This Yolngu > English lexicon is based on the 200+ language 8,000 entry World Languages Dictionary CD of 2007 which was subsequently lodged in national libraries across the world. The corresponding Chinese lexicon has a vocabulary of 2,429 characters, 95% of which are in the primary group of 3,500 general standard Chinese characters issued by China's Ministry of Education in 2013.
Phonological, morphological, syntactic, synchronic and diachronic pan-dialectal grammar of Djinang (Yolngu) with Djinba notes; includes texts, comparative details.
Thirty years ago Australian Aboriginal art was little more than a footnote to world art. Today, it is considered to be an important contemporary art movement, often promoted as being connected to a deep cultural past. Becoming Art provides a new analysis of the shifting cultural and social contexts that surround the production of Aboriginal art. Transcending the boundaries between anthropology and art history, the book draws on arguments from both disciplines to provide a unique interdisciplinary perspective that places the artists themselves at the centre of the argument.Western art history has traditionally regarded Aboriginal art as distanced from time and place. Becoming Art uses the recent history of Aboriginal art to challenge some of the presuppositions of western art discourse and western art worlds. It argues for a more cross-cultural perspective on world art history.
This book is an investigation of the way the Aboriginal art phenomenon has been entangled with Australian society’s negotiation of Indigenous people’s status within the nation. Through critical reflection on Aboriginal art’s idiosyncrasies as a fine arts movement, its vexed relationship with money, and its mediation of the politics of identity and recognition, this study illuminates the mutability of Aboriginal art’s meanings in different settings. It reveals that this mutability is a consequence of the fact that a range of governmental, activist and civil society projects have appropriated the art’s vitality and metonymic power in national public culture, and that Aboriginal art is as much a phenomenon of visual and commercial culture as it is an art movement. Throughout these examinations, Fisher traces the utopian and dystopian currents of thought that have crystallised around the Aboriginal art movement and which manifest the ethical conundrums that underpin the settler state condition.
Large, bold, and colorful, indigenous Australian art—sometimes known as Aboriginal art—has made an indelible impression on the contemporary art scene. But it is controversial, dividing the artists, purveyors, and collectors from those who smell a scam. Whether the artists are victims or victors, there is no denying the impact of their work in the media, on art collectors and the art world at large, and on our global imagination. How did Australian art become the most successful indigenous form in the world? How did its artists escape the ethnographic and souvenir markets to become players in an art market to which they had historically been denied access? Beautifully illustrated, this full stunning account not only offers a comprehensive introduction to this rich artistic tradition, but also makes us question everything we have been taught about contemporary art.
This book is a state-of-the-art introduction to the archaeology of Oceania, covering both Australia and the Pacific Islands. The first text to provide integrated treatment of the archaeologies of Australia and the Pacific Islands Enables readers to form a coherent overview of cultural developments across the region as a whole Brings together contributions from some of the region’s leading scholars Focuses on new discoveries, conceptual innovations, and postcolonial realpolitik Challenges conventional thinking on major regional and global issues in archaeology
This handbook makes available short grammatical sketches of Australian languages. Each grammar is written in a standard format, following guidelines provided by the editors, and includes a sample text and vocabulary text. The contributions to this volume are salvage studies, giving all the information that is available on four languages which are on the point of extinction, and an assessment of what linguistic impressions can be inferred from the scant material that is available on the extinct languages of Tasmania.
Part travelogue, part autobiography, part medical mystery, this moving book by the "poet laureate of medicine" (The New York Times) and bestselling author of Awakenings takes us to a tiny Pacific atoll and the island of Guam to explore the genesis of disease, the wonders of botany, and the complexities of being human. "Sacks's total immersion in island life makes this luminous, beautifully written report a wonderous voyage of discovery. As a travel writer, Sacks ranks with Paul Theroux and Bruce Chatwin. As an investigator of the mind's mysteries, he is in a class by himself." —Publishers Weekly For Oliver Sacks, islands conjure up equally the romance of Melville and Stevenson, the adventure of Magellan and Cook, and the scientific wonder of Darwin and Wallace. Drawn to the tiny Pacific atoll of Pingelap by intriguing reports of an isolated community of islanders born totally color-blind, Sacks finds himself setting up a clinic in a one-room island dispensary, where he listens to these achromatopic islanders describe their colorless world in rich terms of pattern and tone, luminance and shadow. And on Guam, where he goes to investigate the puzzling neurodegenerative paralysis endemic there for a century, he becomes, for a brief time, an island neurologist, making house calls with his colleague John Steele, amid crowing cockerels, cycad jungles, and the remains of a colonial culture. Out of this unexpected journey, Sacks has woven an unforgettable narrative which immerses us in the romance of island life, and shares his own compelling vision of the mysteries of being human.
This English > Yolngu lexicon is based on the 200+ language 8,000 entry World Languages Dictionary CD of 2007 which was subsequently lodged in national libraries across the world. The corresponding Chinese lexicon has a vocabulary of 2,429 characters, 95% of which are in the primary group of 3,500 general standard Chinese characters issued by China's Ministry of Education in 2013.
