Australian Literature

I'm sorry I don't know any other way to be with you than stiff-backed and suspicious, the whiteness rising up in me… I'm sorry I haven't been a better mother (Fallon, Paydirt 47) EN YEARS AFTER ITS PUBLICATION AND ALMOST TWENTY YEARS FOLLOWING THE release of the 1997 Bringing Them Home: Report of the National Inquiry into the Separation of Aboriginal and Torres Strait Islander Children from Their Families (BTH), Kathleen Mary Fallon's semi-autobiographical narrative Paydirt continues to be a subversive and confronting work. Its complex evocation of mothering, contemporary Indigenous and non-Indigenous subjectivities, and the racism, sexism and abuses of indigenous children and mothers by state and federal governments, along with its distinctively Australian character make the work as relevant today as it was when published. A decade has passed since the publication of the Little Children are Sacred report (Anderson and Wild), and nine years since former Prime Minister Kevin Rudd's National Apology to the Stolen Generations. In more recent years there has been a resurgence of activism from groups such as Grandmothers Against Removals about the increasing rates of removal of Indigenous children into care, frequently to non-indigenous carers.

This paper investigates the authOt's writing processes during the research and creation of the fictional character of Chella Singh-Jolley, The author's novel Pwvenance is set in 1960; one of its principal characters is Chella, a Sikh biochemistry student in Australia on a Colombo Plan scholarship, The paper discusses the challenges in writing a character so ostensibly 'other' to the author; and how these dilemmas were turned to creative use, The paper outlines the history of Indian immigration to Australia, and briefly the role of the Colombo Plan fOt Economic Development, situating Chella within this history, An extract from Chapter One of the novel is included: the opening story of the novel's protagonist, an Italian-Australian girl, Rafaela Mollino

At the End of the Rainbow by Josip Kirigin
[Split 1979/translated into English, Perth 2023]

Forty four years after it was first published, Josip Kirigin’s biographical novel about migrant life on the WA goldfields, Na kraju duge (At the End of the Rainbow) has been translated into English.
Josip Kirigin, a celebrated Croatian journalist and author, was born in Boulder City in 1918, and spent his boyhood there. His father had arrived in the goldfields from Dalmatia in 1903 and, after a hard working life
underground, died of silicosis in 1927. As a result, Josip (aged nine) then returned to Dalmatia with his mother Jelena.
At the End of the Rainbow paints a raw and engaging picture of life in Boulder through the eyes of Josip as a child. The Kirigin family lived opposite the infamous Cornwall Hotel in Dwyer St, South Boulder, a watering hole
popular with local Slav and Italian communities. Their day-to-day struggles bore witness to a milieu of illicit activities and shifting allegiances.
Kirigin’s novel also chronicles the tragic destinies of his siblings, who remained in WA eking out a living across the wheatbelt and in Perth. Filled with rich interior rumination upon the turbulent migrant experience and the
travails of crafting a life, the narrative is fuelled by Josip’s quest (including a 1971 return visit to WA) to discover missing family jigsaw pieces.
The novel’s investigative genealogies and narrative arc reveal the real-world consequences for the children of migrant families split apart in the pursuit of a better life ‘at the end of the rainbow’.
The English translation by Perth-based Coral Petkovich was initiated by Josip’s son Dr Branko Kirigin in Split, Croatia. Contact Josip’s great-niece Denise Corrigan (denise.corrigan@me.com) in Sydney for further information. An archive of Josip’s work including unpublished novels, stories, essays, diaries and photographs is held at the Hvar Heritage Museum on the island of Hvar, Croatia

When reading Ahmadzāde's Chess with the Doomsday Machine, a kind of dualism quickly becomes apparent-both in the imagery and the narrator's perspective. On one hand, the story deals with the eight-year Iran-Iraq War and seems to follow the usual path of Sacred Defense novels, where the central theme is the human choice of sacrifice as a divine act. On the other hand, there's an undercurrent of absurd philosophy running through the text, suggesting that wars-and perhaps all of creation-are simply fated events, unavoidable and

