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1
Paull, James School of English UNSW. „An ambivalent ground: re-placing Australian literature“. Awarded by:University of New South Wales. School of English, 2007. http://handle.unsw.edu.au/1959.4/28330.
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Narratives of place have always been crucial to the construction of Australian identity. The obsession with identity in Australia betrays longstanding uncertainty. It is not difficult to interpret in this uncertainty a replaying of the deeper insecurities surrounding the settler community's legal and more broadly cultural claims to the land. Such insecurities are typically understood negatively. In contrast, this thesis accepts the uncertainty of identity as an activating principle, appropriate to any interpretation of the narratives and themes that inform what it means to be Australian. Fundamental to this uncertainty is a provisionality in the post-colonial experience of place that is papered over by misleadingly coherent spatial narratives that stem from the imperial inheritance of Australian mythology. Place is a model for the tension between the coherence of mythic narratives and the actual rhizomic formlessness of daily life. Place is the ???ground??? of that life, but an ambivalent ground. An Ambivalent Ground approaches postcolonial Australia as a densely woven text. In this text, stories that describe the founding of a nation are enveloped by other stories, not so well known, that work to transform those more familiar narratives. ???Re-placing Australian literature??? describes the process of this transformation. It signifies an interpretative practice which seeks to recuperate the open-ended experience of place that remains disguised by the coherent narratives of nationhood. The process of ???re-placing??? Australian literature shifts the understanding of nation towards a landscape that speaks not so much about identity as about the constitutive performances of everyday life. It also converges with the unhomely dimension that is the colonist's ambiguous sense of belonging. We can understand this process with an analogy used in this thesis, that of music ??? the colonising language, and noise ??? the ostensibly inchoate, unformed background disruptive to cultural order yet revealing the spatial realities of place. Traditionally, cultural narratives in Australia have disguised the much more complex way in which place noisily disrupts and diffracts those narratives, and in the process generates the ambivalence of Australian identity. Rather than a text or a narrative, place is a plenitude, a densely intertwined performance space, a performance that constantly renders experience ??? and its cultural function ??? transgressive. The purpose of this thesis is not to displace stereotypical narratives of nationhood with yet another narrative. Rather, it offers the more risky proposition that provisionality and uncertainty are constitutive features of Australian social being. The narrative in the thesis represents an aggregation of such an ambivalent ground, addressing the persistent tension between place and the larger drama of colonialist history and discourse.
2
Grossman, Michèle 1957. „Entangled subjects : talk and text in collaborative indigenous Australian life-writing“. Monash University, School of Literary, Visual and Performance Studies, 2004. http://arrow.monash.edu.au/hdl/1959.1/5269.
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3
Brennan, Bernadette M. „The wounds of possibility : reading absence and silence in some contemporary Australian writing“. Thesis, The University of Sydney, 2001. http://hdl.handle.net/2123/15855.
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4
Huntsman, L. F. „In margins and in longings ...: the beach in Australian life and literature“. Thesis, The University of Sydney, 1998. http://hdl.handle.net/2123/12333.
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5
Sun, Christine Yunn-Yu. „The construction of "Chinese" cultural identity : English-language writing by Australian and other authors with Chinese ancestry“. Monash University, School of Languages, Cultures and Linguistics, 2004. http://arrow.monash.edu.au/hdl/1959.1/5438.
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6
McArthur, Kathleen Maureen. „The heroic spirit in the literature of the Great War“. Thesis, University of Cape Town, 1989. http://hdl.handle.net/11427/23680.
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7
McCarthy, Bridie Clare, und bridiecmccarthy@yahoo com au. „At the limits: Postcolonial & Hyperreal Translations of Australian Poetry“. Deakin University. School of Communication and Creative Arts, 2006. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20070329.093702.
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This dissertation employs the methodologies of postcolonial theory and hyperreal theory (following Baudrillard), in order to investigate articulations of identity, nation and representation in contemporary Australian poetry. Informed by a comparative analysis of contemporary Latin American poetry and cultural theory (in translation), as a means of re-examining the Australian context, this dissertation develops a new transnational model of Australian poetics.
The central thesis of this dissertation is that contemporary Australian poetry engages with the postcolonial at its limits. That is, at those sites of postcoloniality that are already mapped by theory, but also at those that occur beyond postcolonial theory. The hyperreal is understood as one such limit, traceable within the poetry but silenced in conventional postcolonial theory. As another limit to the postcolonial, this dissertation reads Latin American poetry and theory, in whose texts postcolonial theory is actively resisted, but where postcolonial and hyperreal poetics nevertheless intersect.
