While the merman has been a minor figure in modern popular culture — in marked contrast to his gender counterpart, the mermaid — the figure has begun to enjoy a resurgence in several cultural niches in recent decades. One of the most notable of these has occurred with regard to the branding and marketing of types of beer and, in particularly, with the burgeoning ‘craft beer’ movement that has taken off in North America, Europe and Australasia (in particular) since the early 2000s. After an introduction to the merman in popular culture, this article analyses the use of mermen and related fish-tailed mythological males in brewery names and symbols, on beer bottle labels and in related marketing material. The article considers the product image created by such symbolism and the manner in which it might be modifying the role and perception of the merman and related figures in contemporary popular culture. It furthermore aims to illustrate ways that contemporary abstract, naive, camp and kitsch depictions of mermen are embraced by breweries to situate themselves as culturally engaged, environmentally oriented, or anti-establishment agitators.
{"title":"Through an Ale Glass, Palely: Mermen, Neptune/Poseidon and Tritons as motifs in beer brands and product labels.","authors":"A. Mesker","doi":"10.1344/co201927106-135","DOIUrl":"https://doi.org/10.1344/co201927106-135","url":null,"abstract":"While the merman has been a minor figure in modern popular culture — in marked contrast to his gender counterpart, the mermaid — the figure has begun to enjoy a resurgence in several cultural niches in recent decades. One of the most notable of these has occurred with regard to the branding and marketing of types of beer and, in particularly, with the burgeoning ‘craft beer’ movement that has taken off in North America, Europe and Australasia (in particular) since the early 2000s. After an introduction to the merman in popular culture, this article analyses the use of mermen and related fish-tailed mythological males in brewery names and symbols, on beer bottle labels and in related marketing material. The article considers the product image created by such symbolism and the manner in which it might be modifying the role and perception of the merman and related figures in contemporary popular culture. It furthermore aims to illustrate ways that contemporary abstract, naive, camp and kitsch depictions of mermen are embraced by breweries to situate themselves as culturally engaged, environmentally oriented, or anti-establishment agitators.","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":"87417231","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}
In the two feature films Lady in the Water (2006) and Ondine (2009), M. Night Shyamalan and Neil Jordan, respectively, present us with two grounded-in-reality fairy tales whose two male protagonists come in close contact with two mythical water creatures – encounters that positively reshape their perspective on reality through the use of fantasy. Shyamalan relates the story of an emotionally wrecked middle-aged man who rescues a ‘narf’ (a water nymph in an unoriginated ancient bedtime story) from the pool of the dreary building he is superintending, while Jordan follows the ordeal of a struggling Irish fisherman who accidentally fishes a ‘selkie’ (a Celtic seal-like water creature that has the power to assume full human form on land by shedding its seal skin). The two films negotiate the problematic connection between the fantastic and the real, and question the postmodern concept of representations masking an absence of solid reality as proposed by Jean Baudrillard. The paper focuses on tracing the ontological and linguistic role of fantasy in relation to reality and delineates how acts of storytelling and representation can refashion the human psyche’s perception of reality in a postmodern world by analysing the narrative and psychological means by which this relation is constructed in Shyamalan’s and Jordan’s films. The main argument of the paper is to explore how employing metafictional narrative techniques and reworking the psyche’s ties to fantasy can offer the postmodern individual a more enabling understanding of themselves and their reality.
