Institute for Literary Studies

Preface List of abbreviations List of plates 1. Oligarchy of virtue - liberty and the Roman analogy Civic virtue and the Roman analogy Literary personae: Pope, Swift, Johnson, Thomson, Fielding, Burke 2. Virtue made visible - sensibility, sculpture, political gardens and temples 3. Britannia Romana - Romano-British archaeology: pioneers The Roman Knights and the recruitment of the aristocracy Architect as archaeologist: Burlington 4. Britannia Romana revived - architecture, collections, the numinous in landscape and house 5. Beyond the mainstream: classical nostalgia and freethinking Conclusion Appendix: books on archaeology owned by Burlington: an annotated shelf-list Bibliography Notes Index.

While 'print culture' and the notion of an 'age of print' have become accepted terms in media theory and early modern historical and literary scholarship, there is much disagreement over what they signify and whether they actually explain much. The present article looks at a number of ways in which the terms have been conceptualised over the last 30 years in each of the disciplinary fields mentioned and tries to assess both the usefulness and the limitations of the models proposed by such scholars as Ong, Eisenstein, Chartier, McKenzie, and Johns. Particular attention is given to print culture as a 'noetic' conception; to its use as a way of describing the social relationships of production and consumption; and to the place of the print media within the wider early modern informational economy. New ways of modelling the second and third of these categories are proposed.

1. Cultural Studies and Cultural Theory 2. Literature and Society: From Culturalism to Cultural Materialism 3. Critical Theory: From Ideology Critique to the Sociology of Culture 4. Semiology: From Structuralism to Post-Structuralism 5. The Cultural Politics of Difference 6. Postmodernism and Cultural Theory 7. Cultural Criticism and Cultural Policy

Perhaps no aspect of filmmaking has been so thoroughly canvassed at every level, from cinema-foyer gossip to learned academic exegeses, as the matter of adaptation of literature into film. It is not as though adaptation is the only kind of relationship that might exist between film and literature, but it is the one that most persistently preoccupies the theorist, the critic, the reviewer, the buff, and the ordinary filmgoer alike. No one feels too awed by it to be willing to risk judgments about the latest adaptation, usually to the film's disadvantage; nor do theorists regard the subject as too simple to engage their attention. So, to start, I should like to do what I can to dispose of some of the shibboleths that hover about the discourse, both popular and scholarly, relating to film-literature connections. First, it shouldn't be necessary after several decades of serious research into the processes and challenges of adaptation to insist that “fidelity” to the original text (however distinguished) is a wholly inappropriate and unhelpful criterion for either understanding or judgment. It may be that, even among the most rigorously high-minded of film viewers confronted with the film version of a cherished novel or play, it is hard to suppress a sort of yearning for a faithful rendering of one's own vision of the literary text . My italics are intended to highlight the impossibility of such a venture: that every reading of a literary text is a highly individual act of cognition and interpretation; that every such response involves a kind of personal adaptation on to the screen of one's imaginative faculty as one reads. And how is any film version, drawing on the contributions of numerous collaborators, ever going to produce the same responses except by the merest chance?

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Feminist Poetics in concerned with all of these questions, but also with the issue of rewriting an older poetics for what it does not say about the marginalisation of the feminine. The first half of the book traces the trajectory of a particular, feminine, academic subject learning to find her voice. The second half uses that differently disciplined voice to re-read the textual traces of the Governor murder stories, murders committed against white women and children by black men in Australia in 1900. This book is a feminist poetics for those who are engaged in the teaching of literacies, and in the making of Knowledge about literacies.

Ranking scholarly journals forms a major feature of the Excellence in Research for Australia (ERA) initiative. We argue this process is not only a flawed system of measurement, but more significantly erodes the very contexts that produce 'quality' research. We argue that collegiality, networks of international research, the socio-cultural role of the academic journal, as well as the way academics research in the digital era, are either ignored or negatively impacted upon by ranking exercises such as those posed by the ERA.

