Social-conservatism, Australian politics and cricket: The triumvirate of Prime Minister John Howard, Sir Robert Menzies and Sir Donald Bradman

This Article does not have an abstract.

Cultural frictions: John Romeril's The 'Floating World'

Hailed as an 'unruly masterpiece', John Romeril's The Floating World is one of the few 'new wave' Australian plays representing Australians and their Asian 'others' to be restaged periodically since its premiere in 1974. Paying particular attention to production of the play that have used Japanese theatre forms such as kabuki and bunraku, this article focuses primarily on the ways in which the significations of race have been interpreted by the critical establishment. The fascinating stage history of The Floating World is treated as a barometer of Australian theatre's response to the challenge of representing cultural conflict, during a period marked by public debate about the desirability, and inevitability, of Australia's political, economic and cultural 'enmeshment' with Asia.

Yehoshua Gitay: 'What is He Doing?'

This article provides a response to an article by Yehoshua Gitay, ‘Prophetic Criticism—"What are they Doing?": The Case of Isaiah—A Methodological Assessment’ (JSOT 96), in which he assesses the articles in the volume, New Visions of Isaiah. These articles were originally delivered as papers to the Formation of the Book of Isaiah Seminar of the Society of Biblical Literature. Gitay characterizes the entire work of the Seminar as having a redaction-critical focus. I argue that to characterize my article as representing a redaction-critical approach is to misunderstand what others and I were doing as participants in the Isaiah seminar. My article was in fact a critique of redaction criticism and its author-centred approach to textual meaning.

Discovering the Law Again: John Grisham, Ed Stevens and the Postmaterial Lawyer

This paper uses three films adapted from the novels of John Grisham, The Firm, The Rainmaker and A Time To Kill, as well as associated television series like Ed to map a vernacular theory of what I have termed the 'postmaterial' lawyer. Grisham's work has been the focus of much critique by legal scholars who suggests he hates lawyers, is critical of the concept of law, and provides 'outlandishly' happy endings. I will challenge these critiques and, in tracing the history of legal thrillers and trial movies, suggest that Grisham and the related texts' explorations of how a just practitioner can operate in an unjust system constitute a powerful interrogation of what law can be.