https://ogma.newcastle.edu.au/vital/access/ /manager/Index ${session.getAttribute("locale")} 5 https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:49789 Wed 31 May 2023 14:35:46 AEST ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:49778 Wed 31 May 2023 12:57:55 AEST ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:8387 Wed 24 Jul 2013 22:32:50 AEST ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:43518 Wed 21 Sep 2022 11:25:40 AEST ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:40393 Wed 20 Jul 2022 15:15:24 AEST ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:16021 Wed 17 Dec 2014 15:09:10 AEDT ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:42029 Wed 17 Aug 2022 11:31:25 AEST ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:35905 Wed 15 Jan 2020 13:07:49 AEDT ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:49907 Wed 14 Jun 2023 14:27:53 AEST ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:23090 bande dessinée, the graphic novel that has such a strong tradition in France and Belgium, as well as film and television—and it becomes clear that crime narratives possess a powerful cultural voice, one that has the potential to go beyond their value as entertainment. Above all, they offer the perfect framework within which to explore conflict of all kinds. While the form, in its French embodiment, has evolved considerably from its American-inspired beginnings when Gallimard’s Série Noire was established by Marcel Duhamel in the aftermath of the Second World War, its central topoi of investigator versus criminal, of good versus evil, of past crime versus present justice, are inherently conflictual.]]> Wed 11 Apr 2018 16:53:23 AEST ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:15910 Wed 11 Apr 2018 16:47:08 AEST ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:15906 Wed 11 Apr 2018 16:21:32 AEST ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:6792 Wed 11 Apr 2018 16:19:01 AEST ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:15905 Wed 11 Apr 2018 15:42:07 AEST ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:6791 Wed 11 Apr 2018 15:26:04 AEST ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:12487 Wed 11 Apr 2018 15:25:47 AEST ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:15909 Wed 11 Apr 2018 14:18:52 AEST ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:15515 Wed 11 Apr 2018 14:09:38 AEST ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:15928 Wed 11 Apr 2018 13:33:06 AEST ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:15900 Wed 11 Apr 2018 11:43:12 AEST ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:15554 Wed 11 Apr 2018 11:42:58 AEST ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:8622 Wed 11 Apr 2018 11:30:47 AEST ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:8636 Wed 11 Apr 2018 11:09:29 AEST ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:14501 Wed 11 Apr 2018 10:59:28 AEST ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:15516 Wed 11 Apr 2018 10:03:27 AEST ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:15513 Wed 11 Apr 2018 09:47:34 AEST ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:15556 Wed 11 Apr 2018 09:18:12 AEST ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:43910 Wed 05 Oct 2022 08:54:55 AEDT ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:30685 Australian Journal of French Studies within a framework of mobility while highlighting how they each, individually, test and move (beyond) certain frames. We are also writing in response to the annual conference of the Australian Society for French Studies, which we co-convened in 2015 and at which the articles included here were presented. As we began writing, as individuals working in collaboration, the tension between our singular and collective identities became visibly metonymic of the work that is generated in, and generates, French Studies. Clearly, one of us has a deeper understanding of the mobilities at play in Francophone Studies; one of us is more interested in the evolution of our disciplinarity, as French lecturers, in light of student mobility and flexible modes of delivery; and one of us cannot move in any direction without seeing Baudelaire. And yet in 2015 we came together, as every year, with our colleagues from Australia and around the world with a clear sense of what it means – to all of us, despite the nuances of our institutional specificities – to work in French Studies. Thus, we decided to remove our individual “I”s here, however transparent they may be, in order to write this introduction not so much from the perspective of a royal, or even a republican, “we” but rather from that of the first person mobile.]]