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mardi 31 mai 2011

Article: Le trait (d'esprit) de Michael LEUNIG.


LE TRAIT (D’ESPRIT) DE MICHAEL LEUNIG.

Michael Leunig a décidément le vent en poupe. Récipiendaire d’un diplôme honoraire de l’université de La Trobe à Melbourne en 1999 ; invité du Festival de Sydney en janvier 2002 ; ce dessinateur a aussi fait l’objet d’une exposition à la State Library of Victoria (décembre-février 2004) et le quotidien de Melbourne, The Age, publie chaque année un calendrier illustré par ses soins. Comment expliquer un tel parcours ?

De la caricature au dessin humoristique.

Tout a commencé lorsque Michael Leunig abandonna la caricature politique en plein conflit du Viêt-Nam pour créer un nouveau personnage pastichant les dernières vignettes des albums de Lucky Luke : un homme, une théière en guise de couvre-chef, chevauche un canard en direction du couchant. Selon l’auteur, le canard symbolise l’espièglerie et un sentiment de liberté tandis que la théière représente tant la chaleur d’un foyer familial que le familier. Puis vinrent deux autres personnages : Monsieur Bouclette (Mr. Curly), un casanier qui habite une contrée où les accidents révèlent la bonne nature des gens, et l’explorateur Vasco Pyjama dont les découvertes alimentent une déprime quasi chronique. Michael Leunig nous parle droit au cœur. A la vue d’une flaque de pétrole, il nous montrerait probablement les reflets irisés qui l’illuminent. Il nous encourage à chercher le bon côté de nos mésaventures, vante les mérites d’une imagination diffluente, et prône un retour à l’ordre naturel (pourquoi regarder un lever de soleil à la télé lorsqu’il suffit de se pencher à sa fenêtre pour le voir dans ses tons naturels ?). Mais ce poète laisse aussi entrevoir les dérives d’une société de consommation qui arrive à saturation. Tout y passe, ou presque : le pouvoir hypnotique de la boîte cathodique, le matérialisme poussé à l’excès avec une arche qui sauvera la technologie, le despotisme de certaines lois, les traditions sacrifiées sur l’autel du modernisme, pour ne citer qu’eux. Parfois, Michael Leunig se montre l’âme d’un philosophe lorsqu’il s’interroge sur notre besoin de croire et de fuir notre misère quotidienne, sur notre incapacité à reconnaître l’absurdité de certaines situations

De l’image fixe à l’image mobile.

Outre ses nombreux ouvrages consacrés à l’image fixe, la commercialisation d’un DVD témoigne de l’intérêt de l’artiste pour l’exploitation de l’image mobile. Leunig Animated (Fruitcup Film Pty Ltd, Special Broadcasting Service Corporation, NSW, 2001) est en fait une adaptation audiovisuelle de ses dessins extraits de son premier recueil publié en 1974, The Penguin Leuning. L’on y retrouvera les parodies de l’arche de Noé et des Mages, le repoussant homme-éléphant, le scandale du cheveu dans la soupe, le livre aux papillons, le lever de soleil observé à la télévision, le pique-nique dans un port désaffecté, l’évolution darwinienne de l’homo sapiens, le cadeau saugrenu de Noël et l’histoire de la fille qui se façonne une poitrine avec le séant d’un homme ! L’artiste ne dénatura pas le caractère énigmatique de ses personnages en ne leur laissant presque jamais la parole – mime, onomatopées, accompagnement musical, ou narration en voix off ; tous les subterfuges sont bons pour rendre avec justesse l’esprit des dessins originels. Pour ce qui est de la transposition à l’image mobile, Leunig a su développer une vignette en un scénarimage qui ne trahit pas l’effet de ses images fixes. Cette entreprise de dilution lui permet de différer l’effet de surprise, accentuant ainsi le contraste entre les attentes du spectateur et le coup de théâtre qu’il donne à ses petites histoires. D’un point de vue esthétique, l’on remarquera que l’artiste a soigneusement retravaillé ses personnages à la silhouette moins frêle, au trait plus affirmé. Toutefois, si l’on peut dire qu’il a conservé un trait, c’est fort heureusement son trait d’esprit !

