Derek Allan, “The Very Idea of Art”

Join us for the next CuSPP Seminar (taking place via zoom)

Thursday 28 July, 2022, 4.30 – 6pm.

The Very Idea of Art

Donald Preziosi, an influential modern voice in art history, argues that his discipline has proved ‘particularly effective in naturalizing and validating the very idea of art as a “universal” human phenomenon’. If this claim is true, it would mean, in my view, that art history has done a serious disservice to our modern understanding of art. For as the French art theorist, André Malraux, points out, the idea of art is definitely not a universal human phenomenon, there being ample evidence that the vast majority of cultures throughout history, have not regarded their painting, sculpture, poetry, and music as ‘art’.

Today, of course, we willingly regard many works from non-European and early cultures as art and welcome them into art museums, but this is a recent development, barely more than a century old. This paper examines certain major issues arising from this situation, including: when and why the idea of art arose; the radical change in the word’s meaning that occurred after Manet; how this change led to the inclusion of many non-European and ancient works in our modern world of art; and the inadequate responses to these developments by modern philosophers of art and art historians.

Dr Derek Allan is a Visiting Fellow in the School of Literature, Languages and Linguistics at the Australian National University. His principal research interests are the theory of art and literature, European literature, and visual art. Derek’s publications cover figures such as Dostoyevsky, Laclos, Goya and the twentieth-century art theorist and novelist, André Malraux. His most recent publication is a book entitled André Malraux and Art: An Intellectual Revolution. It is also available in French.

ANU COVID safe event: Social distancing / masks mandatory / COVID safety officer

Online: Zoom Meeting ID: 861 8419 0389 / Password: 2022

Amy Walters (Thesis Proposal Review) on Maggie O’Farrell’s Fiction

Unstable Ground: Tracing a Gothic Lineage in Maggie O’Farrell’s Fiction

Since her debut in 2000, British author Maggie O’Farrell has published eight novels and one memoir, achieving consistent commercial success and several major awards, culminating in the 2020 Women’s Prize for Fiction. Despite such recognition, O’Farrell remains under-critiqued in both scholarship and non-academic literary criticism. Critics have particularly neglected O’Farrell’s extensive engagement with the Gothic tradition and have consequently both underestimated her feminist concerns and misinterpreted her signature atmosphere of haunting as psychological suspense, rather than as a Gothic trope intimating a species of knowledge at the borders of the tangible and the supernatural.

In this TPR presentation, I question how O’Farrell is situated in the post-millennial British literary landscape, drawing on both the small body of academic scholarship pertaining to her, and her non-academic reception. I then present an overview of my research to date, arguing for a reconsideration of her fiction in light of the Gothic tradition, focusing on how she reinvigorates tropes associated with the Female Gothic, and how her consistent use of the discourse of haunting relates to both her preoccupation with mortality, and the Gothic’s historic formation in opposition to the enlightenment’s discourse of rationality. I also provide an overview of my proposed thesis structure, methodology and timeframes.

Amy Walters is a PhD candidate in English Literature at the ANU and has been passionate about Maggie O’Farrell’s work since discovering it a decade and a half ago at the age of sixteen. She is also a writer and critic, and her work has been published in the Canberra Times, Kill Your Darlings, Meanjin and The Saturday Paper among other places.

ANU COVID safe event: Social distancing / masks mandatory / COVID safety officer

Online: Zoom Meeting ID: 861 8419 0389 / Password: 2022

Scarlette Do on Vietnamese Socialist Utopia in Đặng Nhật Minh’s 1980s Films

Vietnamese auteur Đặng Nhật Minh is highly regarded both inside and outside of the country for his poetic films and skilful negotiations with the censors at the Ministry of Culture. This paper examines two of Đặng’s films—When the Tenth Month Comes (1984) and The Girl on the River (1987)—against the backdrop of socio-political reforms and the Third Indochina War, during which time the socialist utopia once promised by the Communist Party of Vietnam became irretrievably lost. Situating the two films as revisions of the Revolutionary Cinema canon, I identify the ways in which Đặng navigates censorship to make known the Vietnamese community’s deep disillusionment and mourning for war deaths. Despite their critiques of the nation-state, the films nevertheless exhibit fixation on the lost socialist utopia through the thematic focus on the tomorrow that never materialised. Imbued with melancholia, Đặng’s films ultimately perpetuate within spectators yearning for this tomorrow, orienting their gaze away from the imperfect present and the encroaching neo-liberalisation of Vietnamese society.

