This book examines the history of the concept of irony from the first appearance of?eironeia? in Plato to the modern era. It isolates and discusses the basic features of irony and the variable features that determine the kind and in part the effect or quality. It distinguishes carefully between the two main types : instrumental irony (of which verbal irony is the most common form) and observable irony (which includes dramatic irony, irony of events, general irony and other situational ironies). (...) A distinction is also drawn between open and closed irony. (shrink)

1. IntroductionIt is an increasingly accepted protocol to situate oneself discursively in order to approach a set of problems. This protocol, consolidated by Donna Haraway’s famous “situated knowledge,” is also evident in everyday Indigenous Australian practice.1 I begin, therefore, with my long association with the Goolarabooloo community in Broome, North-West Australia, and in particular with Paddy Roe, who started teaching me in the late 1970s. This text attempts to translate his sense of belonging to that territory, an attachment he had (...) to struggle to maintain, both in the face of ongoing destructive colonization and also in the face of other Aboriginal territorial claims. These collective attachments are therefore inflected by history—not just settler history, but Indigenous history that has changed in relation to colonization. These changes are wrought through overwhelmingly rapid material changes, shifting institutional alliances, contested concepts, and new practices. This ethnographic history is an attempt to provide an overview of some of these changes in the North-West corner of Australia over the last forty years. (shrink)

Aboriginal Heritage Trails are a growing phenomenon in Australia. They come in all shapes and sizes, from mere signage to—in the case of the famous Lurujarri trail out of Broome, Western Australia—...

Nature of irony -- Sarcasm -- Impersonal irony -- Self-disparaging irony -- Ingenu irony -- Irony of self-betrayal -- Irony of simple incongruity -- Dramatic irony -- General irony -- Romantic irony.

Stephen Muecke, one of the originators of fictocritical writing, presents a selection of his best essays in this innovative genre.

Rather than mourn what this country lacks from a safe critical distance, Muecke and Pam aim to strengthen its connections with their art, making words and images move as they travel this unique country.

As an example of Aristophanic literary criticism the portrayal of Agathon in the prologue of theThesmophoriazusaehas been rather overshadowed by the poetry contest of theFrogs. This is largely because more can be said about parody when something substantial of the author parodied has survived.1Before many of the specific difficulties of the Agathon scenes we have no alternative but to confess our ⋯πορ⋯α.On the other hand, we need not despair of understanding the general point of these scenes, and in this the (...) most helpful method is that of identifying those Aristophanic techniques which shaped them. This method has already taken us a good way forward, so that there is no need now to argue for the structural integrity of these scenes2or their thematic relevance to the play.3Accordingly, in this paper I will discuss the portrayal of Agathon in relation to typical Aristophanic techniques. My main concern, however, will be with the significance of the different conceptions of literature raised in the course of the parody, Agathon being satirized in turn as an inspired poet, a craftsman poet and an effeminate poet. I hope to show that, for Aristophanes, Agathon's effeminacy is as much a reflection of his art as of his personality. (shrink)

Of all the explanations of this line the most sensible seems to be that first proposed by Beroaldus: ‘Conqueritur Cynthia sibi defunctae tegulam fractam mutilatamque sub capite fuisse suppositam, quum debuerit amator puluinos molles delicatosque subiicere.’ That Cynthia is talking about the performance of funeral rites is confirmed by Shackleton Bailey's discussion of 1.25 , 28 f.). In default of ancient parallels, I offer a modern one. In the last wishes of the Princess Teresa Uzeda in the novel I viceré (...) by Federico De Roberto, first published in 1894, is included the provision. (shrink)

Background:Collaboration between physicians and nurses is key to improving patient care. We know very little about collaboration and interdisciplinary practice in African healthcare settings.Research question/aim:The purpose of this study was to explore the ethical challenges of interdisciplinary collaboration in clinical practice and education in Botswana Participants and research context: This qualitative descriptive study was conducted with 39 participants (20 physicians and 19 nurses) who participated in semi-structured interviews at public hospitals purposely selected to represent the three levels of hospitals in (...) Botswana (referral, district, and primary).Ethical considerations:Following Institutional Review Board Approval at the University of Pennsylvania and the Ministry of Health in Botswana, participants’ written informed consent was obtained.Findings:Respondents’ ages ranged from 23 to 60 years, and their duration of work experience ranged from 0.5 to 32 years. Major qualitative themes that emerged from the data centered on the nature of the work environment, values regarding nurse–doctor collaboration, the nature of such collaboration, resources available for supporting collaboration and the smooth flow of work, and participants’ views about how their work experiences could be improved.Discussion:Participants expressed concerns that their work environment compromised their ability to provide high-quality and safe care to their patients. The physician staffing structure was described as consisting of a few specialists at the top, a vacuum in the middle that should be occupied by senior doctors, and junior doctors at the bottom—and not a sufficient number of nursing staff.Conclusion:Collaboration between physicians and nurses is critical to optimizing patients’ health outcomes. This is true not only in the United States but also in developing countries, such as Botswana, where health care professionals reported that their ethical challenges arose from resource shortages, differing professional attitudes, and a stressful work environment. (shrink)