BIOGRAPHIE :

Fils cadet d’une famille de cinq enfants, Michael Leunig (né en 1945) grandit dans la banlieue prolétaire est de Melbourne. Ses premiers dessins furent publiés par Lot’s Wife, la gazette de l’Université de Monash qu’il fréquenta pendant un temps. A la fin des années 1960, il fut recruté par Newsday, puis travailla pour d’autres journaux comme Nation Review, The Age et The Sydney Morning Herald. Père de quatre enfants, il vit actuellement sur une ferme en compagnie de sa seconde épouse Helga et de leurs deux enfants communs.

Jean-François Vernay.

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Exhibition: Arone Meeks and Rosella Namok


Arone Meeks and Rosella Namok

Opening Thursday 2nd at 6pm

Come and join Rosella

Coo-ee Aboriginal Art Gallery

31 Lamrock Avenue, Bondi Beach




To view the exhibition:

http://www.cooeeart.com.au/aboriginal_exhibition/71/artworks

lundi 30 mai 2011

Australian Humanities Review 50 released


We are pleased to announce the publication of Issue #50 of AHR: Unloved Others: Death of the Disregarded in the Time of Extinctions, a special issue guest edited by Ecological Humanities editors Deborah Bird Rose and Thom van Dooren.



Highlights include Donna Haraway on Australian artist Patricia Piccinini’s multispecies familial assemblages, Anna Tsing’s meditation on the gentle passion of the mushroom-lover, and Freya Matthews’ poetic and moving essay ‘Planet Beehive’ on the alarming wave of extinctions spreading through global bee populations. We have Thom van Dooren on vultures, James Hatley on ticks, Kate Rigby on bogong moths and Deborah Bird Rose on flying foxes, Matthew Chrulew on zoos and endangered species and Mick Smith on environmental philosophy. This is one of our best issues yet and a fitting way to celebrate 50 issues of AHR.


Best wishes


Monique Rooney and Russell Smith

Weblink : http://www.australianhumanitiesreview.org/

Exhibition: Dennis NONA


Exposition-évènement au
Musée d'Art et d'Histoire de Rochefort

DENNIS NONA
Estampes et sculptures
Prints and sculptures


Îles du Détroit de Torres, Australie
Torres Strait Islands, Australia

Musée d’Art et d’Histoire
Hôtel Hèbre de Saint-Clément
63 avenue Charles de Gaulle - 17300 Rochefort
Tél. +33 (0)5 46 82 91 60

du 3 juin au 30 septembre 2011
June 3 to September 30 2011

Anne Landa Award 2011 winners


David Haines and Joyce Hinterding The outlands 2011, production still. Courtesy of the artists and BREENSPACE, Sydney

Anne Landa Award 2011 winners: David Haines and Joyce Hinterding

The Art Gallery of New South Wales announced today, Thursday 26 May, that artists David Haines and Joyce Hinterding have won the $25,000 acquisitive Anne Landa Award for video and new media arts.

Haines and Hinterding’s visually stunning new work, The outlands invites visitors to take control and conduct their own voyage through an immersive digital world of forests, islands, and futuristic interiors.

With an interest in the natural landscape and cyber environments Haines and Hinterding converge the two in their impressive projects, creating the best digital media is capable of. Rather than the structured, reactive and violent zones of video games The outlands is a virtual journey which rewards unstructured movement and where the haunting landscape adapts to audience interaction.

This year’s award was selected by Edmund Capon, Director of the Art Gallery of New South Wales and Wayne Tunnicliffe, Head of Australian Art.

