The play of identities in Cypriot-Australian family storytelling

This article adopts a microanalytic approach to examine storytelling as a co-construction by family members in a Cypriot-Australian family. Previous studies on family storytelling have focused on the various roles of family members in storytelling with a means of studying family socialization (Miller et al., 1990; Ochs & Taylor, 1992; Blum-Kulka, 1997). These studies used critical discourse analysis, socioculturel theories, performance and pragmatic approaches to storytelling. This article offers a distinctive approach to family storytelling by examining the discourse and social identities that family members display during the storytelling. The data originate in a study that involves interviews with three generations of Greek-Australian and Cypriot-Australian women regarding their relationships with each other. In this paper we investigate the contributions of the father and the daughters in the course of the mother's turn at storytelling. The first part of the analysis focuses on the husband's discourse identities as a contributor, initiator and elicitor of his wife's storytelling. During the storytelling we also observe the production and exchange of different social identities between the husband and the mother, such as the 'unwilling suitor', the 'embarrassed schoolgirl' or the 'forceful but teasing husband'. The second part describes how the daughters take part in their mother's storytelling, producing a variety of identities such as the 'impatient mother', the 'complaining', 'happy', or 'good' mothers and daughters. These investigations succinctly illustrate how narratives become a resource for members' 'display' and 'play' of identities. Copyright ©2002, John Benjamins B.V.

Pax Americana: Accent attitudinal evaluations in New Zealand, Australia, and America

This study describes a series of evaluations of gender pairs of New Zealand English, Australian English, American English and RP-type English English voices by over 400 students in New Zealand, Australia and the U.S.A. Voices were chosen to represent the middle range of each accent, and balanced for paralinguistic features. Twenty-two personality and demographic traits were evaluated by Likert-scale questionnaires. Results indicated that the American female voice was rated most favourably on at least some traits by students of all three nationalities, followed by the American male. For most traits, Australian students generally ranked their own accents in third or fourth place, but New Zealanders put the female NZE voice in the mid-low range of all but solidarity-associated traits. All three groups disliked the NZE male. The RP voices did not receive the higher rankings in power/status variables we expected. The New Zealand evaluations downgrade their own accent vis-a`-vis the American and to some extent the RP voices. Overall, the American accent seems well on the way to equalling or even replacing RP as the prestige—or at least preferred—variety, not only in New Zealand but in Australia and some non-English-speaking nations as well. Preliminary analysis of data from Europe suggests this manifestation of linguistic hegemony as ‘Pax Americana’ seems to be prevalent over more than just the Anglophone nations.

Black and white and re(a)d all over again: Indigenous minstrelsy in contemporary Canadian and Australian theatre

This essay considers processes by which community identities are challenged by discussing the use of whiteface as an activist strategy in recent indigenous theatre in Canada and Australia. To understand whiteface, I employ Susan Gubar's notion of racechange, processes that test and even transgress racial borders. I also situate whiteface in relation to the history of blackface minstrelsy. Noting the ways these racial performances affirm the hierarchies of color and how power becomes invested in such color codings, the essay highlights indigenous employment of whiteface as a potential form of critical historiography. I then analyze how whiteface functions in two productions, Daniel David Moses's Almighty Voice and His Wife (1991) in Canada and the Queensland Theatre Company's 2000 revival of George Landen Dann's Fountains Beyond in Australia. My analysis posits that such indigenous performances of whiteface can affirm the identity of the marginalized other even as they destabilize the fixity of race and its meanings.

'Suitable mothers': lesbian and single women and the 'unborn' in Australian parliamentary discourse

Throughout the latter months of 2000 and early 2001, the Australian public, media and parliament were engaged in a long and emotive debate about motherhood. This debate constructed the two main protagonists, the unborn 'child' and the potential mother, with a variety of different and often oppositional identities. The article looks at the way that these subject identities interacted during the debate, starting from the premise that policy making has unintended and unacknowledged material outcomes, and using governmentality as a tool through which to analyse and understand processes of identity manipulation and resistance within policy making. The recent debate concerning the right of lesbian and single women to access new reproductive technologies in Australia is used as a case study. Nominally the debate was about access to IVF technology; in reality, however, the debate was about the governing of women and, in particular, the governing of motherhood identities. The article focuses on the parliamentary debate over the drafting of legislation designed to stop lesbian and single women from accessing these technologies, particularly the utilization of the 'unborn' subject within these debates as a device to discipline the identity of 'mother'.