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'Summer lands' and the interface between image and text

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A version of this paper was originally presented on 19 June 2015, at THINK FORWARD/LOOK BACK, Limina Conference, University of Western Australia. Summerlands is part of a larger work, which comprises the creative component of a doctoral thesis. Both
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    "#$%%&'()*+#, -./ 012 3.0245-62 720822. 39-:2 -./ 02;0 !"#$%&'%# )*"#+& ,#'$#-+-' !"" $%&'&()*$%+ *), * -&). &- ')*/+$&)' */0 */ ,1$),++2&/ &- *3+,/4,5 6  78&%/ 9,)(,):  . ,&/&$+0 1#$   !"#$%&'(#)%" ,*22&"3#$4'  2+ $*)' &- * "*)(,) ;&)<: ;%24% 4&.$)2+,+ '%, 4),*'2=, 4&.$&/,/' &- * 0&4'&)*" '%,+2+5 9&'% '%, /&=,">2/>$)&(),++ */0 '%, ,1,(,+2+ *2. '& 2/=,+'2(*', '%, 4&.$",1 2/',)),"*'2&/+%2$ 3,';,,/ 2.*(, */0 ',1'5 ?%2+ $*$,) 2/')&0@4,+ */0 4&/',1'@*"2+,+ '%, -2)+' 4%*$',) &- '%, /&=," ;2'% * 3)2,- ,1,(,'24*" +'*',.,/'5 ?%, /&=," 2/4&)$&)*',+ .,.&2): -24'2&/: -&"<'*",+ */0 =2+@*" .*',)2*": */0 2+  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 3,';,,/ $&2/'+ &- =2,; &- =*)2&@+ 4%*)*4',)+ *), -*42"2'*',0 3A '%, 0,$"&A.,/' &- '%2)0>$,)+&/ /*))*'2&/5 D/ '%2+ 4%*$',): ',/+2&/+ '%*' ;2"" 3, @/)*=,"",0 2/ +@3+,H@,/' 4%*$',)+ *), 2/024*',0 3A * +,(@, -)&. P*+* '& %,) 0*@(%',) 8Q)*'RB+ ,.&'2&/*" "*/0+4*$,5 ?%, ,1,(,'24*" +'*',.,/' +@((,+'+ '%*' '%, 2.*(,>,.3,00,0 $)&+, -24'2&/+ &- C5S5 M,3*"0 *), * $)2.*)A 2/-"@,/4, &/ '%, +')@4'@), &- ,*22&"3#$4'  : */0 $)&$&+,+ '%, 20,* '%*' 2.*(,+ *), 2/',()*" '& '%, $&,'24+ */0 +,.*/'24+ &- '%, ',1': ;%24% 0,*"+ ;2'% ')*@.*: 02+$"*4,.,/': */0 '%, -)*(.,/'*)A /*'@), &- .,.&)A5 1  J. Berger,  A Seventh Man: Migrant Workers in Europe,  New York, Viking Press, 1975, p. 13.  5-2-$#6  O&"@., T656: TU6L !"#$%&'%# )*"#+& ,#'$#-+-' Summerlands 2 O&2('"V/0,) W*.,)*: * (2-' '& .A .&'%,) &/ %,) T6 +'  32)'%0*A: 6JXI +,- !./0- )1 #,- 2%%3 D %*=, +$,/' .&+' &- .A ;&)<2/( "2-, *+ * 3&&<+,"",)5 D %*=, ;*'4%,0 .*/A 4@+'&.,)+ 3)&;+2/(5 ?%,A $24< @$ * 3&&< */0 -"24< '%)&@(% '%, $*(,+: */0 2- * 3&&< 2/4"@0,+ $%&'&()*$%+ '%,A -"24< */0 +'&$ *' '%, $*(,+ '%*' %&"0 */ 2.*(,5 ?