> Wed 04 Sep 2019 09:55:25 AEST ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:41398 Wed 03 Aug 2022 10:28:20 AEST ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:39550 Tue 26 Jul 2022 11:29:53 AEST ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:26284 Tue 26 Feb 2019 13:16:48 AEDT ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:28398 Pop. 1280. First translated into French in 1966 by Marcel Duhamel as the 1000th title of Gallimard’s famous Série Noire crime fiction collection, the novel became notorious for the loss of five of Thompson’s original population: Duhamel’s title was 1275 âmes [1275 Souls]. In 2000 novelist Jean-Bernard Pouy joined the ranks of those puzzled by this translation choice; he went further than most, however, by writing his own novel, entitled 1280 âmes [1280 Souls], in which his protagonist sets out to find the five missing characters. We argue that the ingenious solution found by Pouy is deliberately convoluted, that it wilfully overlooks a more obvious reason for choosing this different title, which is to say, to emphasise the fact that Duhamel’s translation aspires to a status beyond mere interlingual transfer, something closer to an adaptation or French appropriation of the original text. We then contextualise this argument by discussing the ways in which the early novels of the Série Noire, notably those by Peter Cheyney and James Hadley Chase, functioned as allegories of France in the years immediately following the Second World War, even though their “original versions” were written before the war and ostensibly in an effort (by these two British authors) to appear American. The article concludes by suggesting that Thompson’s novel can be considered, like those of Cheyney and Chase before it, a classic of the French crime fiction canon, or at the very least that much can be gained from reading it through that lens.]]> Tue 26 Feb 2019 13:15:02 AEDT ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:15519 Tue 24 Aug 2021 14:35:35 AEST ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:49599 Tue 23 May 2023 15:05:13 AEST ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:36664 Tue 23 Jun 2020 11:12:43 AEST ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:37685 Hot Fuzz (2007). And the key ungrammaticality that enables this film to become a target (text) of Baudelairean translation is, of course, its swan(s).]]> Tue 16 Mar 2021 11:05:52 AEDT ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:17496 Tue 16 Jun 2015 15:41:25 AEST ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:50993 Tue 15 Aug 2023 10:18:58 AEST ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:48344 Tue 14 Mar 2023 18:32:49 AEDT ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:35474 Tue 13 Aug 2019 12:27:22 AEST ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:35475 Tue 13 Aug 2019 12:27:20 AEST ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:35473 Tue 13 Aug 2019 12:27:18 AEST ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:45932 Tue 08 Nov 2022 10:00:07 AEDT ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:42867 Le Spleen de Paris and its relationship to Paris by stating that ‘contrary to what the title of the collection might lead you to believe, all the “little prose poems” are not set in Paris’, it is difficult to know whether he is being ironic or not. In the frame-work of the present volume, which has Paris firmly centre stage and, crucially, present even when it is ostensibly absent, this appears a surprisingly literal comment to make about Baudelaire’s final work. Certainly, Gouvard immediately goes some way to softening his opening gambit. He refers to other readers, for whom the prose poems are by turns ‘exotic in character’ (set on far-flung desert islands or in fairy-tale fantasy lands) or positioned non-specifically but recognizably ‘beyond the city walls’, in the faubourgs, areas that have since been integrated into Paris intra-muros and whose present-day equivalents are the suburban spaces of la banlieue. And yet, other references throughout the prose poems are undeniably to Paris itself.]]> Tue 06 Sep 2022 09:17:23 AEST ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:19214 Thu 29 Mar 2018 12:09:16 AEDT ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:18424 Thu 25 Jun 2015 12:24:19 AEST ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:44415 Thu 13 Oct 2022 09:30:30 AEDT ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:32874 Thu 02 Aug 2018 10:42:21 AEST ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:8307 Sat 24 Mar 2018 08:36:54 AEDT ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:15898 Sat 24 Mar 2018 08:22:52 AEDT ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:15829 Sat 24 Mar 2018 08:21:59 AEDT ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:16024 Sat 24 Mar 2018 08:19:31 AEDT ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:16023 Sat 24 Mar 2018 08:19:30 AEDT ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:16067 Sat 24 Mar 