Purpose -This study critically examines Nikki Giovanni's children's poetry, highlighting its oftenunrecognized complexity compared to her more extensively analyzed adult works. The analysis seeks to dismantle the intricate barriers surrounding themes of cultural identity, race and history textualized in poetic diction, making them accessible for young readers. Design/methodology/approach -Giovanni's selected works are analyzed through an ecocritical lens to understand the representation of language and landscape in her children's poetry. This approach helps young readers see nature not just as a backdrop but as an active, integral part of the narrative. Findings -This analysis reveals how Nikki Giovanni's children's poetry constructs "Black nature" through dual lenses: as physical landscapes embodying ecological realities and as abstract spaces encoding cultural identity. These imaginative constructs serve as powerful mediators between Black heritage and the natural world, offering young readers both cultural affirmation and ethical frameworks for environmental engagement. The study demonstrates how Giovanni's work provides readers and educators with unique tools to nurture culturalecological awareness through children's literature. Originality/value -This research makes three original contributions. First, it recovers Giovanni's children's poetry as a significant yet understudied dimension of African-American literature. Second, it develops "Black nature" as an innovative critical framework bridging ecocriticism and cultural studies. Third, it establishes children's poetry as a vital pedagogical resource in higher education for fostering interconnected cultural, emotional and environmental literacies.

However, we need to go further.  We should use the above examples and
many others to provide positive images of Aboriginal science and technology in the science syllabi for all Australian children.  Likewise, we should ensure that Australian children are as familiar with the names of Unaipon and Willmot as they are with the names of other scientists with Australian connections such as Joseph Banks and Frank Macfarlane Burnet.

Dalit literature has emerged as a powerful and necessary discipline and counter discourse to dominant literary, theological, and cultural traditions that have long excluded, misrepresented, or silenced the voices of Dalit communities. Rooted in the lived experiences of caste-based discrimination, economic exploitation, and systemic marginalization, Dalit literature speaks with raw authenticity and critical urgency. It is not merely a reflection of suffering but an active tool of resistance, reclamation of identity, and envisioning of justice. This paper explores what is Dalit Literature, emergence of Dalit Literature, Dalit aesthetics, sources for Dalit literature, other sources like dalit theology, Bible and Ambedkar’s contributions and their task for critical study of Dalit liberative hermeneutics.

The 12th volume of Ars Artium offers ten research articles, three poems and six book reviews. The first article by Charity Oghogho Oseghale is a study of prostitution and street hawking as portrayed in Uwem Akpan’s short story “An Ex-mas Feast” (2008) and Chigbo Ugwuoke’s novel Ogadimma: The Diary of a Housemaid (2015). She has elaborated on the culture of poverty, and parental, societal, political and institutional failure that compels children to adopt this dehumanizing profession. The second article by Leonard Obina Onwuegbuche is a study of the performance of oral poetry as a part of oral tradition of Africa that has age old beliefs and values. The third article by Prabha Jerrybandan is a study of social issues and life experiences of Indo-Trinidadians as painted in Krishna Samaroo’s The Nowherians (2016), Merle Hodge’s Crick Crack, Monkey (1970) and Lakshmi Persaud’s Butterfly in the Wind (1990), and the place of these works in Caribbean literature. The fourth article by Richa Bhardwaj is a case study of the use of metacognitive strategies for improvement in reading skills of less proficient students. The fifth article by Andrew Ikpomwosa Egbah is a critical discourse analysis of media reportage on legitimating genome editing as propounded by Theo Van Leeuwen. It also highlights “dominant discourses, justification techniques, power dynamics, ideologies, and social practices” that media reports deal with. The sixth article by Gopal Prasad Pandey is an ethnographic research in English language teaching in which he has explored “fundamental philosophical bases, history, and theoretical bases of ethnographic research” as well as relevant methods, practical applications, and tools and techniques involved in it. The seventh article by Manish Kumar examines the complexities of teaching English language to “culturally and linguistically diverse” students and proposes “innovative solutions”. The eighth article by Saroj Kumar is a study of the “New Education Policy 2020” of the Government of India and sociological challenges in implementing it as it recommends teaching in Indian regional languages. The ninth article by Innocent Chima Ogoke is a study of “trauma and its post-traumatic experiences” as presented in Alex Agyei-Agyiri’s Unexpected Joy at Dawn (2003) and Odafe Atogun’s Taduno’s Song (2016). He uses the trauma theory of Cathy Caruth in this research. The tenth article by Amar Nath Kumar is a study of the postcolonial and postmodern aspects in Shashi Tharoor’s The Great Indian Novel (1989).

