Popular culture, the 'victim' trope and queer youth analytics

This article offers a joint reading of two cultural texts that reflect the contest over victim-oriented characterizations of queer youth in contemporary culture. The first text is a representation of queer youth taken from the popular UK television series Shameless (2004). The second text is an online discussion about representations of gay and lesbian characters on television that was recently posted on the Queer Youth Network website. Through my reading of these two texts, I explore the rise of explicit mainstream representations of gay and lesbian characters and the emergence of an identifiable queer youth audience as key characteristics of the contemporary 'after-queer' moment. Through a reflection on the queer youth analytical techniques observable on the Queer Youth Network site, I conclude by outlining some key implications for future educational research in the field of youth, sexuality and popular culture.

Tropes in advertising: a web-based empirical study

This study examines the role of one type of rhetorical figure, tropes, which are creative devices that entail the arrangement of words in paradoxical relationships. Specifically, its focus lies in investigating whether the influence simple and complex tropes have on persuasion, as reported in previous research by Toncar and Munch (2003), are generalisable beyond the sample they used. In the extant literature, it is argued that by fully understanding the effects of certain types of tropes, advertisers may better apply their persuasive messages. The study finds that, when using subjective measures as initiated by Toncar and Munch (2003), tropes have no influence on persuasion. While it is noted that further research is needed to increase the generalisability of this study, this result holds true when both simple and complex trope types are used.

Herbert Spencer in the suburbs? Class, politics, ideology and the Australian petty-bourgeoisie in the Howard years

A dominant trope of media commentary after the 2004 federal election was the rise of blue-collar self-employment and small business and its negative impact on Labor electoral support. In this paper I examine the evidence on the growth of self-employment and small business in Australia since the 1980s and the political consequences of this growth. I consider why the growth of self-employment and small business has been overstated by many observers, and the emergence of a right-wing anti-capitalism in the critique of the dependence of wage-labour. Although the growth of self-employment and small business has been overstated it is a real phenomenon. I extract the rational kernel from the largely ill-informed commentary on this issue and place contemporary debates about self-employment in a historical and global context. I consider why the self-employed and small business were once seen as natural allies of the working-class in a populist coalition but why they are now identified by commentators as hostile to class politics.

Animating grandma : the indices of age and agency in contemporary children

Analysis of three animated children's films, each with heroic grandmothers motivating their plotlines, suggests a shift in the representational politics mediating older women to child audiences. The films function as critiques, reflections, and mechanisms of contemporary capitalism's available sociocultural locations for older women, modelled through varying degrees of subversive performance. Interrogating the agency potential of housework, nurture and extreme sports, this article assesses the role and function of the “Granny trope” in contemporary children's media.

For goodness sake! Postlogographically de-(dis)positioning education research

How are education researchers and their research now positioned? Where are education research and researchers now positioned in the public/private debate? What is the position of practitioner research in these circumstances? My paper introduces 'post logography' as a researching trope for perturbing structuralist analytic methods towards interpreting post structuralising complexities that challenge the 'positioning' of education/research/researchers.

I discuss interpreting researching with and in (with-in) educating as intertwining ways, for turning the analytical objectivity that 'positions' subjective 'facts' as essentialised 'goods', towards exploring generative states of 'goodness'.

Education and its research are typically cast as separate constructs (like teaching and outcomes) for defining the subjectification of educational objects as valuable 'goods' - especially those with private economic value.

I argue that researched educational 'goods' are mostly teaching and outcomes focussed, and mainly privately positioned, whereas researching with-in educating for 'goodness' concerns a public disposition of exploring-learning-generativity for social knowing-acting.

I am theorising that through postlogographically de-positioning the predominance of 'facts' as private 'goods', and thereby recognising interpretive states concerning and generating 'goodness', the reductive polarisation of education/research, public/private, theorist/practitioner turns towards understanding complex continua for exploring-learning-generativity, which introduce new horizons of significance for social knowing-acting.

Who wears the pants? The (multi) cultural politics of 'The sisterhood of the travelling pants'

Novels that prioritise the connectedness and strength of girls’ friendships without employing the pervasive trope of “mean girls”—those who typically divide in order to conquer other girls—are potentially empowering in their refusal to perpetuate limited and binary accounts of adolescent femininity. While Ann Brashares’ cult novel (now film), The Sisterhood of the Traveling Pants (2005a; originally 2002) appears to be representative of this textual shift, underpinning the overt call to value girls’ relationships is a deeply conservative, assimilationist narrative that relies on an acceptance of traditional patriarchal values. This article analyses the ways in which the novel appropriates “multicultural difference” to valorise, sustain and naturalise the central position and authority of patriarchy in the lives of young girls, regardless of their cultural heritage.

A report on indologism

This article is by way of a ‘Report’ (in the Lyotardian sense) on Indologism - which term registers both a disciplinary phenomenon or project we call Indology, and the passing of this movement when it is problematized, just it as happened to Oriental Studies in the wake of the much-touted demuring trope of Orientalism. But Indology unlike perhaps the already-ghosted Orientalism (e.g. Raymond Schwab’s fine study before even Said jumped on to the bandwagon) is well past the Orientalist-post.

