The Resource A travelling colonial architecture : Home and nation in selected works by Patrick White, Peter Carey, Xavier Herbert and James Bardon, Stephen Brock, (electronic resource)

A travelling colonial architecture : Home and nation in selected works by Patrick White, Peter Carey, Xavier Herbert and James Bardon, Stephen Brock, (electronic resource)

Label
A travelling colonial architecture : Home and nation in selected works by Patrick White, Peter Carey, Xavier Herbert and James Bardon
Title
A travelling colonial architecture
Title remainder
Home and nation in selected works by Patrick White, Peter Carey, Xavier Herbert and James Bardon
Statement of responsibility
Stephen Brock
Creator
Subject
Language
eng
Summary
"This thesis is a study of constructions of home and nation in selected works by Patrick White, Peter Carey, Xavier Herbert and James Bardon. Drawing on the work of postcolonial theorists, it examines ways in which the selected texts engage with national mythologies in the imagining of the Australian nation. It notes the deployment of racial discourses informing constructions of national identity that work to marginalise Indigenous Australians and other cultural minority groups. The texts are arranged in thematic rather than chronological order. White's treatment of the overland journey, and his representations of Aboriginality, discussed in Chapter One, are contrasted with Carey's revisiting of the overland journey motif in Oscar and Lucinda in Chapter Two. Whereas White's representations of Indigenous culture in Voss are static and essentialised, as is the case in Riders in the Chariot and A Fringe of Leaves, Carey's representation of Australia's contact history is characterised by a cultural hybridity. In White's texts, Indigenous culture is depicted as an anachronism in the contemporary Australian nation, while in Carey's, the words of the coloniser are appropriated and employed to subvert the ideological colonial paradigm. Carey's use of heteroglossia is examined further in the analysis of Illywhacker in Chapter Three. Whereas Carey treats Australian types ironically in Illywhacker's pet emporium, the protagonist of Xavier Herbert's Poor Fellow My Country, Jeremy Delacy, is depicted as an expert on Australian types. The intertextuality between Herbert's novel and the work of social Darwinist anthropologists in the 1930s and 1940s is discussed in Chapter Four, providing a historical context to appreciate a shift from modernist to postmodernist narrative strategies in Carey's fiction. James Bardon's fictional treatment of the Papunya Tula painting movement in Revolution by Night is seen to continue to frame Indigenous culture in a modernist grammar of representation through its portrayal of the work of Papunya Tula artists in the terms of 'the fourth dimension'. Bardon's novel is nevertheless a fascinating postcolonial engagement with Sturt's architectural construction of landscape in his maps and journals, a discussion of which leads to Tony Birch's analysis of the politics of name reclamation in contemporary tourism discourses" [taken from abstract]
Dissertation note
A thesis submitted for the Degree of Doctor of Philosophy - Flinders University of South Australia, Faculty of Education Humanities, Law and Theology, June 2003
Label
A travelling colonial architecture : Home and nation in selected works by Patrick White, Peter Carey, Xavier Herbert and James Bardon, Stephen Brock, (electronic resource)
Link
http://catalogue.flinders.edu.au/local/adt/public/adt-SFU20070424.101150/
Instantiates
Publication
Note
Title from electronic thesis (viewed 27/7/10)
Contents
Writing Home in Voss, Riders in the Chariot and A Fringe of Leaves; The Spatial Politics of Mr Bonner's Garden: A Scene of Writing; When Voss Writes Home: Cultural Hybridity and the 'Primitive Imagination; A Classical Grammar of Representation; Representations of Aboriginality in Riders in the Chariot and A Fringe of Leaves; Oscar and Lucinda: The Explorer Hero Revisited; Peter Carey and Paul Carter; Inventing Country; Cultural Hybridity in Oscar and Lucinda; Pet Shop Pantheon: Illywhacker and the Architectural Construction of Australian Types; A Foucauldian Reading of Illywhacker's Pet Emporium; Exhibiting Australian Types; 'American Dreams'; Nation and Miscegenation in Poor Fellow My Country; Jeremy Delacy's Menagerie; Narrative Strategies in Poor Fellow My Country and Illywhacker: Alfie Candlemas vs Leah Goldstein; Magic Realism in Poor Fellow My Country; The Painted Caves; Prindy As 'Bad Primitive'; Travellers, Tourists and Postcards; Mapping the Homely National Imaginary in Revolution by Night; Papunya Tula Art and the Fourth Dimension; The Imaginary Primitive; Chronotopes and Heteroglossia; Cultural Horizons; Revolution by Night: A Victory Over the Sun; Aboriginal TV and the Visual Prerogatives of the Twentieth Century; Mapping and Naming: A Travelling Colonial Architecture
Type of computer file
Text
Label
A travelling colonial architecture : Home and nation in selected works by Patrick White, Peter Carey, Xavier Herbert and James Bardon, Stephen Brock, (electronic resource)
Link
http://catalogue.flinders.edu.au/local/adt/public/adt-SFU20070424.101150/
Publication
Note
Title from electronic thesis (viewed 27/7/10)
Contents
Writing Home in Voss, Riders in the Chariot and A Fringe of Leaves; The Spatial Politics of Mr Bonner's Garden: A Scene of Writing; When Voss Writes Home: Cultural Hybridity and the 'Primitive Imagination; A Classical Grammar of Representation; Representations of Aboriginality in Riders in the Chariot and A Fringe of Leaves; Oscar and Lucinda: The Explorer Hero Revisited; Peter Carey and Paul Carter; Inventing Country; Cultural Hybridity in Oscar and Lucinda; Pet Shop Pantheon: Illywhacker and the Architectural Construction of Australian Types; A Foucauldian Reading of Illywhacker's Pet Emporium; Exhibiting Australian Types; 'American Dreams'; Nation and Miscegenation in Poor Fellow My Country; Jeremy Delacy's Menagerie; Narrative Strategies in Poor Fellow My Country and Illywhacker: Alfie Candlemas vs Leah Goldstein; Magic Realism in Poor Fellow My Country; The Painted Caves; Prindy As 'Bad Primitive'; Travellers, Tourists and Postcards; Mapping the Homely National Imaginary in Revolution by Night; Papunya Tula Art and the Fourth Dimension; The Imaginary Primitive; Chronotopes and Heteroglossia; Cultural Horizons; Revolution by Night: A Victory Over the Sun; Aboriginal TV and the Visual Prerogatives of the Twentieth Century; Mapping and Naming: A Travelling Colonial Architecture
Type of computer file
Text

Library Locations

    • Australian Institute of Aboriginal and Torres Strait Islander Studies (AIATSIS)Borrow it
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