Her simple vocabulary and prosody subtends the intent of the author to imitate the language of childhood, tapping our most sensitive chords. Mudrooroo argues that the apparent naivety of Oodgeroo’s style hides a sophisticated and profound communicative intent. ![]() The deliberate rejection of aesthetic concerns, according to Mudrooroo, is intended to produce a sense of alienation. What does matter in her work is the message, while any aesthetic pleasure we derive from her writing is of secondary importance. The Aboriginal writer Mudrooroo, in The Poetemics of Oodgeroo of the Tribe Noonuccal, highlights the fusion of protest (polemics) and language (poetics) as the most innovative aspect of Oodgeroo’s literary contribution. ![]() ![]() Oodgeroo wrote poems, short stories, essays, and children literature. Oodgeroo’s literary debut, in fact, coincides with the very beginning of the Aboriginal literature, for her poetry collection We Are Going (1964) was the first poetic work ever published by a native author. ![]() """Australian Indigenous writer, educator and activist Oodgeroo Noonuccal (1920-1993) struggled all her life to defend her homeland and her people, as well as to disseminate the Aboriginal culture.
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