English - Collected Works

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    Distributed reading: Literary reading in diverse environments
    (DHQ: Digital Humanities Quarterly, 2018) Barnett, Tully Sarah
    Reading has always been a contentious and political practice, but this is heightened in the contemporary moment both because of the way the environments in which we read are changing so radically. For Katherine Hayles reading is “a powerful technology for reconfiguring activity patterns in the brain” [Hayles 2010, 193], a view representative of attempts to connect the new neuroscience of reading with age old practices of literary endeavour. For Sven Birkerts, however, “the Internet and the novel are opposites” [Birkerts 2010], a view that suggests that a hierarchy of reading that locks digital readers out of higher order thinking and literary experience. Meanwhile, Anne Mangen finds that electronic reading environments “negatively affect emotional aspects of reading” [Mangen 2016]. But these approaches tend to understand reading as something static that occurs in one space or another. However, in practice our reading is increasingly distributed. Reading can occur in multiple formats, across multiple platforms for the one text or reading experience. A novel begun in print can be read online in a born-digital format and concluded in a scanned digital format, for example. These journeys across platform require deeper investigation. If we think of the printed book as an interface between two orders of thinking, we need to consider how the experience of reading a digitized version of a formerly printed and bound book alters literary reception and student experience. How does the experience of reading across different technological platforms change the reader’s relationship to the content? As more and more electronic reading platforms take on the physical attributes of material reading experiences either by retaining material traces or by emulating them, we might question what experience How do the material traces left on digitised works impact the reading process for reading in literary studies? The lively discourse surrounding Google Books and the human breaches of the material into the immaterial, as the work crosses the borders of formats and interfaces, raises valuable questions about the future of the book, reading in the twenty-first century, and the long and formidable shadow that centuries of material text production casts over Google Books’ electronic utopia. This paper uses both book history and new media interface theory to consider the multitude of diverse experiences that is literary reading across different platforms in and out of the classroom and to consider whether distracted reading can be better understood as distributed reading. It considers critical infrastructure studies as a useful framework through which to think about reading in the digital age.
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    Compilation of 'Australian writing'
    (Outrigger Pulishers, New Zealand, 1979-10) Daalder, Joost (Editor)
    Professor Daalder has edited a section of the journal issue comprising a compilation of literary items, under the title 'Australian writing'.
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    Aspects of Australian culture
    (Abel Tasman Press, Adelaide, 1982) Daalder, Joost (Editor) ; Fryar, Michele (Editor)
    This book is designed to give the general reader an indication of the variety and fascination of Australian culture as it exists today. In addition to examples of creative writing, the book contains a large number of authoritative but lively and readable essays on various aspects of Australian culture. This collection is notable not only for its scope but also for the quality of its contributions by 26 authors from all over Australia and beyond.
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    Caxton’s edition of Malory’s Le Morte Darthur: compositorial challenges and chapter divisions
    (Bibliographical Society of Australia & New Zealand, 2013-03) McBain, Jean
    The author presents here four findings drawn from close analysis of the chapter and book divisions in Caxton’s edition of Le Morte Darthur. The first three of these bear particular relevance to scholars interested in textual alterations that might have been made to Le Morte Darthur for copy-fitting purposes. In particular, these results suggest closer attention might usefully be paid to the text at interlinear chapter divisions, and in quires a-d and ee, as the extreme contraction of formatting at these points suggests that there may be associated textual contractions. The last finding provides circumstantial support for the view that Caxton revised the Roman War section, and further indicates that there is some probability that this section was set from a different exemplar to the rest of the edition. Most of all, though, it is hoped that this study has demonstrated how much we might still be able to learn about techniques of the early hand-press period, even from a text as persistently studied as Le Morte Darthur.
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    Embodying Affect: The Stolen Generations, the History Wars and PolesApart by Indigenous New Media Artist r e a
    (Institute of Electrical and Electronics Engineers Computer Society (IEEE Publishing), 2010) Nicholls, Christine Judith
    In her 2009 new media artwork PolesApart, Australian Aboriginal artist r e a, of the Gamilaraay people in northern New South Wales, explores issues relating to the Stolen Generations of Aboriginal children. Based on the personal experiences of her grandmother and great aunt as `stolen children', r e a amplifies the work's familial dimension by enacting the role of the protagonist fleeing from forced servitude. This paper looks at PolesApart in the broader context of the interrelated phenomena of the stolen generations and the so-called `history wars'.
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    Conceptualisations of Self in Contemporary Interactive Artwork: A Case Study of Lynette Wallworth's 'Duality of Light'
    (Institute of Electrical and Electronics Engineers Computer Society (IEEE Publishing), 2010) Nicholls, Christine Judith
    This paper, which is contextualised in terms of the broader history of the moving image, examines new media artist Lynette Wallworth's installation Duality of Light with respect to recent advances in neuroscientific research. These have led to greater understanding of how the brain processes visual imagery. Of greatest relevance to Wallworth's work is the discovery that the binding of the largely anatomically segregated attributes of colour, motion and faces occurs asynchronously and is subject to a temporal hierarchy. Moreover, such binding is post-conscious. Further to this, following Gansing, while simultaneously factoring in these recent neuroscientific advances, the idea of `interactivity' is challenged. The inadequacy of `interactive' as an undifferentiated descriptor, often uniformly applied to diverse new media works, is also highlighted. Works such as those created by Wallworth - whose work is informed intuitively by these recent neuroscientific findings - reveal the shortcomings of such homogenising terminology. Finally, this exploratory paper, which will form the basis of further work, demonstrates the interwoven nature of the aforementioned subject matter and thematic concerns.