Relevant bibliographies by topics / Judith Wright

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  1. Journal articles
  2. Dissertations / Theses
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  4. Book chapters

Academic literature on the topic 'Judith Wright'

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Published: 4 June 2021
Last updated: 20 February 2023

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Journal articles on the topic "Judith Wright"

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Connors, Libby. "Judith Wright." Queensland Review 14, no. 01 (January 2007): 69. http://dx.doi.org/10.1017/s1321816600006073.

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Sorensen, Simon, and Jennifer Strauss. "Judith Wright." World Literature Today 70, no. 4 (1996): 1026. http://dx.doi.org/10.2307/40152524.

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Cotes, Alison. "Judith Wright (1915–2000)." Queensland Review 7, no. 2 (October 2000): 1–3. http://dx.doi.org/10.1017/s1321816600002166.

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Kennedy, Sarah. "“Where’s home, Ulysses?” Judith Wright in Europe 1937." Journal of Commonwealth Literature 52, no. 2 (August 6, 2015): 331–49. http://dx.doi.org/10.1177/0021989415589833.

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Clarke, Patricia. "Literary Sidelights on Wartime Brisbane." Queensland Review 11, no. 2 (December 2004): 41–57. http://dx.doi.org/10.1017/s1321816600003706.

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There have been several anecdotal accounts of the literary scene in Brisbane during World War II and numerous references in more general works. In 2000,Queensland Reviewpublished some reminiscences of writers Estelle Runcie Pinney, Don Munro, Val Vallis and David Rowbotham, under the title ‘Writing in Brisbane during the Second World War’. Some of the more important general works include Judith Wright's ‘Brisbane in Wartime’, Lynne Strahan's history ofMeanjinand Judith Armstrong's biographical work on the Christesens,The Christesen Romance. My interest in this subject arose from editing Judith Wright's autobiography,Half a Lifetime, published in 1999, and recently in editing, with her daughter, letters between Judith Wright and Jack McKinney which were mainly written in Brisbane in the later years of the war and the immediate postwar period. Initially my purpose was to gather information to elucidate people or events mentioned in these writings, but my interest widened to embrace more general information about the period. My research led me to the conclusion thatMeanjinand its editor Clem Christesen were catalysts for many of the literary activities in Brisbane during World War II, not just among resident Australians, but among troops temporarily stationed in Brisbane — particularly Americans, whom Christesen cultivated and published. This article records a few glimpses of literary life in Brisbane, and incidentally in the rest of the country, during a period described by Patrick Buckridge as never having been researched ‘in enough detail’.
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Sharma, Dr Bhavna. "Womanist Expressions in the Poetry of Judith Wright and Oodgeroo Noonuccal." International Journal of English Literature and Social Sciences 5, no. 2 (2020): 540–43. http://dx.doi.org/10.22161/ijels.52.32.

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Sheridan, Susan. "A Friendship in Letters: The Correspondence of Judith Wright and Barbara Blackman." Life Writing 8, no. 2 (June 2011): 203–17. http://dx.doi.org/10.1080/14484528.2011.559736.

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Kiruthika, Dr M. "WOMAN'S DEFIANCE AGAINST FATE IN THE WORKS OF KAMALA DAS AND JUDITH WRIGHT." International Journal of Trends in English Language and Literature 02, no. 03 (2021): 32–35. http://dx.doi.org/10.53413/ijtell.2021.2305.

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Weir, Judith, and David Wright. "Weir to Now?: David Wright Explores the Fastidious Musical World of Judith Weir." Musical Times 134, no. 1806 (August 1993): 432. http://dx.doi.org/10.2307/1003010.

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Hutchings, Ross. "Jung and the Wattle-Tree: Judith Wright and the Ecology of the Collective Unconscious." Journal of the Australasian Universities Language and Literature Association 2007, no. 107 (May 2007): 103–24. http://dx.doi.org/10.1179/000127907805260003.

