jeudi 28 octobre 2010

Antoni Jach's new play: Waiting for Isabella

Waiting for Isabella

By Antoni Jach

  • dates:
  • Wed 3 to Sun 14 November 10
  • season:
  • Preview: 3 and 4 November
  • Opens 5 November
  • hours:
  • Wed - Sat 6:30pm
  • Sun 3.30pm
  • duration:
  • 55 mins
  • admission:
  • Full $25
  • Conc $20
  • Preview $18
  • Group bookings: 10+ $16
  • bookings:
  • 03 9662 9966
  • book online

Synopsis :

A mesmerising and hypnotic performance of emotional intensity by Ellie Nielsen in a fifty-five minute monologue.

While waiting for her friends and lovers to return, Miss Furr writes letters, consults the Tarot, enthuses, broods and meditates on the meaning of life and love in this absurdist rollercoaster ride through the light and dark places of one
woman’s psyche.

The amazingly powerful Ellie Nielsen will delight and enthrall you in this exhilarating performance starting at the special time of 6.30, which will get you out of the theatre by 7.30, just in time to have dinner and a glass, or two, of wine.

Presented by Modern Writing Press
Director: Antoni Jach
Dramaturg: Ellie Nielsen
And introducing Daniel Czech
in the role of The Messenger

More on the author :

Call for papers : Crossing the Borders (EASA)

"Dear colleagues,

I would like to inform you on the next European Association for Studies on Australia conference which will be hosted by our University of Presov (see call for papers attached), Slovakia. Presov is the city in East Slovakia, close to the Polish (80 kms), Hungarian (60 kms) and Ukrainian (80 kms) borders, there is some 230 kilometres from Presov to Oradea, Romania, too. I believe some of you will find the conference theme and location interesting, or at least will let your colleagues know/inform about the conference. So, I will be happy to welcome you all in Presov, Slovakia, see the attached call for papers,

best wishes,"

Jaroslav Kusnir
Department of English language and Literature
University of Presov
17. novembra 1
08116 Presov

11th Biennial European Association for Studies on Australia (EASA) INTERNATIONAL CONFERENCE – UNIVERSITY OF PREŠOV, SLOVAKIA

SEPTEMBER 12-15, 2011

Crossing the Borders: Reality, desire and Imagination in Australian, New Zealand and the Pacific lives, literatures and cultures

In the Humanities “Reality” has become a contested term, given its dependence on widely-differing social and cultural contexts as well as on individuals’ perceptions of material and immaterial objects and phenomena. In recent times new technologies have significantly impacted upon the ways in which realities are produced, consumed and valued. From virtual, hyperreal, simulated and photoshopped realities through re-articulation of ideas of the “natural” via genetic and reproductive technologies, the instability of the concept of reality has ironically meant that its status as an ideological battleground has often emerged more clearly.

The nature and understanding of Australian, New Zealand and Pacific realities in such contexts has become multivalent and frequently ambiguous. The representation of identities in literature, arts and the media in general have oscillated between rationalistic, mimetic and more complex postmodern understandings, the latter especially in recent decades. In the case of Australia, Paul Carter argues that Australian “social and political institutions...literary and visual culture...and [the] treatment of Australia’s indigenous people, [have] been constructed mimetically” (Carter xix). But Bill Ashcroft and John Salter understand Australia as a rhizomic text and suggest that “[w]hat we understand by ‘Australia’ or Australian social reality needs to be ‘re-imagined’, which means that the imperialistic ‘borders’ which now ‘define Australia’ must come to be understood as border ‘zones’, to accommodate the ‘hybridity’ that is a defining feature of the rhizomic text” (Ashcroft and Salter 22). In addition, Livio Dobrez, commenting on the impact of virtual reality and media on the construction of Australia adds that “Australia comes into being for us as a PR excercise, an ‘image’ of national identity, presence in the form of absence” (Dobrez 44).

