The literary dawn: re-reading Louisa Lawson's poetry and politics

Scholarship on Louisa Lawson and the Dawn has necessarily often focussed on the important and wide-ranging achievements of her feminist work for women's legal, social and political rights. Indeed, as Audrey Oldfield notes, "Louisa Lawson was one of the most important figures in the New South Wales woman suffrage movement" (261). However, I want to focus here on the periodical publishing context of the Dawn as a means of pointing to further discussions of Lawson's significance as a poet. Megan Roughley has noted that the Dawn "was a forum for political causes, especially the movement for the emancipation and enfranchisement of women, and, as importantly to Louisa, the temperance movement" (ix), with influential articles appearing on a wide range of important issues including divorce reform. Yet, Lawson's construction of the Dawn was also highly literary from its first issue, with editorial choices and literary references reflecting her awareness of political and feminist literary culture. In addition to references such as the above quotation from Tennyson, Lawson included an epigraph from Joseph Addison's play Cato in the list of contents: "A day, an hour, in virtuous liberty, is worth a whole eternity in bondage." Citing Addison, a significant figure in the American Revolution, demonstrates Lawson's linking of radical class politics with feminism, as well as highlighting the importance of literary dialogues to Lawson's publishing work. Likewise, the concerns of Lawson's poetry are clearly situated within a continuing female tradition, and Lawson's poetry, when examined in the feminist literary context of the Dawn, reveals a radical and sophisticated poetics.

The Poetics of the Limit : Ethics and Politics in Modern and Contemporary American Poetry

Woods, Timothy, The Poetics of the Limit (New York: Palgrave Macmillan, 2003) RAE2008

Heaney and the neighbour: poetry between politics and ethics

In this essay I argue that Heaney uses the figure of the neighbour to examine questions of otherness and cultural difference and their relationship to history and politics. The neighbour is of course a figure that has played a central role in Western philosophy and theology for centuries, from the Gospels and Kant to Freud and Lacan. It is also a concept to which Western poetry often returns, particularly in the work of Herbert, Clare, Eliot and Auden. Heaney too belongs to this tradition, in that his oeuvre contains many poems which consider the relationship between neighbours, and do so in ways profoundly suggestive for consideration of the relationship between historical events, social structures, cultural difference and psychic affect. In my essay I argue that Heaney sketches a profoundly materialist conception of subjectivity in its relationship with the Other. In doing so I contrast Heaney’s treatment of the neighbour, with its emphasis on questions of politics and locality, to the treatment of the neighbour in the ethical philosophy of Emmanuel Levinas.

Dukes and poets in Ferrata : a study in the poetry, religion and politics of the fifteenth and early sixteenth centuries /

Mode of access: Internet.

Poetry and public speech: three traces

Poetry is routinely seen as ‘marginal’ to public culture, especially in terms of it having lost its status as a form of public speech. Such a condition is often noted in nostalgic terms, in which a golden era—bardic or journalistic—is evoked to illustrate contemporary poetry’s lack. But traces of poetry’s instrumentality, especially as a form of public speech, can be found in various extra-poetic contexts.

In this article, three examples of poetry operating in ‘extra-poetic contexts’ will illustrate the different, sometimes troubling, ways in which traces of poetry as a mode of public speech can be observed in contemporary culture: the poem-cartoons of Michael Leunig; the role of the poet Les Murray in the drafting of a proposed preamble to the Constitution of Australia; and the quotation of William Ernest Henley’s ‘Invictus’ as the final statement of Timothy McVeigh (the ‘Ohio Bomber’) prior to his execution.

These examples illustrate that poetry-as-public-speech engages with political discourse in diverse, incommensurate ways. Leunig’s occasional cartoon-poems, appearing in the metropolitan press, are examples of poetry at its most public and politically engaged state. And yet, even Leunig’s most ‘political’ work gestures towards a realm beyond politics, where the poetic, the comic, and the existential coexist as a way of making life in the political realm more bearable. Les Murray’s role as a ‘national’ poet in the failed attempt to introduce a preamble to the Australian Constitution illustrates the vestigial role that poets can play in nation building. Lastly, McVeigh’s quotation of Henley, made without any explanation, shows the unpredictable and potentially volatile condition of poetry-as-public-speech. In addition, the examples variously engage in arguments about the relationship between the individual and the state, private identity and national history.

