Alison Ravenscroft
Biographic Data
| ID | 219712 |
|---|---|
| NAME | Alison Ravenscroft |
| GIVEN NAMES | Alison |
| FAMILY NAME | Ravenscroft |
| SIGNATURE | RAVENSCROFT A |
| AFFILIATIONS | La Trobe University |
| ORCID | 0000-0002-5221-409X |
| VERIFIED | Yes |
| TOTAL WORKS | 11 |
| TOTAL CITATIONS | 36 |
| AUTHOR COUNT | 11 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1970 |
| LATEST PUBLICATION YEAR | 2020 |
| H-INDEX | 2 |
When ‘Area’ meets ‘Country’: Rethinking the Territory of Colonialism
Australian Aboriginal novelist Alexis Wright vividly conceives of colonialism as a virus that takes up its place in its host’s head. This is an image of invasion and territorialisation as intensely bodily and psychic. It calls attention, too, to those Aboriginal conceptions of country as itself a living and sensate entity: country has a body. It is animate, intelligent, and responsive, and humans are inextricably formed in relation to it. Such a …
Love in End Times
Strange Weather: Indigenous Materialisms, New Materialism, and Colonialism
The essay looks at the challenges Australian Indigenous materialisms make to the Western concept of human and its relation to the inhuman, and it does this through reading the novels of Waanyi writer, critic, and activist Alexis Wright. In the Australian context, a highly productive knot is being tied between post-humanism and postcolonialism, such that the binary of "culture" and "nature" is understood in relation to another binary couple that s…
What Falls from View? On Re-Reading Alexis Wright’s *Plains of Promise
â Reading is a visual practice. It always involves a scene. What scenes do white readers of Plains of Promise gaze upon as they hold its pages in their hands? If the visual field is always structured by desire â in the words of Parveen Adams, â I enjoy what I see and I see what I enjoyâ (111) - then a question insists: what scenes can white readers see when we read an Indigenous-signed text such as this one? What scene will our desires produce, a…
Coming to matter: The Grounds of Our Embodied Difference
In the Australian scene, how does a settler subject see Indigenous others, how does a settler see ‘country’? This essay takes visual practices to be always corporealised. The settler's body, then, must be installed in any theorisations of encounter between Indigenous and settler, and a corporealised vision installed in approaches to reading story, country, and subjectivity across such cultural differences. Drawing on theories of the materiality o…
The girl in the picture and the eye of her beholder: Viet Nam, whiteness, and the disavowal of indigeneity
Our concern with history ... is a concern with pre‐formed images ... images at which we keep staring while the truth lies elsewhere, away from it all, somewhere as yet undiscovered. (Sebald, 2002) Imag
Recasting Indigenous Lives along the Lines of Western Desire: Editing, Autobiography, and the Colonizing Project
(2004). Recasting Indigenous Lives along the Lines of Western Desire: Editing, Autobiography, and the Colonizing Project. a/b: Auto/Biography Studies: Vol. 19, Life Writing and the Generations, pp. 189-202
A picture in black and white: Modernism, Postmodernism and the Scene of 'Race
Writing, in its noblest function’, says He ́le`ne Cixous, ‘is the attempt to unerase, to unearth, to find the primitive picture again, ours, the one that frightens us.’ Cixous' hopes for the possibilities of writing are the starting point for a very new and startling piece of Australian writing, Kathleen Mary Fallon's ‘how violence made a real mother-of-a-mother of me’, writing that possibly gets closer to the ‘heart of the matter’ of contemporar…
Curled Up Like a Skinny Black Question Mark: The Irreducibility of Gender and Race in Vivienne Cleven's Bitin' Back
Theme: Making us Modern: Australian Writing in Modernity
Making us Modern’ brings together articles concerned with the scene of Australian writing and the relevance of ‘modernity/ies’ and ‘modernism/s’ for contemporary writing and reading practices. What is the ‘modern’, who are its subjects, and how has the modern made us—as ‘postmodern’, perhaps? And, who is this ‘us’, anyway? Attempts to theorise modernity and its aesthetics have often taken the white Western male as their subject. Intervening in th…
Dreaming of Others: Carpentaria and its Critics
White critical efforts to make meaning of Alexis Wright's Carpentaria have sought to anchor it to the big names among white Australian novelists. Such moves presume to make Wright indebted to these literary 'masters', assessing the significance of her text by its proximity to theirs. This article explores how in these critics' eyes white creativity appears as if it were the original creativity and argues that such moves are a way of refuses the t…
Strange Weather: Indigenous Materialisms, New Materialism, and Colonialism
The essay looks at the challenges Australian Indigenous materialisms make to the Western concept of human and its relation to the inhuman, and it does this through reading the novels of Waanyi writer, critic, and activist Alexis Wright. In the Australian context, a highly productive knot is being tied between post-humanism and postcolonialism, such that the binary of "culture" and "nature" is understood in relation to another binary couple that s…
Dreaming of Others: Carpentaria and its Critics
White critical efforts to make meaning of Alexis Wright's Carpentaria have sought to anchor it to the big names among white Australian novelists. Such moves presume to make Wright indebted to these literary 'masters', assessing the significance of her text by its proximity to theirs. This article explores how in these critics' eyes white creativity appears as if it were the original creativity and argues that such moves are a way of refuses the t…
The girl in the picture and the eye of her beholder: Viet Nam, whiteness, and the disavowal of indigeneity