This article explores the synergy of narrative and materiality possible in picture books. Authors like Emily Gravett and Lauren Child create reader-protagonists who, through their interactions with books as physical objects, perform the narrative. Such interactions underscore the values of the material book, particularly as digital publishing expands.

Henry Handel Richardson is celebrated for her classic Australian novels The Getting of Wisdom and The Fortunes of Richard Mahony, yet her own life-story is still to be fully told. This enthralling book is the first complete biography of this enigmatic Australian literary icon. Drawing on previously unavailable records, the book sheds new light on Richardson's unconventional life. Beginning with her traumatic childhood, then tracing in detail the largely unknown story of the eleven formative years Richardson spent on the Continent, the book goes on to explore the personal and social forces that moved her during her long years as a London intellectual, concluding with her last ordeal as a frail spectator in the front-line of the Battle of Britain. • Henry Handel Richardson has been celebrated for her classic Australian novels, The Getting of Wisdom and The Fortunes of Richard Mahony amongst many others. Yet her own life story has not been told until now. This fascinating book is the first complete account of her life. • Henry Handel Richardson: A Life is a lavishly produced book, featuring photographs of Richardson throughout her life, and maps of the places where she lived

Despite the occasional upsurge of climate change scepticism amongst Anglophone conservative politicians and journalists, there is still a near-consensus amongst climate scientists that current levels of atmospheric greenhouse gas are sufficient to alter global weather patterns to disastrous effect. The resultant climate crisis is simultaneously both a natural and a socio-cultural phenomenon and in this book Milner and Burgmann argue that science fiction occupies a critical location within this nature/culture nexus. Science Fiction and Climate Change takes as its subject matter what Daniel Bloom famously dubbed ‘cli-fi’. It does not, however, attempt to impose a prescriptively environmentalist aesthetic on this sub-genre. Rather, it seeks to explain how a genre defined in relation to science finds itself obliged to produce fictional responses to the problems actually thrown up by contemporary scientific research. Milner and Burgmann adopt a historically and geographically comparatist framework, analysing print and audio-visual texts drawn from a number of different contexts, especially Australia, Britain, Canada, China, Finland, France, Germany, Japan and the United States. Inspired by Williams's cultural materialism, Bourdieu's sociology of culture and Moretti's version of world systems theory, the book builds on Milner’s own Locating Science Fiction to produce a powerfully persuasive study in the sociology of literature.

This article argues that the scale and success of the PostSecret project evidences the continuing influence of confession in contemporary autobiography. It analyzes the importance of materiality as a signifier of authenticity in a participatory media project that functions as an intimate public by coaxing life writing texts and detaching them from their authorial subjects.

Official Australian photography of the military occupation of postwar Japan provides a significant modern case study of photography as a medium of neo-colonial and Orientalist representation. Asserting its dominance of the combined British Commonwealth Occupation Force supporting the Americans, the Australian military revelled in the role of occupier of a wartime enemy who was still widely loathed. Sometimes compared with the British Raj in Imperial India, the Occupation became a historically familiar exercise of the white man’s power and privilege over the conquered and colonised Asiatic. It was marked by the rituals and practices of tourism, including the taking of photographic images. Photography was the main medium by which the event was recorded and circulated to the public back in Australia. Keen to convey images of a force enjoying the privileges of victory while in firm control of a still distrusted people, official photographers affiliated with the Australian military sought to capture a picturesque, feminised and ‘traditional’ Japan. This was a Japan that the war had made obsolete and which the Occupation was intended to modernise. The photographic appropriation of Japan reveals the ambiguity of the Occupation project, and the shallowness of Orientalist representation more generally.