{"title":"Reworking the postmodern understanding of reality through fantasy in M. Night Shyamalan’s Lady in the Water (2006) and Neil Jordan’s Ondine (2009).","authors":"M. Shalaby","doi":"10.1344/co20192720-30","DOIUrl":"https://doi.org/10.1344/co20192720-30","url":null,"abstract":"In the two feature films Lady in the Water (2006) and Ondine (2009), M. Night Shyamalan and Neil Jordan, respectively, present us with two grounded-in-reality fairy tales whose two male protagonists come in close contact with two mythical water creatures – encounters that positively reshape their perspective on reality through the use of fantasy. Shyamalan relates the story of an emotionally wrecked middle-aged man who rescues a ‘narf’ (a water nymph in an unoriginated ancient bedtime story) from the pool of the dreary building he is superintending, while Jordan follows the ordeal of a struggling Irish fisherman who accidentally fishes a ‘selkie’ (a Celtic seal-like water creature that has the power to assume full human form on land by shedding its seal skin). The two films negotiate the problematic connection between the fantastic and the real, and question the postmodern concept of representations masking an absence of solid reality as proposed by Jean Baudrillard. The paper focuses on tracing the ontological and linguistic role of fantasy in relation to reality and delineates how acts of storytelling and representation can refashion the human psyche’s perception of reality in a postmodern world by analysing the narrative and psychological means by which this relation is constructed in Shyamalan’s and Jordan’s films. The main argument of the paper is to explore how employing metafictional narrative techniques and reworking the psyche’s ties to fantasy can offer the postmodern individual a more enabling understanding of themselves and their reality.","PeriodicalId":10741,"journal":{"name":"Coolabah","volume":"1252 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86484740","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}
One of Australia’s most distinguished Indigenous authors, Alexis Wright, stages the fleeting presence of a popular character of Northern European folklore, the mermaid, in an awarded novel of epic proportions. The mermaid is not a haphazard appearance in this Antipodean narrative, but one of the multiple, cross-cultural ways in which Carpentaria , first published in 2006, invites the reader to reflect upon the ongoing tensions between the disenfranchised Indigenous minority and the empowered non-Indigenous mainstream, and their serious lack of communication due to the antagonistic character of their respective universes, one rooted in a capitalist paradigm of ruthless economic exploitation and the other in a holistic, environmentalist one of country. This essay addresses how Carpentaria, by writing across Indigenous and European genres and epistemologies, makes a call for the deconstruction of colonial discourse, for an invigorating Indigenous inscription into country, and for intellectual sovereignty as the condition sine-qua-non for the Indigenous community to move forward.
{"title":"Sung by an Indigenous Siren: Epic and Epistemology in Alexis Wright’s Carpentaria.","authors":"C. Renes","doi":"10.1344/co20192752-71","DOIUrl":"https://doi.org/10.1344/co20192752-71","url":null,"abstract":"One of Australia’s most distinguished Indigenous authors, Alexis Wright, stages the fleeting presence of a popular character of Northern European folklore, the mermaid, in an awarded novel of epic proportions. The mermaid is not a haphazard appearance in this Antipodean narrative, but one of the multiple, cross-cultural ways in which Carpentaria , first published in 2006, invites the reader to reflect upon the ongoing tensions between the disenfranchised Indigenous minority and the empowered non-Indigenous mainstream, and their serious lack of communication due to the antagonistic character of their respective universes, one rooted in a capitalist paradigm of ruthless economic exploitation and the other in a holistic, environmentalist one of country. This essay addresses how Carpentaria, by writing across Indigenous and European genres and epistemologies, makes a call for the deconstruction of colonial discourse, for an invigorating Indigenous inscription into country, and for intellectual sovereignty as the condition sine-qua-non for the Indigenous community to move forward.","PeriodicalId":10741,"journal":{"name":"Coolabah","volume":"25 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72609844","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 rocky island of Es Vedra, off the south-western tip of Ibiza, in Spain’s Balearic Islands, features prominently in tourism materials and in related social media postings. Its scenic aspects have prompted a physical orientation of shoreline buildings around its vista and it has also been the subject of accounts detailing its allegedly mysterious attributes. The latter derive, in part, from regional histories and folklore but more fundamentally relate to recent New Age/counter-cultural perceptions of the various “energies” that have been perceived to flow around parts of Ibiza and the enfolding of Es Vedra, in particular, within a set of generic associations of mystical spatiality. Following a discussion of the latter, this article identifies the development of the area around Es Vedra and the rocky island’s representation as a specially “charged” location. Drawing on these aspects, the article identifies the manner in which the rarely visited island is, simultaneously, highly visible and overlaid by cultural associations that effectively “cloud” its materiality. In view of these aspects, the island is characterised as a distinct entity within international secular traveller pilgrimage circuits.