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Dissertations / Theses on the topic "Judith Wright"

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Jeyam, Leonard Rajan. "Countroes of the Mind : Landscape and Conciousness in the Poetry of Judith Wright and Wong Phui Nam." Thesis, University of Kent, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.499698.

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Gibson, Donald. "Twentieth-century poetry and science : science in the poetry of Hugh MacDiarmid, Judith Wright, Edwin Morgan, and Miroslav Holub." Thesis, University of St Andrews, 2015. http://hdl.handle.net/10023/8059.

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The aim of this thesis is to arrive at a characterisation of twentieth century poetry and science by means of a detailed study of the work of four poets who engaged extensively with science and whose writing lives spanned the greater part of the period. The study of science in the work of the four chosen poets, Hugh MacDiarmid (1892 – 1978), Judith Wright (1915 – 2000), Edwin Morgan (1920 – 2010), and Miroslav Holub (1923 – 1998), is preceded by a literature survey and an initial theoretical chapter. This initial part of the thesis outlines the interdisciplinary history of the academic subject of poetry and science, addressing, amongst other things, the challenges presented by the episodes known as the ‘two cultures' and the ‘science wars'. Seeking to offer a perspective on poetry and science more aligned to scientific materialism than is typical in the interdiscipline, a systemic challenge to Thomas Kuhn's The Structure of Scientific Revolutions (1962) is put forward in the first chapter. Additionally, the founding work of poetry and science, I. A. Richards's Science and Poetry (1926), is assessed both in the context in which it was written, and from a contemporary viewpoint; and, as one way to understand science in poetry, a theory of the creative misreading of science is developed, loosely based on Harold Bloom's The Anxiety of Influence (1973). The detailed study of science in poetry commences in Chapter II with Hugh MacDiarmid's late work in English, dating from his period on the Shetland Island of Whalsay (1933 – 1941). The thesis in this chapter is that this work can be seen as a radical integration of poetry and science; this concept is considered in a variety of ways including through a computational model, originally suggested by Robert Crawford. The Australian poet Judith Wright, the subject of Chapter III, is less well known to poetry and science, but a detailed engagement with physics can be identified, including her use of four-dimensional imagery, which has considerable support from background evidence. Biology in her poetry is also studied in the light of recent work by John Holmes. In Chapter IV, science in the poetry of Edwin Morgan is discussed in terms of its origin and development, from the perspective of the mythologised science in his science fiction poetry, and from the ‘hard' technological perspective of his computer poems. Morgan's work is cast in relief by readings which are against the grain of some but not all of his published comments. The thesis rounds on its theme of materialism with the fifth and final chapter which studies the work of Miroslav Holub, a poet and practising scientist in communist-era Prague. Holub's work, it is argued, represents a rare and important literary expression of scientific materialism. The focus on materialism in the thesis is not mechanistic, nor exclusive of the domain of the imagination; instead it frames the contrast between the original science and the transformed poetic version. The thesis is drawn together in a short conclusion.
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Smith, Yvonne Joy. "Brightness Under Our Shoes: the Redress of the Poetic Imagination in the Poetry and Prose of David Malouf, 1960-1982." University of Sydney, 2009. http://hdl.handle.net/2123/5139.

