Paul is a cultural studies scholar who has published widely in the areas of Latin@ and transamerican cultural studies, postcolonial theory, sexuality studies, media studies, and literary and performance studies.
Paul is the author of Latino Dreams: Transcultural Traffic and the U.S. National Imaginary (Rodopi, 2002), and Key Terms in Latino/a Cultural and Literary Studies (Blackwell, 2007), and is co-editor (with Jo McCormack) of Exile Cultures, Misplaced Identities (Rodopi, 2008) and (with Elaine Jeffreys) Celebrity Philanthropy (Intellect, 2015).
Paul's Latino Dreams (2002) was the first book-length study by an Australian academic to deal with US Latino (Hispanic) cultures and peoples, and the processes of Latinization that are transforming the USA and influencing international perceptions of that country. Paul has also contributed to the key cultural debates in the burgeoning fields of Latin@ Studies and the new American Studies that aims to transnationalise understandings of US culture and history. Paul brings to these fields a non-US and Australian voice, and a multidisciplinary approach anchored in his training in history, languages, literary studies, art theory and cultural studies.
Paul is available to supervise higher degree research students in the following areas: contemporary US Latin@ studies (cultural history, literary production, performance studies, cultural politics, mass-mediation, identity production, immigration debates); cultural, film, performance and media studies; transamerican studies; queer studies; and postcolonial studies.
Paul is the founding and current editor of the multilingual PORTAL Journal of Multidisciplinary International Studies. He is also on the international editorial advisory boards of the journal Latino Studies (Palgrave Macmillan) and the Writing in Latinidad: Autobiographical Voices of U.S. Latinos/as Book Series (University of Wisconsin Press).
Paul is a member of the following professional associations: American Studies Association (ASA) (USA); Australasian Animal Studies Association: Australian Iberian and Latin American Studies Association (AILASA); Cultural Studies Association of Australia (CSAA); Latin American Studies Association (LASA) (USA): Latino Studies Association (LSA) (USA); Modern Language Association (MLA) (USA).
Can supervise: YES
Media and Film Studies
Paul teaches in the School of International Studies. He is coordinator of the core subject Foundations in International Studies, and of the Spain and the Latino USA majors, within the combined degree in International Studies.
Allatson, P 2008, Exile Cultures, Misplaced Identities, Rodopi.
The international and crosscultural span of this collection represents an important addition to the fields of exile criticism and cultural identity studies.
Allatson, P 2007, Key Terms in Latino/a Cultural and Literary Studies, Blackwell Publishers, Malden and Oxford.
Atroshenko, P, Allan, R, Altzon, P, Aslindis, J, Daly, P, Murrell, RT & Wilson, C 1990, Images, Rebecca Allan, Paul Allatson, John Aslanidis, Peter Daly, Robert Murrell, Cooper Wilson.
Allatson, P & Connor, A 2018, 'From God-head to Bin Chook: Ibis in the Australian Cultural Imagination', Artlink: Australian Contemporary Art Quarterly, vol. 38, no. 1, pp. 66-71.View/Download from: UTS OPUS
From the early 1970s, driven by drought and degradation of interior wetlands, the Australian White Ibis (Threskiornis moluccus) began migrating to the nation's coastal cities, towns and inland centres from north Queensland through to Perth. Ibis have flourished in urban spaces, where there is a ready food supply guaranteed by our endemic over-consumption. Their robust colonisation and presence has garnered the bird a reputation as unwelcome pests and interlopers, reflected in the quotidian idiom: dumpster diver, flying rat, tip turkey, pest of the sky, trash vulture, dump chook, bin chicken, bin chook.
As their vernacular names suggest, the much-maligned ibis has achieved an ambivalent status in the Australian imagination, ranging from disparagement and disgust to a begrudging admiration and affection for their tenacity and adaptability in the urban-wilds of Australian cities. The iconic representation of the ibis is also historically and ecologically significant as the Australian White Ibis is a sister species of the African Sacred Ibis (Threskiornis aethiopicus). Though extinct in Egypt today, the Sacred Ibis enjoyed an exalted status in ancient Egypt, whereby the God Djehuty or Thoth was often portrayed with an ibis head, and ibis themselves were commonly mummified. Australian artists have picked up on these genetic and cultural resonances to engage in the bird's evolving and precarious celebrity status as it occupies our urban-suburban waterways and built environment
© 2017 by Paul Allatson. Introduction to the curated issue of PORTAL Journal of Multidisciplinary International Studies, Cultural Works—Transitions and Dislocations.