{"title":"Place, Visibility and Perception: The materiality of Es Vedrà and its enfolding within New Age discourse and media-lore.","authors":"M. A. Farinelli, P. Hayward","doi":"10.1344/co20192731-51","DOIUrl":"https://doi.org/10.1344/co20192731-51","url":null,"abstract":"The rocky island of Es Vedra, off the south-western tip of Ibiza, in Spain’s Balearic Islands, features prominently in tourism materials and in related social media postings. Its scenic aspects have prompted a physical orientation of shoreline buildings around its vista and it has also been the subject of accounts detailing its allegedly mysterious attributes. The latter derive, in part, from regional histories and folklore but more fundamentally relate to recent New Age/counter-cultural perceptions of the various “energies” that have been perceived to flow around parts of Ibiza and the enfolding of Es Vedra, in particular, within a set of generic associations of mystical spatiality. Following a discussion of the latter, this article identifies the development of the area around Es Vedra and the rocky island’s representation as a specially “charged” location. Drawing on these aspects, the article identifies the manner in which the rarely visited island is, simultaneously, highly visible and overlaid by cultural associations that effectively “cloud” its materiality. In view of these aspects, the island is characterised as a distinct entity within international secular traveller pilgrimage circuits.","PeriodicalId":10741,"journal":{"name":"Coolabah","volume":"172 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74877323","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 line-crossing ceremony is an ancient maritime tradition that marked the transition from inexperienced sailor to experienced sailor. This ceremony has been co-opted by the cruise industry for the purposes of portrayal and commercialisation of the heritage of passenger shipping for consumption by cruise tourists. This paper discusses this process of adoption and commodification of the traditional crossing the line ceremony by the modern cruise industry. While the cruise ship version bears some similarities to the traditional ceremony, it differs in purpose, the brutality of the original version is lessened, and the gender onboard cruise ships permits a difference in the makeup of participants (including the portrayal of mermaids) and a reduction in the need for transvestite performances. It exists for two reasons: for the amusement and diversion of passengers, and in an attempt to buttress the historical portrayal of cruise ship as part of a naval tradition. Data is drawn from interviews with cruise ship workers and published accounts of the ceremony by cruise tourists.
{"title":"King Neptune, the Mermaids, and the Cruise Tourists: The line-crossing Ceremony in Modern Passenger Shipping.","authors":"David Cashman","doi":"10.1344/co20192790-105","DOIUrl":"https://doi.org/10.1344/co20192790-105","url":null,"abstract":"The line-crossing ceremony is an ancient maritime tradition that marked the transition from inexperienced sailor to experienced sailor. This ceremony has been co-opted by the cruise industry for the purposes of portrayal and commercialisation of the heritage of passenger shipping for consumption by cruise tourists. This paper discusses this process of adoption and commodification of the traditional crossing the line ceremony by the modern cruise industry. While the cruise ship version bears some similarities to the traditional ceremony, it differs in purpose, the brutality of the original version is lessened, and the gender onboard cruise ships permits a difference in the makeup of participants (including the portrayal of mermaids) and a reduction in the need for transvestite performances. It exists for two reasons: for the amusement and diversion of passengers, and in an attempt to buttress the historical portrayal of cruise ship as part of a naval tradition. Data is drawn from interviews with cruise ship workers and published accounts of the ceremony by cruise tourists.","PeriodicalId":10741,"journal":{"name":"Coolabah","volume":"61 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84040376","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 article considers the relationship between symbolism, interpretation and grounded reality with regard to “Achzivland,” a small area on the eastern coast of the Mediterranean that was declared an independent micronation in 1972. The article commences by identifying the principal geo-political and military factors that created the terrain for the enactment of fantasy utopianism, namely the forced removal of the area’s Palestinian population in 1948 and the nature of Israeli occupation and management of the region since. Following this, the article shifts to address related symbolic/allusive elements, including the manner in which a flag featuring a mermaid has served as the symbol for a quasi-national territory whose founder — Eli Avivi — has been compared to the fictional character Peter Pan, and his fiefdom to J.M. Barrie’s fictional “Never Never Land”. Consideration of the interconnection of these (forceful and figurative) elements allows the discourse and rhetoric of Achzivland’s micronationality to be contextualised in terms of more concrete political struggles in the region.