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Doctor of Philosophy(PhD)
This study investigates the poetic foundation of David Malouf’s poetry and prose published from 1960 to 1982. Its purpose is to extend reading strategies so that the nature of his poetic and its formative influence are more fully appreciated. Its thesis is that Malouf explores and tests with increasing confidence and daring a poetic imagination that he believes must meet the demands of the times. Malouf’s work is placed in relation to Wallace Stevens’ belief that the poetic imagination should “push back against the pressure of reality”, a view discussed by Seamus Heaney in “The Redress of Poetry”. The surprise of the poetic as “unpredicted aesthetic value” (García-Berrio, 1989) is significant to his purposes and techniques, as it creates idea-images and feeling-values (Jung, 1921) that bring together apparently opposite ways of knowing the world. In seeking to represent the meeting of inner and outer perceptions, Malouf’s work shows the influence not only of Stevens but also Rilke and contemporary American poetry of “deep image”. The Australian context of Malouf’s work is considered in relation to Judith Wright’s essay “The Writer and the Crisis” and the poetry of Malouf’s contemporaries. Details of the manuscript development of his first four novels show Malouf’s steps towards a clearer representation of his holistic, post-romantic vision. His correspondence with the poet Judith Rodriguez provides useful insights into his purposes. Theories and research about brain functions, the nature of intelligence and learning provide an important international context in the 1960s and 1970s, given Malouf’s interest in how meaning forms from perception and experience. Jean Piaget’s view of intelligence and David Kolb’s theory of experiential learning (1984) offer frameworks for reading Malouf that have not yet been considered. The thesis offers a model of poetic learning that highlights the interplay of dialectically opposed ways of forming meaning and points to the importance for Malouf of holding diverse states of mind together through the poetic imaginary.
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Smith, Yvonne Joy. "Brightness Under Our Shoes: the Redress of the Poetic Imagination in the Poetry and Prose of David Malouf, 1960-1982." Thesis, The University of Sydney, 2008. http://hdl.handle.net/2123/5139.

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This study investigates the poetic foundation of David Malouf’s poetry and prose published from 1960 to 1982. Its purpose is to extend reading strategies so that the nature of his poetic and its formative influence are more fully appreciated. Its thesis is that Malouf explores and tests with increasing confidence and daring a poetic imagination that he believes must meet the demands of the times. Malouf’s work is placed in relation to Wallace Stevens’ belief that the poetic imagination should “push back against the pressure of reality”, a view discussed by Seamus Heaney in “The Redress of Poetry”. The surprise of the poetic as “unpredicted aesthetic value” (García-Berrio, 1989) is significant to his purposes and techniques, as it creates idea-images and feeling-values (Jung, 1921) that bring together apparently opposite ways of knowing the world. In seeking to represent the meeting of inner and outer perceptions, Malouf’s work shows the influence not only of Stevens but also Rilke and contemporary American poetry of “deep image”. The Australian context of Malouf’s work is considered in relation to Judith Wright’s essay “The Writer and the Crisis” and the poetry of Malouf’s contemporaries. Details of the manuscript development of his first four novels show Malouf’s steps towards a clearer representation of his holistic, post-romantic vision. His correspondence with the poet Judith Rodriguez provides useful insights into his purposes. Theories and research about brain functions, the nature of intelligence and learning provide an important international context in the 1960s and 1970s, given Malouf’s interest in how meaning forms from perception and experience. Jean Piaget’s view of intelligence and David Kolb’s theory of experiential learning (1984) offer frameworks for reading Malouf that have not yet been considered. The thesis offers a model of poetic learning that highlights the interplay of dialectically opposed ways of forming meaning and points to the importance for Malouf of holding diverse states of mind together through the poetic imaginary.
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Reddy, Colleen. "Ecological consciousness in modern Australian poetry." Thesis, Queensland University of Technology, 1998.

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One of the most significant issues confronting humanity as the twentieth century draws to a close is that concerning environmental degradation. This study posits the dual notion that at the centre of any movement to protect the earth from further degradation there must be a change in the predominant anthropocentric worldview, and that there is a role for poets to help bring about such change by writing ecologically-conscious poetry. The study explains what is meant by ecological consciousness as distinct from a conservation or environmental ethic. There follows a brief discussion of Deep Ecology (the philosophical perspective which, along with others, critiques human domination of nature) and a survey of relevant literature. The growth of an Australian poetic and the concomitant development of an Australian relationship with the land are also surveyed. Then, through a process of close reading, comparative analysis and discourse, the work of a number of poets (both indigenous and non-indigenous) is considered for its ecological awareness. The study highlights some pivotal ideas for the development of a new worldview: these are the development of a non-anthropocentric perspective of nature similar to that embraced by adherents of Deep Ecology; acceptance of the notion that nature is ambivalent (that the cycle of life is also a cycle of death and decay); and the possible use of indigenous people's deeply ecological relationship with the land as a basic model on which to build a new worldview. The study contends that only poetry which is grounded in ecocentrism, rather than anthropocentrism, can claim to be ecologically-conscious. It concludes by reaffirming the need for poets to encourage a change in the prevailing anthropocentric worldview by adopting a deeply-ecological focus on nature in some of their poetry.
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Jackson, Janet Ruth. "A coat of ashes: A collection of poems, incorporating a metafictional narrative - and - Poetry, Daoism, physics and systems theory: a poetics: A set of critical essays." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2018. https://ro.ecu.edu.au/theses/2125.

