Performance and narrative, bodies and movement in the construction of places and objects, spaces and knowledges: The case of the Maltese megaliths

The article explores the ways knowledge and space are co-produced performatively through bodily movement in an examination of the Maltese megaliths the first complex stone structures in the world. It is argued that knowledge is best seen as spatialized narratives of human actions and objects as materialized forms of those spatial narratives. Rewriting our social and historical narratives so that the performativity of place, space and knowledge is restored opens new possibilities for rethinking the social and material order.

'Untranscended / life itself': the poetry of Pam Brown

Pam Brown's cynicism, satire, attractions and repulsions seem built around an absent centre, something always already in the poetry lost in the tedious non-occurrences of contemporary Australian life. Brown has typically published in a scattered, small-press way and while this small-press, small-readership approach is something most Australian poets know intimately, Brown has made it into an art form, and one which seems in keeping with her own ironic and at times cynical approach to the world of appearance, celebrity and media hype.

Behind the eyes: poetry of witness

 A review of Susie Utting's poetry collection, Flame in the Fire, 2012.

This voice: the poetry of knowing and not knowing

This essay is concerned with how poetry—reading it, writing it, and adapting it—relies on a dialectic between knowing and not knowing, a flickering movement between understanding and ignorance that is central to the production of poetry and its effects. To illustrate this, I discuss my poem, ‘This Voice’, and its subsequent adaptation into what I call a ‘poetry soundtrack’, a form of digital audio poetry employing poetry, music, and sound design. The essay illustrates the centrality of the knowing/not-knowing dialectic to poetry by considering the following with regard to my works: the thematics of nescience; the liminal and virtual space of interpretation and play (the latter as theorised by D.W. Winnicott); ‘nocturnal poetics’; and sampling (both sonic and lexical).

The third space: The poetry of Sudesh Mishra & the paintings of John Forrest

This book consists of two chapters that document and analyse the context and development of a collaboration between two writers, a poet and a painter, 33 poems and 33 paintings. The poems and paintings are placed in a dialogical relationship with each other. The book attempts to do more than present poetry and paintings serving merely as an illustration of each other. Instead the authors/artists have experimented with how each art-form can bring further significance to another and make new meaning. The two chapters and introduction set up for the viewer a means of exploring a novel form of making meaning. Furthermore these chapters discuss aesthetic, philosophical, historical and political questions endemic not only to the selected art and poetry but to questions governing creative art processes. In this sense it deals with what we have termed 'a third space'.

When she refuses to settle: reading adolescent female sexuality and sexual abuse in the poetry of Genna Gardini and Kate Lilley

This essay compares the representations of adolescent sexual abuse and female sexuality in the poetry of South African poet Genna Gardini and Australian poet Kate Lilley. It explores Sabine Sielke's contention that differences in sexuality have predominantly constructed female sexuality as victimisation. In contrast, contemporary poets like Gardini and Lilley unsettle such alignment, demonstrating not only its constitutive limits but also providing a counter-discourse of radicalised agency.

Towards \'wild mind\': The poetry of Gary Snyder

An interdisciplinary study of the renowned poet Gary Snyder, tracing the development of his concept of Wild Mind: a philosophical approach that seeks to reconfigure our relationship to the environment.

Blairgowrie: the meaning of place

Defining the meaning of a specific place is difficult. Blairgowrie is a peaceful and naturally protected beach haven on the Nepean Peninsula on the tip of the Mornington Peninsula, in Victoria, Australia. When a major development is perceived as threatening the quality of place, it is perhaps already too late to begin to name its characteristics or particular attributes. The evocative and poetic qualities of Blairgowrie do not reveal themselves immediately. Only over a period of time, and by visiting at various times of the day in all seasons, can one begin to fathom its moods, its soul, its many colours; and to touch its memories. Here sea and sky can meet, or divide, totally unobstructed, depending on climatic conditions, seasonal weather patterns and diurnal changes. It is still possible to get a sense of scale and wide-angle limitless vision. When a Safe Boat Harbour was proposed for Blairgowrie, residents came out in force to voice their objections or their support. A tribunal hearing was put in place. In light of the dismissal of qualitative data, of reflective experiential material, of community opinion, of values of the 'other' in planning tribunal hearings, this paper attempts to build a case for putting into words 'the meaning of place'. The Safe Boat Harbour proposal was the catalyst for this exploration of 'meaning of place', and is not itself primarily the subject of this paper. This very personal paper begins to examine the meaning of this place. Through images, perceptions, and representations; through time; history, topography; flora and fauna: it attempts to find a way of coming to terms with this extraordinary land/seascape. In the long term this project aims to produce relevant, authoritative, and defensible research that provides the context and rationale for the selection and assessment of places of outstanding heritage significance. Further, it will provide a case study in support of new planning regulations for 'place' zones (Mant, 2001) rather than the generic land use zones, which are current in Victoria.

The impossible infinite: Les Murray, poetry, and the sacred

In 1983, the provocative and idiosyncratic Australian poet Les Murray published a volume entitled The People's Otherworld. At the heart of that middle volume of Murray's work is a poem about grace entitled Equanimity. Here, McCredden examines how does the poetry of Murray seek to represent the sacred.

Globalizing heritage: world heritage as a manifestation of modernism and the challenge from the periphery

Government efforts to protect monuments and sites of cultural heritage value have gone on for many centuries. The distinctive new chapter that
the 20th Century brought to cultural heritage protection was the establishment of a globalized effort over and above the work of nation states, This led to a new cultural heritage bureaucracy at the international level, the development of new sets of 'universal' standards, and a new set of places deemed to be of world heritage significance, All of this was done in the spirit of goodwill and optimism that infused the modem movement and that made possible the establishment of the so-called Bretton Woods organizations such as the United Nations as well as the parallel organizations specifically dealing with Cultural Heritage - UNESCO, ICOMOS, ICOM and ICCROM, In recent decades cultural relativists have challenged the drive towards uniformity implicit in the global activities of the modernist organizations, and various parts of the periphery have reacted against aspects of the global cultural heritage approach, The Venice Charter is no longer regarded as the single, universal way to conserve heritage places. It has been replaced or supplemented in large parts of the world by alternatives and modifications such as the Nara Document and Burra Charter. If it is no longer acceptable to provide a universal answer to the question of how do we identify and save heritage, the challenge of the 21st Century is to make the most of the complexity of standards that now exists.