'New heaven and new earth': translation and conversion on Aneityum

The idea that 19th-century Europeans and Islanders faced each other across virtually impassable linguistic and cultural boundaries has been a model for Pacific ethnohistory and can, perhaps, be traced in part to the Sapir-Whorf theory of linguistic incommensurability. Based on a case study concerning the translation of the Aneityum [Anejom] bible in Southern Vanuatu in the mid-19th century, the article considers whether the engagement between Islanders and missionaries might be better investigated through the dynamic dialogic model of Bakhtin and Voloshinov: thus speakers and interlocutors on Aneityum actively sought to understand each other through debates and dialogues about the new deity and His place in the spiritual cosmos of the island. The article first discusses the Protestant missionary defence of linguistic parity and commensurability and the formal practices of 19th-century British bible translation; then analyses debates on the new God's efficacy between missionary John Geddie and Nohoat, the foremost sorcerer of the area; and concludes by considering the translation of words particularly important to the Christian faith.

Raising the subject : ideology in children's fiction

This thesis is concerned to reveal, by means of textual analysis, ideologies connected to human subjectivity within eight contemporary novels for 'children' . The analyses draw upon the work of Macherey, Eagleton, Jameson and Bakhtin among others. The texts discussed cover more than two decades, from 1955 to 1977. The first, Philippa Pearce's Minnow on the Say, attempts to reconcile a traditional form of subjectivity with a less hierarchic and mare open type. Lyotard's account of customary and scientific knowledge, and Said's of affiliation ion , are the basis for discussion here. Susan Cooper's sequence The Dark is Rising grounds humanism in a mythic British past. Within these texts the problem of situating the subject within a wider social framework is linked to one of nationalism. Her novels are fantasies, and provide an opportunity for a discussion of a non-realist form and its ideological implications, Todorov's account of the fantastic as a genre is a reference—point in this analysis. Jane Garden’s Bilge water presents a discontinuous subject—in-process. Her story is told by a first— person narrator, situated within a framed narrative. Through its themes and structures the text interrogates its central character's project of subjectivity as perfectible, centered and continuous, and finds it untenable. In Russell Hagan’s The House and his Child the possibility of self-determination within language as discourse is of central concern. The tin mice, who are hollow, echo in their persons the text's interest in the distinction between inside and outside, the difference which Lacanian theory posits as essential for an accession to subjectivity- Hoban's work gives an account of the postmodern subject, and calls into question the subjectivities assumed in Pearce's and Cooper's texts.

Heteroglossia : a space for developing critical language awareness?

This paper reports on research into the challenges of implementing a critical writing pedagogy within a teacher education program in Australia. Participants in this study are student teachers enrolled in a compulsory subject, ‘Language and Literacy in Secondary School’, a subject requiring them to develop a knowledge of the role of language and literacy across the secondary school curriculum and to show personal proficiency in literacy (this is dictated by state government specifications of graduate outcomes for teacher education programs). To develop an understanding of the way that language has shaped their lives, students write a narrative about their early literacy experiences – a task which they all find very challenging, especially in comparison with the formal writing of other university subjects. Rather than simply reminiscing about their early childhood, they are encouraged to juxtapose voices from the past and the present, and to combine a range of texts within their writing. They thereby create a heteroglossic text (Bakhtin, 1981) that stretches their repertoires as language users and enables them to develop a socially critical awareness of language and literacy, including the literacy practices in which they engage as university students. Later in the semester they revisit these accounts of their early literacy experiences, and (in a separate piece of writing) endeavour to place these accounts within the contexts of theories and debates they have encountered in the course of completing this unit.

The students’ writing provides a small window on how they are experiencing their tertiary education, including the managerial controls that are currently shaping university curriculum and pedagogy. Their writing also raises questions as to extent to which tertiary students are actually able to formulate a critical language awareness that will subsequently inform their professional practice as secondary teachers.