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This thesis comprises a book-length creative work accompanied by a set of essays. It explores how poetry might bring together spiritual and scientific discourses, focusing primarily on philosophical Daoism (Taoism) and contemporary physics. Systems theory (the science of complex and self-organising systems) is a secondary focus of the creative work and is used metaphorically in theorising the writing process. The creative work, “A coat of ashes”, is chiefly concerned with the nature of being. It asks, “What is?”, “What am I?” and, most urgently, “What matters?”. To engage with these questions, it opens a space in which voices expressing scientific and spiritual worldviews may be heard on equal terms. “A coat of ashes” contributes a substantial number of poems to the small corpus of Daoist-influenced poetry in English and adds to the larger corpus of poetry engaging with the sciences. The poems are offset by a metafictional narrative, “The Dream”, which may be read as an allegory of the writing journey and the struggle to combine discourses. The four essays articulate the poetics of “A coat of ashes” by addressing its context, themes, influences, methodology and compositional processes. They contribute to both literary criticism and writing theory. Like the creative work, they focus on dialogues between rationalist or scientific discourses and subjective or spiritual ones. The first essay, “An introduction”, discusses the thesis itself: its rationale, background, components, limitations and implications. The second, “Singing the quantum”, reviews scholarship discussing the influence of physics on poetry, then examines figurative representations of physics concepts in selected poems by Rebecca Elson, Cilla McQueen and Frederick Seidel. These poems illustrate how contemporary poetry can interpret scientific concepts in terms of subjective human concerns. The third essay, “Let the song be bare”, discusses existing Daoist poetry criticism before considering Daoist influences in the poetry of Ursula K. Le Guin, Randolph Stow and Judith Wright. These non-Indigenous poets with a strong awareness of the sciences have, by adopting Daoist-inflected senses of the sacred, been able to articulate the tension engendered by their problematic relationships with colonised landscapes. Moreover, the changing aesthetic of Wright’s later poetry reflects a struggle between Daoist quietism and European lyric commentary. The final essay, “Animating the ash”, reflects on the process of writing poetry, using examples from “A coat of ashes” to construct a theoretical synthesis based on Daoism, systems theory and contemporary poetics. It proposes a novel way to characterise the nature and emergence of the hard-to-define quality that makes a poem a poem. This essay also discusses some of the Daoist and scientific motifs that occur in the creative work. As a whole, this project highlights the potential of both the sciences and the more ancient ways of knowing — when seen in each other’s light — to help us apprehend the world’s material and metaphysical nature and live harmoniously within it.
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"The Sacred in the Poetry of Judith Wright and Les Murray." 2016. http://repository.lib.cuhk.edu.hk/en/item/cuhk-1292423.

