John Hartley, AM (Order of Australia), is John Curtin Distinguished Professor at Curtin University Australia, and Professor of Journalism, Media and Cultural Studies at Cardiff University Wales.
Recent books include: Cultural Science: A Natural History of Stories, Demes, Knowledge and Innovation (with Jason Potts, Bloomsbury, 2014); Key Concepts in Creative Industries (co-authored, SAGE, 2013); A Companion to New Media Dynamics (co-edited, Wiley-Blackwell, 2013); and Digital Futures for Cultural and Media Studies (Wiley-Blackwell, 2012).
He is editor of the International Journal of Cultural Studies (SAGE) and publisher of Cultural Science Journal (online). He is a Fellow of the Australian Academy of Humanities and the International Communication Association, Honorary Professor of Zhejiang University of Media and Communications (Hangzhou), and Guest Researcher, Institute for Cultural Industries, Shenzhen University, China.
Wen received her doctoral degree in creative industries from Queensland University of Technology, Brisbane, Australia in 2012. She is now a Lecturer and Director of the Project Development Department of the Institute for Cultural Industries, Shenzhen University, China. She was a visiting scholar at Curtin University, Australia in 2014.
Her main research interests include creative scenes, urban culture and the cultural economy. She has published academic papers in the International Journal of Cultural Studies, International Journal of Cultural and Creative Industries and Cultural Science Journal.
Henry is Senior Lecturer and Director of International at the School of Media, Culture and Creative Arts in the Faculty of Humanities, Curtin University. He has a PhD in creative industries from Queensland University of Technology and MA in simultaneous interpreting from Beijing Foreign Studies University.
Henry worked at China Executive Leadership Academy Pudong for ten years and was Executive Director of its Centre for International Courses and Programs before joining Curtin University in 2013. His research covers social media, user productivity and young people in China and has been published in the Chinese Journal of Communication and Cultural Science Journal.
Overview of Commentary OrganizationIntroduction—covers issues pertaining to the whole book, including context, date, authorship, composition, interpretive issues, purpose, and theology.Each section of the commentary includes:Pericope Bibliography—a helpful resource containing the most important works that pertain to each particular pericope.Translation—the author’s own translation of the biblical text, reflecting the end result of exegesis and attending to Hebrew and Greek idiomatic usage of words, phrases, and tenses, yet in reasonably good English.Notes—the author’s notes to the translation that address any textual variants, grammatical forms, syntactical constructions, basic meanings of words, and problems of translation.Form/Structure/Setting—a discussion of redaction, genre, sources, and tradition as they concern the origin of the pericope, its canonical form, and its relation to the biblical and extra-biblical contexts in order to illuminate the structure and character of the pericope. Rhetorical or compositional features important to understanding the passage are also introduced here.Comment—verse-by-verse interpretation of the text and dialogue with other interpreters, engaging with current opinion and scholarly research.Explanation—brings together all the results of the discussion in previous sections to expose the meaning and intention of the text at several levels: (1) within the context of the book itself; (2) its meaning in the OT or NT; (3) its place in the entire canon; (4) theological relevance to broader OT or NT issues.General Bibliography—occurring at the end of each volume, this extensive bibliographycontains all sources used anywhere in the commentary.
Alert to the intricacies and ironies of the language, to the musculature of politics and passion, these poems are chronicles of change, wired to the energies of jazz and science fiction, yet the under-song is a threnody for the loss of a kind of Englishness - voiced powerfully in a moving elegy for the poet Ken Smith. While there is no diminishing of his comic brio, no dulling of his incisive, questioning intelligence, Blues finds John Hartley Williams taking on subjects of new depth and complexity - while maintaining his characteristic lightness of touch, imagination and profound originality.
Long celebrated for his ranging, restless imagination, his baroque, elliptical narratives, his manic humour and maverick stance, Williams returns with another invitation to join him for a jug or two of wine in his out-of-kilter universe: a world that is both strange, and strangely familiar. Welcome to the Café des Artistes!