We have moving poems by Deborah Abayomi Olutimi, Dharmpal Mahendra Jain, and Zafar Khan, and reviews of recently published books done by Amar Nath Kumar, Vijay Kumar Roy, Prakash Joshi, and Pradeep Kumar.

Kataraina is a sequel to Becky Manawatu's Aue. Aue is centred on the story of Taukiri and his nine years younger cousin/brother, Arama, and Taukiri's mother, Jade. Taukiri's father, Toko, was murdered in a gang related crime in 2005 when Taukiri was four years old.
Kataraina changes the focus to Taukiri's aunt and her life story including her own early traumas and her battle for joy and redemption.

In psychiatry, restraint generally refers to direct methods such as mechanical restraints or the use of drugs. Despite psychiatrists' best efforts to utilize restraint judiciously, many patients still view it as the field's defining feature, especially on inpatient units with involuntary commitment, medications against will, and locked doors. This essay is an attempt to understand the pervasiveness of restraint in psychiatry. It uses changes in the practices of restraint to examine the growth of the field over time. To accomplish this, the paper identifies three distinct regimes of restraint: the moral treatment of the 1800s, associated with the asylum; the somatic treatment of the early 1900s, associated with psychosurgery; and the pharmaceutical treatment of the later 1900s, associated with pills. The essay analyzes primary sources drawn from the scientific and psychiatric literature of each period, in addition to marketing materials. It also examines the work of prominent figures associated with each regime, including Samuel Tuke, Clifford Beers, and Walter Freeman. The paper engages the work of a range of historians of psychiatry, including David Rothman, Michel Foucalt, Andrew Scull, and David Herzberg. Two major conclusions are drawn. First, restraint evolved from the physical form seen in madhouses to self-restraint first seen in the early asylum. The role of the psychiatrist followed this evolution, as the psychiatrist increasingly became the figure to help patients achieve selfrestraint. Secondly, because psychiatrists became the judges of how much self-restraint is acceptable, they have come into conflict with society during periods of change, which contributes to the stigma and backlash against psychiatric practice. I would first like to express my deepest gratitude to my thesis advisor, Professor Henry Cowles, who has been an incredible mentor. He was my major source of guidance, knowledge, and insight and was very helpful and patient in supervising my research and writing. He was a fantastic teacher in showing me how to perform historical research and write a historical research paper and helping me develop these skills and apply them to my role as a medical student and future physician. I would also like to thank the Section of the History of Medicine for the support provided. Melissa Graffe in particular was helpful in showing me what resources were available for my research and how to access the various libraries at Yale to find primary and secondary sources. Finally I am grateful to the Office of Student Research for allowing me to pursue my interests in the history of medicine and be involved in historical research as a medical student. Being able to revisit the study of history while in medical school allowed me to develop a broader perspective and see medicine in a historical context. This was a very enlightening and valuable experience for me as a future physician and will help inform the way I think about patients and the practice of medicine.

Kowloon Kid is a memoir which focuses mostly, but not exclusively, on a patch of Brown's childhood, from 1963 to 1970, during which Brown, born in 1956, lived the privileged life of a child of Empire among the primarily Asian population of what was still one of the last outposts of that same Empire. Brown had, until the family's uprooting and transfer to Kowloon, to further Brown's father's construction business, lived in the relatively small Hunter Valley town of Maitland in New South Wales.Very few people have had seven of their formative years spent in the exotic environs of Hong Kong sandwiched between years of mundanity, living in Australia.
Brown's recollection of these times provide a poignantly funny narrative.

Richard Glover has been in the humour and entertainment business for a very long time. He has written a weekly humour column for the Sydney Morning Herald since 1985. He has published 15 books prior to Best Wishes.
Best Wishes is a whimsical series of wishes that Glover argues would make the world a better place. Some are grand and intended to change the world for the better. Some are personal matters of taste and ideosyncratic. all are conveyed with great and lovable wit.