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神聖這個概念在今天的世界和文學裡到底有何地位？在現代生活中，神聖是否存有呈現的空間與可能？這些問題充斥著詩人朱迪思·萊特和萊斯·穆瑞的作品，也導引著哲學家羅杰·斯克拉頓的學說。斯克拉頓近期的著作《世界的靈魂》為神聖這個概念在世界愈來愈被縮窄的空間作出捍衛。斯克拉頓議論，神聖這個概念的一個重要的層面是呈現在人際關係中的。當中我們意識到我們的目光被引入到一個超越實證的領域、一個「空間的邊緣上」。他認為這份他稱之為「人際間超越的意向性」，是我們存在這共享世界裡作為個體的經驗的基礎。可是這基礎是必須被培養和認同。越發個人主義的西方潮流，就是那連我們的人際相遇也依靠科學來解釋的潮流，逼使著我們去否定那些譬如像神聖之類的範疇，就是那些我們要藉它們才能面對接受那些深奧的、形而上的奧秘的範疇。這些奧秘庇蔭著我們生命，包括我們的日常生活。科學試圖透過種種的解釋來否定這些奧秘，而那些解釋，總是把人類經驗放在一個唯物世界的秩序框架裡。欠缺了像神聖之類的範疇，世界被再造了：但它是一個我們並不真正所屬於的世界。
朱迪思·萊特和萊斯·穆瑞對那些在現代世界裡扼殺人對神聖的意向性的觀點作出質疑。他們的著作乃是出於一份對神聖的關注，關注在我們古今不同的關係裡——在與澳洲大陸土地之間的關係，和在當代的生活和語言裡——神聖的失落和存在。他們的作品挑戰那些向某些觀點傾斜的文化侵略、分化和異化。他們的詩歌裡對神聖的取態呼喚我們要有所醒覺，要在主流文化的各個層面上，尤其是在那些一般被視為對神聖這個概念封閉的層面上，容許有發現神聖的可能性。他們這些的取態，一方面是受了後殖民澳洲對社會文化的關注和他們所處世俗主義當導的情況所影響，一方面也反映著他們所意識到的超驗和其與人生緊密交織的世界觀，從而反映著、強化著我們的人際互聯性。在本質上，萊特和穆瑞所提出的問題，在這個不容許給奧秘留餘地的世界裡，道出一種智慧，一種敢於承認人生的渺少脆弱和變幻無常的智慧。
What place does the concept of the sacred have in the world and in literature today? Are there spaces in modern life where a sense of the sacred is manifest? These questions underpin much of the work of the poets Judith Wright and Les Murray. They are also questions which guide the work of the philosopher Roger Scruton, whose recent book, The Soul of the World (2014), defends the place of the sacred in a world where the spaces made available for it seem to be diminishing. Scruton argues that a significant aspect of the sacred is manifest in our interpersonal relations, in which we have a sense that our gaze is being directed beyond the empirical world, to a space “on its edge”. He claims that this “overreaching intentionality” of the interpersonal, as he calls it, is fundamental to our experience as persons who live in a shared world. However, this experience must also be nurtured and validated. The tide of an increasingly individualistic Western world, which looks to science as a way of explaining even our interpersonal encounters, impels us to deny certain categories, such as the sacred, by which we come to terms with the deep metaphysical mysteries that shadow our lives, including our daily lives. Science attempts to do away with these mysteries through ways of explanation that place human experience solely within the order of the physical world. Without such categories as the sacred, the world is remade: but it is a world in which we are not truly at home.
Judith Wright and Les Murray question any perspectives on the world that deny an attentiveness to the sacred in contemporary life. Their work emerges out of their concerns with the absence and presence of the sacred in our relations, and the history of our relations, with the Australian landscape; and in modern life and language. In particular, their work challenges the cultural impositions, divisions and alienations which privilege certain perspectives over others. Approaches to the sacred in their poetry suggest that we need to wake up to the possibilities of sacredness in aspects of the dominant culture which are not usually seen as open to the sacred. While these approaches are influenced by the socio-cultural concerns of post-colonial Australia and the nature of the largely secular situation out of which they write, they also reflect the poets’ larger world-view, in which a sense of the sacred is intimately woven into the fabric of human life, thus reflecting and strengthening our human interconnectedness. Essentially the questions raised by Wright and Murray point to a wisdom which dares to acknowledge the fragility and uncertainty of human life in a world which leaves little room for human mystery.
Lamb, Kirsten Emma Wai-Ling.
Thesis Ph.D. Chinese University of Hong Kong 2016.
Includes bibliographical references (leaves ).
Abstracts also in Chinese.
Title from PDF title page (viewed on …).
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
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"Wright, symbol, metaphor: examining the capacities of poetic language to articulate the self in the poetry of Judith Wright." 2012. http://library.cuhk.edu.hk/record=b5549233.