The original critical context constructed by this dissertation enables a new set of readings of Australian identity through its poetry. Within this new interpretative context, the readings of contemporary Australian poetry articulate a psycho-social postcoloniality; offer a template for future transactions between national poetry and global politics; and develop a model of the postcolonial hyperreal.
8
Bell, Pamela. „Art that never was : representations of the artist in twentieth-century Australian fiction“. Thesis, The University of Sydney, 2003. http://hdl.handle.net/2123/7310.
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This thesis traces the development of the artist figure as a leading character in twentieth-century Australian novels. In Australia there have always been complex interconnections between the worlds of art and literature, perhaps the most obvious being the cluster of artists and writers centred on the journal Vision, co-edited by Norman Lindsay’s son Jack with Kenneth Slessor, who was heavily influenced by Lindsay. Slessor’s poem “Five Bells”, an elegy for his artist friend Joe Lynch, later became the subject of a mural painted for Sydney Opera House by John Olsen. Although this and other connections between poetry and art are of interest, this thesis concentrates on fiction only.
9
Behin, Bahram. „Aspects of the role of language in creating the literary effect : implications for the reading of Australian prose fiction /“. Title page, contents and abstract only, 1997. http://web4.library.adelaide.edu.au/theses/09PH/09phb419.pdf.
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10
Rukavina, Alison Jane. „Cultural Darwinism and the literary canon, a comparative study of Susanna Moodie's Roughing it in the Bush and Caroline Leakey's The broad arrow“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ61491.pdf.
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11
Weeda-Zuidersma, Jeannette. „Keeping mum : representations of motherhood in contemporary Australian literature - a fictocritical exploration“. University of Western Australia. School of Social and Cultural Studies, 2007. http://theses.library.uwa.edu.au/adt-WU2007.0054.
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[Truncated abstract] This thesis argues that the non-representation and under-representation of mothering in contemporary Australian literature reflects a much wider cultural practice of silencing the mother-as-subject position and female experiences as a whole. The thesis encourages women writers to pay more attention to the subjective experiences of mothering, so that women’s writing, in particular writing on those aspects of women’s lives that are silenced, of which motherhood is one, can begin to refigure motherhood discourses. This thesis examines mother-as-subject from three perspectives: mothering as a corporeal experience, mothering as a psychological experience, and the articulations and silences of mothering-as-subject. It engages with feminist, postmodern and fictocritical theories in its discussion of motherhood as a discourse through these perspectives. In particular, the thesis employs the theoretical works of postmodern feminists Hélène Cixous, Luce Irigaray and Julia Kristeva in this discussion . . . A fictional narrative also runs through the critical discussion on motherhood. This narrative, Catherine’s Story, gives a personal and immediate voice to the mother-as-subject perspective. In keeping with the nature of fictocriticism, strict textual boundaries between criticism and fiction are blurred. The two modes of writing interact and in the process inform and critique each other.
12
Robb, Simon. „Fictocritical sentences“. 2001, 2001. http://web4.library.adelaide.edu.au/theses/09PH/09phr631.pdf.
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Includes bibliographical references (leaves 166-168). CD-ROMs comprise: Appendix A. Family values: fictocritical sentences -- appendix C. Reforming the boy: fictocritical sentences Primarily enacts a fictocritical mapping of local cultural events essentially concerned with crime and trauma in Adelaide. The fictocritical treatment of these events simulates their unresolved or traumatised condition. A secondary concern is the relationship between electronic writing (hypertext) and fictocriticism.
13
Sedgwick, Enid. „Kulturelle Beziehungen : German-Australian literary links in Catherine Martin's An Australian girl and Henry Handel Richardson's Maurice Guest“. University of Western Australia. European Languages and Studies Discipline Group. German Studies, 2009. http://theses.library.uwa.edu.au/adt-WU2009.0140.