The Anne Landa Award was the first biennial exhibition in Australia for moving image and new media work, with an acquisitive award of $25,000. The award was established in honour of Anne Landa, a Trustee of the Art Gallery of New South Wales, who died in 2002. This year’s exhibition Unguided tours was curated by Justin Paton, art critic, author and senior curator at Christchurch Art Gallery, New Zealand.

Wayne Tunnicliffe, Head of Australian Art said:
'Haines and Hinterding have worked with new media for over 20 years creating some of the most ambitious intersections between digital technology and art practice in Australia. This is the first work of theirs to enter the Gallery’s collection and we are delighted they have won this year’s Anne Landa Award.’

David Haines (b1966, London, UK; resides Blue Mountains, Australia) and Joyce Hinterding (b1958, Melbourne, Australia; resides Blue Mountains, Australia) maintain independent practices and also collaborate on large-scale new media art works that explore sensation and immersion in digital worlds. Their collaborative projects have been exhibited extensively in Australia and internationally.

mardi 24 mai 2011

"The Great Australian Novel - A Panorama" reviewed by Peter Pierce


Peter Pierce, “Spotlight on the Literary Bunyip”, The Sydney Morning Herald (Spectrum), 21-22/05/2011, p.35

A respectful French academic has cast a cinematic eye over Australian fiction.

In 1868, John William De Forest coined the term “The great American Novel.” This was, perhaps, a move of cultural reconstruction hard on the end of the Civil War. The hope he expressed that one day such a creature as the great American novel might appear in the US ignored the great novels already written there – by Hawthorne and Melville.
Speaking on behalf of his national literature, A.D. Hope averred that “the bunyip of Australian literature is the mythical beast the great Australian novel”, thus reducing the notion to hearsay and comedy. Nowadays the term is rarely used. A score of our novels could contest for the honorific. Nevertheless, it has resurfaced in an enterprising book by the New Caledonia-based French academic Jean-François Vernay, The Great Australian Novel – A Panorama.
Already the author of a monograph on Christopher Koch, Water From the Moon: Illusion and Reality in the Works of Australian Novelist Christopher Koch (2007), Vernay follows other French scholars of our literature such as Xavier Pons and Chantal Kwast-Greff. The French version (2009) of his latest work was plainly called Panorama du roman australien des origines à nos jours. Vernay explains that he “set out to inform the French reader of a literature that was still relatively unknown despite the efforts of a few publishing houses in France.”
The notion of the great Australian novel scarcely features in his work whose direction is indicated instead by the subtitle A Panorama. Vernay’s method is cinematic, so that within an orderly chronological narrative, he intersperses close-ups of individual authors and books, low-angle shots of novels or novelists who dominate the landscape, and panoramic views of themes of the career of an important author (for instance, literature of the convict system; Christina Stead).
The question of what is “Australian” about our literature is sensibly handled by reference to the flexible definition in D.R. Burns’s underrated The Directions of Australian Fiction: 1920-74 (1975) “tied in some ways …to things Australian”. Vernay also follows Burns as that now scarce specimen, the author of a single volume literary history, albeit one restricted to the novel. Having signalled what he regards as “iconic themes” – the quest, conquest, voyage, geography, topography, isolation, The Antipodes, abundance, religion, disappearance – Vernay briskly gets on with his analytical survey. There is a stock coverage of the colonial period, from Savery’s Quintus Servinton (1831) to Marcus Clarke’s His Natural Life (1874) – The latter is suggestively titled La justice des hommes in its French translation – and of what he calls the “emergence of a national consciousness” between 1875 and 1900.
We hear a more distinctive, original, indeed an outsider’s voice once Vernay reaches the 20th century. Covering its first half, he notes a double antinomy…detachment, by authors writing behind pseudonyms or living elsewhere as expatriates, in contrast to engagement expressed as a neo-nationalist or populist trend”. He is judicious on such communist writers as Frank Hardy – “docile, yet faithful authors who carried out the dogma to the letter” – and on Colin Johnson’s usurping of an Aboriginal identity, which led to his being “incorrectly hallowed” by some critics still. Vernay considers Koch “largely ignored by critics [though not by him] as a result to his strong opposition to university orthodoxy”. He also reclaims forgotten works and authors, among them Kerryn Higg’s All That False Instruction: A Novel of Lesbian Love (originally published in 1975 under the pseudonym Elizabeth Riley).
The final chapter Postmodernism and New Tendencies (1981 Onwards), which encompasses one third of the book, shows Vernay at his most daring. He judges freely: Gerald Murnane “wrote novels that are true static odysseys of conscience with almost no action”; Michael Wilding is “the Australian David Lodge”. There is a perceptive commentary on novels about psychoanalysis by Carmel Bird, Brian Castro, Peter Goldsworthy and others, but under the contentious rubric of the disintegration of the family at the end of the 1960s. The agent? “Feminism exposed serious family secrets: paedophilia, violence in marriages, family dramas, incest and so on.” Helen Garner is intriguingly viewed as the precursor of grunge fiction seen in turn as the “expression of a fin-de-siècle mentality”.
The French theorist in Vernay leads him to coin the term “esperectomic” for the fiction of L.A. McCann, M.J Hyland, and James Bradley (combining the French word for hope with the Greek for excision). On the other hand, his conclusion sees the return of the repressed – the organic metaphor as literary historical explanation – “the Australian novel, young and vigorous, is prospering in fresh soil and is in full bloom”. That is not the panorama we have been given. Vernay reveals a more vexed, complex, less benign condition in our fiction. Perhaps his remark is best regarded as a graceful gesture from a respectful, inquisitive, penetrating observer of our literature from the outside.