Dialogical ethics in a global society : cultural difference and answerability

Debates about multiculturalism are common to many late-modern societies today. Globalization has triggered a massive flow of people across state borders, challenging and changing assumptions about national identities and cultural politics. How to deal with difference without reducing it to sameness is becoming one of the main issues discussed by policy-makers, researchers and educators. This paper argues for the importance of turning to dialogical ethics before developing and implementing largescale political strategies in managing differences. It draws on the ideas of Bakhtin and Levinas to transcend the notion of ‘caring at a distance’ that is embedded in the neo-liberal construction of moral selfhood. As an alternative, the emphasis is made on spatial proximity – on ‘face-to-face’ relations with alterity – to conceptualize the dialogical self who is both responsive to and responsible for the Other. Bakhtin’s philosophy of the act and Levinas’ ethics of responsibility are mutually enriching in thinking about the role of the dialogical self in building a pluralistic society. The paper concludes with the implications of dialogical ethics for multicultural education.

Encounters with 'strangers' : towards dialogical ethics in English language education

This article takes the inquiry into 'nativeness' and 'non-nativeness' to the level of developing an ethical framework for professional practice in English language education. In so doing, our aim is firstly to use the 'sociology of the stranger' as a framework to problematize discourses on the Other and Othering. We shall argue that these discourses are sedimented in the modernist project of perpetual purification in which "order making ... becomes indistinguishable from announcing ever new abnormalities, drawing ever new dividing lines, identifying and setting apart ever new strangers" (Bauman, 1997, p. 11). Our next step is to open up the possibility of transcending these discourses in education through a dialogical ethics of respecting the otherness in the Other. Pedagogy based on the ethics of dialogical recognition emphasizes the value of difference in learning through the 'surplus of vision' that the Other provides for constructing new meanings and new ways to mean (Bakhtin, 1981; Levinas, 1969). The recognition of 'the foreigner in the self' has significant pedagogical implications for language educators and marks the movement from ethics to politics.

Writing across boundaries

This thesis examines a range of recent Australian fiction written in a magical realist mode. It uses the work of Russian literary theorist Mikhail Bakhtin to foreground the cross-cultural dialogues represented in these narratives, and it reads these dialogues in the context of contemporary negotiations of cultural difference in Australia.

Heteroglossia : a space for developing critical language awareness?

This paper reports on research into the challenges of implementing a critical writing pedagogy within a teacher education program in Australia. Participants in this study are student teachers enrolled in a compulsory subject, “Language and Literacy in Secondary School”, a subject requiring them to develop a knowledge of the role of language and literacy across the secondary school curriculum and to show personal proficiency in literacy as part of graduate outcomes for teacher education dictated by the State Government of Victoria. To develop an understanding of the way that language has shaped their lives, students write a narrative about their early literacy experiences – a task which they all find very challenging, especially in comparison with the formal writing of other university subjects. Rather than simply reminiscing about their early childhood, they are encouraged to juxtapose voices from the past and the present, and to combine a range of texts within their writing. Later in the semester they revisit these accounts of their early literacy experiences and, in a separate piece of writing, endeavour to place these accounts within the contexts of theories and debates they have encountered in the course of completing this unit. The students’ writing provides a small window on how they are experiencing their tertiary education and their preparation as teachers, including the managerial controls that are currently shaping university curriculum and pedagogy. We argue that such heteroglossic texts (Bakhtin, 1981) prompt students to stretch their repertoires as language-users, enabling them to develop a socially critical awareness of language and literacy, including the literacy practices in which they engage as university students.

Poetic revolutionaries: intertextuality and subversion

Poetic Revolutionaries is an exploration of the relationship between radical textual practice, social critique and subversion. From an introduction considering recent debates regarding the cultural politics of intertextuality allied to avant-garde practice, the study proceeds to an exploration of texts by a range of writers for whom formal and poetic experimentation is allied to a subversive politics: Jean Genet, Monique Wittig, Angela Carter, Kathy Acker, Kathleen Mary Fallon, Kim Scott and Brian Castro. Drawing on theories of avant-garde practice, intertextuality, parody, representation, and performance such as those of Mikhaïl Bakhtin, Julia Kristeva, Gérard Genette, Margaret A. Rose, Linda Hutcheon, Fredric Jameson, Ross Chambers and Judith Butler, these readings explore how a confluence of writing strategies – covering the structural, narratological, stylistic and scenographic – can work to boost a text’s subversive power.

