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- Assimilation or Appropriation: Uses of European Literary Forms in Black Australian WritingEssay1 October 1992
- The Short Story Cycles of Frank MoorhouseEssay1 October 1990
- Is Phallocentricity a Sin? or a Peccadillo?: Comedy and Gender in Ethel Anderson’s *At Parramatta* and Patrick White’s *Voss*Essay1 June 1991
- Searchlights and the Search for History in Christina Stead’s ‘Seven Poor Men of Sydney’Essay1 June 1991
- ‘Contour-Line by Contour’: Landscape Change as an Index of History in the Poetry of Les MurrayEssay1 May 1994
- Feral Symbolists: Robert Adamson, John Tranter, and the Response to RimbaudEssay1 May 1994
- Lesbia Harford’s Homefront Warrior and Women’s World War I WritingEssay1 May 1995
- Two Answers to Every Question: Elizabeth Jolley’s Fiction, Ethics and CriticismEssay1 May 1995
- ‘What Is Gone Is Not Gone’: Intimations in the Poetry of Thomas ShapcottEssay1 May 1997
- Gender, Genre, and Sybylla’s Performative Identity in Miles Franklin’s *My Brilliant Career*Essay1 October 1997
- A Neglected Interview between Henry Handel Richardson and Brian Penton, 1931-1933Essay1 May 1998
- Life-Lines in Stormy Seas: Some Recent Collections of Women’s Diaries and LettersEssay1 May 1993
- Terra Australis: Landscape as Medium in *Capricornia* and *Poor Fellow My Country*Essay1 May 1995
- An Absence of PartisanshipReview1 May 1997
- A Reconsideration of Christina Stead at Work: Fact into FictionEssay1 May 1997
- Imagined Counterpart: Outlining a Conceptual Literary Geography of AustraliaEssay1 June 1991
- ‘The Great Australian Emptiness’ Revisited: Murray Bail’s *Holden’s Performance*Essay1 May 1991
- Helen Garner’s *Monkey Grip*: The Construction of an Author and Her WorkEssay1 October 1992
- The Ethics of Abjection: Patrick White’s *Riders in the Chariot*Essay1 October 1997
- ‘Distant Voices, Still Lives’: The Correspondence Between H.H. Richardson and Her French Translator, Paul SolangesEssay1 May 1998