Scarlette Do is a second-year PhD student at the Australian National University. Her research examines films about the Second Indochina War using interdisciplinary frameworks, including psychoanalysis, gender, and nationalism. When she is not researching and teaching, Scarlette serves as National Co-Director of the One Woman Project, a nonprofit focused on upskilling young people to challenge gender inequity in their local and national communities.

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Alice Grundy’s Exit Seminar: Editing and Publishing in Australia

Thursday 30 June, 4.30-6pm, A. D. Hope G28 (Note change of venue)

Please find link and password for livestream of this seminar here

While many scholars acknowledge that a book’s passage to publication is managed, aided and afforded by the labour of many people, in most literary scholarship such labour is ignored – perpetuating what Jack Stillinger calls ‘the myth of solitary genius’ (1991). My thesis examines the role of editing with two ends: first to reveal the dynamics at work in editorial and publishing practices; and second to better understand some of Australia’s most celebrated texts. Publishing studies is taught at a number of universities but there remains a divide between those who teach in these streams and scholars of literature. In taking six case studies – three fiction, three non-fiction – and through the use of archival research, literary criticism and book history, I demonstrate just how wide-ranging editorial intervention can be and how significant it is for our reckoning with literary production and the resulting texts. By examining Swords and Crowns and Rings by Ruth Park, The Multiple Effects of Rainshadow by Thea Astley and Tirra Lirra by the River by Jessica Anderson I show how editors act as social barometers, as facilitators and inhibitors of creative practice. By examining Don’t Take Your Love to Town by Ruby Langford Ginibi, My Place by Sally Morgan and Bad Manners by Kate Jennings, I show the dangers of good intentions, the power of intellectual engagement and the politics of cutting. This paper offers a new mode for literary and archival scholarship, foregrounding editorial labour to better understand literary work.

Alice Grundy has worked as an editor in trade publishing for over a dozen years, including as Associate Publisher at Brio and Managing Editor at Giramondo. She has taught Professional Editing at UTS and presented workshops and seminars at writers’ festivals around Australia, in India and China. Her articles and reviews have been published in Australian Literary Studies, The Sydney Review of Books, Overland and The Conversation and she has a forthcoming minigraph, Editing Fiction, Three case studies from post-war Australia with Cambridge University Press.

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Xiang Li on ’The Drover’s Wife’ Stories

Rewriting, Reflecting and Resisting: Gender, Reception and ‘The Drover’s Wife’ Stories

Thursday 5 May, 4.30-6pm, A. D. Hope Conference Room.

Henry Lawson’s 1892 short story ‘The Drover’s Wife’ has inspired many reinterpretations over the years. The constant (re)reading and (re)writing of the story enable discussions of and debates over gender, race, national identity and Australian culture. From Murray Bail’s 1975 short story to Leah Purcell’s 2021 film, the idea of ‘The Drover’s Wife’ has grown into a unique phenomenon in the Australian literary and cultural landscape. Previous scholarship tends to revolve around Lawson’s original and a few well-known stories from the 1970s and 1980s. This thesis examines the ‘wife’ phenomenon in its entirety, with a particular focus on recent renditions such as Ryan O’Neill’s 99 Reinterpretations (2018) and Purcell’s multi-genre adaptation project. Drawing on concepts from rewriting theory, reception theory, gender studies as well as cultural history, the thesis captures the way changing conceptions of gendered identities inform both the critical and creative reception of ‘The Drover’s Wife’ from the 1890s to where we are now.

Xiang Li is a PhD candidate in Australian literature at ANU.

ANU COVID safe event:
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Contact: Russell.Smith@anu.edu.au for further enquiries or to obtain the zoom link


Paul Magee on “the Retrospective Nature of Poetic Mimesis”

Bringing the Original into Being by Copying It: On the Retrospective Nature of Poetic Mimesis

Thursday 28 April, 4.30-6pm, A. D. Hope Conference Room.

