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Reflections on the politics of support and opposition
Michael Cunningham

Thompson argues that it was not a political apology because Keating was not formally speaking as Prime Minister but expressing his opinion or that of his party and also on the grounds that it was not presented to indigenous Australians acting in a capacity as representatives of their people.20 The subsequent debate is largely framed by the Human Rights and Equal Opportunity Commission (HREOC) report, the short title of which was Bringing Them Home, published in 1997 about the forcible removal 76 Intra-state apologies of indigenous children from their parents. This had

in States of apology
Place, space and discourse
Editors: and

Identity is often regarded as something that is possessed by individuals, states, and other agents. In this edited collection, identity is explored across a range of approaches and under-explored case studies with a view to making visible its fractured, contingent, and dynamic features. The book brings together themes of belonging and exclusion, identity formation and fragmentation. It also examines how identity functions in discourse, and the effects it produces, both materially and in ideational terms. Taking in case studies from Asia-Pacific, Europe, the Middle East and Latin America, the various chapters interrogate identity through formal governing mechanisms, popular culture and place. These studies demonstrate the complex and fluid nature of identity and identity practices, as well as implications for theorising identity.

The activist artist challenging the ever-present colonial imagination
Claudia Tazreite

interdisciplinary fields of sociology, art history, anthropology, and cultural studies. I am interested in the synergies of activist artists and social change. The experiences of minorities, migrants, and Indigenous populations are highlighted in investigating the archive as artefact linking the present to the past. The case studies developed in the chapter are situated in the contemporary Australian context, yet also have global resonances with the Gurindji story of Indigenous Australians curated and collated by artist Brenda Croft, and the work of writer, filmmaker, and

in Art and migration
Louisa Atkinson’s recasting of the Australian landscape
Grace Moore

how Indigenous Australians used them as food. 2 This example typifies Atkinson’s immersive and experiential interest in plant-life: she once sent a jar of ‘native cranberry’ jam to the Sydney Horticultural Society to allow its members to taste a fruit about which she had written. 3 She celebrated native plants and wildlife, learning about them from the Indigenous men and women she knew. She even attempted to introduce a ‘Native Arts’ column to the Illustrated Sydney News in the early 1850s that would deal with Indigenous Australian culture. The feature ran

in Worlding the south
M. Anne Brown

East Timor in the creation and perpetuation of a pattern of severe and embedded abuse. That failure to pay attention to concrete circumstances marked the ‘realism’ of the prevailing international attitudes on East Timor; to what extent might it also characterise the current liberal approaches? The third case study, which looks at the ‘place’ of Indigenous Australians within Australian political life, returns to a liberal rights focus – in this case not involving the language of international rights talk but rather concerning the ideals

in Human rights and the borders of suffering
Art, process, archaeology

This book presents a study of material images and asks how an appreciation of the making and unfolding of images and art alters archaeological accounts of prehistoric and historic societies. With contributions focusing on case studies including prehistoric Britain, Scandinavia, Iberia, the Americas and Dynastic Egypt, and including contemporary reflections on material images, it makes a novel contribution to ongoing debates relating to archaeological art and images. The book offers a New Materialist analysis of archaeological imagery, with an emphasis on considering the material character of images and their making and unfolding. The book reassesses the predominantly representational paradigm of archaeological image analysis and argues for the importance of considering the ontology of images. It considers images as processes or events and introduces the verb ‘imaging’ to underline the point that images are conditions of possibility that draw together differing aspects of the world. The book is divided into three sections: ‘Emergent images’, which focuses on practices of making; ‘Images as process’, which examines the making and role of images in prehistoric societies; and ‘Unfolding images’, which focuses on how images change as they are made and circulated. The book features contributions from archaeologists, Egyptologists, anthropologists and artists. The contributors to the book highlight the multiple role of images in prehistoric and historic societies, demonstrating that archaeologists need to recognise the dynamic and changeable character of images.

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This is the first book-length study of one of the most significant of all British television writers, Jimmy McGovern. The book provides comprehensive coverage of all his work for television including early writing on Brookside, major documentary dramas such as Hillsborough and Sunday and more recent series such as The Street and Accused.

Whilst the book is firmly focused on McGovern’s own work, the range of his output over the period in which he has been working also provides something of an overview of the radical changes in television drama commissioning that have taken place during this time. Without compromising his deeply-held convictions McGovern has managed to adapt to an ever changing environment, often using his position as a sought-after writer to defy industry trends.

The book also challenges the notion of McGovern as an uncomplicated social realist in stylistic terms. Looking particularly at his later work, a case is made for McGovern employing a greater range of narrative approaches, albeit subtly and within boundaries that allow him to continue to write for large popular audiences.

Finally it is worth pointing to the book’s examination of McGovern’s role in recent years as a mentor to new voices, frequently acting as a creative producer on series that he part-writes and part brings through different less-experienced names.

Rosemary Baird
Philippa Mein Smith

encounters with Indigenous Australians, inhospitable environments, and tough, masculine, raw communities. Some consciously identified their new home as having a risk-taking, isolationist, frontier spirit. Financial aspirations ‘Go west young man’ – a phrase used in discussions of American westward expansion from 1850

in New Zealand’s empire
Advantages and disadvantages
Michael Cunningham

sizeable minority of white Australians opposed an apology to indigenous Australians and a majority of white Americans have opposed an apology for slavery. Two factors may help to explain this. First, that although members of the same state, those groups may not have been identified or considered as co-nationals by those opposing the apology; there may have been a lack of affective connections. Second, the ‘doing down of the nation’ still resonates since the apology in these examples did or would make citizens confront the unpalatable aspects of the country’s history that

in States of apology
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Testimony, memoir and the work of reconciliation
Gillian Whitlock

which a large proportion of the First Nations’ population in western Canada was educated from 1879 to 1986, have become the focus of claims that in Canada the education of First Nations’ peoples must be recognised as a programme of institutionalised cultural genocide. In Australia, too, the phenomenon of the ‘stolen generations’ has led to claims that education policies under settler colonialism resulted in the cultural genocide of indigenous Australians – ‘stolen generations’ refers to the children who were taken from their

in Rethinking settler colonialism