2018 08:03:44 AEDT ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:21586 Sat 24 Mar 2018 08:00:43 AEDT ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:18957 Sat 24 Mar 2018 07:58:57 AEDT ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:21848 rompols (from roman policier, or crime novel). By mapping the plotline of L'Homme à l'envers (1999)[Seeking Whom He May Devour, (2006)] onto Conan Doyle's The Hound of the Baskervilles (1902), I will show that in both works a metropolitan (outsider) detective investigates a murder by a large canid in the depths of the countryside. Then, in line with Pierre Bayard's famous rewriting of Conan Doyle's novel, the innocence of the convicted party will be shown to be the other side of guilt, a foreignness that lurks within but which careful reading can bring to the surface. I will also argue that, along with deconstructive and Freudian readins, the modernist figure of the Baudelairean flâneur highlights the Otherness of the investigation. By questioning the guilt of Vargas's other Other, I will take self-alterity to its logical (and logically nihilistic) end-point, opening up possibilities, here both criminal and textual, and reconsidering the culpability of the supposed murderer.]]> Sat 24 Mar 2018 07:55:29 AEDT ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:19336 Sat 24 Mar 2018 07:52:13 AEDT ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:6795 Sat 24 Mar 2018 07:46:37 AEDT ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:28405 The Body in the Library in order to demonstrate (1) how fetishism itself is a form of adaptation and thus how adaptation functions fetishistically; (2) how the fetishism diaplayed in the 2004 adaptation of the The Body in the Library reflexively references a more primal fetishism at work in the 'original' text; and (3) how the body in ,The Body in the Library functions as a screen memory to disavow (both veil and reference) a primal, and otherwise purloined, body. Finally, it is argued that the diegesis proper of The Body in the Library is itself a screen memory, or adaptation, designed to mask the original, transgressive desire of Dolly Bantry.]]> Sat 24 Mar 2018 07:36:02 AEDT ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:28401 J'irai cracher sur vos tombes (1946), and especially the liminal passage between the novel's paratext and diegesis; on the other hand, it will argue that this famous parody of the Série Noire is rather a pseudo-parody insofar as its deployment of pseudonymy exposes not the reality but the myth of a Parisian publishing phenomenon founded on the translation of American thrillers. In this way, J'irai cracher sur vos tombes will be reread as an allegory not only of French noir's emergence from the Liberation of Paris but, more broadly, of France's position vis-à-vis the United States. We shall first examine the theory of pseudonymy with a view to teasing out a more appropriately complex critical framework to accommodate Vian's relationship to Sullivan; we shall next investigate J'irai cracher sur vos tombes via some key lenses, including auto-antonymy, mise en abyme and reflexivity as well as the 'pseudo'; we shall then use these findings to debunk some key myths surrounding the Série Noire more broadly before concluding with a final analysis of the opening pages of Vian's novel.]]> Sat 24 Mar 2018 07:36:01 AEDT ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:28402 Sat 24 Mar 2018 07:36:01 AEDT ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:26152 Sat 24 Mar 2018 07:35:26 AEDT ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:25585 Sat 24 Mar 2018 07:35:15 AEDT ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:25292 Sat 24 Mar 2018 07:30:26 AEDT ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:28533 Sat 24 Mar 2018 07:28:43 AEDT ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:28532 Why Crime Fiction Matters in Melbourne in 2014 Stephen Knight reflected on the trajectory of scholarship in the field, which has gradually moved away from the broad-brush-stroke surveys of the genre towards more theoretically sophisticated studies and, more generally, a higher level of academic engagement to mirror crime's location in the literary marketplace. The move, he concluded, has been away from connoisseurship towards scholarship. When Intellect commissioned us immediately that we should need to manoeuvre ourselves strategically in this light, to place ourselves at a point somewhere on this line with connoisseurship at one end and scholarship at the other.]]> Sat 24 Mar 2018 07:28:43 AEDT ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:26394 Bibliotèque de la Pléiade collection. Arguably, however, these are the complete fictional works of two authors: French writer Boris Vian and his black American pseudonymous creation, Vernon Sullivan. For critics like Edmund Smyth this must have represented long overdue recognition of the qualities of the latter's work.]]