For zoom link for this event and/or to be added to the CuSPP member list contact: Russell.Smith@anu.edu.au

A long line of commentators (Johnson 1751; Attridge 1982; Ford 2021) have pointed out how little the sounds in any given line of poetry relate to the actual sounds (e.g. the pounding of horses’ hooves) they are purported to imitate—even as poets and critics continue to assess poetic soundscapes in such terms. Could it be that the mimesis in question is less about imitating a pre-existing reality than producing, by insisting on it, a link between a meaning like “horses hooves” and a suggestive soundscape, that will come to sound like horse’s hooves for ever afterward? Maybe this is what actors do more generally: create what will come to be taken as imitation. The paper proceeds to argue that the rightness associated with poetic coinages partakes of a similar retrospectivity. In sum, the poet’s mot juste (“perfect word”) is not opposite to, but rather predicated upon, a direct engagement with arbitrariness.

Paul Magee is author of Stone Postcard (John Leonard Press 2014), Cube Root of Book (John Leonard Press 2006) and the prose ethnography From Here to Tierra del Fuego (University of Illinois Press, 2000). Suddenness and the Composition of Poetic Thought is forthcoming from Rowman & Littlefield International’s Performance Philosophy series in April 2022. Paul is Associate Professor of Poetry at the University of Canberra.

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Louisa Kirk, “Women’s Friendship in 20th Century American Novels”.

A matrix of becoming: Women’s friendship in 20th century American novels
(Exit Seminar)

Thursday 24 March, 4.30-6pm, A. D. Hope Conference Room.

For zoom link for this event and/or to be added to the CuSPP member list contact: Russell.Smith@anu.edu.au

Few women would disagree with the idea that female friendship is—alongside the romantic and familial—one of the social pillars upon which their life is built. Certainly, women’s writing throughout space and time reflects its significance. However, women’s friendship has been largely academically ignored with some key exceptions and a peak of interest in 1970s and 80s feminist writing. Since Aristotle, when friendship is studied, it is most often by men and, although not announced as such, when male scholars write of ‘friendship’ they tend to universalise the specifics of male friendship. This presentation presents the work of my thesis to address the question, ‘What is friendship to women in literature?’ I present an original contribution drawing on Bracha Ettinger’s work on the matrixial to argue for a new theorisation of female friendship through the close reading of novels written by American women in the 20th century. In my understanding, female friendship is a space between two or more women co-created and co-constrained by its participants. Female friendship is produced by psychic (re)encounter and requires a play of closeness and distance in a way that is specific to female friendship and differentiates it from women’s other relationships.

Louisa Browne Kirk is a PhD candidate in literature at the ANU. She is an intersectional feminist and a writer and researcher on women’s textual friendship.

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Leslie Barnes, ”Smoke and Mirrors”

“Smoke and Mirrors: Sex Work and Rithy Panh’s Cinematic Image”

Thursday 24 February, 4.30-6pm, A. D. Hope Conference Room.

For zoom link and further enquiries contact: Russell.Smith@anu.edu.au

This paper examines the narrative authority of the sex worker in Rithy Panh’s Un Soir après la guerre (1998) and Le Papier ne peut pas envelopper la braise (2007), two films that counter the discourses surrounding sex work with the voices and lived experiences of individual sex workers. When read together, the feature and the documentary question the divide and hierarchy between fiction and nonfiction, both in terms of genre distinctions and in relation to the subject of each film: the reality and representation of sex work. Drawing on theories of cinema as window and mirror and developing Panh’s use of windows and mirrors in each film, I argue that Panh’s cinematic image of sex work challenges the assumption of a ‘transparent’ relationship between the cinematic production and the profilmic event, undoing the presumed links between perception, action, and effect. The extent to which this image upsets filmic norms and ‘epistephilic’ desire, that is, the desire on the part of the viewer to know and to connect knowing with acting, is evidenced in the films’ critical and popular reception, which reveals an ongoing discomfort before the sex worker who speaks for herself.

Leslie Barnes is Associate Professor of French Studies at ANU. She is author of Vietnam and the Colonial Condition of French Literature (Nebraska, 2014) and co-editor of The Cinema of Rithy Panh: Everything Has a Soul (Rutgers, 2021). Her current project studies literary and cinematic narratives that engage with questions of sex work, mobility, and human rights in Southeast Asia. She has published on these and other subjects in Journal of Vietnamese StudiesModern Language Notes, and Humanity.