%,/ '%,A  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 YC, *"" ',/0 '& 3,"2,=, 2/ $24'@),+ .&), '%*/ ;, 0& 2/ ",'',)+:B Z  +*20 M,3*"05 [, 2/+,)',0 $24'@),+ 2/ &)0,) '& ",/0 Y*/ *2) &- ",(2'2.*4AB X  '& %2+ ',1': (&2/( +& -*) *+ '& *++,)' '%, $)2.*4A &- 2.*(, &=,) ;&)05 \,' '%,), 2+ /&'%2/( '&  7"8/&  '%*' '%, A,;: ;%24% "&&.+ &=,) '%, -2)+' $*(, &- 90& :2-;"#$+' L  : -&) ,1*.$",: 2+ 2/ -*4' * $%&'&()*$% &- '%, ()*=,A*)0 '%, /*))*'&) .,/'2&/+ 2/ $*++2/( &/ '%, +*., $*(,5 ?%, ),*0,) .*<,+ '%*' *++@.$'2&/ ;2'%&@' '%2/<2/(5 C%*' 2+ .&), 2/',),+'2/( 2+ '%, 2  S. Sontag, On Photography , New York, Picador USA, 1977, p. 87. 3  E. Wachtel, ÔGhost HunterÕ, in L.S. Schwartz (ed.) and W.G. Sebald, The Emergence of  Memory: conversations with W.G. Sebald  , New York, Seven Stories Press, 2010, p. 41. 4  Ibid. 5  W.G. Sebald, The Emigrants , trans. Michael Hulse, New York, New Directions, 1996, p. 3.    5-2-$#6  O&"@., T656: TU6L !"#$%&'%# )*"#+& ,#'$#-+-' Summerlands 3 2.$&)' '%2+ $%&'&()*$% ;2"" %*=, "*',) 2/ '%, +'&)A &- Y]) [,/)A M,";A/B: ;%,/ &/ $*(, ';,/'A>';& ]) M,";A/ +%&&'+ %2.+,"-5 ?%, $%&'&()*$% &- '%, A,; "&&.2/( &=,) '%, ()*=,A*)0 2+ '%,/ 2/=,+',0 ;2'% '%, +2(/2-24*/4, &- * $&)',/'5 !/0 '%, H@&', Y  .$4 +0& 3#'+ "&2$#$+' 2&28"< 4&'+"8<'  :B &/ '%, '2'", $*(, &- Y]) [,/)A M,";A/B:  3,4&.,+ */ ,$2'*$% +@2'*3", '& '%, ,/'2), 3&&<5 D/ '%2+ 2/+'*/4,: '%, $%&'&()*$% +,)=,+ .@"'2$", $@)$&+,+^ *+ 0&4@.,/'*)A ,=20,/4, _ '%, $%&'&()*$% 4&))&3&)*',+ '%, 0,+4)2$'2&/ &- * ()*=,A*)0 $@)$&)',0 '&  3, 4"&+, '& '%, %&@+, '%, /*))*'&) -2/*""A ",*+,+G *+ */ *--2).*'2&/ &- ,12+',/4, _ '%, /*))*'&) *$$*),/'"A $*++,0 '%2+ ()*=,A*)0 */0 '&&< '%, $%&'&()*$%G */0 *+ ,/2(.*'24 +2(/2-2,) _ '%, &.2/&@+ A,; "&&.2/( &=,) * ()*=,A*)0 2+ +@((,+'2=, &- '%,  3,(2//2/( &- * S&'%24 /&=,"5 !)(@*3"A: '%, -2)+' ';& $@)$&+,+: 0&4@.,/'*'2&/ */0 *--2).*'2&/: *), 2/+'*/'"A *$$),%,/0,0 */0 ),H@2), "2''", *'',/'2&/: 3@' '%, '%2)0 $@)$&+,: +2(/2-24*'2&/: 0,.*/0+ '%&@(%': * 3*4<;*)0 ("*/4,: */0 * ),*++,++.,/':  5-2-$#6  O&"@., T656: TU6L !"#$%&'%# )*"#+& ,#'$#-+-' Summerlands 4 */0 .2(%' ),+@"' 2/ /& 4",*),) 4&.