Bundeena is a village on the southern shore of Port Hacking (Deeban). From a get-away-from-it-all village it has become a popular residential village. Being nestled in the Royal National Park with beaches and views it has grown as a tourist destination. Once served only by ferry, it is connected by road. This story tells of the service to the township by road. It further tells of the now international famous Coast Walk from Bundeena to the Illawarra. Two pioneering stories

Literary works embody writers' view, which is undoubtedly a product of their cultural background and values. Thus, when a western writer writes about eastern themes, his values and worldview as westerner might influence his view towards the East. In the case of Australian writers writing about Indonesia, this notion proves to be problematic. Australians' ambivalent identity as a people and the stark contrast in sociological, cultural, and historical as well as unique relation between the two countries often result in ambivalence in their view towards Indonesia. Applying postcolonial criticism, this study was endeavoured to uncover Australians' ambivalent view towards Indonesia portrayed in three poems about Indonesia written by Australian writers. Descriptive-qualitative analysis on the poems revealed that there are ambivalences in how Australians view Indonesia which transcend the dichotomy between the Occident and the Orient. Australians see Indonesia as 'other' and at the same time acknowledge the differences and diversities as part of universal reality.

The fourth volume of ASAA, the Australian Asian Studies Association, gathers thirty-three papers read at its conference in Kandy, Sri Lanka, towards the end of 2008, at a time when peace negotiations between the warring parties in the country had not yet been brought to an end. The more courageous proved the presence of participants from about ten foreign countries to meet local scholars and discuss a conference theme the Sri Lankan organisers had proposed, a theme that aptly related to the political situation in the country. Perhaps understandably, the dozen Sri Lankan academics preferred to address cultural rather than political issues whereas several of their Australian colleagues did not shirk from looking at recent changes in the Australian political sphere, in particular the long hoped-for government apology to the "Stolen Generations" by Prime Minister Kevin Rudd in February 2008. This change in attitude may not have been shared by each and every white Australian but was a promising sign, as Keith Truscott, himself a "second-generation child of the 'stolen generation'" (372) put it in the opening article of the collection. Several more contributions in the first of seven sections of the book underline the aspect of political change in Australia while the following half a dozen essays discuss future paths the country will hopefully follow, in particular the one of acknowledging its multicultural set-up, as Baden Offord argues, who puts his finger on Australia-Asian relations (45), thereby highlighting the geographical aspect of the conference title. In his most interesting essay, "Postcolonial Legacies and the 'Small Country Syndrome,'" Stephen Alomes returns to A.A. Phillips's famous phrase of 1958 of the "cultural cringe," which he feels does not only persist in Australia but can be extended to New Zealand, Canada and Sri Lanka (74), one proof of which he locates in postcolonial scholars' inclination -and practice -to prefer working in the so-called metropolitan centres instead of at "the periphery": a state of the art, Bill Ashcroft's negotiation about "Australian Literature and Alternative Modernities" cannot really put aside. While the number of papers by Australian scholars in this collection is the same as in previous ASAA conference publications, their host country's colleagues play, laudably, a more visible role than Indian voices had done in the two previous conferences held in the subcontinent. And it is not just linguistic, literary, art, ethno-religious, demographic or sport issues in their own country they reflect upon in the fourth section of the book, "Change in the Sri Lankan Context: Some Reflections," but they also engage with "The International

The marginalization of various underprivileged groups has long been a central focus of inquiry across
numerous disciplines, a concern that has gained considerable momentum in recent decades. Scholars
from diverse fields have extensively examined—and continue to do so—the lived experiences of
marginalized communities in India, with the Bengali book Samaj, Rastra O Prantikata (translated as
Society, State and Marginality), authored by Debi Chatterjee, a leading expert in Dalit studies, serving as
another significant contribution in this regard. The book comprises a collection of 25 essays by Chatterjee,
previously published in various small magazines in West Bengal, which eloquently address a wide array
of topics, ranging from Dalits and their emancipators to Dalit women, women in general and issues
concerning secularism, child labour and corruption, among others. The content of these essays can be
discussed by categorizing them into five clusters, as each cluster addresses a central theme, except for the last one, the essays in which are somewhat diverse in nature but still related to each other.

This article investigates Alexis Wright’s novel Carpentaria (2006) through the lens of the mimetic theory developed by René Girard, which I combined with Jean Price-Mars’ definition of “collective bovarism” and Umberto Eco’s narrative semiotics. In my close reading of the novel, I explore how the author exposes the detrimental mimetic mechanisms hidden behind characters’ behaviours and relationships to articulate a discourse on the risks of assimilation and the necessity for Aboriginal resistance to neocolonialism. I argue that in Carpentaria the emulation of the dominant society’s values and beliefs by assimilated Indigenous characters results in the social disintegration and vulnerability of the Indigenous communities. Not only do mimetic mechanisms negatively affect the epistemic systems of Aboriginal characters in terms of preparedness to climate change, but they also undermine their social cohesion and physical survival. Furthermore, investigating the text at a semiotic level, ...