General Introduction: Place, Space and Gender Part One: Contemporary Australian Fiction Introduction: Post-Bicentennial Perspectives 1. The Violence of Representation: Rewriting 'The Drover's Wife' 2. 'Gone Bush': Refiguring Women and the Bush 3. Another Country: the 'Terrible Darkness' of Country Towns 4. Learning to Belong: Nation and Reconciliation Part Two: Contemporary South African Fiction Introduction: New Subjectivities 5. 'A White Woman's Words': The Politics of Representation and Commitment 6. Rewriting the Farm Novel 7. Revisioning History 8. A State of Violence: The Politics of Truth and Reconciliation 9. Beyond the National: Exile and Belonging in Nadine Gordimer's The Pickup and Eva Sallis's The City of Sealions

This essay explores some of the difficulties faced by eighteenth-century scholars when conducting research using scanned text-bases, particularly Eighteenth Century Collections Online (ECCO). It begins with an explanation of some of the general problems that face the users of all scanned text-bases. These problems are illustrated in an account of research undertaken into the history of the condom and its representation in eighteenth-century texts. The failure of ECCO searches to produce meaningful results brings these problems into sharp focus, but also suggests novel ways in which they may be overcome.

This article examines the competing narratives of settlement in Kate Grenville's 2005 novel, The Secret River. On the one hand are Aboriginal stories of violent encounters with settlers that are transmitted orally and are unwritten and, on the other, are those European historical accounts that seek to legitimate Australian settlement. In this novel, Grenville is trying to reconcile her own convict ancestor's implication in acts of Indigenous dispossession, while simultaneously acknowledging the strength and courage of such acts of settlement. This paper argues that any such reconciliation is fraught with complexities, as a contemporary perspective on the past attempts to balance blame and admiration. Grenville's novel itself is thus open to ambiguities and to accusations of “whitewashing” the past.

How did 19th-century female writers portray relationships amongst women? How were female friendships and communities reflected in the mirror of women's texts? Exploring this subject through the work of three major women novelists-Elizabeth Gaskell, Charlotte Bronte, and George Eliot-Nestor examines their writings, thier lives, and their attitudes towards and relationships with women in the context of 19th-century social history. The period between 1840 and 1890 saw great changes in thinking about women in society. This social phenomenon coincided with the literary phenomenon of an emergent community of women authors. As a result, for the first time women had the advantage of telling their own stories in print, thus making a substantial contribution to the general public debate.

This essay reconsiders the importance of performativity to scholarship on life writing by exploring the potential of Eve Sedgwick's concept of the periper-formative utterance for reading queer life narratives. Taking the documentary Tarnation (2003) as an example, I argue that a range of life narrative practices can be understood as periperformative: texts that both narrate an individual life and critically interrogate the textual conditions under which lives are narrated. I suggest that a key element of periperformative life narrative is a critique of the importance of using a unique voice that speaks from and about the lived experience of the subject. The essay identifies the use of ventriloquism and collage as important characteristics for undertaking this critique.

Contents: Space Anthropology, Utopia, and Putropia. Left Culturalism: Science Fiction (1956) - William Morris (1958) - George Orwell (1958) - The Future Story as Social Formula Novel (1961) - Terror (1971) - Texts in their Contexts. Cultural Materialism: Nineteen Eighty-Four (1971) - The City and the Future (1973) - On Orwell: An Interview (1977) - On Morris: An Interview (1977) - Learning from Le Guin. (Anti-) Postmodernism: Utopia and Science Fiction (1978) - The Tenses of Imagination (1978) - Beyond Actually Existing Socialism (1980) - Resources for a Journey of Hope (1983) - Nineteen Eighty-Four in 1984 (1984) - The Future Novels: From The Volunteers (1978) - From The Fight for Manod (1979).