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本論文探討兩種修辭法- 象徵和隱喻-在表達自我的概念上的能力。朱迪思萊特的詩賦有強烈的倫理感。查爾斯泰勒的哲學則強調道德在現代自我的形成上所扮演的固有角色。萊特的作品所表達關於自我的概念，可藉著泰勒的學說找到亮光。
萊特相信現代人濫用科學和他們對科學思維的重視。萊特對此濫用的回應，影響著她的詩詞創作。她認為現代人對理性和客觀性的依賴使他脫離了他創作力和想像力。語言需要被振興來向人揭示他所擁有的語言財富。詩辭可以為他敞開新的方式來表達和觀看世界。
萊特對澳洲的景觀存著一份複雜的關係。「[她]生命中的兩條線 -對國土本身的熱愛和對本土人下場的深切不安」，在她的作品裡編織在一起。生於一個使原居民流離失所而致富的牧民家族，她的詩反映著她所背負的歷史罪疚感。萊特的詩闡述了她的內疚，並重申了她對國土的歸屬感。
萊特也因著人類與大自然的斷絶而哀悼。她將此等的斷絶歸究於人類對大自然資源的濫用開發。在她而言，大自然是一股永恆的力量，是充滿著不可否定的屬靈意義的。原住民文化重視土地，以它為生命和靈性的源泉，這是萊特認為現代人應當仿效的。環境的退化成了她的終身關注的政治議題。
朱迪思萊特的生命有三條主線 - 詩辭，為原住民的公義和保育。這三條線編織在一起，一方面使她的詩呈現著強烈的道德評價，也同時界定著她的自我身份。明顯地，詩辭 - 象徵與隱喻的重生 - 持續了她的希望，表達了她的關切，並塑造了像她如此的人和詩人。
This thesis examines the capacities of poetic language, symbol and metaphor, to articulate the self. Given the strong ethical direction of Judith Wright’s poetry, the notion of the self expressed in her work finds illumination in the philosophy of Charles Taylor whose writing on the modern self emphasizes the intrinsic role morality plays in its formation.
Underpinning Wright’s poetics is her response to what she believed was modern man’s misuse of science and his emphasis on scientific thinking. His reliance on rationality and objectivity had left him out of touch with his capacities for creativity and imagination. Language needed to be revitalized to reveal to man the wealth of language in his possession; poetry could open up for him new ways of expressing and seeing the world.
Wright’s relationship with the Australian landscape was complex. The “two threads of [her] life, the love of the land itself and the deep unease over the fate of its original people“, would “twine together in her work. Her poetry reflects the historical guilt she carried as a daughter of wealthy pastoralists who had displaced its original inhabitants. Poetry was Wright’s means of expiation of guilt and re-claiming her sense of belonging to the land.
Wright also mourned man’s loss of connection with nature which she attributed to his instrumental exploitation of its resources. Nature had always been for her an abiding force imbued with inescapable spiritual significance. The value Aboriginal culture placed in the land as a source of life and spirituality was, for Wright, a model for modern man to emulate. Environmental degradation remained for the poet a lifelong concern and political cause.
The three strands of Judith Wright’s life - poetry, justice for Aborigines, and conservation - are woven together to emerge as strong moral evaluations in her poetry and defining values in her identity. It is clear that poetic language - the re-constellating symbol and metaphor - sustained her with hope, enabled her to articulate her deep concerns and helped to shape the person and poet she became.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
Lamb, Kirsten Emma Wai-Ling.
Thesis (M.Phil.)--Chinese University of Hong Kong, 2012.
Includes bibliographical references (leaves 117-119).
Abstracts also in Chinese.
Introduction
Chapter Chapter One --- : Wright and the Self
Chapter i. --- Poetry and the Re-constellation of Language
Chapter ii. --- Born of the Conquerors: Righting the Wrongs of Aboriginal Injustice
Chapter iii. --- “For Earth is Spirit“: Man’s Interconnectedness with Nature
Chapter iv. --- Charles Taylor
Chapter Chapter Two --- : The Self through Symbol
Chapter i. --- Symbols: “Powerful, efficacious, forceful“
Chapter ii. --- Wright’s Approach to the Symbol
Chapter iii. --- The Child
Chapter iv. --- Darkness
Chapter v. --- Fire
Chapter Chapter Three --- : The Self through Metaphor
Chapter i. --- Metaphors: Innovations of Language
Chapter ii. --- ‘Lament for Passenger Pigeons’: Escaping Disillusion through Metaphor
Chapter iii. --- ‘The Slope’: Resisting Despair through Metaphor
Chapter iv. --- ‘Train Journey’: Epiphany and Renewal through Metaphor
Chapter v. --- ‘To Hafiz of Shiraz’: Encountering the World through Metaphor
Chapter Chapter Four --- : Articulating the Self through Symbol and Metaphor
Chapter i. --- Repeat-able Symbol, Deplete-able Metaphor
Chapter ii. --- Symbols and Bound, Metaphors are Free
Chapter iii. --- Symbols and Metaphors
Concluding Thoughts
Bibliography
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Flanagan, Willanski Cassie. "Here where we live: the evolution of contemporary white Australian writers’ responses to white settler status." Thesis, 2012. http://hdl.handle.net/2440/85506.