Peter PIERCE.

vendredi 20 mai 2011

SCENES OF READING:Is Australian Literature a World Literature?

As a part of its annual series of international symposia and
book publications on key themes in Australian literary
studies, in May 2012, Australian Literature at the University
of Sydney will host a symposium on the theme, ‘Scenes of
Reading: Is Australian Literature a World Literature?’

Recent accounts define world literature as (i) a discipline
concerned with the ‘effective life’ of a text ‘whenever, and wherever, it is
actively present within a literary system beyond that of its original culture’,
or (ii) as a field of practice, ‘a mode of circulation and of reading’, ‘a traffic
in ideas between peoples’ (Damrosch). These definitions offer
methodological challenges for Australian literature which, until recently, has
been situated primarily as a ‘national’ literature. Transnational literary
studies are now throwing into relief the provincialising force of such local
and/or nationally bounded knowledges. Indeed the relationships between
local and transnational literary space are demanding new reading practices,
and creating new ‘scenes of reading’. These have been variously described
using metaphors like: ‘mutual elliptical refraction’ (Damrosch, Giles), or
looking far afield through the wrong end of the telescope (Anderson).
Questions that arise may include but are not confined to the
following: What scope or potential might transnational reading practices
offer Australian literature? Can reading Australian literature as a world
literature enable us to trace threads of connection beyond the local and the
national into transnational space and ‘deep time’ (Dimock)? Is Australian
literature a minority or provincial literature embedded uncertainly in
international literary space (Casanova)? What was/is the impact of
cosmopolitanism on Australian readers and writers, both before and after
the formation of the nation as an imagined community? Do threads of
citation and allusion extending beyond the space of the nation hold out the
possibility of a global civil society, via ‘the playing field called “literary
culture” brought into being … by the act of reading’ (Dimock)? Or are they
all too often snagged by specialist knowledge and localized epistemologies?
How might the above questions be mediated or conditioned by Australia’s
settler colonial context?
Abstracts for papers are welcome on issues such as the following:

national literatures and world literature disciplinary genealogies of national literatures, comparative literature and world literature transnational reading practices national and transnational literary careers, networks, inheritances and/or genealogies national literatures, international space and deep time the provincialising force of local epistemologies/literary acts the internationalizing force of local and/or provincial epistemologies/literary acts literary crossings along local, regional, national, and transnational coordinates Australian literature in the translation zone Australian literature and international modernism literary temporality and national/transnational belonging literary investments in local/global politics of place
histories of the book, publishing and print culture in local, national or transnational perspectives
transnationalism and the new media

25 – 26 May 2012

Keynote Speaker
Professor Wai Chee Dimock
(Yale University), author of
Through Other Continents: American Literature Across Deep Time (2006) and coeditor
of Shades of the Planet: American Literature as World Literature (2007).

