Contents May - June 2003
Editor: Elizabeth McMahon
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This issue of Australian
Humanities Review focuses on the War on Terror, Australia's role and responsibilities,
and the politics of representation.
In 'Public Opinion and the Democratic Deficit:
Australia and the War Against Iraq' Murray Goot examines tensions
between the federal government and public opinion over Australia's involvement
in the war on Iraq.
In 'August 26, 2001: Two or Three Things Australians
Don’t Seem to Want to Know About "Asylum Seekers" …',
Ian Buchanan examines the hysteria around Asylum Seekers to claim: "History
will have to record that Australia’s involvement in the ‘War
on Terror’ and the ‘War against Iraq’ began on August
26, 2001 when the MV Tampa rescued 433 asylum seekers from the sinking
ferryboat, Palapa 1."
In a paper given at the University of Sydney Julian Murphet responds
to the proposition that ‘September 11
has changed Literary Studies’.
Lainie Jones' discussion of 9/11 considers how 'Life
Imitates Art: The Chronotope of the Twin Towers in Fact and Fiction'.
Binoy Kampmark's essay 'Wars that never take
place: Non-events, 9/11 and Wars on Terrorism' interrogates recent
events through Baudrillard’s critiques of the Gulf War and September
11, specifically his designation of 'events' and 'non-events'.
Janie Conway-Herron's meditative essay 'Walking
Manhattan: Mapping the Heart' reflects on the imbrications of personal
account and master narratives in commemorations of 9/11.
Marita Bullock reviews 'The Devil’s
Rope: A Cultural History of Barbed Wire' by Alan Krell.
Lyndall Ryan reviews Marilyn Lake’s biography of Faith Bandler,
Faith Bandler, Gentle Activist
In 'Camp Excess and Queer Histories of Oz' David
McInnes reviews Robert Reynolds' From Camp to Queer: Remaking the
Australian Homosexual and David Coad’s Gender Trouble
Down Under: Australian Masculinities
Bernadette Brennan compares two recent histories
of Australian theatre: Michelle Arrow’s Upstaged: Australian
women dramatists in the limelight at last, and Julian Meyrick’s
See How It Runs: Nimrod and the New Wave.
In good oil
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