A tribute to Geoff Davis as a committed Commonwealth scholar and promotor of Inclusive Education, Indigenous Rights and Climate Justice.
向杰夫·戴维斯致敬，他是一位致力于全纳教育、土著权利和气候正义的英联邦学者和推动者。
{"title":"A totara has fallen","authors":"C. Prentice","doi":"10.1344/co20202849-52","DOIUrl":"https://doi.org/10.1344/co20202849-52","url":null,"abstract":"A tribute to Geoff Davis as a committed Commonwealth scholar and promotor of Inclusive Education, Indigenous Rights and Climate Justice.","PeriodicalId":10741,"journal":{"name":"Coolabah","volume":"1 1","pages":"49-52"},"PeriodicalIF":0.0,"publicationDate":"2020-04-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89569245","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
A description of Geoff Davis’s wide interest in Australian Studies, in particular war literature and indigeneity.
描述杰夫戴维斯对澳大利亚研究的广泛兴趣，特别是战争文学和土著。
{"title":"Geoffrey Davis: Interactions with Australia, Its Literature and Its Culture","authors":"R. Mcdougall","doi":"10.1344/CO20202827-31","DOIUrl":"https://doi.org/10.1344/CO20202827-31","url":null,"abstract":"A description of Geoff Davis’s wide interest in Australian Studies, in particular war literature and indigeneity.","PeriodicalId":10741,"journal":{"name":"Coolabah","volume":"96 1","pages":"27-31"},"PeriodicalIF":0.0,"publicationDate":"2020-04-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81891814","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
An open letter in which the author remembers the various conferences in which he coincided with Geoff and the friendship that the two built up over the years.
一封公开信，作者在信中回忆了他与杰夫一起参加的各种会议，以及两人多年来建立起来的友谊。
{"title":"An Open Letter to Geoff Davis","authors":"D. Riemenschneider","doi":"10.1344/co20202853-54","DOIUrl":"https://doi.org/10.1344/co20202853-54","url":null,"abstract":"An open letter in which the author remembers the various conferences in which he coincided with Geoff and the friendship that the two built up over the years.","PeriodicalId":10741,"journal":{"name":"Coolabah","volume":"31 1 1","pages":"53-54"},"PeriodicalIF":0.0,"publicationDate":"2020-04-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83085221","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
A tribute to Geoff Davis and a poem inspired by meeting him.
这是对杰夫·戴维斯的致敬，也是一首因与他见面而受到启发的诗。
{"title":"Tribute to Geoff Davis","authors":"J. Hart","doi":"10.1344/co20202813-14","DOIUrl":"https://doi.org/10.1344/co20202813-14","url":null,"abstract":"A tribute to Geoff Davis and a poem inspired by meeting him.","PeriodicalId":10741,"journal":{"name":"Coolabah","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75540283","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper addresses the representation of masculinities in the award-winning romantic fantasy film The Shape of Water (2017). The study examines how The Shape of Water communicates with other texts and myths portraying aquatic entities such as Gill Man from The Creature from the Black Lagoon (1954) and how the movie is tied to the folkloric tradition of monstrous love interest. Further, the text investigates how otherness is portrayed and constructed through the different representations in the movie. The paper concludes that the film’s diverse characters create a superficial appearance of an understanding for marginalised subjects. The Shape of Water is a classic beast bridegroom fairy tale with stagnated representations of feminine and masculine ideals that turn ‘the other’ into an instrument of self-realisation for a white subject. Moreover, the Amphibian Man is differentiated from his aquatic female counterparts through traditional masculine attributes such as a muscular body type, a reptilian appearance and being two-legged instead of having a fishtail.