With such attention focused on what was once a series of loosely-theorised assumptions, there is no going back to simple or simplistic national narratives. Nations, societies and cultures now exist multiply, necessitating the consideration of how realities are perceived, understood and represented by different constituencies. All this is well-accepted in the Humanities and the Social Sciences, but requires the factoring in of the connections between the increasingly cross-border real, imaginary and desired projections of the future generated by border-stretching media technologies and scientific discourses of the alterable and re-created self? How do these new technologies relate to the contemporary formation of Australia, New Zealand and the Pacific? Do they in fact reprise the disturbances associated with earlier technological advances or do they present entirely new challenges? How do they relate to current understandings of memory as articulated in such practices as oral storytelling, truth and reconciliation commissions, the use of visual technologies to establish entitlements or records, or even the recourse to DNA testing, means of recording or re-constructing reality and the past in different genres?

This inter-disciplinary and inter-discursive conference accordingly seeks to discuss but is not limited to issues and such themes as:

· Reality, desire, and imagination in Australian, New Zealand, and the Pacific

· National-Ethnic-Gendered-Local-Migrant perceptions of reality and the future

· Crossing the borders of Identity: how real, how imaginary?

· Crossing Reality Borders – Reality as Fiction, Fiction as Reality

· Colonial, Imperial, Colonized and Native Realities, Fantasies, Dreams and Imaginations

· Reality virtual, hyper-real, simulated and media(ted)

· Memory and storytelling – how real, how imagined?

· Real, Imagined, Dreamed and Mediated Objects and Phenomena-literature, memory, story-telling, media, technology (computers, internet, facebook, DVD, cell phones...) in contemporary culture

· Real and Imagined fears of reality and of terror (ism)

· Reality, desire and imagination across the genres (realistic-modernist-fantastic-postmodern and....?)

· Reality of the Possible and Actual Worlds- Actual, Fictional, Possible and Other Worlds in Literature and Arts

· Central and East European Vision of Australian, New Zealand and the Pacific Realities

· Unified or diverse images of contemporary and future Australia, New Zealand, and the Pacific?


Dobrez, Livio. (ed.). Identifying Australia in Postmodern Times. Canberra: ANU Press, 1994.

Carter, Paul. “Baroque Identities: Migration and Mimicry”. In Dobrez, 1-14.

Ashcroft, Bill & John Salter. “‘Australia’: A Rhizomic Text”. In Dobrez, 15-24.

Dobrez, Livio. “Being Australian: Identity, Identities and Traces of Identities”. In Dobrez, 25-46.

All these topics can be treated from interdisciplinary and/or interdiscursive perspectives,calling upon disciplinary areas such as Cultural, Gender, Indigenous, Sociology, Philosophy, Media and Film, History, Literary, Linguistics, Art or other relevant Studies. The conference will also host writers (to be announced) who will be reading from their work during the conference.

Postgraduate Seminar

One of the aims of the conference is to attract doctoral scholars from Central and Eastern Europe to exchange views on Australian, New Zealand, the Pacific and post-colonial studies in general, with a view to discussing further co-operation under the aegis of EASA.

As has become a tradition of this conference, there will be a meeting and a seminar for post-graduate students dealing with these fields of study. This is still provisional, and is based around lectures and reading specific texts. The seminar may be taken as part of university studies equivalent to a course with a particular number of credits, to be acknowledged by participants’ institutions. Doctoral students are further encouraged to present their papers at the conference (these presentations will not coincide with the seminar programme which will be conceived as a separate activity).


Writers, conference participants, or representatives of publishers will have the opportunity to present their works at the conference.


Please e-mail 250-word abstracts to Jaroslav Kušnír by March 30, 2011.

Acceptance of papers will be announced by April 30th, 2011

(participants requiring earlier processing may send in abstracts when ready, indicating their specific needs in this respect)

1 June, 2011 Registration (at early bird fee)

15 July, 2011 Deadline for full registration

Organizing Committee:

Jaroslav Kušnír (University of Prešov, Slovakia)

Howard Wolf (State University of New York at Buffalo, USA)

Anton Pokrivčák (Constantine the Philosopher University in Nitra, Slovakia)

Silvia Pokrivčáková (Constantine the Philosopher University in Nitra, Slovakia)

Eva Pavličková (University of Prešov, Slovakia)

Magdaléna Rázusová (University of Prešov, Slovakia)

Eva Eddy (University of Prešov, Slovakia)

Anna Ritlyová (University of Prešov, Slovakia)

Miloš Blahút (University of Prešov, Slovakia)

Ivan Štrba (University of Prešov, Slovakia)

Michal Tatarko (University of Prešov, Slovakia)

Endless Present: Robert Rooney and Conceptual Art

Opening 12 November, the National Gallery of Victoria will present Endless Present: Robert Rooney and Conceptual Art, a fascinating exhibition that features the photographs of renowned Melbourne artist Robert Rooney in the context of his collection of Australian and international conceptual art.

