteoric rise since winning the NGV’s prestigious Contempora5 art prize in 1999. Since then, Swallow has exhibited in the UK, Europe and the United States, and represented Australia at the 2005 Venice Biennale.

Ricky Swallow: The Bricoleur is part of the Macquarie Group Series. The Macquarie Group Series comprises five exhibitions celebrating some of Australia’s leading contemporary sculptors and designers.

Ricky Swallow: The Bricoleur will be on display from 16 October 2009 until 28 February 2010 at The Ian Potter Centre: NGV Australia. Open 10am–5pm, closed Mondays. Admission fees apply: Adult $10.00 / Concession $7.00 / Family $25.00 / Children $5.00.

Enjoy!

lundi 28 septembre 2009

Séminaire au Musée Quai Branly: Chantiers australiens : du totémisme aux nouvelles technologies

Séminaire EHESS au Musée du quai Branly,

Salle de cours 2, 10h-14h

6 octobre, 10 novembre, 15 décembre 2009, 9 février, 9mars 2010

Animé par Barbara Glowczewski (DR CNRS) et Jessica de Largy Healy (PostDoc MQB)

La diffusion dès la fin du dix-neuvième siècle des données ethnographiques australiennes dans les cercles intellectuels et scientifiques européens a contribué à l’échafaudage de théories et de modèles devenus classiques en sciences sociales tant dans le champ des études de parenté, que dans celui des religions, de la psychanalyse ou de l’art. De la professionnalisation de l’anthropologie en Australie dans les années 1930, avec la multiplication des enquêtes de terrain destinées à consigner dans l’urgence des traditions qui semblaient vouées à disparaitre, à l’approche collaborative qui caractérise à présent l’entreprise ethnographique en milieu aborigène, le corpus australien reflète bien l’évolution épistémologique d’une discipline aux prises avec les enjeux sociaux et politiques de son temps. Aujourd’hui, partout sur le continent, des villes aux communautés reculées, des Aborigènes cherchent à réinvestir ce patrimoine afin de le faire revivre sur le champ des pratiques sociales, artistiques, rituelles.

Nous nous demanderons pourquoi les archétypes primitifs – tant dans nos disciplines, dans les musées, la presse et le public - sont parfois préférés à la parole des populations indigènes et à leurs interprétations et critiques des écrits passés. Nous interrogerons également la responsabilité éthique de la recherche au regard de ces confrontations actuelles entre les Aborigènes d’Australie, les ancêtres fondateurs de l'anthropologie, les institutions culturelles et un monde où se dessinent de nouvelles valeurs de créolisation. Nous analyserons des films et des sites internet concernant toutes les régions d'Australie, avec la participation des membres australianistes de l'équipe Anthropologie de la perception du Laboratoire d'anthropologie sociale (Vanessa Castejon, Estelle Castro, Lise Garond, Stéphane Lacam, Géraldine Le Roux, Arnaud Morvan, Martin Préaud, Maïa Ponsonnet) et d'autres invités.

Livres consultables à la bibliothèque du Laboratoire d’Anthropologie sociale :

Le Défi Indigène : entre spectacle et politique, B. Glowczewski et R. Henry (éds), Paris, Aux Lieux d’être, 2007 ; Rêves en Colère : alliances aborigènes dans le nord-ouest australien, B. Glowczewski, Paris, Plon, 2004 ; Aboriginal religions in Australia: an anthology of recent writings, M. Charlesworth, F. Dussart et H. Morphy (éds), Aldershot (UK), Ashgate Publishing Ltd, 2005; John Mawurndjul: between Indigenous Australia and Europe. Art Histories in Context, C. Kaufmann et C. Volkenandt (éds), Berlin, Reimer Verlag, 2009.

Contact : b.glowczewski@college-de-france.fr et jdlh06@wanadoo.fr

Barbara Glowczewski a fait une passionnante présentation de la condition aborigène au Centre Culturel Tjibaou à Nouméa, une condition dont elle nous livre les enjeux majeurs grâce à la finesse de son approche et sa sensibilité pour ce peuple premier de l'Australie.

Je vous renvoie à son livre de photos sur l'art et les rituels des Warlpiri de Lajamanu et Yolngu de Galiwin'ku: Pistes de Rêves, Voyage en terres aborigènes, Editions du Chêne)Notez que ce séminaire est ouvert aux auditeurs libres.Barbara Glowczewski est par ailleurs invitée du 1er au 4 octobre au Festival du livre http://www.lefestivaldulivre.fr pour animer le débat de l'avant première du film du réalisateur australien Warwick Thornton Samson et Delilah et participer à deux autres débats avec son livre Guerriers pour la Paix. http://www.indigene-editions.fr/ficha.php?id=15

Pour info aussi sur le site avec les séminaires en ligne un lien vers le montage de 5' qu'elle a fait sur l'affaire de Palm et qui a été diffusé à la télé en Nouvelle-Calédonie en août dernier:

http://www.archivesaudiovisuelles.fr/EN/_video.asp?id=1635&ress=6071&video=9890&format=68

Selon ses dires, Barbara Glowczewski "essaie de mettre en valeur l'agencéité des Aborigènes, leurs tentatives de transformer leur situation insoutenable, le fait qu'ils essaient de réagir à leurs statut de victimes historiques et contemporaines (en terme d'injustice sociale), et qu'ils ont des choses à dire, des analyses propres et des propositions".

C'est la raison pour laquelle Guerriers pour la Paix comprend deux chapitres d'entretien avec Lex Wotton ("Je ne veux pas être traité comme un Aborigène mais comme un être humain").

En ses propres termes, son approche en anthropologie est "d'appeler à essayer de dépasser ces malentendus kafkaïens et dialogues de sourds, autant bureaucratiques que politiques qui écrasent les Aborigènes et empêchent aussi les médias d'entendre ce qu'ils proposent." Voilà un beau programme. Bon séminaire à tous!