Paul Carter's observation in The Road to Botany Bay, regarding Australia's past, that 'the gaze of most historians has been ... partial',1 is now fairly commonplace. Perhaps not so commonplace is his comment, 'We have no grounds for presuming that Aboriginal history can be treated as a subset of white history, as a history within a history' (p. 325). Now that black versions of history are being told and written down, white critics must learn how to witness and read and listen to these versions, since they must be approached from a different perspective than white texts which generally have as their cornerstone 'official' History. One method that has already been attempted is applying western critical theory to indigenous texts in the same way as one would apply it to a text written by an AngloSaxon, middle-class male. Such a scheme, it is being discovered, is not the answer because it creates a new field of coloni7..ation. This paper looks at the ways...

This is an extensive autobiography (421 pages long) by a popular media scientist, Dr Karl Kruszelnicki. It is very readable, almost addictive, so I really enjoyed reading this book. Nonetheless, there are shortcomings, particularly its excessive length, and its tendency to repeat information.

Funder's Stasiland (2002) and Helen Garner's Joe Cinque's Consolation (2004) are two of the most significant and engrossing Australian books of the early century but their public success was not  matched by the interest of Australian academic critics. Funder's book probably hasn't come into the literary purview because it is not about Australia, but about the repressive nature of the former German Democratic Republic, while some women academics refuse, in the name of feminism, to read Joe Cinque's Consolation because it is written by the author of 'That Book' The First Stone (1995). Yet the appearance of these books marked a new level of achievement in the genre of 'literary non-fiction' in Australia, and they both demonstrate the way the voice of an intelligent amateur can ask questions about a system of power.

The Australian literature mainly includes the aboriginal songs, bush poetry, folk tales, desert narratives and ballads. The Australian literature is denoted by the Australian history, known for the many conflicts which include the tensions between the settlers and indigenous and the traumas of colonization and dominance. Prominent writers like Banjo Paterson, Henry Lawson, Judith Wright, Patrick White, Kath Walker, A.D.Hope, etc. have promoted the Australian literature. The Australian literature also showcases the struggles between native and British writings. This paper discusses four poems which explicate the colonial conundrum of the indigenous in Australia. The poems “Bora Ring” by Judith Wright, “We Are Going”, “The Unhappy Race” and “Namatjira” by Oodgeroo Noonuccal are chosen for the study. The poems depict the crisis of colonization and the loss of land and culture, along with indigenous concepts.

Johnny Cash’s 1976 hit “One Piece at a Time” is often remembered as one of his lighter pieces, yet it is much more than a novelty record. This paper takes a closer look at the song, exploring how Cash used humour and storytelling to reflect on class, work, and the lure of consumer culture in 1970s America. By examining the lyrics line by line and setting them against the social and economic backdrop of the time, I show how the Cadillac in the story becomes both a punchline and a symbol of the American dream. The paper also looks at whether such a “Frankenstein Cadillac” could really be built, and how later attempts to recreate it highlight the enduring appeal of the song. In the end, *One Piece at a Time* is revealed as both a good laugh and a sharp piece of cultural commentary.

The Complete Poems: Anne Sexton comprises the poet’s ten volumes of verse, including the Pulitzer Prize-winner Live or Die, as well as seven poems from her last years.

From the joy and anguish of her own experience, Sexton fashioned poems that told truths about the inner lives of men and women.

“Women poets in particular owe a debt to Anne Sexton, who broke new ground, shattered taboos, and endured a barrage of attacks along the way because of the flamboyance of her subject matter…Sexton has earned her place in the canon.”
–from the Foreword by Pulitzer Prize-winning poet Maxine Kumin