{"title":"Under the Mermaid Flag: Achzivland and the performance of micronationality on ancestral Palestinian land.","authors":"P. Hayward","doi":"10.1344/co20192772-89","DOIUrl":"https://doi.org/10.1344/co20192772-89","url":null,"abstract":"This article considers the relationship between symbolism, interpretation and grounded reality with regard to “Achzivland,” a small area on the eastern coast of the Mediterranean that was declared an independent micronation in 1972. The article commences by identifying the principal geo-political and military factors that created the terrain for the enactment of fantasy utopianism, namely the forced removal of the area’s Palestinian population in 1948 and the nature of Israeli occupation and management of the region since. Following this, the article shifts to address related symbolic/allusive elements, including the manner in which a flag featuring a mermaid has served as the symbol for a quasi-national territory whose founder — Eli Avivi — has been compared to the fictional character Peter Pan, and his fiefdom to J.M. Barrie’s fictional “Never Never Land”. Consideration of the interconnection of these (forceful and figurative) elements allows the discourse and rhetoric of Achzivland’s micronationality to be contextualised in terms of more concrete political struggles in the region.","PeriodicalId":10741,"journal":{"name":"Coolabah","volume":"44 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85677620","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 biographical outline of the life, work and achievements of Dr Serge Liberman (1942–2017), noted author, editor, scholar and medical practitioner based in Melbourne, Australia.
{"title":"Passion, energy, and a love of language","authors":"Alex Skovron","doi":"10.1344/CO2019263-7","DOIUrl":"https://doi.org/10.1344/CO2019263-7","url":null,"abstract":"A biographical outline of the life, work and achievements of Dr Serge Liberman (1942–2017), noted author, editor, scholar and medical practitioner based in Melbourne, Australia.","PeriodicalId":10741,"journal":{"name":"Coolabah","volume":"24 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-06-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81715085","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}
I have titled this essay “The Other Literature of Australia”. By this, I mean the writing by and about migrants in Australia as distinct from that which is more generally thought of as distinctively Australian, and that we have in recent years come to call multicultural. To put the subject in context, I will begin by giving you some idea of the changes in Australia’s population and attitudes to migrants since the country’s settlement just over 200 years ago; I will go on to deal with the efforts of the country’s early writers to develop a distinctive Australian literature and the effects of this on migrant writing; I will refer to the recent more visible emergence of migrant writers; and I will elaborate a little on the theme of the migrant being in a sense an exile in Australia, a theme which I will illustrate by quoting from my own writing.
{"title":"The Other Literature of Australia","authors":"S. Liberman","doi":"10.1344/co20192636-41","DOIUrl":"https://doi.org/10.1344/co20192636-41","url":null,"abstract":"I have titled this essay “The Other Literature of Australia”. By this, I mean the writing by and about migrants in Australia as distinct from that which is more generally thought of as distinctively Australian, and that we have in recent years come to call multicultural. To put the subject in context, I will begin by giving you some idea of the changes in Australia’s population and attitudes to migrants since the country’s settlement just over 200 years ago; I will go on to deal with the efforts of the country’s early writers to develop a distinctive Australian literature and the effects of this on migrant writing; I will refer to the recent more visible emergence of migrant writers; and I will elaborate a little on the theme of the migrant being in a sense an exile in Australia, a theme which I will illustrate by quoting from my own writing.","PeriodicalId":10741,"journal":{"name":"Coolabah","volume":"113 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88910029","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}
It is argued that the emergence of ‘multiculturalism’ in Australia during the Nineteen-eighties was almost entirely determined by political considerations. An application of the concept to literary culture was not anticipated. Nor was there a discourse of migrant or ethnic literature before post-war immigration.As part of the Australia Council’s decision to sponsor a literary culture of ‘New Australians’ it encouraged the creation of a journal for multicultural literature, Outrider. This article is an attempt to characterise a group of perceived ‚multicultural writers’ by raising doubt about their real or assumed status. It is true they employ highly individual creative imagination and variations of literary style by questioning the nature of migration (often without being migrants themselves). However, such writing is hardly unique to inherent characteristics of ‚multicultural aesthetics’. Formally and thematically these authors’ language frequently employs a wide range of elective affinities, alienation techniques or correlative analogies. They can hardly be considered ‚minority writers’ of limited literary genius. In truth they are creators of sophisticated poetry and prose by overcoming (or ‘integrating’) foreign language restriction. To them migration is not merely a subject or theme: it is a consciousness manifesting itself in literary form and style. The best ‘migrant writing’ invokes dimensions of alienation shared by a readership whose cultural dislocation is not confined to refugees, asylum-seekers or social outcasts. In the contemporary global end game, migration has become a shared state of mind.A brilliant and complex linguistic approach to ‘multicultural writing’ has been argued by Australian sociolinguist Paul Carter. He rejects the negative view of immigration as a form of displacement. Applying his well-balanced analysis of “migrant aesthetic” dialogue promises not only “a new kind of history”. In the end it means refining a new, distinctively migrant poetics.