The majority of these works have been gifted to the NGV and form the basis for this show.

Rooney’s collection includes works by key international artists of the 1960s and 1970s including Allan Kaprow, Ed Ruscha and Sol LeWitt, as well as Australian artists who exhibited in the avant-garde Melbourne gallery Pinacotheca, such as Ian Burn and Dale Hickey.

Dr Gerard Vaughan, Director, NGV said: “Mr Rooney’s generous donation has provided the NGV with a wonderful opportunity for the departments of Prints and Drawings, and Photography to curate an insightful exhibition of photographs and printed books by artists associated with conceptual art.

“As part of the NGV’s 150th birthday redevelopment project we are very pleased to be opening Endless Present as the first exhibition in the redeveloped gallery space on Level 3, NGV International, which will be dedicated to displaying works from our Prints and Drawings Collection in the future,” said Dr Vaughan.

Through photography, prints, journals, artists’ books and even personal letters, Endless Present showcases the fundamental ideas, innovative methods of display and diverse materials that were adopted by conceptual artists in the 1960s and 1970s.

Maggie Finch, Assistant Curator, Photography NGV said: “The artists in the exhibition were interested in exploring ideas and processes over aesthetics. The works on display also demonstrate the global nature of conceptual art practices during that period. The new modes of working with prints, reproductions and cheap materials meant that works were easily shared and distributed.”

Cathy Leahy, Senior Curator Prints and Drawings, NGV said: “Rooney has been an avid collector of art and art books since his school days. He was particularly drawn to the conceptual materials coming out of America in the 1960s, acquiring the majority of these works either in the year of their creation or soon after, and at a time when few people were actively collecting such material.

“These rarely seen works offer our visitors an insight into how Rooney established his fascinating collection. We are also very privileged to be displaying several never-before-seen short films created by Rooney in the last few years that are based on his 1970s photographic works.”

Endless Present will be on display at NGV International, St Kilda Road from 12 November 2010 to 27 March 2011. Open 10am-5pm. Closed Tuesdays. Entry is free.

mercredi 20 octobre 2010

The Great Australian Novel -- A Panorama

Written originally for a French audience to inform them about the richness of Australian writing, The Great Australian Novel – A Panorama now appears in a remastered English version. It is a story of Australia, its people and ideas, its history and geography as revealed through the exciting genre of the Australian novel.

As the title indicates, the book has an innovative cinematic structure containing 35 inserts: Close-ups of an author, low-angle shots for the greats – novels and/or authors, panoramic views for themes or the career of specific writers and bonus items such as a bibliography and an index.

The author speaks directly to the reader in a free-flowing narrative that is concerned with involving the reader emotionally and intellectually. Highlighted along the way are contributions by women, non-Anglophone and Aboriginal authors, as well as the most recent trends in writing.

A timely book for the general reader that will stimulate an interest in Australian literature.

Nicholas Jose has generously prefaced the book. Excerpts:

"The Great Australian Novel is, of course, a mythical beast which, if it ever came along, would overshadow the hundreds of novels that go to making up Australian fiction. This panorama is an incomplete quest through a terrain in which the many varieties of Australian novel line up in historical continuum as they respond to changing creative possibilities, divergent in their individual striving for achievement, yet also asking to be read against broader social and political contexts, patterns of literary tradition and innovation, and the shared thematic concerns that Vernay outlines.