Oodgeroo Noonuccal (1920-1993) is a prominent aboriginal Australian poet, political activist and artist. She was the first Aboriginal Australian to publish a poetry book titled We Are Going in 1964. In 1988, she renounced her original name Kath Walker to adopt a traditional name, Oodgeroo Noonuccal, as a gesture of emphasizing her indigenous identity and decrying colonial identity. Between the years 1910 and 1970, aboriginal children were forcibly taken from their families and placed in foster care units. The Government officials and Church authorities did it with the view of making the Stolen Generation assimilated into the White/ European culture. Her poem No More Boomerang is a poem that is characterized by sharp contrasts between aboriginal and western practices. Boomerang is a traditional aboriginal hunting tool that has a unique ability to return to the thrower. It serves as a symbol of aboriginal culture and a metaphor of cultural resistance. Expertise is needed in crafting, wielding, and using the tool. She poignantly represents the irony of getting civilized only at the cost of identity. Throughout the poem, Noonuccal uses comparison between traditional and civilized practices to depict how indigenous attributes are encroached ironically in the name of civilization. As Smith (1999) argues in Decolonizing Methodologies, the notion of "civilizing" Indigenous peoples was frequently used to justify the destruction of their land and ways of life. This paper aims at discussing the elements of irony used by the poet to portray the modern methods used to erase the traditional ones.

Pesnik Frančesko Petrarka (1304-1374), u aprilu 1341. godine prvi put je uz odobrenje napuljskog kralja Robera Anžujskog, krunisan kao poeta laureatus. U čitavu ceremoniju bio je uključen i rimski senator na Kapitolu, po uzoru na ritual iz doba rimskih careva. To je bio veličanstveni presedan, događaj koji će sve do 18. veka na dvorovima u raznim prilikama biti višestruko imitiran, ali i na univerzitetima. Rimska scena iz 1341. učinila je da ono nemoguće ipak postane moguće. Sa njom je nastupilo doba u kojem su istaknuti predstavnici simboličke sfere postali kvalifikovani da stanu rame uz rame sa poglavarima dinastija. Kada su, makar metaforično, pesnici dospeli pored kraljeva postalo je moguće da se biblioteka uporedi sa kraljevstvom. Borhes

Iowa, the interviewers traveled with Terry Tempest Williams to the small town of Kalona, home to an Amish community. On the perimeter of that community, we had lunch at a home-style caf? and visited an antique store, a converted church where we discovered among the dry sinks, oak tables, tinker toys, depression glass, and familiar quilt patterns, a red and white Hopi-design quilt with such a history of being mistaken for a Nazi pattern, it was kept folded inside-out, on a lower shelf. Later, we visited writer Mary Swander at her home in a converted one room schoolhouse surrounded by Amish homesteads. We drove down dirt and stone roads, flying past school children in simple home-made pinafores and trousers, past horse drawn buggies. After herbal tea overlooking the farm fields and broad sky at Mary's wall of windows, we visited sites from her poems and memoir?the Amish phone booth and the paddock with the one-eyed goat among them. We ended our day in Kalona with Mary at an Amish fabric and quilt store where we looked at display quilts and watched a woman and girl at work on a new quilt. We talked with Terry that evening at The Iowa House on the Iowa River. Jocelyn: Today in Kalona, at Mary Swander's house, you spoke of jour neys to the interior of places, how, over time, seeing first-hand the way people live, your initial idea of a place is transformed. It's a transfor mation that obliterates all memory of a first impression or any pre conceived expectation of that place. So much of your writing centers on place, the fine nuances of place. In An Unspoken Hunger, you are being guided through a place, from the perimeter to the interior, just as we were today in Kalona. In Vieces of White Shell and Refuge, you open with the very feel of the place, the texture of sage on your fingers. Your latest book, Desert Quartet, moves even closer, into "an erotics of place," where touch becomes multi layered, taking on an even greater significance. What

Manchadikkari is a region in central Kerala occupied primarily by Dalit Christian communities. The majority of the people in the area are agricultural daily wage workers who have been economically and culturally marginalized. Caste discrimination and exploitation mark their past and present. The people in Manchadikkari articulate powerful anticaste politics through their creative cultural productions like songs, stories, and plays that take shape in their community groups. The remembrance and reiteration of caste experiences in these community groups keep alive the history of caste exploitation and transmit these memories to the next generation. This paper analyses the play Azhakante Kutil ('Azhakan's Hut'), authored by Thankamma Titus from Manchadikkari in 2021 and performed by a group of women who are members of the community group 'Sanjeevani.' This study considers the processes of conceptualization, production, and performance of the play to show how these processes embody anti-caste politics. The play dwells on the community's caste history to show that caste is not an anachronism of the feudal era but actively determines the present cultural and material conditions. When contextualized in the community, the play exists as a moving narrative of the community's cultural activism.

