By Linda Westphalen
Examines lifestyles heritage writing via Australian Aboriginal girls within the context of negotiations approximately one's prestige and claims to kingdom. This publication makes use of a methodological mix of literary research, historical past and anthropology to attract out the certain cultural heritages held in palimpsest inside of texts.
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Additional info for An Anthropological and Literary Study of Two Aboriginal Women’s Life Histories: The Impacts of Enforced Child Removal and Policies of Assimilation
Both women, with degrees of success, resisted the impositions of the colonisers. Both women journeyed back to reconnect with family, with Country and with the Ancestors who created it and them. Since this text is also about history, I have drawn texts together based on the approximate eras in which the women lived. Alice Nannup, for example, was born in the Pilbara area of Western Australia in 1911. Sally Morgan was born in the 1950s in the south of the same state. Their experiences have almost no points of comparison.
9 (1991); Ruby Langford G i b i ' s Don't Take your Love to Town (1988), Real Deadly (1992) and My Bundjalung People (1994); Ellie Gaffney's Somebody Now: The Autobiography of Ellie Gafiey, a Woman of Torres Strait (1989); Della Walker's Me and You: The Life Story of Della Walker (1989) written with Tina Coults; Patsy Cohen's Ingelba and the Five Black Matriarchs (1990) written with Margaret Somerville; Mabel Edmund's No Regrets (1992); Alice Nannup's When the Pelican Laughed (Nannup et al. 1992) written with Stephen Kimane and Lauren Marsh; Evelyn Crawford's Over My Tracks (1993) written with Chris Walsh; Rita Huggins and Jackie Huggins' Auntie Rita (1994); Georgina Napangardi and Janet Nakamara Long's WarZpiri Women's Voices (1995) and Connie Nungulla McDonald's When You Grow Up (1996) written with Jill Finnane.
These three texts therefore offer a rare chance for a three-way comparison of historical events from differing perspectives,15 Thonemann's prologue to Tell the White Man suggests that the impetus for recording the history into written form came fiom Buludja herself (Thonemann 1949: 15), although, since it is Thonemann who is the recorder, we have no way of knowing if this is actually so. Interestingly, Joy Hooton, a literary critic, dismisses the text as 'gross ventriloquism' (1990: 334)' delegitimating Tell the White Man because of the process of its recording and disregarding the substance of Buludja's story.