Monique Rooney on CATS as Elemental Melodrama

Join us for the next CuSPP Seminar (taking place via zoom)

Thursday 9 December, 4.30 – 6pm (see CuSPP email or contact monique.rooney@anu.edu.au for zoom link).

Elemental Limits: Cats (2019), Melodrama and the Heaviside Layer

From its inaugural performance at the New London Theatre (1981), Andrew Lloyd Webber’s Cats has been a blockbuster success recognised for its role in sparking a new era of musical-theatre. Described as an ‘immense affective encompasser’ (Siropoulos), Cats became more than a performance as it offered both a (globalised) theatrical experience and an immersive environment. The original London theatre was redesigned to facilitate increased audience participation—its conventional proscenium replaced with a quasi-in-the-round and centrally-revolving stage and part of its roof opened to the sky and, by implication, beyond to ‘the Heaviside layer’. The latter term refers to the layer of ionised gas occurring 90 to 150 km above the ground, with the lyrical use of the phrase in Cats suggesting heaven. Beyond London, specifically designed theatres with ‘catwalks’ extending from stage to balcony sprang up across the globe. With its revolving stage and aperture, Cats’s earth-sky theatre design mirrors the plot that Lloyd Webber derived from both his source text—T. S Eliot’s Old Possum’s Book of Practical Cats (1939)—and references to the Heaviside Layer that he had found among Eliot’s unpublished papers. Eliot had removed from the 1939 published collection an alternative ending wherein the Book’s poet ascends with cats ‘Up up up past the Russell Hotel, / Up up up to the Heaviside Layer’. Reintroducing the deleted Heaviside layer, Lloyd Webber narratively repurposed it as the longed-for destination of the musical’s Jellicle cats, who dream of both ascension and rebirth.

In the context of the significance of the Heaviside layer to both Eliot’s Book and the stage adaptation, this paper focuses on the first cinematic adaptation of Cats (2019), exploring the ways in which the inclusion of the Heaviside layer affords both an atmospheric theme and a theatrical-design element to its screen melodrama of lyrical, theatrical and earth-bound promises and limits. I conclude the paper by considering the widespread, popular-critical panning of the 2019 film, asking whether present-day, seemingly limitless networked environments obstruct appreciation of Cats’s elucidation of ‘heaven’ and earth, birth and death.

Monique Rooney teaches US literature, film and new media in the English Program at ANU. She is the author of Living Screens: Melodrama and Plasticity in Contemporary Film and Television (2015) and, with Gillian Russell and Stefan Solomon, she is editing a collected volume on the topic of ‘elemental melodrama.’ A longer version of ‘Elemental Limits: Cats (2019), Melodrama and the Heaviside Layer’ will be published in the edited collection.

Zach Karpinellison is a PhD candidate in both the School of Literature, Languages and Linguistics (SLLL) and the Interdisciplinary Cross-Cultural Research (ICCR) program. For his PhD dissertation, Zach is researching the Australian film ‘version’.

Kate Warren, Visual Arts and Australian Popular Media

Join us for the next CuSPP Seminar (taking place via zoom)

Thursday 25 November, 4.30 – 6pm (see CuSPP email or contact monique.rooney@anu.edu.au for zoom link).

Visual Culture and Australian Popular Media

This presentation explores histories of how the visual arts and art history have been covered in the Australian popular media. Focusing on popular magazines of the mid-twentieth century (such as Pix, The Australian Women’s Weekly, Australasian Post) it analyses under-considered examples of how these magazines presented art history to broad Australian audiences, as well as how these magazines facilitated and revealed diverse audience engagement with the arts. Through these case studies the presentation will argue for the benefits of using intermedial methodologies of popular art historiography, in order to trace and analyse histories of cultural value and popular arts engagement in Australia.

Kate Warren is a Lecturer of Art History and Curatorship at the Australian National University. Her research expertise is in modern and contemporary Australian and international art, with a focus on film, photography, video and media art. She has previously worked as a curator, arts writer and editor, including as Assistant Curator at the Australian Centre for the Moving Image from 2007 to 2011.

Alice Grundy is researching a PhD on Australian editing and publishing history. She has been an editor in trade publishing for more than a dozen years and has taught professional editing at UTS.