{"title":"A Look Back in Doubt “Confessions of a Heretic”: Multicultural Literature in Australia.","authors":"Manfred Jurgensen","doi":"10.1344/co20192612-32","DOIUrl":"https://doi.org/10.1344/co20192612-32","url":null,"abstract":"It is argued that the emergence of ‘multiculturalism’ in Australia during the Nineteen-eighties was almost entirely determined by political considerations. An application of the concept to literary culture was not anticipated. Nor was there a discourse of migrant or ethnic literature before post-war immigration.As part of the Australia Council’s decision to sponsor a literary culture of ‘New Australians’ it encouraged the creation of a journal for multicultural literature, Outrider. This article is an attempt to characterise a group of perceived ‚multicultural writers’ by raising doubt about their real or assumed status. It is true they employ highly individual creative imagination and variations of literary style by questioning the nature of migration (often without being migrants themselves). However, such writing is hardly unique to inherent characteristics of ‚multicultural aesthetics’. Formally and thematically these authors’ language frequently employs a wide range of elective affinities, alienation techniques or correlative analogies. They can hardly be considered ‚minority writers’ of limited literary genius. In truth they are creators of sophisticated poetry and prose by overcoming (or ‘integrating’) foreign language restriction. To them migration is not merely a subject or theme: it is a consciousness manifesting itself in literary form and style. The best ‘migrant writing’ invokes dimensions of alienation shared by a readership whose cultural dislocation is not confined to refugees, asylum-seekers or social outcasts. In the contemporary global end game, migration has become a shared state of mind.A brilliant and complex linguistic approach to ‘multicultural writing’ has been argued by Australian sociolinguist Paul Carter. He rejects the negative view of immigration as a form of displacement. Applying his well-balanced analysis of “migrant aesthetic” dialogue promises not only “a new kind of history”. In the end it means refining a new, distinctively migrant poetics.","PeriodicalId":10741,"journal":{"name":"Coolabah","volume":"28 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75495148","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 portrait of Serge Liberman, as I knew him, drawing parallels between his work as a physician and writer. As a storyteller Serge drew on many sources. My focus here is on his roots, as an emigrant, and as a doctor who practiced in immigrant neighbourhoods, Carlton and Brunswick. He wrote in the tradition of earlier Melbourne based immigrant Yiddish writers, Pinchas Goldhar and Bergner, exploring similar themes of displacement, exile and longing. He drew also on older traditions of Yiddish literature, writers such as Isaac Bashevis Singer. But Serge was more forgiving of human foibles, less judgemental, a documenter of symptoms, both in the consulting room, and at the writer’s desk. Here, I pay tribute to him, as one storyteller to another, in the form of a story about Serge, the storyteller, and friend.
{"title":"Serge Liberman. A story.","authors":"Arnold Zable","doi":"10.1344/co2019268-11","DOIUrl":"https://doi.org/10.1344/co2019268-11","url":null,"abstract":"A portrait of Serge Liberman, as I knew him, drawing parallels between his work as a physician and writer. As a storyteller Serge drew on many sources. My focus here is on his roots, as an emigrant, and as a doctor who practiced in immigrant neighbourhoods, Carlton and Brunswick. He wrote in the tradition of earlier Melbourne based immigrant Yiddish writers, Pinchas Goldhar and Bergner, exploring similar themes of displacement, exile and longing. He drew also on older traditions of Yiddish literature, writers such as Isaac Bashevis Singer. But Serge was more forgiving of human foibles, less judgemental, a documenter of symptoms, both in the consulting room, and at the writer’s desk. Here, I pay tribute to him, as one storyteller to another, in the form of a story about Serge, the storyteller, and friend.","PeriodicalId":10741,"journal":{"name":"Coolabah","volume":"2016 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86445854","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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