His guiding principle is to see Australian literature on its own terms rather than, as is often the case, as a subsidiary of the Anglophone subset of world literature, to be placed according to the favoured methodologies of Anglo-American academia (usually, ironically, translated French theory). This requires him to separate Australian fiction from its British beginnings, tracing its differentiation through the inventive agency of authors as they take steps of their own, according to inward and outward necessity—migration, dispossession, marginalisation, experience without precedent, political commitment, and a determination to be heard, to be published, to gain recognition and reward. Vernay’s is a decolonising project that brings a vitalising perspective to Australian literary studies.

Starting with various ‘firsts’ for Australian fiction, the panorama proceeds through an impressive range of authors, in which obscure figures join well-known names, high mixes with low, and commercial or genre fiction challenges the literary. Marcel Aurousseau appears beside Miles Franklin; Walter Adamson, Don’o Kim and Antoni Jach with David Malouf and Eva Sallis. There’s a series of close-ups on seminal works, such as Clara Morison (1854) by Catherine Helen Spence, praised for its embodiment of ‘the possibility for women to free themselves [from] patriarchal chains’. Vernay is wide-ranging in adducing scholarship, especially from outside Australia, that sees the local through new eyes. His approach is original, even polemical; the style relaxed, and sometimes pointed. ‘There is a certain loquaciousness among Australian writers,’ the author notes as a puzzle to be investigated, an ‘abundance’ linked perhaps to ‘an anxiety of not belonging’. There is much to argue with here—one doesn’t have to agree with every claim or interpretation—and the sensation of being provoked within a coherent overall analysis is pleasurable. [...]

The outside gaze illuminates what the insider cannot see, especially when that gaze focuses on what most distinguishes the inside, what makes it what it is. Alexis de Tocqueville’s enduringly prescient Democracy in America was the result of a nine-month tour in 1831-32 in which the author appreciated the paradoxes of his subject and was able to see its idiosyncrasies and shortcomings as part of a larger whole. D.H. Lawrence diagnosed ‘the withheld self’ in the settler Australian psyche after an intense few months’ visit in 1922. Vernay’s observations are more deeply grounded in scholarship than those of Tocqueville or Lawrence, yet like theirs are enlivened by enthusiasm, sensitivity and engagement. He participates in the quarrels and triumphs of Australian literature. Whether this panorama is surveyed in its French or English versions, whether in the classroom where it will be useful or elsewhere as a general introduction, we owe Jean-François Vernay a debt of gratitude for his generous intervention".

Jean-François Vernay is the author of Water From the Moon: Illusion and Reality in the Works of Australian Novelist Christopher Koch

and Panorama du roman australien des origines à nos jours.

Marie Ramsland, Chevalier des Palmes académiques, is an conjoint lecturer at the University of Newcastle, Australia. Her translations include Hanoi Blues by Jeanne Cordelier and The Culverin by Michel Tournier.

The front cover illustration is a painting by Sydney artist Charles BILLICH.

Please note that BROLGA has the rights for AUSTRALIA ONLY, and so the book can only be purchased in Australia. Jean-François Vernay still hold the rights for all other English-speaking countries. UK and US publishers are welcome to get in touch with the author for a US/UK edition. vernay[at]yahoo[dot]com

The author acknowledges the financial assistance of the New Caledonian Government, the Southern Province and the Mission aux Affaires culturelles.


J'adresse mes plus vifs remerciements à Pierre Frogier, Président de la Province Sud, à la Cellule de Coopération régionale du Gouvernement, et à la MAC.

Aussi, un grand merci plus personnel à Sandra, Marie Paule et Emmanuelle, sans oublier Jean-Brice de la Maison du Livre pour avoir accompagné ce projet.

Je suis très touché que Marie Ramsland ait eu la gentillesse de me contacter pour traduire mon livre et que Nicholas Jose ait accepté de préfacer mon livre, et je tiens à leur exprimer ici ma plus grande gratitude.

Ceux qui souhaitent se procurer à Nouméa un exemplaire de ce livre traduit à 4500 CFP, prière de composer le 926670.

Bonne journée!

Opinion : Left Bank Waltz: The Australian Bookshop in Paris.

The glorious days of the Australian bookshop on Quai des Grands Augustins, on the Left Bank in Paris.

Elaine Lewis. Left Bank Waltz: The Australian Bookshop in Paris. Vintage, 2006, 344 pp. ISBN: 9781740513494.