> Sat 24 Mar 2018 07:28:02 AEDT ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:25429 roman noir, but he has also worked on what some would consider ‘more literary’ texts, including Canadian and American Indian novels, collections of short stories, photographic works (notably focusing on Native Americans) and film scripts. In total, Pierre has translated around 150 books by writers including Jim Thompson, Elmore Leonard, Tony Hillerman, Donald Westlake, Christopher Cook, Ken Bruen, Dashiell Hammett, William R. Burnett, Louis Owens, David Bergen, Peter Corris and, lest we should forget, John James Audubon and George Catlin. More recently, it has been, as he puts it, his good fortune and privilege to be able to translate Peter Temple’s An Iron Rose and William Bayer’s Hiding in the Weave. In presenting Pierre Bondil we should like to add that, as the expression goes, quality will out; in other words, it is not suprising to us that literature of quality should find its way to Bondil’s door when French translations are required. The text that follows sheds a little light on the meticulousness that is his trademark and the intensity of the exchange between author and translator that translation of the highest order can demand. We are grateful to Pierre for taking the time to share some of his insights with us and also to Peter Temple for giving us his permission to quote from his email exchanges with Pierre.]]> Sat 24 Mar 2018 07:27:25 AEDT ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:26473 Sat 24 Mar 2018 07:27:16 AEDT ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:26472 Pas d'orchidées pour Miss Blandish still resonates today. But it seems fair to say that it is this French title, as opposed to the 'original' English, that still has currency, and specifically in the contexts of French Studies and, in the public space, among those fans who frequent such bookshops as Paris's famous L'Amour du noir. This French face of James Hadley Chase's first novel has to all intents and purposes outperformed its original English avatar in both public and esoteric circles alike. Yet, despite this relative decline in recognition, the English version continues to exist, and furthermore continues to change shape, as if in response to a market demand, however virtual this may be.]]> Sat 24 Mar 2018 07:27:15 AEDT ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:26674 in other words, and indeed texts in other words. This textuality brims over and strains against the generic parameters that she is considered to have pioneered, but which have been set in stone by critics, those all-powerful readers. This article follows one line of flight beyond the bounds of the detectival solution. The marrow thrown by Hercule Poirot in The Murder of Roger Ackroyd will be shown to be a literary act par excellence, a sign of textual exuberance. Or perhaps not so much a sign (for all signs point to the solution, do they not?) as an explosion. I shall read the marrow for what it is - a marrow with a history; I shall try to go beyond the metaphorical in favour of the intertextual; and finally, rather than turning a blind eye to it in our pursuit of the murderer, I shall read it.]]> Sat 24 Mar 2018 07:26:53 AEDT ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:23805 The Empty Beach (1983), in two ways. The most obvious approach, which examines what happens to Corris's novel, and in particular to the ways in which it articulates Australianness and the key place of Sydney within that signifying system, when it is translated, is deemed, if not less important then certainly secondary. What is considered fundamental here is the novel's original predisposition towards translation. Corris's empty beach is therefore a site of evacuation - evacuation of any number of things, including of course its crimes and criminal plots, but especially, in the framework of this special issue, of indicators of national specificity. The extant French translation tests this translatability in interesting ways; notably, the French word for 'beach', la plage, is itself a broader term, which refers to a flat surface. In this sense, the novel's translated title is doubly suggestive of emptiness and thus intensifies the failure of the original novel to ground itself in its setting. This analysis will therefore be counterintuitive but will also, hopefully, like the translation process on which it is focused, suggest new lenses for reading Peter Corris, for getting him out of his Sydney mould, which are nonetheless, once sun protection is provided against the glaring Bondi sun, in full view in his work.]]