Imperfect indifference : the rhythm, structure and politics of neutrality

Cette thèse propose l’émergence d’une poésie de l’entre deux dans la littérature expérimentale, en suivant ses développements du milieu du vingtième siècle jusqu'au début du vingt-et-unième. Cette notion d’entre-deux poétique se fonde sur une théorie du neutre (Barthes, Blanchot) comme ce qui se situe au delà ou entre l'opposition et la médiation. Le premier chapitre retrace le concept de monotonie dans la théorie esthétique depuis la période romantique où il est vu comme l'antithèse de la variabilité ou tension poétique, jusqu’à l’émergence de l’art conceptuel au vingtième siècle où il se déploie sans interruption. Ce chapitre examine alors la relation de la monotonie à la mélancolie à travers l’analyse de « The Anatomy of Monotony », poème de Wallace Stevens tiré du recueil Harmonium et l’œuvre poétique alphabet de Inger Christensen. Le deuxième chapitre aborde la réalisation d’une poésie de l’entre-deux à travers une analyse de quatre œuvres poétiques qui revisitent l’usage de l’index du livre paratextuel: l’index au long poème “A” de Louis Zukofsky, « Index to Shelley's Death » d’Alan Halsey qui apparait à la fin de l’oeuvre The Text of Shelley's Death, Cinema of the Present de Lisa Robertson, et l’oeuvre multimédia Via de Carolyn Bergvall. Le troisième chapitre retrace la politique de neutralité dans la théorie de la traduction. Face à la logique oppositionnelle de l’original contre la traduction, il propose hypothétiquement la réalisation d’une troisième texte ou « l’entre-deux », qui sert aussi à perturber les récits familiers de l’appropriation, l’absorption et l’assimilation qui effacent la différence du sujet de l’écrit. Il examine l’oeuvre hybride Secession with Insecession de Chus Pato et Erin Moure comme un exemple de poésie de l’entre-deux. A la fois pour Maurice Blanchot et Roland Barthes, le neutre représente un troisième terme potentiel qui défie le paradigme de la pensée oppositionnelle. Pour Blanchot, le neutre est la différence amenée au point de l’indifférence et de l’opacité de la transparence tandis que le désire de Barthes pour le neutre est une utopie lyrique qui se situe au-delà des contraintes de but et de marquage. La conclusion examine comment le neutre correspond au conditions de liberté gouvernant le principe de créativité de la poésie comme l’acte de faire sans intention ni raison.

Imperfect indifference : the rhythm, structure and politics of neutrality

Cette thèse propose l’émergence d’une poésie de l’entre deux dans la littérature expérimentale, en suivant ses développements du milieu du vingtième siècle jusqu'au début du vingt-et-unième. Cette notion d’entre-deux poétique se fonde sur une théorie du neutre (Barthes, Blanchot) comme ce qui se situe au delà ou entre l'opposition et la médiation. Le premier chapitre retrace le concept de monotonie dans la théorie esthétique depuis la période romantique où il est vu comme l'antithèse de la variabilité ou tension poétique, jusqu’à l’émergence de l’art conceptuel au vingtième siècle où il se déploie sans interruption. Ce chapitre examine alors la relation de la monotonie à la mélancolie à travers l’analyse de « The Anatomy of Monotony », poème de Wallace Stevens tiré du recueil Harmonium et l’œuvre poétique alphabet de Inger Christensen. Le deuxième chapitre aborde la réalisation d’une poésie de l’entre-deux à travers une analyse de quatre œuvres poétiques qui revisitent l’usage de l’index du livre paratextuel: l’index au long poème “A” de Louis Zukofsky, « Index to Shelley's Death » d’Alan Halsey qui apparait à la fin de l’oeuvre The Text of Shelley's Death, Cinema of the Present de Lisa Robertson, et l’oeuvre multimédia Via de Carolyn Bergvall. Le troisième chapitre retrace la politique de neutralité dans la théorie de la traduction. Face à la logique oppositionnelle de l’original contre la traduction, il propose hypothétiquement la réalisation d’une troisième texte ou « l’entre-deux », qui sert aussi à perturber les récits familiers de l’appropriation, l’absorption et l’assimilation qui effacent la différence du sujet de l’écrit. Il examine l’oeuvre hybride Secession with Insecession de Chus Pato et Erin Moure comme un exemple de poésie de l’entre-deux. A la fois pour Maurice Blanchot et Roland Barthes, le neutre représente un troisième terme potentiel qui défie le paradigme de la pensée oppositionnelle. Pour Blanchot, le neutre est la différence amenée au point de l’indifférence et de l’opacité de la transparence tandis que le désire de Barthes pour le neutre est une utopie lyrique qui se situe au-delà des contraintes de but et de marquage. La conclusion examine comment le neutre correspond au conditions de liberté gouvernant le principe de créativité de la poésie comme l’acte de faire sans intention ni raison.

The Scottish media and politics

This chapter will explore the performance of the Scottish media in post-devolution political life, before turning its attention to the specific coverage of the 2007 election.

The perils and politics of criminological research and the threat to academic freedom

This article focuses on government acts of intimidation or the "policing of knowledge". It is more concerned with the suppression of academic freedom, the contractual ambiguities of contemporary criminological research and the ways in which independent scholarship is controlled or influenced by funding bodies than with the specifics of the original crime prevention research which forms the basis of the case study.

Criminology, Crime and Politics Before and After 9/11

Criminologists have mostly followed the criminal law in adopting an apolitical concept of crime. They paid limited attention to both political crime and the political power to criminalise. The article traces efforts to redress this since the 1960s. It nevertheless remained a minority concern, mostly of critical criminology. Yet crime has been politicised in various ways by other developments, also examined in the article. The events of 9/11 have crowned the emergence of crime as a strategic security issue posing a challenge to criminology to engage with politically inspired crime and its control.