Vidoviti članovi porodice Tarabić, prema u javnosti široko rasprostranjenoj predstavi, navodno su uspešno predvideli veliki broj budućih istorijskih događaja i životnu sudbinu pojedinih znamenitih vladara Srbije. Ova predviđanja, kolektivno poznata kao Kremansko proročanstvo, međutim, od svog nastanka do danas, predstavljaju apokrifni tekst koji je u različitim iteracijama iznova dopisivan i prilagođavan istorijskim i aktuelnim političkim okolnostima, te je njegova autentičnost višestruko upitna. U ovom radu biće napravljen osvrt na oblikovanje i političku upotrebu ovih predviđanja u periodu od početka Prvog do početka Drugog svetskog rata, kroz osvetljavanje uloge njegovih promotera i kritičara, poput Radovana Kazimirovića, Ilije Đukanovića, Dragana Aleksića i dr. Ovaj članak ima za cilj da pokaže kako politička proročanstva postaju narativi kroz koje se tumači i stvara realnost i etablira politički establišment koji ove interpretacije plasira u medije, pri čemu istinitost predviđanja ima sekundarni značaj, a verodostojnost proroka se utvrđuje retrodatiranjem, odnosno ponavljanjem navodno obistinjenih predviđanja koja se odnose na događaje koji su se dogodili pre obelodanjivanja samog proročanstva. Ovaj "začarani krug" pruža dobar uvid u način na koji politika može da prepozna i izdigne jedan segment narodne religije i verovanja na pijedestal svetosti i predstavi ga kao simbol nacionalnog identiteta, a sve u svrhu razrešenja određene društvene krize, kroz identifikovanje aktuelnih političkih događaja kao posledice neminovnosti sudbine ili volje "više sile".
Ključne  reči:  politička  proročanstva,  proricanje,  predviđanje  budućnosti,  Kremansko  proročanstvo, Tarabići, Prvi svetski rat.

Shirley Shackleton said that after her husband Greg was killed in Timor-Leste in October 1975, for seven weeks she became a campaigner for justice for the journalists murdered in Balibo, then after Indonesia invaded in December 1975 she became a campaigner for justice for all the East Timorese too.  Shackleton saw the Australian government treatment of the killings as a litmus test of Australian East Timor policy. She continued to pressure the government for a Federal Police investigation of those responsible for the deaths, culminating with Australian politicians and diplomats being put in the dock and scrutinised under oath in a Coronial Inquiry in 2007.

The manganese(II) coordination compound, [Mn(C8H13S2O2)2(H2O)2], with two bidentate α-lipoate ligands and two coordinating water mol­ecules, has been structurally characterized. The cantral MnII atom lies on a crystallographic twofold rotation axis and adopts a distorted octa­hedral coordination environment, with carboxyl­ate groups chelating the metal in a κ2O,O′-binding mode. One of the sulfur atoms within the 1,2-di­thiol­ane ring exhibits positional disorder over two sites, with refined occupancies of 0.92 and 0.08. The complex is isostructural with previously reported ZnII and CdII analogues, both of which also display positional disorder in the 1,2-di­thiol­ane ring. The mol­ecules are linked via inter­molecular O—H⋯O and C—H⋯S hydrogen bonds into a di-periodic supramolecular framework parallel to (100).

Svakog juna, već tačno trideset godina u Beogradu i Vršcu održavaju se dve manifestacije u čast Nagrade "Vasko Popa". Ova, jedna od najprestižnijih pesničkih nagrada u zemlji, posvećena čuvanju uspomene na velikog srpskog i jugoslovenskog liričara dvadesetog veka, za koga je nobelovac Oktavio Paz rekao da je "najveći čarobnjak među pesnicima sveta", održava se zahvaljujući velikom zalaganju advokatske kancelarije Đorđević iz Vršca i sponzorima koji, poput pravih mecena, uspevaju da održe pravilan odnos našeg društva prema kulturi. Ovogodišnji sponzor nagrade je gospodin Rade Rakočević, vlasnik firme "Senzal capital" iz Beograda. Kao i svake godine do sad, na manifestaciji u beogradskom Udruženju književnika-11.6.2025. je proglašen ovogodišnji dobitnik nagrade, a na centralnom događaju u Vršcu, u Gradskoj kući, na rođendan pesnika, 29.6.2025. je i predstavljen javnosti.

