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- Dramatising the Self: Beverley Farmer’s FictionEssay1 October 1995
- Un/making Sexuality: *Such Is Life* and the Observant Queer ReaderEssay1 October 2003
- All the Way to Cape Grimm: Reflections on Carmel Bird’s FictionEssay1 May 2004
- Erocide Is Painless: Insensation in Les Murray’s *Fredy Neptune*Essay1 November 2008
- ‘Isn’t there a poem about this, Mr de Mille?’: On Quotation, Camp and Colonial DistancingEssay1 November 2008
- ‘What Would Civilisation Be without a Gun?’ The Resistant Land in Sarah Campion’s Burdekin TrilogyEssay1 October 2006
- Burglary in Shady Hill and Sarsaparilla: The Politics of Conformity in White and CheeverEssay1 October 2006
- Biopolitics and Eleanor Dark’s *Prelude to Christopher*Essay1 June 2011
- Counter-PoeticsEssay1 June 2011
- ‘A Reading People?’: Global Knowledge Networks and Two Australian Societies of the 1820sEssay1 October 2014
- ‘I have so many truths to tell’: Randolph Stow’s *Visitants* and *The Girl Green as Elderflower*Essay1 May 2011
- Once We Were a Discipline: Stray Thoughts on EnglishEssay1 June 2013
- ‘Are We the Future of the Past?’ : Gothic Pasts, Gothic Futures, and Imaginary LivesEssay1 October 2011
- Parliamentary Medievalism: The Australian Magna Carta as Secular RelicEssay1 November 2011
- Ladies and Gentlemen? Language, Body and Identity in *The Aunt’s Story* and *The Twyborn Affair*Essay1 October 2013
- Review of South Pacific Images, Patrick White's Riders in the Chariot, and H.H. Richardson's Maurice GuestReview1 October 1979
- *In the Heart of the Country* and Pain: Re-reading Space, Gender and AffectEssay25 February 2018
- Magda Meets Theodora: Language and Interiority in *The Aunt’s Story* and *In The Heart of the Country*Essay25 February 2018
- A Reply to W.H. PearsonEssay1 May 1969
- The Sources of *His Natural Life*Essay1 October 1969