Jasper Jones

Stenders continues to create an idealised representation of the Australian identity through his representation of conflict with authority. Conflict of authority is traditionally identified as an aspect of Australian identity when an authority figures is seen to be using power unfairly and in corrupt ways. Stenders is clearly drawing on the historical context of Australia as a penal settlement where mistreated convicts developed a hatred for authority figures that unnecessarily treated them with cruelty. Stenders uses the characters of the Cribbages, the caretakers of the caravan park to embody the notion of the corrupt misuse of power. This is evident in Stenders’ portrayal of them as intimidating and unreasonable in their response to Nancy keeping Red Dog in the park. Stenders positions us to participate in the disregard for authority through his negative representation suggested by their mug and arrogant facial expressions and abrasive tone in, “I don't care if he is the Queen’s bloody corgi.” We are further compelled to align our perspective of them with Nancy’s through the high angle point of view shot focalised through Nancy’s eyes which makes them appear small and powerless.

On behalf Li & Partners consulting firm, we are pleased to present the strategic recommendation report. This reports divided into five sections. David Jones’ external and internal environments are discussed in the first two sections. The following section focuses on the identification of stakeholders and their interests. Our strategic recommendations to improve shareholder value are explained in the fourth section followed by the impact our recommendations have on stakeholders. A balance scorecard is constructed in the last section to illustrate the effect our strategic recommendations have on stakeholders and future company performance.

Phillip Gwyne’s novel, “Deadly Unna?” explores how the main character Gary Black, a white boy from the “Port” also known as “Blacky” grows up by not agreeing to racism. Blacky experiences prejudice and friendship from both the aboriginal and white communities. Blacky begins to develop a greater tolerance for aborigines and their culture, and then he further attempts to apply this knowledge to the intolerant and prejudiced town in which he lives. The boy who helps him shift in his opinion of aborigines is a local aborigine named “Dumby Red”, who lives in the aboriginal missionary “The Point”. Dumby is of Blacky’s Football team and helps Blacky in various ways to become more tolerant.

Using the text alongside the illustrations engages in critical literacy, revealing the hidden power relationships and ideological assumptions that underline texts (Winch 2014, p.539), and strike in-depth discussions. For example, about being lost and how you managed to find your way again, what the differences are between your approach and her approach, what do you notice about where they live, how is it different from where you live, and what are all the amazing things you could possibly do if you lived there. The idea is helping to develop a child’s knowledge of their world and the knowledge about a world that is not their own (Winch 2014, p.536). Majority of Indigenous content learning occurring in the younger years found in the Australian Curriculum, is remembering, understanding and applying, in relation to Bloom’s Taxonomy (Lowe, 2015). This book can be used to unearth these cognitive processes but can further be explored beyond the elaborations of the curriculum with the grade ones to build a greater depth of understanding through analysing, evaluating and creating (Lowe, 2015).

It is crucial that we study Australian Narratives as it creates insights into events we may have not explored. This is evident in the novel "Crow Country" written by Kate Constable. It teaches us about Aboriginal beliefs and spirituality, Australia's History and respect, as we experience what it feels like to live in rural Australia, creating an understanding about Aboriginal people. Therefore, through a close read and study of "Crow Country", readers are able to learn new and important things about our past and present, showing that it is crucial to study Australian Narratives.

On the AMC hit television show, Mad Men, the main character Don Draper spoke very powerful words when he said, “People tell you who they are but we ignore it, because we want them to be who we want them to be.”. The main character of the novel written by Craig Silvey titled, Jasper Jones dealt with the troubles of, as Don Draper said, people ignoring who somebody is simply because we want them to be who we want. Set in 1965 in a small West Australian town called Corrigan, main character, Charlie Butkin is faced with the fear of being drafted into war with Vietnam and seeing his friends treated poorly by others because of racism. The novel kick starts, however, when Charlie is interrupted by Jason Jones tapping on his window asking Charlie

The Apology Day Breakfast, and, Heart’s Core Lament are two powerful indigenous poems which use poetic techniques and devices to portray theme, times, places and identities. These poems both address the stolen generation and the impact that white colonisation has had on the Australian indigenous community. However, Natalie Harkin’s, Heart’s Core Lament has more impact through using graphic imagery to connect the poem to historical

Aboriginal women is sexualized, assaulted, and mistreated in today’s society, and the novel portrays this inequity. Lisa’s friend, Erica, was in Terrace, when Lisa witnesses her being harassed by a group of white men. The men were teaching Erica how to “fuck a white man,” when Lisa intervenes. The men call the girls “a squaw, “cunt”, and “bitch” (Robinson 250). The

George Glenn Jones was the youngest of eight children and grew up in a poor family. He was born and raised in Saratoga, Texas on September 12, 1931. He grew up with an alcoholic father who sometimes grew violent. "We were our daddy's loved ones when he was sober, his prisoners when he was drunk," Jones later wrote in his autobiography, I Lived to Tell It All. When Jones was nine his father bought him his first guitar, and when he began to display an early talent, he was sent out to the streets to perform and help earn money for the family.