Elaine Lewis’s Left Bank Waltz: The Australian Bookshop in Paris is not only the account of an Australian expat setting up a business in the City of Lights: it is also the story of a enthusiastic booklover who had a dream. As the author reminds readers in the epigraph of the opening chapter,

“There are two kinds of people in life: people who see the world as it is and wonder why. People who imagine the world as it should be and wonder: why not?”

George Bernard Shaw has made a sensible point there. As a non fiction writer, I must admit I tend to see myself as belonging to the first category of people trying to find all sorts of explanations to cope with the vagaries of life but I also aspire to reshape and improve the world with artistic projects that would bring the poetry of existence to the fore.

This non fiction book also pays tribute to cross-cultural views on Australia and France. It is as much indicative of how French culture and lifestyle are (sometimes humorously) perceived in the eyes of an Australian as it is of the reception of Australian culture within Parisian circles. Elaine Lewis engages emotionally with readers by telling them all about the ups and downs of setting up a landmark bookshop on Quai des Grands Augustins, on the Left Bank in Paris. Now and then, there is the occasional culture clash which makes us smile:

(Left: Herb Wharton in Elaine's bookshop).

I was intrigued to find that the titles and authors’ names on the spines of French published books run from bottom to top, whereas ours go in the opposite direction, so that you turn your head to the left to read the French spines and to the right when reading the titles of books written in English. As I have placed the translations beside the original editions of the books, I imagine heads will be bobbing in all directions this evening. (LBW 129)

Her business venture was unique in its dynamic and festive approach to Australian culture, celebrating writers and their works through a series of rencontres which allowed Elaine to build up French-Australian connections. As she takes stock of the situation, Elaine Lewis realizes that:

Apart from an occasional book launch at the Australian Embassy and at the Village Voice Bookshop, there is no regular venue for Australian writers and artists visiting Paris, yet almost every other country in the world seems to have a culture centre here, usually including a bookshop and tourism office. In a city like Paris, where all the cultures of the world pass through, it seems short-sighted to me that Australia is represented only by bureaucracy and that it is left to the French themselves to try to present Australia’s creative and intellectual ideas, as well as its tourist attractions. We certainly seem to have an island mentality. (LBW 71)

As the book unfolds, we learn about the heydays of Australian Studies in France promoted by dedicated enthusiasts like Xavier Pons, Jean-Paul Delamotte, Martine Piquet, Barbara Glowczewski, Jean-Claude Redonnet, and Denise Coussy, a generation of scholars who have made their marks in the field, most of whom are on the verge of retiring. But who will be the next generation of Xavier Pons and Barbara Glowczewski? A question which is all the more topical that most French universities which still show an interest in Australian Studies are nowadays embracing them as part of Postcolonial Studies. As a result, the importance of Australian Studies (a field which is sometimes seen as off the map) is dwindling to the point of being eaten up by Canadian and African Studies. Hence my not being too sure whether Elaine’s following comment written 5 years ago is still valid nowadays:

I am beginning to think that many European students know more about our Australian writers than does the average Australian student. Not as much Australian literature seems to be taught in Australian universities these days. In general the emphasis seems to be on creative writing courses. (LBW 178)

This quibble aside, I can only acknowledge Left Bank Waltz: The Australian Bookshop in Paris as being of prime importance to all Australianists, as well as people having a vested interest in French-Australian connections and cross-cultural perspectives. This book may also help Australia-based scholars understand the unflagging efforts international academics go into to promote Australian culture worldwide, and most of the time without any Australian financial backup. As Elaine observes,

Through the customers of the Australian Bookshop, I become aware of the teaching of all kinds of Australian Studies in France and other European countries. I don’t think this interest is widely enough acknowledged and exploited by the Australian Government, because these students often go on to become regular readers of Australian books and a substantial number of them visit Australia at some time in their lives. They thus become unofficial ambassadors and have realistic views of the Australian way of life – they know that it’s not just beaches and red kangaroos. In this context, for more than thirty years, as well as buying quantities of books for their library, Toulouse University must surely have produced many lovers of Australian literature and the Australian way of living. It must also have been responsible for the dispersal of a large number of Australian books into France. (LBW 180)

Holding a PhD in Australian Studies from Toulouse University, I can only confirm that Xavier Pons, a former student of Pr. Victor Dupont (“one of the earliest promoters of Australian literature in France”, LBW 178), has been instrumental in encouraging students to research Australian Studies.

