Walking The Boundaries Analysis

Robert Gray is an Australian poet whose work is closely linked with nature. He grew up in the post ww11 era, and lives on the north coast. The poems ‘The Meatworks’, and ‘Flames and Dangling Wire’, express how he feels about life, his experiences and his beliefs. His poetry has such an enduring nature because it can be understood in so many different contexts, and includes universal themes which remain relevant to societies past, present and future.

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.

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).

Guy Vanderhaeghe’s The Last Crossing is a Western of subtly crossed borders. Vanderhaeghe elicits a sense of blurred lines between opposites, giving the illusion that boundaries are not so statically fixed. Vanderhaeghe creates an underlying fluidity of social and cultural connotations and the essence of well-being. The Metis disestablish the distinction between Indigenous and white through appearances, languages, and relations. Addington’s syphilis, Custis’ mystery ailment, and the Indigenous peoples’ struggle with smallpox draws the conclusion that health and illness are not opposites. Madge’s death, Addington’s military massacre, and Indigenous resistance against unfair treatment prove that justice is not equivalent to the law. Lucy Stoveall’s paranormal abilities, Simon and Addington’s dreams, and the land of the dead exposes the openness of interpretation and the inconsistency of the natural world. The Last Crossing fights the illusion that concepts are resilient. Within the novel Vanderhaeghe affirms the flexibility of health, law, nature and culture with their opposites.

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.

‘Rabbit Proof Fence’ was the story of a 3 young Aboriginal girls who were taken from their homes because they were ‘half castes’ and then their long walk home following the rabbit proof fence. The idea of the government taking children from their homes and placing them into the care of white people in the hope of them losing their cultural beliefs was stronger. This idea of them being changed was evident with quotes such as “This is your new home. We don't use that jabber here. You speak English” providing the idea of whites being dominant through their values.

In chapters two and three titled “Sites” and “Movements” respectively, Howard makes the case that there is a “dialectical” relationship between the subject and the landscape (both social and physical) and

Many of Tim Winton’s fictional texts mirror moments in his own life, and with an understanding of Winton’s personal context, we can begin to discover the importance of these events and an understanding into why many of his text orbit around similar ideas. Through the insight given in his landscape memoirs, Lands Edge and Island Home, a more considered reading of his fictional texts; Breath, A Blow, A Kiss and Sand can be found. Specifically, these texts explore the role that landscape and place have had in shaping his perspectives and distaste of the expectations of Australian males. These texts each explore certain aspects of the expectations that men all over Australia are subjected to that Winton strongly opposes. Winton grew up in the 1960’s middle-class suburb of Karrinyup, WA, his working class Christian family’s beliefs and values, and events in his early life have evolved to form many of his present-day values towards landscape and masculinity.

Experiencing challenging situations that make us feel mentally or physically uncomfortable enable us to grow from our comfort zones and experience our learning. Edgework expresses an array of emotions and allows for personal freedom, growth and failure within our personal and professional lives. These experiences may take on different meaning for anyone but the overall learning concept should be expressed in the overall experience.

Within the stories “Compatriots” by Emma Lee Warrior and “Traplines” by Eden Robinson, it is shown through further examination that both stories share similar concepts. Both stories demonstrate prominent examples of loss of Aboriginal culture, identity, and the use of stereotypes. Loss of Aboriginal Culture is shown throughout both stories, showing the lack of respect and love the characters in Compatriots and Traplines go through. In Compatriots, identity is a major factor the characters within the story deal with, as it touches about the question: What does it mean to be a true Aboriginal? In Traplines, the struggle to find one’s identity is shown throughout the main character Will, and his journey, as he finds it difficult to figure out where he belongs.

The play presents complex notions about family bonds, based upon their shared cultural experiences and the way in which they reinforce their cultural Australian identity and help members of the family endure the physical hardship and social isolation. Jack Davis’ social realist drama, ‘No Sugar’ explores how the varying levels of family unity, rebellion and cultural identity depicted in different characters influences their survival. In this play, the term ‘survival’ operates on two continuums. It is conveyed as the physical sense of life and death through the play’s protagonist, Jimmy Munday, as well as the pursuit of happiness. This pursuit is predominantly reflected in the parallel yet contrasted lives of Mary and Billy Kimberley as well as Gran’s deteriorating health after losing family members. Although Davis articulates the endurance of the Indigenous Australians, he incorporates figures of white authority who seek to demolish the Indigenous race and culture. Set in the time frame of 1929 to 1934, ‘No Sugar’ presents a critique of the conventional colonial British views of that era; and their effect on the preservation of Indigenous spirit and culture.

The notion of the contemporary indigenous identity and the impact of these notions are both explored in texts that have been studied. Ivan Sen’s 2002 film ‘Beneath Clouds’ focuses on the stereotypical behaviours of Indigenous Australians highlighting Lina and Vaughn’s journey. This also signifies the status and place of the Australian identity today. Through the use of visual techniques and stereotypes the ideas that the Indigenous are uneducated, involved in crime and the stereotypical portrayal of white people are all explored. Similarly the notion of urban and rural life is represented in Kennith Slessor’s ‘William Street’ and ‘Country Towns’.

Likely one of the dirtiest-sounding songs to hit the AM band, Aerosmith hadn't yet achieved their highest when they took "Walk This Way" Top Ten in 1975. The tune's title was apparently roused by a line from the film Young Frankenstein, however its substance is altogether disconnected. The tune is about youthful desire as confirm in Steven Tyler's pre-rap, filthy limerick verse. Joe Perry's hip guitar line and a monstrous drum sound is at the center of the tune, its overpowering hokiness in Perry's principle riff and the chucka-chucka mood guitar which serve a comparable capacity to a tune. The tune has the greater part of the basic Aerosmith components: coarseness, guitar and hot sexual allusion, in addition to one of those unending Perry

Within the Family Life Cycle, one stage is called “families with adolescents”. This is when families create flexible boundaries and promote child independence (p. 502). For example, Bobby’s daughter shows independence by leaving the household in provocative clothing. This scene shows how the adolescent is branching out, looking at more of her interests, leaving the house when she wants too, wearing what she wants to wear, and becoming more independent. Now that she is an adolescent, the parents created a flexible boundary for her. The flexible boundary is that she can wear whatever she wants and leave the house whenever she wants too.

Wright’s 1945 poem, The Hawthorn Hedge, is a representation of the predatory power of the Australian landscape over those who refuse to unite with it. It details an unspecific persona’s attempts to establish security by planting a hawthorn hedge, separating her from a harsh, imagined landscape. The specificity of “the hawthorn hedge” reveals that this is introduced British species. As the hawthorn hedge is traditionally used as a natural fence, this clarifies that the persona is attempting to block out the landscape around her. Secondly, the fact that the hawthorn hedge is a British species suggests that the persona is also attempting to establish a reminder of her homeland, Britain. A tenet of Wright’s poetry is the strength of the true Australia and the concept of Australia’s break-away from Britain, exemplified in