“Don't drink the kool-aid” is a phrase that was coined after the mass suicide in Jonestown, Guyana on November 18, 1978. James (Jim) Jones was a religious leader of the People’s Temple cult and is responsible for more the deaths of 909 men, women, and children through a mass suicide using cyanide-laced grape punch. Aided by his high IQ and his manipulative ways, Jones was able to carry out his communist goals. Jones managed to wipe out 909 people overnight which lands him a well earned spot in history.

In the political power play and linguistic treatment of the emblematically powerless reveals not only core party values, but varying conceptions of Australian identity. This is especially recognisable when political debate is considered in the context of three distinct time periods and political situations, demonstrating a transient grasp of elusive ‘Australianness’ in a society defined not by what is desirable, but what is not, thereby degrading ideals of multi-cultural egalitarianism. Put simply, Australia’s postcolonial desire to control its borders and regulate the Hegelian ‘Other’ underpins the politicisation of the ‘boat people’ phenomenon. This relates closely to Chomsky’s assertion that intentionally inducing fear of a “terrifying enemy” is a standard device used “to whip the domestic population of any country into line” behind contentious

By addressing the unspeakable horrors committed against Indigenous Australians and pointing out that Australians today “[benefit] from violence towards Indigenous Australians” (Weaver-Hightower 137), Grenville admits the Australian collective guilt in her novel. According to Weaver-Hightower, “reading the novel could act as an apology” since the expression of collective guilt serves “as a sort of cleansing ritual for readers who identify with characters and experience catharsis” (138). As a consequence, Grenville`s novel can serve as a means for admitting and managing postcolonial, collective guilt and offering an apology. However, as Weaver-Hightower recognizes, The Secret River “presents an ambivalent view of Non-Indigenous Australian collective guilt, admitting it in places and defending against it in others by showing the Non-Indigenous settler as a victim and distinguishing between 'bad' and 'good' colonizers” (143). As a result, the reader is left with an ambivalent feeling about apology and excuse and has to decide individually which side predominates for him.

Billy’s retelling of Oombugarri massacre made the audience fully understand Billy’s perspective towards the Colonialism of the white. Being the last man standing, he had resulted to joining the opposition, giving sense to the phrase ‘If you can’t beat them, join them’. Billy, being the prototype of assimilation, audiences could perceive his acceptance of racism, hence confirming the stereotypes, however it’s important to notice that Davis constructed his characters with added complexity, therefore in variety of ways, Billy also challenges racism. Judging from the characters such as Jimmy and Milly, audiences are expected to interpret that all aboriginals are fighters, albeit Billy failed to attempt any revenge towards the ‘big mob politjmans’ that massacred his family, consequently challenging the stereotyped notion that aboriginals are fuelled with contempt and gallantry. Billy is one of many complex characters that are presented within the text, his inferior position within the white society and treacherous attitudes towards his own race fails to systematically categorise him to any race, hence making sense of the concept ‘Double Consciousness’ by W.E.B. Du bois, whereby the product of assimilation

Robert Edmond Jones was born December 12, 1887, in Milton, New Hampshire. Jones was the second child born to Fred and Emma Jane Cowell Jones. He began to take violin lessons at the age of nine, eventually playing in the Harvard Pierian Sodality Orchestra, but even when he was a child he was sure being an artist was his aspiration. In 1905, Jones graduated from Nute High School and enrolled in Harvard University the succeeding autumn. During his time at Harvard, he pursued a liberal arts course of study and graduated cum laude in 1910. In this same time period, he had entered in the popular drama course taught by George Pierce Baker. Following graduation Jones stayed at Harvard for two more years as a graduate aide and eventually as an instructor

The rush of wind glided off the car. The trees swayed, breezing by in the air. An old, rusty 1985 Chevrolet Cavalier slowly made its way down the road, toward a cluster of buildings. As the sunlight reflected on the dusty windshield, the newly fallen leaves crinkled under the heavy tires. The car parked near the entrance of one of the smaller buildings. The door slowly opened, and out came a man.