Connecting with carnival : developing critical business education through reflective writing

In response to recent criticisms, and following a sustained effort by Critical Management Scholars, business education, especially the MBA, is increasingly taking seriously the idea that it needs to enable students to develop the capacities of critical and reflective thought. One method in particular is suggested as meeting this end; reflective writing. The aim of this current paper is to consider if this method lives up to the promise of developing critical and reflective coporate citizens. Using a body of critical theory on reflective practice, I argue that reflective writing as done by students tends to be a Truth posing exercise. This is insufficient to the end that critical scholars envision. My aim with this paper is to introduce a new form of reflective writing. Drawing on the based on Bakhtin's (1984) notion of carnival, I argue for a dialogical text in which different voices and perspectives jostle and claim that this is productive of texts that grant autonomy to the reader to make meaning. This form of writing is more conductive to the constitution of ethical and critical thinking than are the current truth books (Masschelein, 2006) that dominant reflective writing. I illustrate this through my experiences introducing reflective writing in an undergraduate accounting unit and to an MBA. I argue that the latter is more dialogical and carnivalistic as the reflective writing is a joint effort.

Feminine freakishness: Carnivalesque bodies in Angela Carter’s nights at the circus

Angela Carter described herself as being in the “demythologisingbusiness” (“Notes”, 38) and in her 1984 novel Nights at the CircusCarter’s interrogative scope is both broad and complex. The wingedaerialiste Fevvers and the rag-bag of circus freaks with whom shejourneys evoke the Rabelaisian carnivalesque that Bakhtin cites as apowerful challenge to the spatial, temporal, and linguistic fixities of themedieval world. The transformative and regenerative potential ofRabelais’ grotesque is evident in Nights' temporal setting, whichforegrounds the possibilities of birth through death. Set at the “fagend” of the nineteenth century (19), the characters are witness tohistory on the cusp as “[t]he old dying world gives birth to the newone” (Bakhtin, 435). Here Carter has shifted the point of historicalregeneration from Rabelais’ subversion of the Neo-Platonic medievalcosmology to, rather hopefully, symbolize the demise or at least thederailment of the Age of Reason, industrial progress, Imperialism, andtheir respective ideologies of misogyny. For Fevvers and Walser theexcess of the carnivalesque prompts a crisis of subjectivity thatsignals both the redundancy of restrictive ideologies of demarcationand hierarchy, but also the playful possibilities of corporeal fluidity andreferential relativism.

Art as parodic practice

Perhaps because of the pervasive sampling, remixing, rehashing and promiscuous citational blending in postmodernity, where quote marks dissolve, parody has come to be seen as a somewhat archaic concept, pertaining to cultures more stably codified and hierarchically ordered, rather than subject to the fluctuations of global markets and phantasmagoric projections affecting the flow of investment moneys. Given the anxiogenic nature of postmodernity under its various guises, willed as hypermodernityand metamodernity or supermodernity, the ideologeme ‘parody’ might be seen as nostalgic symptom in the wake of the ‘grand narratives’ (Lyotard 1984 [1979]) – a rehearsed post-apocalyptic nostalgia for a world of neo-feudalism and fiefdoms, where the seasonal lifting of prohibition for carnival brought on the ‘allowed fool’ (Shakespeare 2006) for parody’s brief upending of the hierarchical order, when high became low, mouth met anus, and wise became mad, even within the Pater Noster of the Holy Mass. (Bakhtin 1980: 78). How the revisitation of parody might illuminate contemporary cultural politics is a driving question behind this collection, a questionmade more urgent by recent global developments of terror.

The monologic, power and mental illness

 This thesis considers the issue of the ‘Monologic, Power and Mental Illness’. Bakhtin’s concept of ‘Heteroglossia’, Foucault’s concept of ‘Subjectivation’, and the work of other writers in relation to mental illness are covered both in the Exegesis and throughout the creative component comprising excerpts from Kemp’s novella entitled, Haven.