Who says boys don`t read? They do in literature circles!

This article is about Literature Circles and its ongoing implementation at Parade College, where it is regarded as an innovative, flexible and inclusive strategy that motivates adolescent learners, particularly boys, to read for enjoyment, for independent learning, and for the enhancement of literacy knowledge, skills and capabilities.

Bare life in second life : Giorgio Agamben's politics in performance

This paper describes and analyzes the necessary misreadings of Giorgio Agamben’s account of ‘bare life’ in a recent performance in Melbourne, Australia. The ‘Bare Life’ project deals with Australia’s treatment of asylum seekers with reference to Agamben’s work on sovereign power and uses the on-line second life world as both a metaphor for the refugee’s desire for a new life, and a literal site of performance. The development showing explored the interactions between live performance and second life avatars in real time. This paper deals with the philosophical, ethical and practical problems that emerged during the development, and argues that the ‘misreading’ is an inevitable, but useful part of finding ways to embody philosophical and political ideas in performance.

Babylonia : reconfiguring the Australian political novel in the 'postfeminist', 'postmodern', 'postcolonial' era

The thesis comprises the comic novel "Babylonia", set in the Northern Territory, the Middle East and the United States in August 1990 after the Iraqi invasion of Kuwait, and the accompanying exegesis that links "Babylonia" to selected Australian fiction and to political and cultural concerns of the current era.

Cultural politics in the English classroom : textually dangerous territory?

How might one approach cultural politics in the English classroom? What might the role of the class text be in these discussions? This article is a snapshot of the author's journey from a pre-service English teacher to her most recent experiences of English teaching. Her pre- service pedagogy indicated a 'minimization' of the role of the text in unpacking cultural politics; the text itself was overshadowed by the important points the teacher was making about critiquing the way the world is socially, culturally and politically organised. In her beginning teaching year, the author was in a remote rural school where she encountered attitudes to hegemonic masculinity and heterosexuality which she felt she did not deal appropriately with. She now believes that more emphasis on how the features of the text itself work to create meaning and construct identities is needed. She recognises the importance of close textual analysis as a way toward engaging in culturally political conversations about constructions of gender and sexuality in media and non-media texts. If she were to have her beginning teaching years over again, she would probably collate a series of contrasting representations of masculinity and femininity from a variety of sources, including popular culture. She would then develop activities based around undertaking textual analysis of the constructions of gender and sexuality, and ask students to identify the different elements in the texts that create meaning, and compare similarities and differences between texts.

Animating child activism: Environmentalism and class politics in Ghibli’s Princess Mononoke (1997) and Fox’s Fern Gully (1992)

 Informed by ecocriticism, this article conducts a comparative examination of two contemporary animated children’s films, Princess Mononoke (1997) and Fern Gully (1992). While both films advocate for the prevention of deforestation, they are, to varying degrees, antithetical to environmentalism. Both films reject the principles of deep ecology in displacing responsibility for environmental destruction on to ‘supernatural’ forces and exhibit anthropocentric concern for the survival of humans. We argue that these films constitute divergent methodological approaches for environmental consciousness-raising in children’s entertainment. The western world production demonstrates marked conservatism in its depiction of identity politics and ‘cute’ feminization of nature, while Hayao Miyazaki’s film renders nature sublime and invokes complex socio-cultural differences. Against FernGully’s ‘othering’ of working-class and queer characters, we posit that Princess Mononoke is decidedly queer, anti-binary and ideologically bi-partisan and, in accord with the underlying principle of environmental justice, asks child audiences to consider compassion for the poor in association with care for nature.