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- Harry Joy’s Children: The Art of Story Telling in Peter Carey’s *Bliss*Essay1 May 1994
- ‘Contour-Line by Contour’: Landscape Change as an Index of History in the Poetry of Les MurrayEssay1 May 1994
- Poetry and Politics in Oodgeroo: Transcending the DifferenceEssay1 November 1994
- ‘Not a Good Forgetter’: H.H. Richardson’s Recasting of the Past in *Myself When Young*Essay1 May 1998
- Paris, Moscow, Melbourne: Some Avant-Garde Australian Little Magazines, 1930-1934Essay1 May 1993
- Terra Australis: Landscape as Medium in *Capricornia* and *Poor Fellow My Country*Essay1 May 1995
- Colonial History and Post-Colonial Fiction : The Writing of Thea AstleyEssay1 May 1999
- ‘Years Later’: Temporality and Closure in Peter Carey’s NovelsEssay1 October 1999
- Revisiting the ‘Mystery of a Novel Contest’ : The *Daily Telegraph* and *Come in Spinner*Essay1 October 2000
- Obscene and Over Here : National Sex and the Love Me Sailor Obscenity TrialEssay1 October 2002
- Reading (in/and) *Miranda*Essay1 May 2006
- The Modernist *roman à clef* and Cultural Secrets, or, I Know that You Know that I Know that You KnowEssay1 November 2009
- The Significance of Littoral in Beverley Farmer’s Novel *The Seal Woman*Essay1 November 2009
- The Telling of Marmel’s StoryEssay1 June 2009
- Imagining Transcendence: The Poetry of David MaloufEssay1 October 2005
- The Eco-Humanities as Literature: A New Genre?Essay1 October 2008
- Spatialising Experience : Gail Jones’s *Black Mirror* and the Contending of Postmodern SpaceEssay1 October 2007
- Anachronism, Ekphrasis and the ‘Shape of Time’ in *The Great Fire*Essay1 October 2008
- The Significance of Littoral in Beverley Farmer’s Novel *The Seal Woman*Essay1 October 2009
- You Are What You Eat: Rationalising Factory Farms in Don LePan’s *Animals*Essay1 June 2010