Identity as radical alterity : critiques of Eurocentrism, coloniality and subjectivity in contemporary Australian and Latin American poetry.

This article presents a comparative analysis of Australian and Latin American contemporary poetry which is informed by theories of Eurocentrism derived from contemporary Latin American critical thought.

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.

Intention and unintention or the hyperconscious in contemporary lyric impulse

The creative component, a collection of poetry of eighty pages written mostly in the process described in the critical component. The critical component is a fresh examination of the role of the unconscious drive in the impulse to write Western lyric poetry, particularly contemporary lyric poetry.

This voice and notes

This poem plays around with ideas of ‘voice’. The title draws attention, through its use of a demonstrative pronoun, to the instability of voice in lyric poetry. In other words, by calling the poem ‘This Voice’, I hope to make the reader think ‘Which voice is this? The author’s? Mine? A fictional character’s?’

Star struck

With poems ranging from the confessional to the mock-autobiographical, from imagism to a strange storytelling, from the comic and satirical to the plangent and disturbing, Star Struck startles us with the many faces of lyric poetry.This book of poems by the award-winning poet David McCooey is made up of four sections. The first documents an alienating encounter with a life-threatening illness. The second plays out an unforgettable obsession with darkness and light. The third brings together popular music and the ancient literary mode of the pastoral. In this highly original sequence we find, among other things, Bob Dylan singing Virgil, Joni Mitchell reflecting on life in Laurel Canyon, a lab monkey pondering the sound of music, and a bitter, surreal rewriting of ‘Down Under’ for our times. In the final section, narrative poetry is cast in an intensely new and uncanny light.

Crusader churches in the Latin East : expressions of medieval theology

The Latin invaders of the Eastern Mediterranean in the 12th-14th Centuries were on a mission to retrieve and protect the Christian Holy Land from Muslim occupation. They encountered a consistent, Eastern approach to the architectural expression of the Christian faith which the physical remains of their churches show they adopted. Previously, I have shown how it can be deduced from the archaeological remains of churches from the 4th-6th C that early church architecture was influenced by the theological ideas of the period. This paper argues that the Eastern approach to church architecture as adopted by the Crusaders was compatible with the medieval European theological context and can be seen as a legitimate expression of medieval theology.

In the Syrian taste : crusader churches in the Latin East as architectural expressions of orthodoxy

This paper explores how the architectural expression of orthodoxy in the Eastern churches was transferred to Europe before the Crusades and then reinforced through the Crusaders’ adoption of the triple-apsed east end “in the Syrian Taste” in the Holy Land. Previously, I have shown how it can be deduced from the archaeological remains of churches from the 4th-6th C that early church architecture was influenced by the theological ideas of the
period. It is proposed that the Eastern orthodox approach to church
architecture as adopted by the Crusaders paralleled the evolution of medieval theology in Europe and can be seen as its legitimate expression.