> Sat 24 Mar 2018 07:12:53 AEDT ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:23819 Sat 24 Mar 2018 07:12:49 AEDT ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:23217 Sat 24 Mar 2018 07:10:39 AEDT ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:37733 The Murder of Roger Ackroyd (1926) to look at ideas of the need (or not) to be faithful to an original text. The authors unpack some of the issues that surround the often controversial notion of the "canon" in detective fiction and present the telemovie as an example of the text's critical difference.]]> Mon 29 Mar 2021 15:29:59 AEDT ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:51983 Mon 25 Sep 2023 15:18:08 AEST ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:44916 Mon 24 Oct 2022 16:38:31 AEDT ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:32390 Mon 23 Sep 2019 13:35:56 AEST ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:25374 Mon 23 Sep 2019 13:24:42 AEST ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:24032 Mon 23 Sep 2019 12:40:35 AEST ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:22797 Mon 23 Sep 2019 11:46:46 AEST ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:26151 Mon 23 Sep 2019 11:44:16 AEST ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:28403 Dead Man's Folly can assist in deconstructing the novel as a textual folly. A comparison of Dead Man's Folly to The Body in the Library reveals that Christie's tricks in the latter text, which may or may not have fooled Miss Marple, are also played on Hercule Poirot.]]> Mon 23 Sep 2019 10:23:12 AEST ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:28404 La forma dell'acqua (1994) is the first of his acclaimed series of Inspector Montalbano novels. Its translation into English in 2002, by the also much acclaimed Stephen Sartarelli, as The Shape of Water, allowed Anglophone readers to access not only an example of high-quality Italian crime fiction but also an example of crime fiction that is about translation. Sartarelli's version will not be analyzed here in terms of its translation qualities, since I am quite unable to speak Italian; it will be analyzed, instead, as a vehicle for a will to translation, or translatability, that is always already present in the original text. Our focus here will be on the choice of the liminal space of the beach to mark the liminal edge of this first novel (the limen of the series). The Shape of Water, as an enigmatic title (paratextual puzzle) and philosophical paradox, will be shown to correspond to the text's wilful vacillation between body (original as exemplary textness) and intentionality (translation as textuality, both re-actualized translated version and virtual otherness or translatability). The ramifications of this (un)marking of liminal territory on the mystery it contains (or fails to contain) will be explored. While there is some truth in Carlo Vennarucci's (2003, s.p.) statement as to the excellent translation of Italianness in The Shape of Water - "Stephen Sartarelli does an admirable job in translating Camilleri's novel from the Italian. While reading The Shape of Water, you always get the sense that this is an Italian mystery about Italian characters and written by a superb Italian author" - it seems equally clear that Italianness (versus both Italian otherness and foreignness) is being signed "in translation", both by Camilleri and his translator, which is to say, problematized and decentred. Translation and translatability will be explored here as reflexive stagings of textuality, which in turn focus our readerly attention on the ironic and reflexive ways that Camilleri and his detective negotiate the shape of water.]]> Mon 23 Sep 2019 10:07:28 AEST ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:55134 différance, and thus, arguably, not a difference at all.]]> Mon 22 Apr 2024 10:40:13 AEST ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:40736 Mon 18 Jul 2022 12:58:24 AEST ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:15899 Mon 13 Aug 2018 13:12:28 AEST ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:54734 Mon 11 Mar 2024 14:19:07 AEDT ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:54735 Mon 11 Mar 2024 14:18:49 AEDT ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:50238 Mon 10 Jul 2023 15:31:09 AEST ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:40227 Mon 08 Aug 2022 13:23:34 AEST ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:25087 Mon 07 May 2018 15:48:41 AEST ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:42212 Fri 19 Aug 2022 11:14:34 AEST ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:42197 Fri 19 Aug 2022 10:32:25 AEST ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:53131 Fri 17 Nov 2023 11:43:13 AEDT ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:42979 Fri 09 Sep 2022 13:49:30 AEST ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:41526 Fri 05 Aug 2022 12:38:27 AEST ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:41518 Fri 05 Aug 2022 11:56:20 AEST ]]>