Within the discipline of Australian studies, the term "gothic" has some considerable currency, though principally in the field of architectural history. English Gothic was the main style of ecclesiastical architecture in nineteenth-century Australia, with the result that this style dominated the material and symbolic landscape of a great many Australian cities and towns. It is not surprising, then, that "Australian gothic" can be used without qualification to refer to architectural styling. It is the title of a recent book on the subject, for instance (Andrews . But the term "gothic" also has currency in the fields of Australian literary and cultural studies, where it is used in discussion of a range of forms: exploration narratives; prison and convict literature; nineteenth-century poetry; modern fiction, especially the "domestic gothic" of Christina Stead and Elizabeth Jolley, for example; and some contemporary forms of Aboriginal cultural production (Turcotte . "Medievalism" on the other hand, has relatively little currency in Australian studies. While some work has been done on the pedagogy and institutionalization of medieval studies in Australia (Barnes, Clunies Ross and Quinn; d'Arcens , "Australian medievalism" names an only barely established field. In the hope of extending this field, I am currently editing a collection of essays provisionally titled Medievalism and the Gothic in Australian Culture. In this collection, I am encouraging my contributors to articulate some possible relations between these two terms, "gothic" and "medievalism," both as disciplinary formations, and as a means of understanding Australian culture, especially in its relations with its European, or more specifically, its British colonial past. A second aim is to think about what might be distinctive about Australian medievalism; that is, what might distinguish it from American medievalism, for example, or from British heritage culture. The two terms "gothic" and "medievalist" do not exist in any easy relationship, however. "Gothic" is the more extensively theorized term, and certainly has the longer history . Its trajectory is traced most recently by Chris Brooks, who writes powerfully of the ways in which "the semantics of Gothic" could be deployed to a range of radical or conservative ends, especially in the eighteenth and nineteenth centuries. While his principle concern is with architecture and design, Brooks also discusses gothic fictions and their fascination with extreme sensibilities, with imagined states, the supernatural, the unconscious, and so forth. And in a brief epilogue, "Twentieth-century Gothic," he writes that "gothic has effectively moved

Oodgeroo Noonuccal (1920–1993), formerly known as Kath Walker, was an Aboriginal Australian poet, political activist, and educator. She was the first Aboriginal Australian to publish a book of verse—We Are Going (1964)—and used her writing to advocate for Indigenous rights, land reform, and cultural identity. A member of the Noonuccal tribe from North Stradbroke Island (Minjerribah), she played a vital role in the 1967 referendum campaign for Aboriginal civil rights. Her poetry is known for its clarity, political edge, and deep connection to Aboriginal culture and land.

The title of this paper is replete with shifty terms -'colonial', 'Australian' and 'playwright', and even 'play', all of which once seemed to me relatively unproblematic but are now fraught with grave instability. These misgivings are the result of several years' work on the University of Queensland project 'Australian Drama 1850-1 900'. This incorporates Eric Irvin's work on the identification of plays premiered in Australia from 1789 to 1914, as published in his work Australian Melodrama (1981 ) . A recent ARC grant terminating in 1996 has made it possible to expand on his work to complete a computerised database of plays identified as having their premiere in the Australian colonies, and which also records literary details of script content as well as theatrical details of performance runs and analysis of theatrical personnel.

Europa ist in »Der Mann ohne Eigenschaften« ein durchgängiges, wenn auch oft nur indirekt angesprochenes Thema. Einerseits hallen im Roman Echos auf Robert Musils Europa-Essays nach; andererseits wird das Schicksal des Kontinents in der Figurenrede - oft ironisch gebrochen - in ein dichtes Netz von Querbezügen zum zeitgenössischen Patriotismus und Orientalismus, Militarismus und Antisemitismus eingewoben. Die siebzehn Kapitelkommentare des Bandes zeichnen den Europadiskurs in »Der Mann ohne Eigenschaften« in seiner Vielschichtigkeit wie in seiner Weitsichtigkeit nach, sowohl in seiner ideologiekritischen Funktion als auch in der dramaturgischen Verschränkung mit dem Verlauf der Parallelaktion.Mit Beiträgen von: Matthias Bauer - Maximilian Bergengruen - Artur R. Boelderl - Antonia Eder - Alexander Honold - Jan Niklas Howe - Roland Innerhofer - Christian Kirchmeier - Robert Krause - Maren Lickhardt - Inka Mülder-Bach - Tobias Nanz - Iulia-Karin Patrut - Lucas Prieske - Reto Rössler - Burkhardt Wolf