{"title":"Aquatic Heterosexual Love and Wondrous Cliché Stereotypes: Amphibian Masculinity, the Beast Bridegroom Motif and ‘the Other’ in The Shape of Water.","authors":"Olle Jilkén, Lina Johansson","doi":"10.1344/co201927136-149","DOIUrl":"https://doi.org/10.1344/co201927136-149","url":null,"abstract":"This paper addresses the representation of masculinities in the award-winning romantic fantasy film The Shape of Water (2017). The study examines how The Shape of Water communicates with other texts and myths portraying aquatic entities such as Gill Man from The Creature from the Black Lagoon (1954) and how the movie is tied to the folkloric tradition of monstrous love interest. Further, the text investigates how otherness is portrayed and constructed through the different representations in the movie. The paper concludes that the film’s diverse characters create a superficial appearance of an understanding for marginalised subjects. The Shape of Water is a classic beast bridegroom fairy tale with stagnated representations of feminine and masculine ideals that turn ‘the other’ into an instrument of self-realisation for a white subject. Moreover, the Amphibian Man is differentiated from his aquatic female counterparts through traditional masculine attributes such as a muscular body type, a reptilian appearance and being two-legged instead of having a fishtail.","PeriodicalId":10741,"journal":{"name":"Coolabah","volume":"10 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79618146","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This special themed issue of Coolabah features a series of papers exploring the connections between various forms of folklore and modernity and the development of contemporary media-lore. The concept of media-lore is a relatively recent one, elucidated by the Russian Laboratory of Theoretical Folkloristics at their 2014 conference ‘Mechanisms of Cultural Memory: From Folk-lore to Media-lore’. Comparing it to the classic oral culture of folklore, they position media-lore as a ‘third’, screen-based mechanism for the transmission of cultural knowledge (the second was writing). Medialore, they posit, in its immediacy and interactivity, has more in common with oral folklore than in does with the intermediate stage of written text. Where written text often intends to replace oral memory, media-lore shares with oral folk-lore the creation of cultural knowledge through dialogue. ‘This is a paradoxical similarity since the technology for information transmission and storing in the ‘screen age’ is radically different from those of the oral era.’ (Russian Laboratory of Theoretical Folkloristics 2014: online)
{"title":"Folklore, Media-Lore & Modernity: An Introduction.","authors":"T. Hutton","doi":"10.1344/co2019271-3","DOIUrl":"https://doi.org/10.1344/co2019271-3","url":null,"abstract":"This special themed issue of Coolabah features a series of papers exploring the connections between various forms of folklore and modernity and the development of contemporary media-lore. The concept of media-lore is a relatively recent one, elucidated by the Russian Laboratory of Theoretical Folkloristics at their 2014 conference ‘Mechanisms of Cultural Memory: From Folk-lore to Media-lore’. Comparing it to the classic oral culture of folklore, they position media-lore as a ‘third’, screen-based mechanism for the transmission of cultural knowledge (the second was writing). Medialore, they posit, in its immediacy and interactivity, has more in common with oral folklore than in does with the intermediate stage of written text. Where written text often intends to replace oral memory, media-lore shares with oral folk-lore the creation of cultural knowledge through dialogue. ‘This is a paradoxical similarity since the technology for information transmission and storing in the ‘screen age’ is radically different from those of the oral era.’ (Russian Laboratory of Theoretical Folkloristics 2014: online)","PeriodicalId":10741,"journal":{"name":"Coolabah","volume":"55 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90517299","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The popular culture version of the zombie, developed over the latter half of the twentieth century, made only sporadic appearances in South Korean film, which may in part be attributed to the restrictions on the distribution of American and Japanese films before 1988. Thus the first zombie film Monstrous Corpse (Goeshi 1980, directed by Gang Beom-Gu), was a loose remake of the Spanish-Italian Non si deve profanare il sonno dei morti (1974). Monstrous Corpse was largely forgotten until given a screening by KBS in 2011. Zombies don’t appear again for a quarter of a century. This article examines four zombie films released between 2012 and 2018: “Ambulance”, the fourth film in Horror Stories (2012), a popular horror portmanteau film; Train to Busan (2016) (directed by Yeon Sang-Ho), the first South Korean blockbuster film in the “zombie apocalypse” sub-genre; Seoul Station (2016), an animation prequel to Train to Busan (also directed by Yeon Sang-Ho); and Rampant (2018, directed by Kim Seong-Hun ), a costume drama set in Korea’s Joseon era. Based on a cognitive studies approach, this article examines two conceptual metaphors which underlie these films: the very common metaphor, LIFE IS A JOURNEY, and the endemically Korean metaphor THE NATION IS A FAMILY.