Volume 2 of the ten-volume Berg Encyclopedia of World Dress and Fashion focuses on four regions: Mexico, Central America, the Caribbean, and South America. While not all countries or cultural groups are covered, the volume is a richly informative, accessible, and appropriately illustrated resource for researchers, students of all levels, and interested readers. It should be a requisite text for practitioners of cultural studies, fashion and dress studies, indigenous studies, ethnography, and material culture studies, as well as for scholars working from diverse disciplinary positions in Latin American studies, trans-American studies, and also Latino studies. The volume's contributors pay admirable historical attention to the pre- Columbian, colonial, nineteenth and twentieth century, and contemporary eras. Of particular note-given the astonishing cultural diversity of the Americas-is the detailed space given to indigenous peoples, as well as to the multidirectional, transcultural evolutions of dress, costume, and fashion that have been taking place since the arrival of European colonizers in the late fifteenth century, and of African slaves and immigrant peoples from Europe and Asia in many parts of the continent in subsequent centuries. © 2012 Berg.
Allatson, P 2010, 'Review of Silvia Spitta, Misplaced Objects: Migrating Collections and Recollections in Europe and the Americas (Austin: University of Texas Press, 2009)', The Comparatist, vol. 34, no. May, pp. 201-207.
Allatson, P 2010, 'Review of Carolina Bank Munoz, Transnational Tortillas: Race, Gender, and Shop-Floor Politics in Mexico and the United States (Ithaca and London: ILR Press/Cornell University Press, 2008).', American Ethnologist, vol. 37, no. 4, pp. 839-841.
Allatson, P 2009, 'Review of Lynn Stephen, Transborder Lives: Indigenous Oaxacans in Mexico, California, and Oregon (Durham, NC, and London: Duke University Press, 2007).', American Ethnologist, vol. 36, no. 2, pp. 415-416.
Allatson, P 2009, 'Review of Ricardo L. Ortiz, Cultural Erotics in Cuban America (Minneapolis: University of Minnesota Press, 2007)', Latino Studies, vol. 7, no. 4, pp. 526-528.
Allatson, P & Browitt, J 2008, 'Introducing Hyperworld(s): Language, Culture, and History in the Latin American world(s)', Portal Journal of Multidisciplinary International Studies, vol. 5, no. 1, pp. 1-23.View/Download from: UTS OPUS
This introduction to the January 2008 special edition of PORTAL engages with the processes by which, in the early 21st centuryan information age of hypertechnology, post-nationalism, post-Fordism, and dominating transnational mediaculture and economy have become fused, and globalizations tend towards the mercantilization, commodification, and privatization of human experience. We recognize that access to the technologies of globalizations is uneven. Although cyberspace and other hypertechnologies have become an integral part of workspaces, and of the domestic space in most households, across Western industrialized societies, and for the middle and upper-classes everywhere, this is not a reality for most people in the world, including the Latin American underclasses, the majority of the continents population. But we also agree with pundits who note how that limited access has not prevented a `techno-virtual spillover into the historical-material world. More and more people are increasingly touched by the techno-virtual realm and its logics, with a resultant transformation of global imaginaries in response to, for instance, the global spread of privatised entertainment and news via TV, satellites and the internet, and virtualized military operations (wars on terror, drugs, and rogue regimes). Under these hyperworldizing conditions, we asked, how might we talk about language, culture and history in Latin America, especially since language has an obvious, enduring importance as a tool for communication, and as the means to define culture and give narrative shape to our histories and power struggles?
Allatson, P 2007, ''My Bones Shine in the Dark': AIDS and the De-scription of Chicano Queer in the Work of Gil Cuadros', Aztlan: A Journal of Chicano Studies, vol. 32, no. 1 (Spring), pp. 23-52.View/Download from: UTS OPUS
The autobiographically modulated poetry and prose collection City of God (1994) and other published works by the late Gil Cuadros (1962-96) survive as an important set of AIDS testimonials, the first of their kind in Chicano literary production. This paper explores Cuadros's preoccupation with processes of identificatory signification and corporeal scripting. I regard his writings as a sustained textual response to the multiple signifying systems that battle over the Chicano queer body, which is always an ambivalently U.S. body, and, in his texts, a body living and dying with AIDS as well. Accordingly, my main interest lies in plotting how Cuadros's work confronts and evades the sociocultural imperative to make of the queer Chicano subject a body that can be read, known, and potentially punished.
This essay proposes that kitsch, in this instance the kitsch exemplified by the musical and sartorial look, sound and feel of Eurovision Song Contests (ESC), may not only influence the popular appeal of the current European-unity project, but provide that project with its governing aesthetic and imaginary. Indeed, noting that the ESC has been more inclusive than, and arguably ahead of, the parallel economic and political movement to European union in the post-World War II era, the essay proposes an aesthetic reclamation of kitsch as a socio-political and intercultural avant garde that avoids ethno-national conflict. The essay argues that unlike the historical-material spaces in which creolisation emerges, the Euro kitsch-drive enables disparate peoples to enter a mass-mediated kinship group in a networked zone of peace and superficial familiarity.
Allatson, P 2007, 'Juan Davila: Queering the Trans-Pacific South', Artlink: Australian Contemporary Art Quarterly, vol. 17, no. 1, pp. 16-20.
Allatson, P 2007, ''With What Ass Does the Cockroach Sit?': Carmelita Tropicana, Elian Gonzalez, and the Greater Cuban Closet', Ollantay Theater Magazine, vol. 15, no. 29-30, pp. 67-84.
Allatson, P 2006, 'Ilan Stavans's Latino USA: A Cartoon History (of a Cosmopolitan Intellectual)', Chasqui: revista de literatura latinoamericana, vol. 35, no. 2, pp. 21-41.View/Download from: UTS OPUS or Publisher's site
In mid-December 2003, barely a few days after the capture of Saddam Hussein by U.S. forces on December13, I received in my email inbox a jpeg that features the former Iraqi dictator sitting in a chair, a silver apron covering his body, while around him stand or kneel the various members of the popular U.S. reality TV show Queer Eye for the Straight Guy [see figure 1].
Allatson, P 2006, ''Hoy marchamos, manana votamos!': Heeding the U.S.A.'s Latino Future', Dialogue: Journal of the Academy of the Social Sciences in Australia: Special Section: Lessons from Latin America., vol. 25, no. 2, pp. 44-51.
Allatson, P 2005, 'Review of Vicki Mayer, Producing Dreams, Consuming Youth: Mexican Americans and Mass Media (New Brunswick, NJ, and London: Rutgers University Press, 2003). In Bulletin of Spanish Studies 82.5 (July 2005): 721-22', Bulletin of Spanish Studies, vol. 82, no. 5, pp. 721-722.
Allatson, P 2005, 'Review of Ann Miles, From Cuenca to Queens: An Anthropological Story of Transnational Migration (Austin, TX: University of Texas Press, 2004)', American Anthropologist, vol. 107, no. 2, pp. 300-301.
Allatson, P 2004, 'Review of Milagros Ricourt and Ruby Danta, Hispanas de Queens: Latino Panethnicity in a New York City Neighborhood (Ithaca and London: Cornell University Press, 2003).', Bulletin of Spanish Studies, vol. 81, no. 2, pp. 258-260.
Palaversich, D & Allatson, P 2002, 'The wounded body of proletarian homosexuality in Pedro Lemebel's Loco afán', Latin American Perspectives, vol. 29, no. 2, pp. 99-118.View/Download from: Publisher's site
In his two collections of chronicles, La esquina es mi corazón (1995) and Loco afán: Crónicas de Sidario (1996), Pedro Lemebel describes a Santiago not depicted in news bulletins and in the discourses of the Chilean economic "miracle," a Santiago populated by beings marginalized as much by their socioeconomic position as by their sexual orientation. In this analysis, I propose to examine some of the key features of Lemebel's position that form the basis for a Latin American homosexual manifesto in clear opposition to the influential North American gay discourse. That is, my focus is on how Lemebel articulates what is, in effect, a double manifesto. The first is sexual and advocates a particular Latin American homosexual identity characterized by resistance to the growing hegemony of an imported master narrative of gayness. This gay model is currently adopted by middle-class gays in Latin America as the only acceptable form of homosexual identity. The second manifesto is political and consists of both a social critique and a proclamation of Lemebel's own ideological position. He insists on relating homosexuality both to the problems of social class and to a cultural imperialism manifested as the imposition of a hegemonic gay identity over local sexual identities. In opposition to North American critics who tend to treat homosexuality in isolation from other social determinants, Lemebel rejects disciplinarian ghettos. At the same time, he emphasizes the necessity of seeing the homosexual, particularly the poor homosexual, in the context of other experiences of marginality, exploitation, and abandonment that afflict all social groups pressed to the margins of the capitalist system.
Allatson, P, Lu, Y, Mikula, MH, Pratt, M & Le Nevez, AT 2002, 'Average Stray Aliens': An Average Australian Conversation on Eurocentrism', Culture, Theory and Critique, vol. 43, no. 1, pp. 17-31.View/Download from: UTS OPUS
Prompted by a recent error in an Australian newspaper, by which voice-recognition technology inadvertently transformed `average Australians into `average stray aliens, this paper appears as a conversation about Eurocentrism between five participants, all of whom work in European studies as teachers and researchers in Australia, the place of `stray aliens. Our dialogue proceeded cumulatively in August 2001, with e-mail responses circulating between contributors. Our aim was to dislocate the debate about `Europe and `Eurocentrism away from the Eurocentre to one of Europes blind spots, Australia. Emerging in the debate is a strong sense of the ways in which power and privilege inevitably accrue centrifugally: Eurocentrism affects and re-writes itself on us in ways perhaps unimagined in the Eurocentre. As a bid toward resistant practice against the centre, we have refrained self-consciously from explaining every local reference in our self-reflective, dialogic, and open-ended discussion about the ways `Europe and `Eurocentrism touch us as teachers, researchers and `average stray aliens.
Allatson, P 2002, 'Beyond the Hybrid: Notes Against Heterophilic Authoritarianism', Genre Magazine, vol. 22, pp. 191-203.
Allatson, P 2002, 'The Wounded Body of Proletarian Homosexuality in Pedro Lemebel's 'Loco afan', by Diana Palaversich', Latin American Perspectives, vol. 29, no. 2, pp. 99-118.
Allatson, P 2002, ''Memory Mambo' : Cuban Memory, 'American' Mobility, and Achy Obejas's Lesbian Way'', Ciberletras: Revista de critica literaria y de cultura/Journal of Literary Criticism and Culture, vol. 7, no. 1, pp. 1-16.
4 want to meet you at the / intersection of possibility, declares Luis Alfaro in his prose and poetry sequence Cuerpo politizado. In this work the Los Angeleno Chicano writer and occasionally cross-dressing performance artist announces a particularly important intersection of possibility with the line that appears in this essays title.1 Alfaro conjoins the semiotics of the body with semantics, for the callto- drag simulation encapsulated in the phrase, translated as always happy in my skirt, also connotes for some Chicanos and Chicanas a playful adaptation of the English gay into the Spanish fdiz and hence of the phrase into always queer in my skirt.
Allatson, P 1998, '''Historia de Mayta': A Fable of Queer Cleansing'', Revista de Estudios Hispanicos, vol. 32, no. 3, pp. 511-535.
Allatson, P 1996, 'Men and Mettle: Recent Portraits by Rox De Luca', Artlink: Australian Contemporary Art Quarterly, vol. 16, no. 1, pp. 24-26.
Allatson, P 1996, 'Confounding Convention: Women in Three Golden Age Plays', Bulletin of the Comediantes, vol. 48, no. Winter, pp. 261-273.
Allatson, P 1995, 'Policing the Picaresque: 'Lazarillo de Tormes' and 'El buscon' on Trial', Journal of Iberian & Latin American Studies, vol. 1, no. 1-2, pp. 119-127.
Peer-reviewed journal; Premier Australian journal in Latin American Studies.
Emerging in Los Angeles in the late 1980s and early 1990s as a queer Chicano performance artist, playwright, and writer, Luis Alfaro quickly established himself as an influential contributor to wider cultural debates about the intersections between gender, sexual, ethno-racial, class, religious, and national affiliations in the United States. In his early career Alfaro was a key player in the solo performance movement, in which performance artists used their own bodies and lives as self performance: that is, as primary physical and lived matter for interrogating their identities within a broader political questioning of US multicultural discourses. That questioning coincided with the prominence of Chicana feminist, queer, and AIDS activisms in California, all of which framed Alfaro's early performances. Much of Alfaro's work from the 1990s thus survives as historically significant chronicles of Chicana/o queer lives on the US West Coast. Alfaro consolidated his reputation in that decade with such classic solo performances as Downtown and Cuerpo Politizado, in which his body functioned as the prop onto and over which he articulated his queer memory work in relation to the Chicana/o neighborhoods of Central and East Los Angeles in which he grew up. Those neighborhoods anchor Alfaro's career-long engagements with the US national imaginary as a Chicano queer cultural producer committed to community engagement and service and to telling the stories of Los Angeles' heterogeneous Chicana/o communities. Since the 1990s Alfaro has refined his creative and critical praxis in solo performance work and plays that raise broader questions about national identity and belonging in the United States. Many of these plays have written back to and adapted works from Western theatrical and literary traditions—for example, Greek tragedies, Aesop, Spanish Golden Age theater, and Strindberg. The process of adaptation allows Alfaro to celebrate Chicanas/os and Latinas/os, and non-Latina/...
Allatson, P 2016, 'From 'Latinidad' to 'Latinid@des': Imagining the Twenty-first Century' in González, JM (ed), The Cambridge Companion to Latina/o American Literature, Cambridge University Press, New York and Cambridge, pp. 128-145.View/Download from: UTS OPUS
The Cambridge Companion to Latina/o American Literature provides a thorough yet accessible overview of a literary phenomenon that has been rapidly globalizing over the past two decades.
Jeffreys, E & Allatson, P 2015, 'Celebrity Philanthropy: An Introduction' in jeffreys, E & Allatson, P (eds), Celebrity Philanthropy, The University of Chicago Press, Bristol, UK.View/Download from: UTS OPUS
This book presents case studies of celebrity philanthropy from around the globe—including such figures as Shakira, Arundhati Roy, Zhang Ziyi, Bono, and Madonna—looking at the tensions between celebrity activism and ground-level work and ...
This book presents case studies of celebrity philanthropy from around the globe—including such figures as Shakira, Arundhati Roy, Zhang Ziyi, Bono, and Madonna—looking at the tensions between celebrity activism and ground-level work and ...
Allatson, P 2015, 'Shakira, Ricky Martin and Celanthropic Latinidad in the Americas' in Jeffreys, E & Allatson, P (eds), Celebrity Philanthropy, Intellect Books, Bristol, UK.View/Download from: UTS OPUS
Allatson, P 2015, 'Diaspora and Exiles' in Oboler, S & Gonzalez, D (eds), Latinos and Latinas in Contemporary Politics, Law and Social Movements, Oxford University Press, pp. 227-229.View/Download from: UTS OPUS
Panigirakis, S & Allatson, P 2014, 'Transiting' in Macdonald, F & Panigirakis, S (eds), Australian Studies, no. 1, exhibition 'journal' curated by Fiona Macdonald and Spiros Panigirakis for the exhibition, Australian Studies, The Cross Arts Project, King's Cross, Sydney, August 2014, Fiona Macdonald and Spiros Panigirakis, pp. 59-67.
Allatson, P 2013, 'Reading the Taco Shop Poets in the Crossroads of Chicano Postnationalism' in Soler, NP & Abarca, ME (eds), Rethinking Chicana/o Literature Through Food: Postnational Appetites, Palgrave Macmillan, New York, pp. 207-227.View/Download from: UTS OPUS
Allatson, P 2012, 'Padrino' in Loue, S & Sajatovic, M (eds), Encyclopedia of Immigrant Health, Springer, New York, pp. 1165-1166.
Allatson, P 2011, 'The United States of Empire and the Coalition of the Willing Queer' in Nagy-Zekmi, CZAS (ed), Perennial Empires: Postcolonial, Transnational and Literary Perspectives, Cambria Press, Amherst, New York, pp. 295-315.
In mid-December 2003, barely a few days after the capture of Saddam Hussein by U.S. forces on December13, I received in my email inbox a jpeg that features the former Iraqi dictator sitting in a chair, a silver apron covering his body, while around him stand or kneel the various members of the popular U.S. reality TV show Queer Eye for the Straight Guy. Some months later, I acquired what U.S. collectors like to call a bobblehead or nodder, a small doll made of a synthetic polymer resin with moveable head, in this instance a uniformed Saddam Hussein with his trousers down around his ankles, and a large missile painted in the colours of the U.S. flag embedded in his exposed buttocks. This essay, a meditative show-and-tell make-over of sorts, springboards from the conjunction of these two queerly touched products of global pop-culture, both of which also function as imperial-history military memorabilia. That conjunction suggests that the recent coming out of the queer "I" in Queer Eye could never simply be a televisual fairies' tale. Rather, I want to suggest that the show--which has been aired, and in some cases franchised, in numerous countries since 20032--metonymizes the consolidation of the Bush Jr-led United States of Empire (henceforth, the U.S.E.), itself undergoing a formidable combat-fatigue chic make over since 9/11, 2001.
Allatson, P 2010, 'Mario Vargas Llosa, the fabulist of Queer Cleansing' in Castro, JED & Birns, N (eds), Vargas Llosa and Latin American Politics, Palgrave Macmillan, New York, USA, pp. 85-102.View/Download from: UTS OPUS
IN 2005 MAroa VARGAS LLOSA DELIVERED HIS LECTURE "CONFESSIONS of a Liberal" for the Washington-based American Enterprise Institute for Public Policy Research. A summation of Vargas Llos's intellectual evolution since the 1960s, the lecture confirmed his claim to the mantle of Latin American liberal par excellence. Plotted in opposition to ideology as "an open, evolving doctrine that yields to reality instead of ttying to force reality to do the yielding," Vargas Llos's liberalism rests on a number of familiar precepts: political democracy; private property; the free market; and the rule of law in productive tension with "the defense of individual interests over those of the state" ("Confessions of a Liberal").
Allatson, P 2009, 'Ilan Stavans's Latino USA: A Cartoon History (of a Cosmopolitan Intellectual)' in L'Hoeste, HF & Poblete, J (eds), Redrawing the Nation: National Identity in Latin/o American Comics, Palgrave Macmillan, New York, USA, pp. 227-250.View/Download from: UTS OPUS
Launched with considerable media coverage in 2000, nan Stavans's Latino USA: A Cartoon History, with illustrations by comic-artist Lalo Alcaraz, aimed to render accessible the history of the United States' heterogeneous Latino sectors.' In the Foreword, Stavans justifies the book's comic format by distancing it from Ariel Dorfman and Armand Mattelart's Para leer al Pato Donald, which in English translation became How to Read Donald Duck: Imperialist Ideology in the Disney Comic? That 1971 study targeted the Disney comic as paradigmatic of U.S. cultural imperialism, a mass-cultural form capable of corrupting Third World youth with nefarious "American" capitalist and bourgeois individualist values. Stavans dismisses this argument as simplistic, tired, and tied to a bygone era ofleft-right Latin American antagonisms. Rather, Stavans insists, the worldwide popularity of the comic medium confirms that "Our global culture is not about exclusion and isolation, but about cosmopolitanism, which, etymologically derives from the Greek terms cosmos and polis, a planetary city" (xi). This appeal to an all-inclusive cosmopolitanism underwrites Stavans's desire for his cartoon history "to represent Hispanic civilization as a fiesta of types, archetypes, and stereotypes," and thus to avoid "an official, impartial tone, embracing instead the rhythms of carnival" (xv).
Allatson, P 2008, 'Hoy marchamos, manana votamos: Heeding the USA's Latino Future' in Gong Siyi (ed), Kuibuji Shanghai Daxue Xini Keji Daxue Xueshu Yantaohui Lunwenji, Shangda Press, Shanghai, China, pp. 95-102.View/Download from: UTS OPUS
The late Edward Said's influential and widely reprinted essay "Reflections on Exile," which was originally published in Granta in 1984, begins with the claim that "Exile is strangely compelling to think about but terrible to experience" (2001: 173). Said's attitude here is itself strangely compelling. While he goes on to discuss the ambivalence by which exile is dealt with as an enabling condition in the now substantial historical body of exile literature from across the globe, and elaborates on exile's status as "a potent, even enriching, motif' of modernity itself, his meditations on the subject are anchored in a conviction that those in exile live with "the crippling sorrow of estrangement" (2001: 173).
Allatson, P 2007, 'Rimming in the Pacific (A Drift in an Ecstatic Space)' in Lawson, S & Peake, W (eds), Globalization and Regionalization: Views from the Pacific Rim, Editorial Centro Universitario De Ciencias Sociales Y Humanidades, University De Guadalajara, Guadalajara Mexico, pp. 265-295.
Allatson, P 2005, 'Mexican American Stereotypes' in The Greenwood Encyclopedia of Multiethnic American Literature vol. 3, Greenwood Press, Westport, CT, pp. 1484-1487.
Allatson, P 2005, 'Guillermo Gomez-Pena' in The Greenwood Encyclopedia of Multiethnic American Literature vol. 3, Greenwood Press, Westport, CT, pp. 858-859.
Allatson, P 2005, 'Cherrie Moraga' in The Greenwood Encyclopedia of Multiethnic American Literature vol. 3, Greenwood Press, Westport, CT, pp. 1520-1523.
Allatson, P 2005, 'Benjamin Alire Saenz' in The Greenwood Encyclopedia of Multiethnic American Literature vol. 3, Greenwood Press, Westport, CT, pp. 1953-1954.
Allatson, P 2005, 'Juan Bruce-Novoa' in The Greenwood Encyclopedia of Multiethnic American Literature vol. 3, Greenwood Press, Westport, CT, pp. 337-338.
Allatson, P 2005, 'Sheila Ortiz Taylor' in The Greenwood Encyclopedia of Multiethnic American Literature vol. 3, Greenwood Press, Westport, CT, pp. 1688-1689.
Allatson, P 2005, 'A shadowy sequence: Chicana textual/sexual reinventions of Sor Juana' in Mikula, M (ed), Women, Activism and Social Change: Stretching Boundaries, Routledge, London and New York, pp. 215-246.
Allatson, P 2004, 'Abraham Rodriguez, Jr' in West-Durán Alan (ed), Latino and Latina Writers Volume 2, Charles Scribner's Sons Reference Books, Farmington Hills, Michigan, USA, pp. 971-984.View/Download from: UTS OPUS
Allatson, P 2002, 'I May Create A Monster: Cherrie Moraga's Transcultural Conundrum' in Hubel, T & Brooks, N (eds), Literature and Racial Ambiguity, Rodopi Press, Amsterdam, NY, pp. 103-121.
Allatson, P 2010, 'Latinos Down Under?: Reception, Representation and Ambivalent Latinidades in Australia', XXIX International Congress of the Latin American Studies Association (LASA), LASA, Toronto, Canada.
Allatson, P 2009, 'Star Spangled Trespass: Anthemic Re-Writing, Sensory Affront and the Latinization of the USA', Terpsichorean Architecture, UTS, Sydney, Australia.
Allatson, P 2009, 'Mario Vargas Llosa, The Fabulist of Queer Cleansing', XXVIII International Congress of the Latin American Studies Association (LASA), Rio de Janeiro, Brazil.
Allatson, P 2008, 'Taco Shop Poet(ic)s: Chicanismo's Neo-Cool or Neo-Nationalism?', Poesia, Baile y Cancion: The Politics, Implications, and Future of Chicana/os' Cultural Production: National Association of Chicana and Chicano Studies (NACCS) XXXV Annual Conference, Austin, Texas, USA.
Allatson, P 2008, 'Vernacular Vigilantism: Latin@s and the US Sensorium of Hate', The Popular in Spain, Portugal and Latin America: VIII International Australian and Iberian Studies Association (AILASA) Conference, Monash University, Melbourne, Australia.
Allatson, P 2007, 'De Aztlan a Latino USA: Rius, Stavans and the Comic(al) Manipulation of the Chicano/Latino Historical Subject', After the Washington Consensus: Collaborative Scholarship for a New America. XXVII International Congress of the Latin American Studies Association (LASA), Montreal, Canada.
Allatson, P 2007, 'The United States of Empire and the Coalition of the Willing Queer', IIS Workshop on Class and Place: Cosmopolitan Perspectives on a "Grounded Sensorium" [Regimes of the Senses], UTS, Sydney, Australia.
Allatson, P 2006, 'The Other Elians: Tracking the New Trans-American Child Celebrity', Hyperworlds: Language, Culture and History: VII International Australian and Iberian Studies Association (AILASA) Conference, UTS, Sydney, Australia.
Allatson, P 2006, 'Fame and the Nation: The Borderline Case of Elian Gonzalez', De-Centering Latin American Studies, XXVI International Congress of the Latin American Studies Association (LASA), San Juan, Puerto Rico.
Allatson, P 2006, 'Chili Shitters, Latrinos, Coats: Latino/as and the U.S. Sensorium of Hate', IIS Workshop on Regimes of the Senses: Across Cultures and Histories, UTS, Sydney, Australia.
Allatson, P 2001, 'A Latina Dialectic of Antipathy: Latinidad in Achy Obejas's Memory Mambo', American Literature Association (ALA) Annual Conference, Boston, MA, USA.
Allatson, P 2012, 'Blood : Possession', Trunk. Volume Two: Blood. Eds Meredith Jones and Suzanne Boccalatte, Boccalatte Press, Sydney, pp. 132-132.
Allatson, P 2003, 'Typicals/Tipicos', Look Slowly/A Mirar Despacito!: venia un dolor abatido..., Monash University Museum of Art/Museo de Arte Universidad Nacional de Colombia, Melbourne, Australia/Santa Fe de Bogota, Colombia, pp. 4-10.View/Download from: UTS OPUS
"Look Slowly/A Mirar Despacito!: Venia un dolor abatido ..." Book and exhibition text to accompany images for the TypicalslTipicos exhibition and associated publication by Silvia Velez, Monash University Museum of Art, Melbourne, Australia, March-May 2003; and Museo de Arte Universidad Nacional de Colombia, Santa Fe de Bogota, Colombia, May-JUly, 2003. Explanation: I was one of seven writers from three countries invited in 2003 by the Colombian-born, Australianresident artist (photographer and installation artist), Silvia Veiez, for her exhibition and accompanying publication: TypicalslTipicos. Since my contribution, like that of the other invited writers, became an integral feature of both the exhibition and the book, I regard it is an N1 Creative work, which has resonances with my research work and interests in developing new knowledge about processes of transculturation and linguistic code-switching in the Americas. My contribution, "venia un dolor abatido ...," represents further a creative intervention into trans-American debates over transculturation, in that it involved a textual response in Spanish and English to a series of images whose context was unknown to me; the artist then attempted a simultaneous translation of the text into Spanish and English as appropriate. My contribution is the opening of both exhibition and book, and follows the artist's own ruminations on the genesis of her project, Look Slowly/A mirar despacito!, while also framing the interventions of the remaining writers who contributed to the project. The exhibition was also significant in that it was shown in two countries, at the following venues: Monash University Museum of Art, Melbourne, Australia, from March to May 2003; and Museo de Arte Universidad Nacional de Colombia, Santa Fe de Bogota, Colombia, from May toJuly, 2003. The book accompanying the exhibition, TypicalslTipicos, has the ISBN 0-646-42221-9.