DUE DATE FOR ABSTRACTS:
31 July 2011
Email abstracts to:
georgina.loveridge@sydney.edu.au

Convenors

Professor Robert Dixon, FAHA
Professor of Australian Literature
English Department
University of Sydney
Sydney 2006
robert.dixon@sydney.edu.au

Dr Brigid Rooney
Australian Literature
English Department
University of Sydney
Sydney 2006
brigid.rooney@sydney.edu.au

Vale Kerry Leves 1948-2011

It is with great sadness that I note the passing of Kerry Leves. Kerry was a highly regarded poet, having published in a number of journals and magazines over the years. His books included Territorial (1996); Water Roars, Illusions Burn (2002); and A Shrine to Lata Mangeshkar (2007). The last named was shortlisted for both the Kenneth Slessor Prize and the New South Wales Premier’s Awards in 2009.

Kerry was also undertaking a PhD at Sydney University, and will be known to ASAL members as a very engaging presence at several recent conferences including the Canberra conference in 2009. The paper he presented was later published in the Special Issue of JASAL (2010) as ‘Toxic flowers : Randolph Stow's unfused horizons’. http://www.nla.gov.au/openpublish/index.php/jasal/article/view/1488/2225


Kerry also presented a paper at the Reading Across the Pacific Conference held at the University of Sydney in January 2010. This paper appeared as ‘An imperishable spring? Stow’s Tourmaline, the Cold War and the phenomenon of the star’, in Reading Across the Pacific : Australia-United States Intellectual Histories (Robert Dixon and Nicholas Birns eds), Sydney University Press, 2010.

Paul Genoni

ASAL President


Conference: Visualizing Australia: Images, Icons and Imaginations - Representing the Continent at Home and Abroad

Call for Papers: 13th Biennial GASt Conference in Stuttgart

27.9.-29.9.2012


The conference topic concentrates on visual representations of Australia. Visual images with their immediate and direct appeal are particularly powerful vehicles of national identity, transporting ideas of an ‘imagined community’ (Benedict Anderson). Some images are recognized as quintessentially “Australian” in spite of evidence that their legitimacy lies in collective myths. These myths, or nationalist narratives, are reiterated through the continual use of key pictorial icons. Investigating the multiple layers of meaning which images accrue in the course of becoming lodged in the cultural imagination can reveal key moments in the narrative of nation, country or region.

Bush landscapes, Aboriginal bark painting, Uluru, shearers, life-savers and surfers, kangaroos and koalas; these are some of the images associated with Australia all over the world, becoming icons of Australianness through medial forms such as art, cinema or advertising. These images are by no means static, reacting to or reflecting upon (violent) disruptions in the narrative of the nation: Desert images of Uluru are challenged by those of Woomera; life-savers by the Cronulla rioter. Such changes rest uneasily with hitherto comfortable notions of Australia as an easy-going, egalitarian culture. The historicity of specific images underlines the importance of diachronic approaches, key to ascertaining different phases of visual (self-)definition.

An increased awareness of uneven power balance in visuality and visibility informs recent representations of Australia. In examining how images of national self-fashioning shape-shift and transform, historical assessments that seek to determine different phases in the construction of Australianness on the basis of significant central images will be particularly welcome. The tensions between what people outside Australia consider its distinguishing features and what locals recognize as such constitute particularly fertile grounds for the exploration of the engendering of national identities through visual imaginings. Analyzing examples of visual imaging in various media and practices can reveal similarities and differences between Australian images and their use and reception abroad. Such transnational perspectives are particularly welcome to ensure a hermeneutic process that avoids a reduction to exclusively internal and national perspectives.