流行文化版本的僵尸是在20世纪后半叶发展起来的，在韩国电影中只是偶尔出现，部分原因可能是1988年之前对美国和日本电影发行的限制。因此，第一部僵尸电影《怪物的尸体》(1980年，导演姜范古)是对西班牙-意大利电影《非我为亵渎者而死》(1974年)的翻拍。在2011年KBS播放之前，《怪物尸体》几乎被遗忘。僵尸在四分之一个世纪后才再次出现。本文研究了2012年至2018年间上映的四部僵尸电影:《救护车》，《恐怖故事》(2012)的第四部，一部流行的恐怖混合电影;《釜山行》(Train to Busan, 2016)(延相昊导演)是韩国第一部“僵尸启示录”题材的大片;《釜山行》的动画前传《首尔站》(2016)(同样由延相昊导演);以及以朝鲜时代为背景的古装剧《猖狂》(2018年，金成勋导演)。基于认知研究的方法，本文探讨了这些电影背后的两个概念隐喻:一个是非常常见的隐喻，生命是一次旅行，另一个是韩国特有的隐喻，国家是一个家庭。
{"title":"The New Zombie Apocalypse and Social Crisis in South Korean Cinema.","authors":"Sung-Ae Lee","doi":"10.1344/co201927150-166","DOIUrl":"https://doi.org/10.1344/co201927150-166","url":null,"abstract":"The popular culture version of the zombie, developed over the latter half of the twentieth century, made only sporadic appearances in South Korean film, which may in part be attributed to the restrictions on the distribution of American and Japanese films before 1988. Thus the first zombie film Monstrous Corpse (Goeshi 1980, directed by Gang Beom-Gu), was a loose remake of the Spanish-Italian Non si deve profanare il sonno dei morti (1974). Monstrous Corpse was largely forgotten until given a screening by KBS in 2011. Zombies don’t appear again for a quarter of a century. This article examines four zombie films released between 2012 and 2018: “Ambulance”, the fourth film in Horror Stories (2012), a popular horror portmanteau film; Train to Busan (2016) (directed by Yeon Sang-Ho), the first South Korean blockbuster film in the “zombie apocalypse” sub-genre; Seoul Station (2016), an animation prequel to Train to Busan (also directed by Yeon Sang-Ho); and Rampant (2018, directed by Kim Seong-Hun ), a costume drama set in Korea’s Joseon era. Based on a cognitive studies approach, this article examines two conceptual metaphors which underlie these films: the very common metaphor, LIFE IS A JOURNEY, and the endemically Korean metaphor THE NATION IS A FAMILY.","PeriodicalId":10741,"journal":{"name":"Coolabah","volume":"13 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76324953","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Walk over a major bridge in a Western city and chances are you will come across at least one or two love-locks. These are padlocks inscribed with names or initials and attached to a public structure, typically by a couple in declaration of romantic commitment, who then proceed to throw the key into the river below. Some assemblages of these love tokens are modest; others number the thousands. This has become a truly global phenomenon, with over 400 love-lock assemblages catalogued across 62 countries in all continents bar Antarctica: popular custom in the true sense of the term. Although this custom was practised prior to the 21 st century, with evidence of it in Serbia and Hungary in the 1900s, it did not gain widespread popularity until the mid-2000s — sparked, this paper contends, by an Italian teenage romance novel. This paper explores the transition from popular culture, defined here as mass-produced cultural products — including but not limited to television, film, literature and music — accessible to and consumed by the majority of a given society, to popular (or folk) custom. It also explores the reverse. As the love-lock custom gained popularity and familiarity, it became an established folk motif in films, television, and novels — from popular custom to popular culture — and this paper considers what these transitions demonstrate about the relationship, or interrelationship, between popular custom and popular culture.
{"title":"From Popular Culture to Popular Custom, and Back Again: A Love-Lock’s Tale.","authors":"Ceri Houlbrook","doi":"10.1344/co2019274-19","DOIUrl":"https://doi.org/10.1344/co2019274-19","url":null,"abstract":"Walk over a major bridge in a Western city and chances are you will come across at least one or two love-locks. These are padlocks inscribed with names or initials and attached to a public structure, typically by a couple in declaration of romantic commitment, who then proceed to throw the key into the river below. Some assemblages of these love tokens are modest; others number the thousands. This has become a truly global phenomenon, with over 400 love-lock assemblages catalogued across 62 countries in all continents bar Antarctica: popular custom in the true sense of the term. Although this custom was practised prior to the 21 st century, with evidence of it in Serbia and Hungary in the 1900s, it did not gain widespread popularity until the mid-2000s — sparked, this paper contends, by an Italian teenage romance novel. This paper explores the transition from popular culture, defined here as mass-produced cultural products — including but not limited to television, film, literature and music — accessible to and consumed by the majority of a given society, to popular (or folk) custom. It also explores the reverse. As the love-lock custom gained popularity and familiarity, it became an established folk motif in films, television, and novels — from popular custom to popular culture — and this paper considers what these transitions demonstrate about the relationship, or interrelationship, between popular custom and popular culture.","PeriodicalId":10741,"journal":{"name":"Coolabah","volume":"59 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90286250","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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