The cradle of whose civilisation? : reading the Theseus myth in Riordan’s Percy Jackson and Ottley’s Requiem for a Beast

This paper considers the functions of Greek mythology in general and the “Theseus and the Minotaur” myth in particular in two contemporary texts of adolescent masculinity: Rick Riordan’s Percy Jackson series (2005-2009) and Matt Ottley’s Requiem for a Beast: A Work for Image, Word and Music (2007). These texts reveal the ongoing flexibility of mythic texts to be pressed into service of shoring up or challenging currently hegemonic ideologies of self and state. Both Riordan and Ottley make a variety of intertextual uses of classical hero plots in order to facilitate their own narrative explorations of contemporary adolescent men ‘coming of age’. These intertextual gestures might easily be read as gestures of alignment with narrative traditions and authority which simultaneously confer “legitimacy” on Riordan and Ottley, on their texts, and by extension, on their readers. However, when read in juxtaposition, it is clear that Riordan and Ottley may use classical mythology to articulate similarly gendered adolescence, they produce divergent visions of nationed adolescence.

Labyrinthine literacies : navigating cultural agency in the arrival and requiem for a beast

The OED reminds us as surely as Ovid that a labyrinth is a “structure consisting of a number of intercommunicating passages arranged in bewildering complexity, through which it is it difficult or impossible to find one’s way without guidance”. Both Shaun Tan’s The Arrival (2006) and Matt Ottley’s Requiem for a Beast: A Work for Image, Word and Music (2007) mark a kind of labyrinthine watershed in Australian children’s literature. Deploying complex, intercommunicating logics of story and literacy, these books make high demands of their reader but also offer guidance for the successful navigation of their stories; for their protagonists as surely as for readers. That the shared logic of navigation in each book is literacy as privileged form of meaning-making is not surprising in the sense that within “a culture deeply invested in myths of individualism and self-sufficiency, it is easy to see why literacy is glorified as an attribute of individual control and achievement” (Williams and Zenger 166). The extent to which these books might be read as exemplifying desired norms of contemporary Australian culture seems to be affirmed by the fact of Tan and Ottley winning the Australian “Picture Book of the Year” prize awarded by the Children’s Book Council of Australia in 2007 and 2008 respectively. However, taking its cue from Ottley’s explicit intertextual use of the myth of Theseus and from Tan’s visual rhetoric of lostness and displacement, this paper reads these texts’ engagement with tropes of “literacy” in order to consider the ways in which norms of gender and culture seemingly circulated within these texts might be undermined by constructions of “nation” itself as a labyrinth that can only partly be negotiated by a literate subject. In doing so, I argue that these picture books, to varying degrees, reveal a perpetuation of the “literacy myth” (Graff 12) as a discourse of safety and agency but simultaneously bear traces of Ariadne’s story, wherein literacy alone is insufficient for safe navigation of the labyrinth of culture.

Requiem for a beast : a case study in controversy

In 2008, Matt Ottley’s Requiem for a Beast: A Work for Image, Word and Music was awarded the Book of the Year: Picture Book by the Children’s Book Council of Australia (CBCA). Ottley’s book is challenging in its form and content: it uses words, illustrations, and music to tell a sustained, multi-layered narrative about one young man’s attempts to reconcile his family’s and his nation’s shameful history of violence against Aboriginal Australians, while also coming to terms with his own attempts to commit suicide. Given the ways in which the CBCA’s annual book awards are used by teachers, librarians, and parents to select the “best” books for young readers, it is unsurprising that the prizing of Requiem for a Beast stirred up controversy. Responses to the book proliferated across professional and popular outlets—it even received coverage on an Australian tabloid television program—and initiated a variety of conversations about what constitutes appropriate reading for young people. Perhaps more significantly, the controversy over Requiem winning picture book of the year forced the CBCA, teacher librarians, and caregivers to examine (and, often, defend) their roles and responsibilities in the circulation and promotion of children’s literature. This paper reads the Requiem controversies as a case study for understanding the complementary and contradictory roles of institutions and individuals in the ethical circulation of children’s literature in contemporary Australia and beyond.

Religiosidad en “Ein deutsches requiem” de Brahms : una aproximación hermeneútica

Resumen: El Requiem Alemán de Brahms ha sido objeto de numerosos análisis teológicomusicológicos, debido principalmente a dos características peculiares: 1. es una obra del género requiem que no utiliza el texto de la Missa pro defunctis, sino que emplea una selección de textos bíblicos elegidos por su autor, y 2. su contenido motívico deriva de manipulaciones sobre la melodía del coral Wer nur den lieben Gott lässt walten, que aparecen a lo largo de los 7 números de la obra. Este trabajo pone de relieve la existencia de un motivo autónomo, independiente del contenido del coral, que aparece en cinco de los siete números y al que el autor asigna la representación simbólica de la Redención.

Reproducción de Esquela de la Misa de Requiem conmemorativa del 43º Aniversario del fallecimiento del Fundador del Nacionalismo Vasco, Sabino de Arana y Goiri.

Fecha: 25-11-1944 (>1970 reproducción) / Unidad de instalación: Carpeta 25 - Expediente 23-6 / Nº de pág.: 1 (mecanografiada)

Field guide to requiem sharks (Elasmobranchiomorphi: Carcharhinidae) of the Western North Atlantic

Identification problems are common for many sharks due to a general lack of meristic characteristics that are typically useful for separating species. Other than number of vertebrae and number and shape of teeth, identifications are frequently based on external features that are often shared among species. Identification problems in the field are most prevalent when live specimens are captured and releasing them with a minimum of stress is a priority (e.g., shark tagging programs). Identifications must be accurate and conducted quickly but this can be challenging, especially if specimens are very active or too large to be landed without physical damage. This field guide was designed primarily for use during field studies and presents a simplified method for identifying the 21 species of western North Atlantic Ocean sharks belonging to the family Carcharhinidae (carcharhinids). To assist with identifications a dichotomous key to Carcharhinidae was developed, and for the more problematic Carcharhinus species (12 species), separation sheets based on important distinguishing features were constructed. Descriptive text and illustrations provided in the species accounts were developed from field observations, photographs, and published references. (PDF file contains 36 pages.)

Strategic Spatial Planning in Berlin–Brandenburg: A Requiem for Balanced Development?

This practice review examines Berlin–Brandenburg’s new strategic spatial planning framework and considers, in particular, whether balanced development in this context is now simply a neoliberal fig leaf and mantra acting as policy cover for more pragmatic accommodations in harsh times. The article concludes that such a judgement would be too harsh with the concept continuing to mould creative engagement by decision-makers.

Nexus requiem stony rises

A painting exhibited in the 2014 Acquisitive Awards in conjunction with the Swan Hill Regional Art Gallergy. It is composed with charcoal, chalk and enamel on paper

Nexus : Requiem Stony Rises

Artwork : Charcoal, chalk, enamel on paper, 76 x 112cm

Requiem for Empire : Fabian Ware and the Imperial War Graves Commission

More than one million soldiers of the British Empire died in the First World War. The Imperial War Graves Commission, created in 1917, had as its mandate the obligation to care for their graves and memorials, in 1850 cemeteries in more than 100 countries around the globe. Its founder, Fabian Ware, hoped and expected this Commission to have even more enduring effects, yet the political origins of the organisation remain little understood. This chapter looks beyond the monuments erected by the Imperial War Graves Commission to the ideals and intent of its creators. It argues that the driving force behind this major commemorative work was not a desire to represent any fundamental break with the past, but an attempt to produce an institution that symbolised imperial cooperation and memorialised the war and its dead in a way that would continue to place the British Empire at the centre of world affairs.