The purpose of concentrating on visual representations and practices is to raise the level of awareness of the social, political and economic conditions which inform the production as well as the reception of images and to create an awareness of the pitfalls of sorting them into easily available stereotypical slots.

Contributors are invited from a broad range of disciplines and institutional affiliations. Suggested thematic clusters include:

Visual arts: painting, photography, performance
Visual media: cinema, TV, internet
Visual forums and formats: museums, exhibitions, anniversaries, events, narratives
Visual practices in tourism, advertising, mapping
Icons, stereotypes and figurations of Australian people: constructions of race, gender and age
Landscape, space and place: conflicting images of natural resources and ecological concerns
Discourses of visuality: power structures of seeing, visibility, access to visual media/ representation, narrative (constructions of) identity
Visual Culture and the classroom


Please send your proposals by February 29th 2012 to: nina.juergens@ilw.uni-stuttgart.de

We ask international guests who would like to attend to respond with a (preliminary) title by 15.06.2011 in order to facilitate possible funding opportunities.



Conference Conveners:

Prof. Dr. Renate Brosch
Universität Stuttgart

Institut für Literaturwissenschaft


Renate.Brosch@ilw.uni-stuttgart.de
Jr. Prof. Kylie Crane

Johannes Gutenberg-Universität Mainz

samedi 14 mai 2011

INVITATION : conférence le 18 mai à Paris


2 soirées en 1 » - Visite du Musée Art Roch & Conférence Littéraire avec Jean-François Vernay, mercredi 18 Mai 2011, Paris

L’AFA vous invite à une « double soirée »

Mercredi 18 Mai 2011 à 19h00

1 / - VISITE du Musée Art Roch

qui a ouvert récemment ses salles d’expositions, notamment en présentant une des plus belles collections d’Art Aborigène, hors de l’Australie, montrant une sélection d’œuvres et d’objets dont les plus anciens ont un siècle.

Peintures sur écorces, totems, tablettes rituelles, boucliers, boomerangs, bullroarers, Esprits Mimis, Woomeras… ainsi qu’une grande sélection de peintures acryliques du Désert Central que Morteza Esmaili a rassemblée pendant des années d’intense collaboration avec les artistes et les galeries australiennes.

2 / - Cette visite se poursuivra (vers 19h30/19h45) par une

CONFERENCE littéraire de Jean-François VERNAY, auteur de

« Panorama du roman australien des origines à nos jours » - Paris, Hermann, 2009

de passage à Paris.

Thème : « L’essor du roman australien face aux enjeux de la mondialisation et de sa commercialisation ».

Séance de dédicaces (ouvrages éditions en français & en anglais)

Le traditionnel « verre de l’amitié » clôturera cette soirée.

Musée Art Roch

24 rue Saint Roch - 75001 Paris

http://www.artroch.net

RESERVATION indispensable :

maryline.faureboisard@orange.fr

Jean-François VERNAY, spécialiste de la littérature australienne, abordera l’évolution et les enjeux de l’édition australienne depuis ses origines jusqu’à nos jours.

Il brossera les grands traits d’une des industries les plus lucratives du divertissement en Australie – notamment l’édition des œuvres romanesques – en soulignant le statut des auteurs et les répercussions que peuvent avoir certaines décisions mercantiles sur leur production.

Une question de grande importance dans un pays où rares sont les romanciers qui goûtent au luxe de vivre pour écrire et où trop nombreux sont ceux qui sont condamnés à écrire pour vivre.

Cette conférence piquera la curiosité des divers acteurs du livre (écrivains, éditeurs, imprimeurs, libraires, bibliothécaires et bibliophiles) et des Australianistes, mais pourra aussi séduire un public qui souhaite s’enrichir sur la culture australienne.

La conférence durera de 35 à 40 minutes avec 15 à 20 minutes de questions.