(Left: Elaine Lewis standing next to David Malouf. Signing session time!

All these pictures appear in the hardback edition of Elaine Lewis’s Left Bank Waltz: The Australian Bookshop in Paris.

Elaine Lewis has managed to pay homage to Australia’s “unofficial ambassadors”, of which she is definitely the feistiest part, with or without her Australian bookshop. I just wish I had had the chance to visit this vibrant venue between 1996 and 2000. As Nick Earls puts it, “We need more of her, many more of her – we need people like Elaine everywhere there is a flicker of interest in reading.” (LBW 275)

Jean-François Vernay.

mardi 19 octobre 2010


Actualités Octobre 2010 / Newsletter October 2010

Foire d'Art Contemporain - Contemporary Art Fair
Ngoia Pollard Napaltjarri, Craig Koomeeta, Kathleen Paddoon, Roderick Yunkaporta, Kathleen Petyarre, Horace Wikmunea, Galuma Maymuru, Gloria Petyarre, Clarice Poulson, Abie Loy Kemarre...
Avenue des Champs-Élysées, Parisstand n°137 cDu jeudi 21 au lundi 25 octobre 2010tous les jours de 11h00 à 20h00, sauf le lundi de 11h à 19hVernissage :mercredi 20 octobre de 18h00 à 22h00 sur invitation***From Thursday 21st to Monday 25th of October, Every day 11 am to 8.00 pm, Monday: 11 am till 7 pmBooth n°137cOpening:Wednesday 20th of October from 6 to 10 pm, by invitation only
La récente visite en France de Kathleen Petyarre & d'Abie Loy Kemarre

Kathleen Petyarre, Stéphane Jacob et Abie Loy Kemarre
Kathleen Petyarre et Abie Loy Kemarreont été invitées en résidence d'artiste du14 au 24 septembre 2010 à l'Abbaye de Daoulasdans le cadre de l'exposition"Grand Nord-Grand Sud. Artistes Inuits et Aborigènes"réalisée par l'EPCC Chemins du patrimoine en Finistère ( co-production avecle Musée des Confluences - Département du Rhône.Avec l'aimable soutien de l'Ambassade d'Australie en France.

Suivez la résidence au jour le jour en visionnant les filmsréalisés par Véronique Pondaven / Myriad Production

Kathleen Petyarre & Abie Loy Kemarrehave been invited in an artist's residencyfrom 14 till 24 September at the Abbey of Daoulasduring the exhibition"Great North-Great South. Inuit and Aboriginal artists"curated by the EPCC Chemins du patrimoine en Finistère ( co-production withthe Musée des Confluences - Département du Rhône.

With kind supportof the Australian Embassy in FranceYou can follow the residency day by day by watching the videos directed by Véronique Pondaven / Myriad Production

Plus d'info sur le site :

dimanche 17 octobre 2010

The third Professorship in Australian Literature!

New professorial appointment in Australian Literature at the ANU

The Australian National University has established a new professorial appointment in Australian Literature as part of its commitment to lead the nation's academic and cultural endeavours. The Professor in Australian Literature will play a national and international leadership role in research and scholarship in Australian literature.

The Professor in Australian Literature is charged with positioning Australian literary studies at the ANU with an international focus. The Professor is expected to provide leadership and foster excellence in research, teaching and professional activities in Australian Literature within the college, the wider University and within the community. The position will facilitate links and partnerships across the University, and nationally and internationally. The position will provide leadership in the School, and provide links to other areas with cognate interests across the ANU. Key selection criteria include: a relevant PhD; nationally and internationally recognised scholarly achievement in Australian Literature; demonstrated commitment to excellence in teaching and supervision of undergraduate and graduate students a strong record of leadership and management in an academic environment including ability to provide strategic