Shilpa’s filthy hands

The celebrity Big Brother race row centers, in part, on the preparation, handling and consumption of food. While the ritual of formal and informal dining is a key trope of the series, in this instance it is used to construct notions of difference and Otherness. Eating/not eating Indian becomes a symbol of purity and danger: of Shilpa's filthy natural self that somehow lurked beneath her glamorous exterior. If one eats Indian one is consuming the Other, with the potential to be taken over or spoiled by it. Shilpa, then, comes to stand for a complex and contradictory mix of Eastern/Oriental gender stereotypes. However, at the same time, the racialised grammar of representation used to mark her out as Other draws attention to the white bodies attempting to deny her wholeness. In choosing to eat/not eat Indian one opens up a dynamic space for an interrogation of whiteness to emerge. In fact, Jade, Jo, and Danielle become inferior signifiers of national identity in an age of global consumption. By contrast, Shilpa becomes 'surplus value', a supericonic sign that resists the name calling, fetishisation, marginalisation demanded by those on the show. The Big Brother race row may well be a text that directly speaks to the new post-colonial communication flows in place in the contemporary age.

Wry-necked memory : the matter of Ireland in cutting green hay and memory Ireland, and the poems of the pattern.

This paper examines the matter of Ireland in Buckley’s two memoirs, Cutting Green Hay (1983) and Memory Ireland (1985), and the poems of The Pattern (1979), in order to revisit critically the ways in which he constructs himself as a diasporic Irish-Australian, a participant in the most remote Gaeltacht. It raises questions of victimhood, of similar and different experience of being at the mercy of the land, and of his re-engineering of the place of the political in poetry. It argues that Buckley’s agonized positioning as Ireland’s ‘guest/foreigner/son’ was a project that was doomed by its utopianism, and that, obsessed as he became with Ireland, the angst within had little to do with ‘the Ireland within’ or without. The paper suggests that the poet’s slow and unacknowledged abandonment in his Irish period of a key tenet of modernism, its distrust of propaganda and the political, is in itself a new formation which had some continuity with the radicalism of his thinking during the formative years of the revolutionary catholic apostolate he led both at the University of Melbourne and nationally. It also points to the deployment of an ancient medieval Irish trope, that of the ocean (rather than a landmass) linking a dispersed community, as one of the ways the poetry effects a resolution of the issues of being ‘Irish’ in a remote country.

Lost in Hanoi : disorientation, travel, and urban space

Using a 2010 trip to Hanoi, Vietnam, this article looks at the ways that disorientation is used as a  trope within the urban environment and to create the traveling subject. Suggesting that travel is a form of deliberate disorientation/ orientation, the article focuses on ideas of disorientation within the urban environment and the ways they have been portrayed in Western cultural forms (the flâneur; the dérive) while suggesting these forms are not sufficient to understand the dynamics of travel. Moreover, the article focuses on two forms of travel as disorientation derived from John Zilcosky—the trope of being “lost and found” and that of  “the return.” Finally, the article suggests that Marcus Auge’s idea of non-place is not only a sufficient way of conceptualizing contemporary notions of travel, but is also an indicator of something beyond its scope—that of globalization.

Persona studies: mapping the proliferation of the public self

Celebrity has developed into a particularly powerful and pervasive trope for contemporary culture. It works at organising what we perceive as significant and this is made evident through its permeation of what constitutes news. Similarly, celebrity has been well documented in terms of its capacity to shape our entertainment: stardom is at least one of the cultural economies in which our stories and fictions are selected or read and recreated in popular culture. This article argues for the development of persona studies, where research on the celebrity is a subset of a wider study of how the self and public intersect and produce versions and identities that in some way continue to support the wider demands of our work economies.

Transforming Paramythi in diasporic literature : five Greek Australian writers

 This thesis examines how paramythi, as a literary trope, circulates in different ways in the texts of five Greek Australian writers and what this reveals about diasporic subjectivities.

Having sex with capitalism: parodic in-citation in the prose poem sequence

In his Spleen de Paris or Petits poèmes en prose [Little Prose Poems] Baudelaire (1869) forges an instrument of supple and radical potential, declaring the prose poem a ‘dangerous’ hybrid, which he wills elastic enough and staccato enough, to register the flows, jolts and distractions for the flâneur in the increasingly industrialised Paris. Here,by the mid-19th century, plate glass and gas lighting enable conspicuous consumption. Itis most strikingly the romantic-erotic and the relation between poet and his delicious, execrable wife, his inescapable, pitiless Muse (Baudelaire 1989: 177] that provides the nexus for radical questioning of the whole socio-political economy. Departing from Johnson’s Défigurations (1979) and using Irigaray’s (1984) hypothesis that the economy of sexual difference is the founding trope for the discursive and thus political economy of differences – of culture, ethnicity and class – this article first looks at theway Baudelaire activates the heterosexual relation as a site for social critique. It examines how Perec continues Baudelaire’s prose poetry experiment, offering, pre-May 1968, a revolutionary critique of desire by exploiting formal constraints to deconstruct still further the consumer subject of capitalism. It then investigates Brossard’s ‘hologrammatic’ challenge (1991) to patriarchal regimes of representation and the forms of desire they outlaw. Finally, it suggests how new work by Walwicz (2015)develops and displaces this radical inheritance.

Snap

‘Snap’ deploys the queer cliché of becoming-sailor as a trope for recognition in the amorous encounter and literalises the ‘copycat’ as its catalyst. As Girard argues (1973), the human is foremost mimetic: this story makes its claim for originality and authenticity of connection through the playful recycling of cliché.‘Snap’ eschews the relative affectlessness of some metafiction by staging an amorous approach under the shadow of mortality. It exploits the liminal moment of modernist short fiction to summon the ‘manifold’ of experience. Here, love opens a space of intertextual esonance (Costello 2007), including motifs of Genet (masquerade), Duras (haunting) and Maurice Blanchot (the infinite approach), by writing the threshold of encounter as the intensive silence of wond