$),%,/+2&/ '%*/ 3,-&),5 M,3*"0 ),-,)),0 '& '%2+ $)&4,++ *+ Y+"&;2/( 0&;/ '%, +$,,0 &- ),*02/(5B `  P&3,)' a*4-*)"*/, "2<,/+ '%, ,1$,)2,/4, &- ),*02/( M,3*"0 '& 3,2/( %A$/&'2+,0: ,/4%*/',0: 4*$'2=*',0: <20/*$$,0: */0 '%*' ,.,)(2/( -)&. * 3&&< 3A M,3*"0 Y2+ "2<, 0)2-'2/( +"&;"A '& * +@)-*4, -)&. * +,*>3,0 '%)&@(% .*)2/, "2(%': +'@//,0 */0 ()*',-@"5B K  D 4*"" 2' '&4*%+-8$  : 4,)'*2/"A 3A M,3*"0B+ .,*/0,)2/( $)&+,: ),$",', ;2'% &3"2H@, */0 ,+&',)24 ),-,),/4,+: 3@' *"+& 3A $%&'&()*$%+ '%*' *), ,H@*""A ,=&4*'2=, */0 *.32(@&@+5 P,(*)0",++ &- ;%,'%,) ;, *), 4&/+42&@+ &- 90& :2-;"#$+'  *+ * -24'2&/ 4&.$&+,0 &- /&/>-24'2&/+: 2- ;, *""&; &@)+,"=,+ '& 3, 2..,)+,0 2/ 2'+ =,)+2&/ &- ),*"2'A: ;, 3,4&., *;*), '%*' '%,), 2+ */ @/3)20(,*3", 02+'*/4, 3,';,,/ '%, .&.,/' &- ,1$,)2,/4,: '%, .,.&)A b&) '%, 2.*(, '%*' ')2((,)+ '%, .,.&)Ac &- '%, ,1$,)2,/4,: */0 '%, ),$),+,/'*'2&/ &- '%*' ,1$,)2,/4,5 d&) .,: '%, 2.*(, ;2'%2/ '%, ',1' -*42"2'*',+ 3)20(2/( '%, @/3)20(,*3",^ 2/=&<2/( '%, 0,*0 */0 =*/2+%,0 3A +'2.@"*'2/( '%, 2.*(2/*'2&/G 3A ,=&<2/( * 02),4' =2+4,)*" ),+$&/+,G 3A 4),*'2/( * +$*4,: &) $*@+,: -&) '%, ,A, */0 -&) '%&@(%'G */0 3A +,''2/( @$ +@3'", *.32(@2'2,+: ;%24% H@,+'2&/ .&), '%*/ '%,A */+;,)5 M,3*"0B+ 2.*(,>,.3,00,0 ',1'+ 2(/2', * 4&(/2'2=, +%2-' 3,';,,/ '%, ;)2'',/ */0 '%, =2+@*": * ')*/+"*'2&/ 3,';,,/ ';& 'A$,+ &- 4&..@/24*'2&/: '%, -&).,) ,.$2)24*": '%, "*'',) 2/'@2'2=, */0 4&/',.$"*'2=,5 9&'% ',1' */0 2.*(, ),H@2), * +$,42-24 +4)@'2/A: ;%24% '%,/ (,/,)*',+ -@)'%,) +4)@'2/A &- '%, %8$/&"'#+-8$  3,';,,/ ',1' */0 2.*(,5 ?%, 02+$*)*', *$$)&12.*'2&/+ '& ),*"2'A &- ',1' */0 2.*(, 0,.*/0 */ *0e@+'.,/' 2/ '%, ),*0,)>=2,;,)B+ +4)@'2/A 2/ &)0,) '& ,"@420*', "*',/' *.32(@2'2,+ */0 4&/e@/4'2&/+5 !@'%,/'242'A ),+'+ 2/ M,3*"0B+ 0,024*'2&/ *+ */ 2/',)"&4@'&) '& '%, %2+'&)2,+ */0 +'&)2,+ %, %,*)+ */0 ),4),*',+5 f&' &/"A 020 %, ,14*=*', '%, .,.&)2,+ &- '%, $,&$", %, 4*"",0 %2+ Y;2'/,++,+B: 3@' 3A '*<2/( &/ '%, 3@)0,/ &- '%,2) .,.&)2,+:  3,4*., ,1,.$' -)&. '%, Y4&/+$2)*4A &- +2",/4,B I  %, *+4)23,0 '& '%, S,).*/A &- %2+ $*),/'+B (,/,)*'2&/5 M,3*"0B+ $)&e,4' &- ),+'2'@'2&/ /,4,++2'*',0 ;)2'2/( Y'%, %2+'&)A &- $,)+,4@'2&/: &- =2"2-24*'2&/ &- .2/&)2'2,+: '%, *'',.$': ;,"">/2(% *4%2,=,0: '& ,)*024*', * ;%&", $,&$",5B J  E2<, M,3*"0: D *. *'',.