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.),
Austlit: bibliographie exhaustive de la littérature australienne :
Australian Book Review. Peter Rose (dir.),
Australian Literary Compendium. Catherine Cole & Lyn Gallaher (dir.),
Australian Literary Studies. Leigh Dale (dir.),
Australian Studies. Guy Robinson (dir.),
Commonwealth. Marta Dvorak (dir.),
Etchings. Sabina Hopfer & al. (dir.),
Heat. Ivor Indyk (dir.),
Island Magazine. Gina Mercer (dir.),
JASAL. Paul Genoni & Susan Lever (dir.),
LINQ. Lindsay Simpson & Victoria Kuttainen (dir.),
Meanjin. Sophie Cunningham (dir.),
Southerly. David Brooks & Elizabeth McMahon (dir.),
Overland. Jeff Sparrow (dir.),
Quadrant. Keith Windschuttle (dir.),
Westerly. Delys Bird & Dennis Haskell (dir.),

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."


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:
Sales and
Proposal Submission/

Visit us at our website:

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 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

Summer time
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’