mardi 12 octobre 2010

Painting: Nick Botting

Nick Botting

In Melbourne

Pellegrini's Oil on canvas, 51.5 x 45.5 cm

exhibition opens Thursday 14th October, 6 - 8 pm

Bridget McDonnell Gallery

130 Faraday Street Carlton 3053 ph: 03 9347 1700

Hours: Monday - Saturday 10 to 5 pm, Sunday 12 to 5 pm

view exhibition online


lundi 11 octobre 2010

Australian Book Review Launch : November 4th

Unveiling ABR’s Art issue

Australian Book Review invites you to the launch of the Art Issue

by Brian Johns AO

Board Member and former Chair, Copyright Agency Limited,
ormer Publishing Director at Penguin Books and Managing Director of the ABC.

at Readings Hawthorn on Thursday 4 November at 6.00 p.m.

Special feature:

Celebrated artist Bill Henson writes for the Art issue.

We publish an edited version of his 2010 Melbourne Art Foundation lecture.

One of his photographs also appears on the cover.

Christopher Menz, a former Director of the Art Gallery of South Australia is co-editor of the Art issue.

This special issue of ABR features a range of articles, reviews and commentaries on Australian and International art. Contributors include:

Helen Ennis, Carol Cains, Justin Clemens, Daniel Thomas, Patrick McCaughey, Angus Trumble, Jane Clark, Brenda L. Croft, and Vivien Gaston.

Date: Thursday 4 November

Time: 6.00 p.m.

Venue: Readings Hawthorn, 701 Glenferrie Road, Hawthorn, Vic.

RSVP: (03) 9819 1917 or

dimanche 3 octobre 2010

Call for Papers: Special Issue of The Journal of Commonwealth and Postcolonial Studies

Call for Papers: Special Issue of The Journal of Commonwealth and Postcolonial Studies, edited by Rebecca Weaver-Hightower and Nathanael O’Reilly

Proposals are invited for a special issue of The Journal of Commonwealth and Postcolonial Studies on Australian literature. The editors will consider papers on any aspect of Australian literature, but papers must have a postcolonial theoretical orientation. The editors are particularly interested in papers addressing work by Indigenous and emerging authors, and papers dealing with issues such as transnationalism, settler colonialism and immigration.

Please send 500-word abstracts in a Word document by February 1st, 2011 to Nathanael O’Reilly ( and Rebecca Weaver-Hightower ( Please do not send completed papers at this time. After reviewing the abstracts, the editors will invite contributors to submit completed 5000-word papers, which must conform to the latest MLA style. The deadline for completed papers will be provided at a later date. The special issue is schedule to be published in late 2011.

Please include the following with your abstract:
Name and Institutional Affiliation
Email address
Postal address
A brief CV

Nathanael O’Reilly is Assistant Professor of English at the University of Texas at Tyler. He holds a PhD from Western Michigan University, specializing in Australian, postcolonial, and modern British and Irish literature. He has published articles examining works by a variety of authors, including Peter Carey, David Malouf, Tim Winton, Liam Davison, Murray Bail, Janette Turner Hospital, Richard Flanagan, Andrew McGahan, Thomas Keneally, Hanif Kureishi, Daniel Defoe, and Walt Whitman. He is the editor of Postcolonial Issues in Australian Literature (Cambria Press, 2010) and coeditor (with Jean-Francois Vernay) of Fear in Australian Literature and Film, a special issue of Antipodes (June 2009).

Rebecca Weaver-Hightower is Associate Professor of English at the University of North Dakota, specializing in postcolonial studies. Her book Empire Islands: Castaways, Cannibals and Fantasies of Conquest ( Minnesota , 2007) analyzes how island castaway tales presented fantasies that made the expansion of empire more palatable. Her current work, Frontier Fictions: Writing, Remorse and Reparation in the Settler Colony, analyzes Australian, South African, Canadian, and U.S. settler literatures for how certain stories helped those cultures to process the guilt from the displacement of Indigenous peoples during colonial settlement. Weaver-Hightower has published on Caribbean, Irish, Australian, African, and British literatures and is book reviews editor for The Journal of Commonwealth and Postcolonial Studies.

More info here: