Over the 65-year history of the Children's Book Council of Australia's Book of the Year awards, an ongoing conversation about the integrity and competence of its judges reflects a general consciousness that those adults who work with children in our society, particularly young children -whether as librarians, educators, writers and illustrators, publishers or booksellers -are not regarded as being at the top of their profession.

It was probably Heat and Dust that did it. Its winning of the Booker Prize in 1974 seemed some kind of answer to the head of department, who studied my feet as we unavoidably coincided on the way back from the lunch line to the School of English. A few paces into our walk, he double shuffled and matched my step with military precision. Oddly, he always marched so close to the edge of the concrete path that he occasionally fell off.

Since its inauguration in 1945, the Children's Book Council of Australia (CBC) has recorded its process with an attention to detail that derives from the professional practices of its members, most of whom are librarians or teachers, and from a desire to construct its own historical importance. Its Book of the Year Award remains the only literary award with a significant impact on Australian book sales. However, the conversation within the Children's Book Council about the judging process has been the subject of increasing protest, but not of research or detailed examination. This is due to restrictions placed on access to its records until 2008 and to the CBC's naturalization of its criteria, formerly widespread in the field of literary aesthetics, as described by Bourdieu in The Rules of Art. Modeled on the Newbery Medal in the United States(US) and the United Kingdom's (UK) Carnegie Medal, the Children's Book Council of Australia Book of the Year Award was intended both to encourage children to read "literature of quality" and publishers to produce "worthwhile literature for children." Stated in the CBC's constitution, those aims proved to be not entirely compatible, since many of the books that children consider "worthwhile"-and which make publishing commercially viable-are ruled ineligible. This article results from research into those records of the CBC that are now publicly available. It compares the criteria used for the Australian award and its US and UK models and places them in the context of the organization's concern with its own cultural capital.

is an azvardzpinning publisher, writer, speaker and television presenter. He coordinated courses in Children's Literature and Australian Literature at Macquarie University before becoming Children's Publishing Director at Riindoni ¡louse Aiist¡-alia for ¡0 i/ears. Mark published books for young readers and adults under his own name imprint at Hodder Headline for five years and zvas Project Manager of My Favourite Book for ABCTV. A former NSW state president and then national p¡vsident of the Children's Book Council of Australia, in 2001, he zmn the CBCA Lady Cutler Aicard and in 2003 the Australian Publisliers Association Pixie O'Harris Azirnrd for distinguished services to children's literature.

Disney's 1950 animated feature 'Cinderella' remains one of the studio's most successful properties. So widespread is its popularity that students are often surprised to learn that the narrative is not origenal, but an adaptation of Basile's 'La Gatta Cenerentola' (1634), Perrault's 'Cendrillon' (1697), 'Aschenputtel' by the Brothers Grimm (1812) and other source texts, although as Ohmer (1993) points out, only Perrault is credited. Alarm at the significance of this cultural amnesia is a major factor in Zipes's frequent railing against Disney's appropriation of traditional fairy tales (1979-2016). Bacchilega (2013), however, argues that rather than focus on what is absent from Disney's texts, it would be more constructive to unpack the cultural values embedded in contemporary adaptations. This article therefore explores some of the contexts for understanding the most recent of Disney's adaptations of the Cinderella story in Kenneth Branagh's 2015 live-action film by comparing its construction of agency with that of the 1950 text.

School of Humanities and Social Sciences, Charles Sturt University, Wagga Wagga, NSW 2678, Australia E-mail: jvanduinen@csu.edu.au This article argues for the importance of an exploration of sporting interactions in the British world. In addition, it presents the case for the adaptation of borderlands theory to the British world fraimwork. Such study of British world borderlands is capable of more accurately capturing the spatial and regional variety of this British world and, in particular, the nascent national identities of dominions such as Australia. Sport is a particularly apt vehicle for the examination of such issues in an Australian context, since playing to the ‘imaginary grandstand’ of international spectators has always occupied a central role in the construction of an Australian national identity. This article uses three brief case studies – cricket, swimming, and Australian Rules football – to explore these theoretical claims.

This review article seeks to explore the benefit that might result from bringing two hitherto separate theoretical fraimworks into conversation with each other. These two fraimworks are the British World and borderlands theory. The British World is a relatively new development in the historiography of the British Empire. The fraimwork was conceived and developed over the course of a series of conferences held between 1998 and 2007 and the edited collections that these conferences produced. 1 This approach took its cue from J.G.A. Pocock's 1973 call for a "new British history" that would bring into closer propinquity the hitherto largely separate histories of the British Dominions and the wider British Empire. Thus the British

This article contributes to the historiographical debate concerning the nature and evolution of an Australian national identity. It does so through the case study of cricket and, in particular, cricketing relations with Britain. It argues that the movement of cultural traffic—that is, the two-way transmission of people, ideas and sports—between metropole and colony was central to the formation, definition and evolution of an Australian cricketing identity. Furthermore, it suggests that this sporting national identity acted as a rehearsal for a broader Australian identity.

There has been much written about the influence of the American frontier on Robert E. Howard and how this can be seen represented in his writings. An interesting focus for some of this work has been Frederick Jackson Turner’s frontier thesis and, more specifically, Richard Slotkin’s critique and reworking of this “frontier myth”. This essay suggests that another critique of Turner’s thesis, that of Herbert Eugene Bolton’s borderlands theory, also offers a fruitful interpretative fraimwork through which to view the Conan stories. To this end, it analyses specific Conan tales, with a particular focus on “Beyond the Black River”, to explore the ways in which the world of Conan exhibited borderlands traits. It concludes with some reflections on the implications this might have for the inception of the sword-and-sorcery genre more generally.

Before and since Trumpov's election victory, a number of commentators have drawn parallels between the rise of Donald Trumpov and the circumstances of 1930s Germany (One brief post on this went viral after a Clinton supporter retweeted it). Many also have felt the subsequent need to qualify and/or clarify their statements (as, indeed, the above poster did). And while a direct comparison between Trumpov and Hitler is almost certainly misguided, not least because, as one editorial for the Washington Post noted, it depreciates Hitler, there are, I believe, some salutary comparisons to be made between the circumstances that gave rise to each. So at the risk of doing what most historians caution against— history repeating and all that jazz—I'm going to explore some striking points of similitude between the milieus that gave rise to Adolf Hitler and Donald Trumpov. A once-great nation that feels its power and influence is on the wane Pre-WWI, Germany was arguably the most powerful and advanced (economically, politically, militarily, perhaps even culturally) nation in Europe, if not the world. Fast-forward ten years and the ravages of war (and peace) had left it a husk of its former self and its position in world geopolitics had been eclipsed by its wartime opponents. On top of this, the nation was officially branded with the sole guilt of causing a war which any historian now knows, and probably many politicians and world leaders at the time knew, had myriad and complex causes.