Acknowledgments |
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vii | |
Foreword |
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ix | |
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Introduction |
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xiii | |
Part I: Circus, Trade & Spectacle |
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1 | (66) |
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`Rare work amongst the professors': the capture of indigenous skulls within phrenological knowledge in early colonial Australia |
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3 | (21) |
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Chained to their signs: remembering breastplates |
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24 | (12) |
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How can one be Oceanian? The display of Polynesian `cannibals' in France |
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36 | (11) |
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Captors or captives? The Australian Native Mounted Police |
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47 | (20) |
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Part II: Manufacturing the `Cannibal' Body |
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67 | (82) |
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Narratives of the self: Chevalier Peter Dillon's Fijian cannibal adventures |
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69 | (43) |
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Cannibalising indigenous texts: Headhunting and fantasy in Ion L. Idriess', Coral Sea adventures |
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112 | (14) |
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Lines of fright: fear, perception and the `seen' of cannibalism in Charles Wilkes's Narrative and Herman Melville's Typee |
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126 | (23) |
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Part III: Captive White Bodies & the Colonial Imaginary in Terra Australis |
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149 | (44) |
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Captivating Fictions: Youndh! A Tasmanian Aboriginal Romance of the Cataract Gorge |
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151 | (16) |
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`Cabin'd, cribb'd, and confin'd': the White Woman of Gipps Land and Bungalene |
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167 | (13) |
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Material culture and the `signs' of captive white women |
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180 | (13) |
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Part IV: Film, Desire & the Colonised Body |
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193 | (46) |
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Captivity, melancholia, and diaspora in Marlon Fuentes' Bontoc Eulogy: revisiting Meet Me In St Louis |
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195 | (13) |
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Breeding out the black: Jedda and the stolen generations in Australia |
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208 | (23) |
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Blame and shame: the hidden history of the comfort women of World War II |
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231 | (8) |
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Endnotes |
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239 | (44) |
List of illustrations |
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283 | (2) |
Notes on the contributors |
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285 | (4) |
Index |
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289 | |