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cover-dd09
Issue 9
Autumn 2008
Art & Lies II
Literature; Aesthetics and Visual Arts

Issue 9

Art & Lies II

Literature; Aesthetics and Visual Arts

There is Nothing Like a Lie

Ann McCulloch
Deakin University
Plato in his rendition of the hierarchy of pleasures relegated poetry to an inferior status due to its distance from truth. It has nevertheless always been a curiosity that Plato in his philosophical writings draws unashamedly from the language of poetry.

‘The Influence of Kalidasa on Shakespeare’: the genre of the keynote address and the story of a lie

Vijay Mishra
Murdoch University
Every discourse has its genre. And every literary discourse, to reprise Roman Jakobson, represents an ‘organized violence committed on ordinary speech’ (1983: 2).

Tragedy and the Lie

Ann McCulloch
Deakin University
Tragedy is based on a lie; this will be shown to be the positive side of Tragedy. After I have explained to you the nature of this lie and its former necessity I will then consider what it means to live without the means of facing the lie that the tragic art form formerly facilitated.

Concerning an axiom that flutters like a door hinge or butterfly

Sudesh Mishra
Deakin University
Think of a door-hinge or butterfly. Then imagine an axiom made up of conjoined wings that perpetually pull each other apart. This paper concerns the strange fluttering of just such an axiom. Let’s spell it out: "I lie and that’s the truth."

Melancholic Wonderlands: Australians Painting Spaces of Terror and Half –Truths

Ann McCulloch
Deakin University
This essay was written in response to an exhibition of the works of Dr. John Forrest and Terry Matassoni in Fiji at the Double Dialogues Conference hosted by the University of the South Pacific in conjunction with Deakin University.

Unspoken Stories: Silence in the Literature of Atrocity

Sally Blundell
University of Canterbury
We know silence. We bend our heads for one minute’s silence at times of terrible commemoration. We turn away in mute horror from scenes or enactments of real atrocity. We tend not to speak into another’s tragedy or despair.

Fractured Realities, Fractured Truths in Tracey Moffatt’s Nice Coloured Girls and Night Cries: A Rural Tragedy

Janet Watson
Deakin University
Tracey Moffatt’s still photography and independent filmmaking deftly negotiates and interrogates the complex interfaces of colonialism, patriarchy, sexuality, and ethnicity through a multifaceted lens that reflects the cultural amalgam of her identity as artist, woman, Aboriginal and Australian.

Leaving Out the Boring Bits: Writing the Family in the Australian-Irish Diaspora

Sarah Flattley
Deakin University
Issues of purity, cultural loss, and whiteness all play significant roles in Australian-Irish diasporic identity (Walter, 2001). Much writing on the Australian-Irish diaspora was made before the emergence of diaspora as a rigorous field of critical enquiry and articulation.

Truths in Narrative Fiction?

R.A. Goodrich
Deakin University
This paper aims to tease out some of the crucial concepts which bear upon the questionable belief that we can literally apprehend truths and, presumably by extension, lies in narrative fiction alone as distinct from doing so through narrative fiction.

Art and the Scalpel

John Forrest
Deakin University
The Canadian writer Margaret Atwood in The Robber Bride said, "Where to start is the problem because nothing begins when it begins and nothing is over when it’s over."

‘Please Explain’

Les Morgan
RMIT University
In a television interview on 60 Minutes, Pauline Hanson was asked by the host Tracey Curro if she was xenophobic, to which Hanson replied ‘Please explain’. Following this interview, ‘Please explain’ became associated with Hanson, largely for the purposes of ridicule (Wilmoth, (1998).

Arnold Shore: The Man and the Myth

Rob Haysom
Deakin University
`Man is the creature that cannot come forth from himself, who knows others only in himself, and who, if he asserts the contrary, lies.` Proust

Notebooks

David Brooks
University of Sydney
The following, while perhaps initially confusing (the reader entering, as it were, a conversation that has already been going on for some time), should also in some respects be self-explanatory. It is a set of entries from notebooks kept by the author between 1992 and 2005.

The Lie of Objective Reality: The Related Agon of Blake, Goethe and Nietzsche

Louise Fairfax
University of Melbourne
Newton’s science, and its inherent paradigm, did not just offer a world that appeared to Newton’s successors as highly mechanical; it assumed a world that was "objective" – that contained certain unequivocal givens that existed regardless of the observer or the observer’s point of view.

‘Lies’ it seems have always been untenable; they are sometimes ‘good’/productive, sometimes merely fiction; sometimes necessary, and they are definitely despicable. Or are they?

The writers in this issue of Double Dialogues take on the question of “As If” with the benefits of the lessons of history, art and criticisms, exploring not only the provisional nature of knowledge that dictates our world but looking back to understand the reasons and ways in which ‘truths’ and ‘lies’ have been constructed.

 

Double Dialogues | Refereed Arts Journal | ISSN 1447-9591  
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