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It is proposed that Australians of white settler heritage writing on the subject of Indigenous Australians in the period from the early 20th Century to the present day take a combination of three common approaches. The “haunted”, “contemporary representations” and “stepping back” approaches represent an evolving attitude in contemporary white Australian writing on Indigenous themes. This evolution occurs in a rough chronological order, however within this chronology the writing may exhibit a fluidity, moving back and forth between the three approaches. Texts by Patrick White and Judith Wright are used as primary examples of the three approaches, with secondary examples given from a range of contemporary white Australian writers. The evolution of Indigenous Australian writing is discussed within the “stepping back” approach. Parallels are drawn between the evolution of white and Indigenous Australian writing on Indigenous themes, with the argument that Indigenous writing displays both the “haunted” and “contemporary representations” approaches. The final approach for Indigenous Australian writers, however, is the “stepping forward” approach. The poetry of Kath Walker/Oodgeroo Noonuccal is the principal example given to illustrate this section, with additional commentary on a range of contemporary Indigenous Australian writing. Examples of the three approaches’ influence on the creative component of this thesis are discussed throughout the exegesis.
Thesis (M.A.) -- University of Adelaide, School of Humanities, 2012
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Kokai, Jennifer Anne. "Even in their dresses the females seem to bid us defiance : Boston women and performance 1762-1823." 2008. http://hdl.handle.net/2152/14843.

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This dissertation constructs a cultural history of women's performances in Boston from 1762-1823, using materialist feminism and ethnohistory. I look at how "woman" was historically understood at that time, and how women used those discourses to their advantage when constructing performances that allowed them to intervene in political culture. I examine a broad range of performance activities from white, black, and Native American women of all classes. Chapter two discusses three of Boston's elite female intellectuals: Mercy Otis Warren, Judith Sargent Murray, and Sarah Wentworth Apthorp Morton. Though each woman's writings have been examined individually, I examine them as a community. With the connections and public recognition they built, they helped found the Federal Street Theatre where they could have a ventrioloquized embodied performance for their ideas on women's rights, abolition, and political parties. Chapter three looks at the construction of three solo performances: Phillis Wheatley performing her poetry in 1772; the 1802 theatre tour of Deborah Sampson Gannett, who fought as a man in the revolution; and the monologues and wax effigy creations of Patience Lovell Wright circa 1772. These women depended on their performances for sustenance, and in Wheatley's case, to secure her freedom from bondage. I look at the way these women created a mythology about themselves and crafted a marketable image, both on and off the stage. In particular, I examine the ways each grappled with a charged discourse surrounding their bodies. In chapter four I look at fashion as performance. I explore homespun dresses as political propaganda, Native American and black women's use of clothing to express cultural pride that white Anglo society had attempted to erase, and the way that women used mourning costumes to perform and create nationalism at the mock funerals held for Washington after he died in 1799. In my conclusion I contrast the 2008 miniseries John Adams with a solo performance of Phillis Wheatley. I briefly trace the trajectory of the history of women during this time. I argue that focusing on performance identifies and legitimizes other sources of evidence and locates examples of women's agency in shaping popular culture.
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Books on the topic "Judith Wright"

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Strauss, Jennifer. Judith Wright. Melbourne: Oxford University Press, 1995.