L’intervention sera suivie d’une séance de dédicaces de l’ouvrage

« Panorama du roman australien des origines à nos jours »

et de sa traduction « The Great Australian Novel » - A Panorama »

Ouvrages disponibles sur place.



« THE RISE OF THE AUSTRALIAN NOVEL IN THE FACE OF GLOBALISATION »


Jean-François Vernay, who specializes in Australian Studies, will give a talk about the evolution and stakes of the Australian publishing industry from its early stages to the present. He will outline the major characteristics of one of the most lucrative entertainment businesses in Australia by highlighting the status of authors and the repercussions that some market-oriented decisions may have on their production - a topic of utmost importance in a country where few writers enjoy the luxury of living in order to write and when too many are compelled to write to make a living. This talk shall certainly stimulate the curiosity of various people in the book industry (novelists, publishers, printers, bookshop owners, librarians and bibliophiles) and Australianists alike, but may also be of interest to individuals seeking more information on Australian culture. The author will be signing both versions of his book, the French edition and its recent translation « The Great Australian Novel – A Panorama ».

mercredi 4 mai 2011

Contributors sought for Wikipedia entries on Austlit

Dear ASAL members,

It has recently been brought to our attention that there is scope for improving the coverage of Australian literature – and in particular Australian authors – on Wikipedia. As you would be aware Wikipedia is now the starting point for a lot of Internet based research, and it is in our interests to have Aust Lit entries as current, accurate and informative as possible. Obviously the knowledge to achieve this is present in the ASAL membership. There are two ways in which this might be achieved:

1. Check the entries for authors who are of particular interest or relevance to you. If there is scope for amending these entries (or if there is no entry) then register as an editor and amend or create entries. It may not entitle you to ERA recognition but it is nonetheless an important contribution to scholarship!

2. Create links to open access articles relevant to that author. This is particularly useful if they are JASAL articles as it will increase the exposure (and hopefully the use and citation) of these articles. You may also wish to ensure that any articles that you have had published in JASAL are referenced on relevant Wikipedia entries – it will certainly increase their exposure.


I therefore encourage you to start contributing to Wikipedia and thereby help others to have easy access to the reliable information about your favourite authors. Information about becoming an editor and adding information to Wikipedia can be found at: http://en.wikipedia.org/wiki/Wikipedia:Introduction_2


Paul Genoni

Exhibition in Melbourne: 4 - 22 May 2011



Where? At the Bridget McDonnell Gallery

130 Faraday Street Carlton 3053


ph: 03 9347 1700

dimanche 1 mai 2011

Opinion: Panorama du roman australien in LAB 10 - mai/juin 2011































Jean-François Vernay, rédacteur en chef de la feue revue Correspondances océaniennes a été retenu en 2009 par les savantes éditions Hermann pour un livre, seul du genre en France : Panorama du roman australien - des origines à nos jours. Les courants, les auteurs et les oeuvres majeures sont présentés de manière didactique et chronologique. L’auteur retrace également les métamorphoses du genre romanesque en Australie et propose une analyse originale des six seuils qui jalonnent son évolution. Le livre vient de faire l’objet d’une traduction en langue anglaise et est aujourd’hui publié en Australie sous le titre The Great Australian Novel - A Panorama. Unanimement apprécié pour sa clarté et son exhaustivité, cet ouvrage dans ses deux versions est accompagné en couverture de reproductions d’oeuvres [...].La version française est disponible à 4 500 francs et à moins 25 euros sur internet.

Source: Les Arts Bougent 10 Mai-juin 2011, p.4


Images: Couvertures de l’édition française et anglaise.

Lien web pour la version française :

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


et australienne :

http://www.brolgapublishing.com.au/title.php?Bn=QW5FbmNvZGVkU3RyaW5nT2ZCcm9sZ2FQdWJsaXNoaW5nXzE0NA==


NB: Les ouvrages sont tous deux disponibles à Nouméa à la librairie Calédolivres.