$'2/( * Y$)&e,4' &- ),+'2'@'2&/B^ */ *4</&;",0(,.,/' &- '%, &/(&2/( ,--,4'+ &- &=,);%,".2/( "&++: */0 ,+$,42*""A &- Y$&+'.,.&)AB: '%, ',). a*)2*//, [2)+4% 4&2/,0 '& 0,+4)23, '%, Y),"*'2&/+%2$ &- '%, +,4&/0 (,/,)*'2&/ '& $&;,)-@": &-',/ ')*@.*'24: ,1$,)2,/4,+ '%*' $),4,0,0 '%,2) 32)'%+ 3@' '%*' ;,), /,=,)'%,",++ ')*/+.2'',0 '& '%,. +& 0,,$"A *+ '& +,,. '& 4&/+'2'@', .,.&)2,+ 2/ '%,2) &;/ )2(%'5B 6U 5 ?& '%2+ ,/0 D %*=, 2.323,0 .A $*),/'+B .,.&)2,+: */0 ),(@)(2'*', '%,. *+ .A &;/G D %*=, ')*/+-&).,0 .A .,.&)2,+ */0 -*.2"A 2/'& 4%*)*4',)+ ;%&  3,*) +&., ),+,.3"*/4, '& .A "2=,0 ),*"2'A: 3@' ;%&+, ),*"2'2,+ 02--,) -)&. .2/,5 6  ÔGhost HunterÕ, op. cit., p. 42. 7  R. Macfarlane, ÔSebaldÕ, in  After Sebald: Essays & Illuminations , J. Cook (ed.), Suffolk, Full Circle Press & the University of East Anglia, 2014, p. 19.   8  M. Silverblatt, ÔA Poem of an Invisible SubjectÕ, in The Emergence of Memory , op.cit., p. 79. 9  Ibid., p. 80. 10  M. Hirsch, ÔThe Generation of PostmemoryÕ,  Poetics Today 29:1, 2008, p. 103.  5-2-$#6  O&"@., T656: TU6L !"#$%&'%# )*"#+& ,#'$#-+-' Summerlands 5 D/ ,*22&"3#$4' =4#>$ ?@+0 )#$*#"< ?ABCD  D *2. '& $)&--,) */ ,.&'2&/*""A *@'%,/'24 =,)+2&/ &- '%, 4%*)*4',) P*+*B+ ),*"2'A 3A 4&/-"*'2/( '%, $),+,/' /*))*'2=, ;2'% %,) ),4&"",4'2&/+ &- '%, /,*) */0 02+'*/' $*+': */0 ;2'% 2.*(,+: ;%24% .*A *@'%,/'24*',: *@(.,/' &) 4&/')*024' %,) +'&)A5 D ,1$"&), '%, b.2+c')*/+"*'2&/+ '%*' &44@) 3,';,,/ ;)2'',/ */0 =2+@*" "*/(@*(,+: */0 '%, 02+$*)2'A 3,';,,/ (,&()*$%24 */0 $+A4%&"&(24*" +$*4,+5 D 2/+,)' 2.*(,+ 2/'& '%, ',1' 2/ &)0,) '& ),(@"*', '%, $*4, &- ),*02/(: */0 2/ &)0,) '& .@"'2$"A 2/%,),/' */0 ,1')*$&"*',0 .,*/2/(+5 E,' ., 3,(2/ ;2'% * $24'@), &- * 0@/,: ;%24% %*$$,/+ '& 3, * $%&'&()*$% &- '%, )&""2/( 0@/,+ &- f20* &/ '%, 4&*+' &- E2'%@*/2*: -)&. * ')*=," 3&&<",' 4*"",0 9#E& # 588E #+ ,8/-&+ 5-+0*#$-#6 66  */0 ;2'% -&&'+',$+ 2/ '%, +*/0: ;%24% .2(%' 3, ;*"<2/( *;*A &) 4&.2/( '&;*)0+: 2' 2+ 2.$&++23", '& +*A5 D 3,(2/ ;2'% * +4,/, &- E2'%@*/2*/ 0@/,+: ,=,/ '%&@(% ,*22&"3#$4'  2+ +,' &/ N%2""2$ D+"*/0 &-- '%, 4&*+' &- O24'&)2*5 11  T. Butkus, Take a Look at Soviet Lithuania , Vilnius, Mintis Publishing House, 1964.  
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