Our concern with history ... is a concern with pre‐formed images ... images at which we keep staring while the truth lies elsewhere, away from it all, somewhere as yet undiscovered. (Sebald, 2002) Imag
What Falls from View? On Re-Reading Alexis Wright’s *Plains of Promise
â Reading is a visual practice. It always involves a scene. What scenes do white readers of Plains of Promise gaze upon as they hold its pages in their hands? If the visual field is always structured by desire â in the words of Parveen Adams, â I enjoy what I see and I see what I enjoyâ (111) - then a question insists: what scenes can white readers see when we read an Indigenous-signed text such as this one? What scene will our desires produce, a…
A picture in black and white: Modernism, Postmodernism and the Scene of 'Race
Writing, in its noblest function’, says He ́le`ne Cixous, ‘is the attempt to unerase, to unearth, to find the primitive picture again, ours, the one that frightens us.’ Cixous' hopes for the possibilities of writing are the starting point for a very new and startling piece of Australian writing, Kathleen Mary Fallon's ‘how violence made a real mother-of-a-mother of me’, writing that possibly gets closer to the ‘heart of the matter’ of contemporar…
Curled Up Like a Skinny Black Question Mark: The Irreducibility of Gender and Race in Vivienne Cleven's Bitin' Back
Dreaming of Others: Carpentaria and its Critics
White critical efforts to make meaning of Alexis Wright's Carpentaria have sought to anchor it to the big names among white Australian novelists. Such moves presume to make Wright indebted to these literary 'masters', assessing the significance of her text by its proximity to theirs. This article explores how in these critics' eyes white creativity appears as if it were the original creativity and argues that such moves are a way of refuses the t…
A picture in black and white: Modernism, Postmodernism and the Scene of 'Race
Writing, in its noblest function’, says He ́le`ne Cixous, ‘is the attempt to unerase, to unearth, to find the primitive picture again, ours, the one that frightens us.’ Cixous' hopes for the possibilities of writing are the starting point for a very new and startling piece of Australian writing, Kathleen Mary Fallon's ‘how violence made a real mother-of-a-mother of me’, writing that possibly gets closer to the ‘heart of the matter’ of contemporar…
Curled Up Like a Skinny Black Question Mark: The Irreducibility of Gender and Race in Vivienne Cleven's Bitin' Back
Theme: Making us Modern: Australian Writing in Modernity
Making us Modern’ brings together articles concerned with the scene of Australian writing and the relevance of ‘modernity/ies’ and ‘modernism/s’ for contemporary writing and reading practices. What is the ‘modern’, who are its subjects, and how has the modern made us—as ‘postmodern’, perhaps? And, who is this ‘us’, anyway? Attempts to theorise modernity and its aesthetics have often taken the white Western male as their subject. Intervening in th…
The girl in the picture and the eye of her beholder: Viet Nam, whiteness, and the disavowal of indigeneity
Our concern with history ... is a concern with pre‐formed images ... images at which we keep staring while the truth lies elsewhere, away from it all, somewhere as yet undiscovered. (Sebald, 2002) Imag
Recasting Indigenous Lives along the Lines of Western Desire: Editing, Autobiography, and the Colonizing Project
(2004). Recasting Indigenous Lives along the Lines of Western Desire: Editing, Autobiography, and the Colonizing Project. a/b: Auto/Biography Studies: Vol. 19, Life Writing and the Generations, pp. 189-202
Coming to matter: The Grounds of Our Embodied Difference
In the Australian scene, how does a settler subject see Indigenous others, how does a settler see ‘country’? This essay takes visual practices to be always corporealised. The settler's body, then, must be installed in any theorisations of encounter between Indigenous and settler, and a corporealised vision installed in approaches to reading story, country, and subjectivity across such cultural differences. Drawing on theories of the materiality o…
What Falls from View? On Re-Reading Alexis Wright’s *Plains of Promise
â Reading is a visual practice. It always involves a scene. What scenes do white readers of Plains of Promise gaze upon as they hold its pages in their hands? If the visual field is always structured by desire â in the words of Parveen Adams, â I enjoy what I see and I see what I enjoyâ (111) - then a question insists: what scenes can white readers see when we read an Indigenous-signed text such as this one? What scene will our desires produce, a…
Strange Weather: Indigenous Materialisms, New Materialism, and Colonialism
The essay looks at the challenges Australian Indigenous materialisms make to the Western concept of human and its relation to the inhuman, and it does this through reading the novels of Waanyi writer, critic, and activist Alexis Wright. In the Australian context, a highly productive knot is being tied between post-humanism and postcolonialism, such that the binary of "culture" and "nature" is understood in relation to another binary couple that s…
Love in End Times
When ‘Area’ meets ‘Country’: Rethinking the Territory of Colonialism
Australian Aboriginal novelist Alexis Wright vividly conceives of colonialism as a virus that takes up its place in its host’s head. This is an image of invasion and territorialisation as intensely bodily and psychic. It calls attention, too, to those Aboriginal conceptions of country as itself a living and sensate entity: country has a body. It is animate, intelligent, and responsive, and humans are inextricably formed in relation to it. Such a …
Sociology (11 works) · Art (8 works) · Aesthetics (7 works) · Philosophy (6 works) · Art history (5 works) · Gender Studies (5 works) · Epistemology (4 works) · History (4 works) · Indigenous (4 works) · Literature (4 works)