School of Arts

1. The Documentary Field 2. Braided Channels - Documentary Voice 3. Cinematic Scenes of Life 4. New Waves of Documentary 5. Australian Television Takes On Independent Documentary 6. Documentary and the Film Finance Corporation 7. Changing Relations: The AFC, Film Australia and Documentary in the Era of the FFC 8. Australian Broadcasting Cultures and Recent Documentary Practice 9. Documentary and the Edge of Reality 10. Documentary and Civics 11. Documentary Present and Future.

terme questionne habilement les dualismes nature/culture, humain/animal qui soutiennent l'idée qu'il existe des espaces exclusifs mutuels et des zones propres aux animaux. Ces dualismes sont fondés sur la différence plutôt que sur la co-existence, alors que cet essai souhaite souligner la lutte et la négociation qui caractérisent la prise de possession de ces espaces partagés. Positionnement à remonter dans le texte -important!

Modern Language Quarterly Special Issue: Lessons from the Past: the History of Academic English 75.2 (2014) 193-214. (7 000 words)
Original research examining MacCallum’s public lectures, and teaching of Browning at the University of Sydney from the 1890s-1920s; proposes a genealogy of ‘difficulty”.

This article examines Robert Browning's and Henry James's writings to consider their responses to, and implication in, the production, circulation, and consumption of late nineteenth-century celebrity. For James, there were two Brownings – the private, unknowable genius and the social personality. From the time he first met Browning until 1912, James held to this theory in letters, essays, biography, and fiction; the Browning 'problem' became integral to James's fascinated engagement with other problems at the heart of celebrity culture. Both writers attacked celebrity discourses and practices (biography, interviews, literary tourism) that constructed the life as a vital source of meaning, thus threatening to displace the writer's work as privileged object of literary interpretation. Browning preceded James in insisting that the separation of public and private life was foundational to an impersonal aesthetics, and in exploring the fatal confusion between art and life that has been identified by theorists as central to celebrity culture. 'I cling to the dear old tradition that Browning is " difficult " ', Henry James declared in his centenary speech on Robert Browning's death. 1 James, with some wit, was elaborating upon the interpretive labour demanded by Browning's poetry but another dimension of the poet's difficulty was that in James's view, he was possessed of a double identity. James grew up revering Browning, but when he first met the 65-year-old literary lion in early 1877 at a dinner party held by George Washburn Smalley, the European correspondent in London for the New York Tribune, the aura of sanctity attached to Browning as a cultural figure was shattered. Soon after, he wrote to his mother that

Title:
Bull’s-eye, Agency and the Species Divide in Oliver Twist: a Cur’s-Eye View

Abstract

Dickens’s satire of the 1834 Poor Law in Oliver Twist draws upon Victorian discourses of animality in a way that highlights contemporary understandings of the continuities and differences between human and animal behaviour. This chapter suggests that Sike’s dog, Bull’s-eye, is figure onto which the novel displaces a contradiction about inherited traits and social conditioning in the formation of character, a question that was at the heart of the New Poor Law and the decades-long debate about the status of the poor in England. While Bull’s-eye stands in for human traits and concerns, he also has an agentive role in novel’s diegesis and retains an animal recalcitrance that points to material practices and situated knowledges that cannot be accommodated within the confines of allegory.