Poetry and public speech: three traces

Poetry is routinely seen as ‘marginal’ to public culture, especially in terms of it having lost its status as a form of public speech. Such a condition is often noted in nostalgic terms, in which a golden era—bardic or journalistic—is evoked to illustrate contemporary poetry’s lack. But traces of poetry’s instrumentality, especially as a form of public speech, can be found in various extra-poetic contexts.

In this article, three examples of poetry operating in ‘extra-poetic contexts’ will illustrate the different, sometimes troubling, ways in which traces of poetry as a mode of public speech can be observed in contemporary culture: the poem-cartoons of Michael Leunig; the role of the poet Les Murray in the drafting of a proposed preamble to the Constitution of Australia; and the quotation of William Ernest Henley’s ‘Invictus’ as the final statement of Timothy McVeigh (the ‘Ohio Bomber’) prior to his execution.

These examples illustrate that poetry-as-public-speech engages with political discourse in diverse, incommensurate ways. Leunig’s occasional cartoon-poems, appearing in the metropolitan press, are examples of poetry at its most public and politically engaged state. And yet, even Leunig’s most ‘political’ work gestures towards a realm beyond politics, where the poetic, the comic, and the existential coexist as a way of making life in the political realm more bearable. Les Murray’s role as a ‘national’ poet in the failed attempt to introduce a preamble to the Australian Constitution illustrates the vestigial role that poets can play in nation building. Lastly, McVeigh’s quotation of Henley, made without any explanation, shows the unpredictable and potentially volatile condition of poetry-as-public-speech. In addition, the examples variously engage in arguments about the relationship between the individual and the state, private identity and national history.

Green tea, black tea, and epigallocatechin modify body composition, improve glucose tolerance, and differentially alter metabolic gene expression in rats fed a high-fat diet

The mechanisms of how tea and epigallocatechin-3-gallate (EGCG) lower body fat are not completely understood. This study investigated long-term administration of green tea (GT), black tea (BT), or isolated EGCG (1 mg/kg per day) on body composition, glucose tolerance, and gene expression related to energy metabolism and lipid homeostasis; it was hypothesized that all treatments would improve the indicators of metabolic syndrome. Rats were fed a 15% fat diet for 6 months from 4 weeks of age and were supplied GT, BT, EGCG, or water. GT and BT reduced body fat, whereas GT and EGCG increased lean mass. At 16 weeks GT, BT, and EGCG improved glucose tolerance. In the liver, GT and BT increased the expression of genes involved in fatty acid synthesis (SREBP-1c, FAS, MCD, ACC) and oxidation (PPAR-α, CPT-1, ACO); however, EGCG had no effect. In perirenal fat, genes that mediate adipocyte differentiation were suppressed by GT (Pref-1, C/EBP-β, and PPAR-γ) and BT (C/EBP-β), while decreasing LPL, HSL, and UCP-2 expression; EGCG increased expression of UCP-2 and PPAR-γ genes. Liver triacylglycerol content was unchanged. The results suggest that GT and BT suppressed adipocyte differentiation and fatty acid uptake into adipose tissue, while increasing fat synthesis and oxidation by the liver, without inducing hepatic fat accumulation. In contrast, EGCG increased markers of thermogenesis and differentiation in adipose tissue, while having no effect on liver or muscle tissues at this dose. These results show novel and separate mechanisms by which tea and EGCG may improve glucose tolerance and support a role for these compounds in obesity prevention.

Vigilant pleasure as autoethnography : the life of the tea mind as critical history

I examine tea as cultural practice by exploring how it is implicated in the formation of individual subjectivities and national identity. While using the experience of learning and consuming tea lore as a foreigner as my explicit point of entry, I analyse how tea transmission practices are represented in Japanese films. My readings of these films are supported by a survey of the historical applications of tea as part of a project of national invention. Against tea's self-representation as purely cultural, I draw attention to this ideological silencing of its economic and political effects by claiming that institutionalised tea pedagogy has been a major player in a nationally distinctive discourse of transience. My thesis argues that autoethnography can be used to bring into view the ideological foundations of various social practices organised around tea sites and texts. Once ideology is visible autoethnography may mediate the effects of dominant discourses by making a modest form of private resistance possible. As a performance of critical and effective history, I explore the limits of consciously resisting institutionalised power by reflecting on how discourses of tea and social theory intersect in my autoethnographic account of tea experiences. I begin by locating my subjectivity in tea. After outlining how tea is useful to me in psychological, domestic and professional contexts, I survey autoethnographic writing and critical forms of textual analysis. Given that traditions of textual analysis set limits to what can be comprehended, I note that considerations of the role of subjectivity are sometimes absent from several modes of textual analysis. I contend that more delicate forms of textual analysis are possible when multiple forms of subjectivity are explicitly addressed. Subjectivity is emphasised as I move between performances of being a cultural insider of tea subculture and an ethnic and linguistic outsider of daily life in Japan when I examine the connections linking tea anecdotes, film narratives, individual tales and national myths. From the position of tea culture insider and consumer of social theory I examine the relationship between national culture and individual subjectivity. I identify internal contradictions in tea transmission practices and consider how tea pedagogy and its cult of personality are addressed in tea films. The thesis concludes by considering the utility of identities in a global economy and comment on recent theories addressing the ethical self and social practices. It is on this basis that I claim the readings advanced in the earlier chapters map the pleasures and limits of employing autoethnography as a form of private resistance against the dominant discourses of tea, nation, and leisure.

At the limits : postcolonial and hyperreal translations of Australian poetry

This dissertation employs the methodologies of postcolonial theory and hyperreal theory (following Baudrillard), in order to investigate articulations of identity, nation and representation in contemporary Australian poetry. Informed by a comparative analysis of contemporary Latin American poetry and cultural theory (in translation), as a means of re-examining the Australian context, this dissertation develops a new transnational model of Australian poetics. The central thesis of this dissertation is that contemporary Australian poetry engages with the postcolonial at its limits. That is, at those sites of postcoloniality that are already mapped by theory, but also at those that occur beyond postcolonial theory. The hyperreal is understood as one such limit, traceable within the poetry but silenced in conventional postcolonial theory. As another limit to the postcolonial, this dissertation reads Latin American poetry and theory, in whose texts postcolonial theory is actively resisted, but where postcolonial and hyperreal poetics nevertheless intersect. The original critical context constructed by this dissertation enables a new set of readings of Australian identity through its poetry. Within this new interpretative context, the readings of contemporary Australian poetry articulate a psycho-social postcoloniality; offer a template for future transactions between national poetry and global politics; and develop a model of the postcolonial hyperreal.

Born of fire, possessed by darkness : mysticism and Australian poetry

This dissertation is structured around five Australian mystical poets: Ada Cambridge, John Shaw Neilson, Francis Webb, Judith Wright and Kevin Hart. It examines the varieties of Western Christian mysticism upon which these poets draw, or with which they exhibit affinities. A short prelude section to each chapter considers the thematic parallels of their contemporaries, while the final chapter critically investigates constructions of Indigeneity in Australian mystical poetry and the renegotiated mystical poetics of Indigenous poets and theologians. The central argument of this dissertation is that an understanding of Western Christian mysticism is essential to the study of Australian poetry. There are three sub-arguments: firstly, that Australian literary criticism regarding the mystical largely avoids the concept of mysticism as a shifting notion both historically and in the present; secondly, that what passes for mysticism is recurringly subject to poorly defined constructions of mysticism as well as individual poets’ use of the mystical for personal, creative or ideological purposes; thirdly, that in avoiding the concept of a shifting notion critics have ignored the increasing contribution of Australian poets to national and international discourses of mysticism.