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Wright, Judith. Judith Wright: Conversations. Brisbane: Judith Wright, 2007.

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1926-, Clarke Patricia, and McKinney Meredith 1950-, eds. With love & fury: Selected letters of Judith Wright. Canberra: National Library of Australia, 2006.

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South of my days: A biography of Judith Wright. Pymble, Sydney, N.S.W: Angus & Robertson, 1998.

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Grant, Robert N. Sorting some of the Wrights of southern Virginia: John Wright (Goochland County carpenter), his wife Judith (Easly) Wright, and their descendants. Menlo Park, Calif. (15 Campo Bello Court, Menlo Park 94025): R.N. Grant, 2004.

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Judith, Wright. The equal heart and mind: Letters between Judith Wright and Jack McKinney. St. Lucia, Qld: University of Queensland Press, 2004.

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Blackman, Barbara. Portrait of a friendship: The letters of Barbara Blackman and Judith Wright, 1950-2000. Carlton, Vic: Miegunyah Press, 2007.

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Walker, Shirley. Vanishing Edens: Responses to Australia in the works of Mary Gilmore, Judith Wright, and Dorothy Hewett. [Townsville, Qld.]: Foundation for Australian Literary Studies, 1992.

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Walker, Shirley. Flame and shadow: A study of Judith Wright's poetry. St Lucia, Qld., Australia: University of Queensland Press, 1996.

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Walker, Shirley. Flame and shadow: A study of Judith Wright's poetry. St Lucia, Qld., Australia: University of Queensland Press, 1991.

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Book chapters on the topic "Judith Wright"

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Platz, Norbert. "Wright, Judith." In Kindlers Literatur Lexikon (KLL), 1. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_17442-1.

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Platz, Norbert. "Wright, Judith: Das lyrische Werk." In Kindlers Literatur Lexikon (KLL), 1–3. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_17443-1.

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Bery, Ashok. "Songlines: Judith Wright and Belonging." In Cultural Translation and Postcolonial Poetry, 23–50. London: Palgrave Macmillan UK, 2007. http://dx.doi.org/10.1057/9780230286283_3.

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Lawrence, Sarah. "Judith Wright and Virgil's Third Georgic." In Georgic Literature and the Environment, 199–211. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003241300-17.

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Evans, Raymond. "Disparate Visions: The Contested Homefront Worlds of Gwen Harwood, Faith Richmond and Judith Wright (1939–1945)." In Claiming Space for Australian Women’s Writing, 141–61. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-50400-1_8.

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Collett, Anne. "Ghazal as a Transnational Space; Ghazal as Endgame: Judith Wright’s ‘Shadow of Fire’." In Transnational Spaces of India and Australia, 69–86. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-81325-3_5.

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"Wright, Judith." In Reader's Guide to Literature in English, 1648–840. Routledge, 2012. http://dx.doi.org/10.4324/9780203303290-93.

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Birns, Nicholas. "Judith Wright 1915–2000." In Key Thinkers on The Environment, 238–42. Routledge, 2017. http://dx.doi.org/10.4324/9781315543659-43.

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"Cecily’s travels with Judith Wright." In Persons of Interest: An Intimate Account of Cecily and John Burton, 9–14. ANU Press, 2022. http://dx.doi.org/10.22459/pi.2022.02.

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"Cecily’s travels with Judith Wright." In Persons of Interest: An Intimate Account of Cecily and John Burton, 9–14. ANU Press, 2022. http://dx.doi.org/10.22459/pi.2022.02.

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