Mary Wollstonecraft and the Motherhood of Feminism Thomas H. Ford (bio) 1 For modern feminism, maternity has often appeared to be a lure or a trap. As mothers, women risk being defined primarily in terms of sexual reproduction in a cultural dynamic that overwhelms the possibility of female autonomy and self-determination. And yet, at the same time, the language of motherhood has been central to the way modern feminism has understood its own history. Twentieth-century feminists set out to locate themselves within traditions inaugurated by "foremothers," while the relations between one feminist generation and the next have often been represented as those of mothers and daughters. So on the one hand, the rhetoric of motherhood has been a central target in the feminist project of exposing and repudiating the cultural logics that perpetuate the oppression of women. And on the other, feminists have turned to this same rhetoric when reflecting on the development of feminism itself. The conflict between these two impulses has rarely been as sharp as in the reception of Mary Wollstonecraft. Although celebrated as the mother of English-language feminism, Wollstonecraft increasingly became subject to feminist criticism from the 1970s on. This second-wave reappraisal of Wollstonecraft culminated in 1994, when literary critic Susan Gubar charged Wollstonecraft with "feminist misogyny" (1994, 454). What gave this and similar criticisms of Wollstonecraft particular bite was their acceptance of Wollstonecraft as a vital source of inspiration for modern feminism. Gubar, for instance, writes that Wollstonecraft is "the aesthetic foremother of feminist expository prose" and that the latter's Vindication of the Rights of Woman is "quite rightly regarded as the founding feminist text in English" (454). It is precisely because of this foundational role that she warns Wollstonecraft's philosophical daughters against their foremother's influence. Gubar's account of Wollstonecraft effectively completes a critical consensus established through the 1980s and 1990s. Mary Jacobus, for instance, [End Page 189] understood Wollstonecraft's two novels to be "fictions which, even as they anatomize the confines of 'sensibility,' cannot escape its informing preoccupations and literary influence" (1986, 59). Mary Poovey similarly criticized Wollstonecraft for "remaining a prisoner of the category she most vehemently tried to reject" (1984, 81), and Janet Todd likewise argued that Wollstonecraft and fellow radical writer Mary Hays often remained 'trapped in the ideology of femininity' (1989, 237). More recently, Angela Keane has argued that Wollstonecraft "could only reproduce the logic of the system she sought to eradicate" (2000, 109). The same phrases recur in Timothy Reiss's reading of Wollstonecraft: "She argued within Enlightenment rhetoric . . . a matter of the right to participate in the system, not of the need to change it" (1989, 14). And, again like Gubar, Cora Kaplan understood Wollstonecraft to exemplify the fate of feminist thought more generally, for "all feminisms give some ideological hostage to femininities and are constructed through the gender sexuality of their day as well as standing in opposition to them" (Kaplan 1986, 49). It is this general pattern, in which the feminist text often unwittingly reinforces the patriarchy it sets out to combat, that Gubar dubs "feminist misogyny"—a paradoxical structure of self-animus, passed on from mother figures such as Wollstonecraft to her feminist daughters of today. In these readings, the contradictions within Wollstonecraft's ideas are often ascribed to her allegiance to bourgeois ideology. This emerging set of ideas allowed a new women's world to be imagined in the late eighteenth century, but, as Mitzi Myers writes, it also ordered that world according to the values of "modesty for both sexes, serviceable work, education, and, above all, mothering" (1982, 206). In this way, the paradoxical limitations of Wollstonecraft's feminism tend to be traced back to her commitment to the middle-class family, and specifically to her belief that motherhood should form the vital center of female cultural identity, with motherhood usually understood in these arguments in opposition to embodied feminine sexuality. Myers writes of Wollstonecraft that "the core of her manifesto remains middle-class motherhood, a feminist, republicanized adaptation of the female role normative in late eighteenth-century bourgeois notions of the family" (206). Joan Landes similarly claims that "even as she resists the...

This volume is the autobiography of Cornelia Sorabji, India's first woman barrister, from early childhood to adulthood. It depicts the status and lifestyle of orthodox Hindu women, to the amelioration of whose legal and personal status she dedicated herself. The book deals with issues of colonialism, and questions of identity arising out of a racial cultural hybridity and is a contribution to Indian women's studies.