What has happened to the project of ‘symmetrical anthropology’ in the last twenty years? What difference does it make to consider a multiplicity of cultures over the background of a unified nature, or a multiplicity of natures in addition to a multiplicity of cultures? In which way does it open up another type of scientific anthropology, no longer based on comparison but on ‘diplomacy’? Can modernity, as an interpretation of the former West, be recalled? Translated by Stephen Muecke.

Translator's introduction : At the end of July 2014 there was a week-long workshop held at the Ecole des Mines in Paris, Bruno Latour's former work-place. This was a final workshop, convened by Latour's project, An Inquiry into Modes of Existence, which was not only a book, but a website that was an experiment in interactive metaphysics that had been going on for four years. About 30 participants gathered to workshop and rewrite some key contested areas that had been challenged (...) on the site with discussions and counter-examples. One of the round tables working away during the week, occasionally with changes in personnel, was on Nature. Their job (like the other round tables on Politics, Diplomacy, Religion and Economics) was to ‘reboot’ or reinstitute a concept close to the heart of the Moderns. The assumption was that the traditional concept of nature, as developed through modern European history, would no longer be adequate to a future beset by environmental crises. The main people working on a draft were Didier Debaise, Pablo Jensen, Pierre Montebello, Nicolas Prignot, Isabelle Stengers and Aline Wiame. When they finished the draft, I translated it and it was presented, in French and English, in a final two-day public session at Science Po, to a group of seven international scholars designated as “chargés d'affaires,” or “diplomats from the future” whose job was to assess the results of our labours in terms of how they might be met by Gaia, the ur-representative of future planetary crises. The text, originally under the title of Our “Nature,” was as follows. [Stephen Muecke]. (shrink)

Articles by Bain Attwood, Tim Murray, Gillian Cowlishaw, Stephen Muecke, Andrew Lattas, Philip Jones, Barry Morris, Tim Rowse, Heather Goodall, Jan Pettman and Colin Pardoe annotated separately.

Investigating the concepts and material realities of energy coursing through the arts: a foundational text. This book investigates energies—in the plural, the energies embedded and embodied in everything under the sun— as they are expressed in the arts. With contributions from scholars and critics from the visual arts, art history, anthropology, music, literature, and the history of science, it offers the first multidisciplinary investigation of the concepts and material realities of energy coursing through the arts. Just as Douglas Kahn's earlier (...) books helped introduce sound as a category for study in the arts, this new volume will be a foundational volume for future explorers in a largely uncharted domain. The modern concept of energy is only two hundred years old—an abstraction grounded in extraction—but this book takes a more expansive view. It opens with a clap: the sonic energies in a ceremony of the indigenous Goolarabooloo people of Australia. Other chapters explore the energies of photography; responses of artists in the early twentieth century—including Marcel Duchamp—to scientific discoveries in electricity and electromagnetism; the aestheticization of entropy in works by Hans Haacke and Robert Smithson; free-jazz musician Milford Graves's cross-cultural engagement with music, science, and spiritualism; energy field performance; and the self-generating energy of rumor and gossip as artwork. Contributors include such leading scholars as Linda Dalrymple Henderson, John Tresch, and Caroline A. Jones. Practicing artists and students of art history will find Energies in the Arts an essential work. Contributors Susan Ballard, Jennifer Biddle, Marcus Boon, Joan Brassil, Steven Connor, Milford Graves, Daniel Hackbarth, Linda Dalrymple Henderson, Caroline A. Jones, Douglas Kahn, David Mather, Stephen Muecke, James Nisbet, Daniela Silvestrin, Michael Taussig, John Tresch, Melissa Warak. (shrink)

This syllabus explores complex ways that Native peoples form relationships with environments. Topics include Native American environmental thought, ethics, technology, and aesthetics of practice. A comparative approach shows differences and similarities of Native and Western templates of understanding that frame relations in our human environment. Texts discuses understanding of traditional and contemporary indigenous philosophical frameworks of environmental practices, and why they collide with technology. Required text authors include Gregory Cajete, J. Baird Caldicott, Michael P. Nelson, Donald Grinde, and Bruce E. (...) Johansen; recommended readings include Krim Benterrak, Staphen Muecke, Paddy Roe, David Suzuki, and Peter Knudtson. (shrink)