Drawing on Seamus Heaney and his symbolic reference to a great sea change or tidal wave in epic poem “The Cure at Troy” (1990) – much referred to in these gradually post-pandemic times and indicating that a new chapter is about to begin – and “The City” by Ted Hughes, where a life is read like a poem and in the many depths of the urban space the writer roams “my own darkness”, this paper looks at human resilience in the (...) face of an interrupted COVID reality that has brought a fundamental shift to the way we view the world and our role in society. In our era of a New Normal, the idea that “less is more” is quickly becoming a mantra for our times, a time characterised by a gradual distancing from material hype while we turn to nature for solace and guidance – as importantly advocated by Heaney and Hughes who illuminate our path as we gain a greater understanding of what really matters at the core. We likewise begin to see commonalities between people and cultures, and we open up a space for a greater sense of authenticity. As we are now stepping into the initial stages of 2023, entering a new chapter; have we gained existential insights from the COVID-19 pandemic and will this lead to new beginnings where the written word helps us along the way? (shrink)

From Joan Lindsay and cinematic master Peter Weir to Ted Kotcheff and Warwick Thornton, over past decades authors, screenwriters and filmmakers have produced films that depict the vast Australian landscape—simply referred to as terra nullius during colonial times by settlers literally confronting a continent vastly different from anything they were culturally and geographically accustomed to—as mysterious, impenetrable and ominous. Just like the dark cold of Scandinavia lends itself perfectly to contemporary Nordic Noir, the Australian New Wave or Australian Film Revival (...) of the 1970s and 1980s saw the release of films that encapsulated the eeriness of this largely rugged, arid and windswept continent, which opens up possibilities for anything to happen within those very, limitless, territories. This article analyses Weir’s Picnic at Hanging Rock (1975), Kotcheff’s horror flick par excellence Wake in Fright (1971); "the best and most terrifying film about Australia in existence" and with a TV-series remake in 2017, and Thornton’s more recent portrayal of Aboriginal misery and poverty Samson and Delilah (2009) set against a hostile urban backdrop, from a Foucauldian perspective. In its theoretical framework it also draws primarily on Freud. Heterotopia is used as a term to refer to strange, bewildering spaces that are disturbing and undecipherable—also described as “an unimaginable space, representable only in language, and as a kind of semimythical real site” (as articulated in Knight, 2017, 141). Foucault’s concept is applied in a cinematic context and used in conjunction with Freud’s notion of the uncanny as a feeling of uneasiness; or, as has been explained in his seminal text “The Uncanny” (1919), “that class of the terrifying that leads back to something long known to us, once very familiar.” We argue that these eerie, fear-induced screened narratives represent a nation whose weather-beaten, freedom-loving yet at heart anxiety-ridden people are most definitely a product of their environment. (shrink)

According to Stanley Kubrick, “[i]f it can be written, or thought, it can be filmed”. This is true for award-winning Irish short story writer Claire Keegan (1968) whose sparse and effective prose has hit the core of audiences struggling to process the lingering impact of national trauma. Keegan confronts it all head-on, highlighting social issues that loom large in evocative narratives where thoughts, situations and scenarios spill over into the space between the words. What is left unsaid says it all. (...) The silence that reigns in a space of ‘NON-sayability’ in Keegan’s stories is anything but opaque. In Small Things Like These she navigates treacherous territories in a dark Christmas tale about the widespread and notorious Magdalene Laundry apparatus that keeps weighing heavily on our collective conscience. How can we remain passive in the face of wrongdoings and how does Keegan unlock the past and urge us to scrutinise history? (shrink)

This poetic analysis queries what it means to be human and alive at a time of interrupted pandemic realities. We draw a link between Søren Kierkegaard and our contemporary Louise Glück in their focus on an individual battling with fears, who goes their own way defying norms and conventions. How does Kierkegaard in The lily of the field and the bird of the air (1849) metaphorically show us the way to finding inner peace and a sense of solace in that (...) which is supposedly less, and teach us to appreciate the divinity found in nature? What does Glück teach us about resilience in collections of poetry The wild iris (1992) and Averno (2006)? How do the two thematically converge and indirectly advocate for a life of stoic resilience where, with individual freedom as our end goal, we learn to endure anguish and pain – embracing suffering as a way forward? (shrink)

According to Zygmunt Bauman, we live in a world of hunting and hunters, where instead of lingering in the present and appreciating it for what it holds, we push into the future at an ever-increasing speed, unable to seize the day and live the moment. When too concerned with maintaining a state of flux we lose sight of the utopia that we may partly be living in – at least in a western world generally spared from firsthand warfare, where citizens (...) enjoy technological advancements and breakthroughs. To paraphrase Bauman’s words written in 2005 but holding true to this day we harbour a continuous dream of a world void of accidents. Restlessly we live through the day while eagerly anticipating the next. In doing so, we not only disregard the importance of the present but also that of the past, seemingly forgetting about it altogether. On a national level, this is a hunter’s “utopia” where citizens are engaged in an individual postmodern hunt into an uncertain future and belonging to a collective would rather hold you back than facilitate the process of moving forward. Bauman questions whether in the name of game-keeping globalisation and a utopia that is ultimately unachievable, we are witnessing an end to what may have been regarded as an ideal time and place. Fast-forward to 2017 and having now embarked on an equally shaky journey into 2018 we face a world in disarray and fragmentation. This paper applies Bauman’s lucid thoughts to an analysis of our unpredictable present. (shrink)

Zygmunt Bauman wrote tirelessly on the ever-changing world that we live in, lucidly analysing our contemporary times in an intelligent and insightful manner in both oral and written discourses where the topics ranged from Holocaust reflections, modernity and postmodernity, urban and social liquidity and mobility, and utopia and dystopia, to mention but a few. In his astute observations Bauman paints an often sombre and depressing picture of society and the role we play in it. Writing at length on modernity and (...) postmodernity (the latter dependent on the former for its existence), the Polish sociologist, who was impressively prolific during his lengthy career at the University of Leeds, presents us with a world in flux, one in which citizens likened to hunters lead an increasingly solitary and rootless existence in the name of staunch individualism while, all along, they seemingly push faster and increasingly desperately into an uncertain future. In Bauman’s many accounts, these members, or denizens, of the postmodern habitat lead an ambivalent existence in an apparent utopia that is far from as utopic as one would have hoped for. This article will discuss Bauman’s views on modernity and postmodernity, social fluidity and identity change, ultimately highlighting the importance of his works and the great legacy Zygmunt Bauman has left behind. -/- Key words: Zygmunt Bauman, Fluid, Liquid, Modernity, Postmodernity . (shrink)

Inserting the discourse within an existentialist framework, this paper examines our existence of interrupted realities through the lens of Kierkegaardian thoughts and also draws on Simone de Beauvoir’s “Qu’est-ce que l’existentialisme?” (1947). As we navigate a surrealist time of COVID-19 (ab)normal, the lingering pandemic has left an impact on a both societal and psychosocial level. With societies across the globe facing continuous restrictions, what happens to free will? De Beauvoir defines our raison d’être as the individual having reality “only through (...) his engagement in the world”. In this period of limited individual freedom, can we still talk of free will and how shall we engage with this all-pervasive, rule-changing pandemic ‘New Normal’? (shrink)