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This thesis demonstrates the close links between Australian literature and German thought and culture in Catherine Martin's An Australian Girl (1890) and Henry Handel Richardson's Maurice Guest (1908), and thereby provides a fuller understanding of the sophisticated literary and intellectual purposes of these two works. In examining the German elements in each novel, and the contexts from which much of that material is drawn, this study seeks to supplement the scholarly explanations provided in the two Academy Editions of these works. While Maurice Guest has received serious scholarly attention, An Australian Girl has been accorded relatively little. Despite generally favourable reviews on publication, both appear to have been undervalued over time. The study begins with a brief historical survey of German migration to Australia and the contribution German migrants made to the intellectual life and culture of the evolving nation. The examination of Catherine Martin's work includes: biographical details, particularly concerning her contact with German culture; an analysis of the form of the novel and a comparison of An Australian Girl with Goethe's Bildungsroman Wilhelm Meister with regard to form, theme and characterisation; an analysis of German philosophical elements in the novel; and Martin's presentation of social conditions in Germany in 1888-90, and their role in the novel as a whole. The examination of Henry Handel Richardson's work encompasses: biographical details; the genesis of Maurice Guest; differences between the reception of the novel in England and Germany; the genre to which the novel belongs and parallels with Künstlerromane; an analysis of Richardson's description of the physical, historical and intellectual milieu of Leipzig, and its role in the novel; and finally her integration of German social customs and the German language into the text. Use has been made of five primary sources which have not been used before in any detail with regard to these aspects of either author: additional material from the Mount Gambier Border Watch; The Hatbox Letters, the family history of the Martin and Clarke families; the German translation of Maurice Guest; German reviews of Maurice Guest; and the correspondence between Richardson and her French translator Paul Solanges. The key argument of this thesis is that the German influence on both form and content, in the case of An Australian Girl, and on style and content, in the case of Maurice Guest, is deep and various, and that these German elements have proved to be an impediment to a full understanding and appreciation of these novels for many Anglo-Saxon readers and reviewers. In the two novels Martin and Richardson provide pointers to Australia's earlier interaction with the wider world and display a level of sophistication which makes these works worthy of greater recognition than they currently enjoy.
14
Watkins, Catherine, und mikewood@deakin edu au. „Celebrating difference“. Deakin University. School of Communication and Creative Arts, 2004. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20050915.120943.
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This thesis examines short fiction and some poetry by writers from four different Australian cultural communities, the Indigenous community, and the Jewish, Chinese and Middle-Eastern communities. I have chosen to study the most recent short fiction available from a selection of writing which originates from each culture. In the chapters on Chinese-Australian and Middle-Eastern Australian fiction I have examined some poetry if it contributes to the subject matter under discussion. In this study I show how the short story form is used as a platform for these writers to express views on their own cultures and on their identity within Australian society. Through a close examination of texts this study reveals the strategies by which many of these narratives provide an imaginative literary challenge to Anglo-Celtic cultural dominance, a challenge which contributes to the political nature of this writing and the shifting nature of the short story genre. This study shows that by celebrating difference these narratives can act as a site of resistance and show a capacity to reflect and instigate cultural change. This thesis examines the process by which these narratives create a dialogue between cultures and address the problems inherent in diverse cultural communities living together.
15
Melano, Anne. „On divergence in fantasy“. Master's thesis, Australia : Macquarie University, 2006. http://hdl.handle.net/1959.14/17998.
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The original thesis contains the novel "Stranger, I" as an integral part of the thesis. However this novel has been omitted in this digital copy.Thesis (MA (Hons))--Macquarie University, Division of Humanities, Department of English, 2006.
Bibliography: p. 93-97.
On divergence in fantasy -- Introduction -- Preliminary -- The thousand and one definitional nights -- Characteristic works: inclusions and exclusions -- Critical objections to fantasy -- Conclusion.
On Divergence in Fantasy explores the ways in which fantasy criticism continually redefines its boundaries, without arriving at agreement. The paper draws on Foucault to suggest that these disputes and dispersions are characteristic of the operation of fantasy critisim as a discursive formation.
Mode of access: World Wide Web.
97 p
16
Caskey, Sarah A. „Open secrets, ambiguity and irresolution in the Australian, New Zealand, and Canadian short story“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp02/NQ58399.pdf.
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17
McLaren, Greg 1967. „Translations under the trees : Australian poets' integration of Buddhist ideas and images“. Phd thesis, Department of English, 2005. http://hdl.handle.net/2123/6830.
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18
Potter, Emily Claire. „Disconcerting ecologies : representations of non-indigenous belonging in contemporary Australian literature and cultural discourse“. Title page, contents and abstract only, 2003. http://web4.library.adelaide.edu.au/theses/09PH/09php865.pdf.
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Includes bibliographical references (leaves 313-325) Specific concern is the poetic, as well as literal, significance given to the environment, and in particular to land, as a measure of belonging in Australia. Environment is explored in the context of ecologies, offered here as an alternative configuration of the nation, and in which the subject, through human and non-human environmental relations, can be culturally and spatially positioned. Argues that both environment and ecology are narrowly defined in dominant discourses that pursue an ideal, certain and authentic belonging for non-indigenous Australians.
19
Penazzi, Leonardo. „The fellow (novel) ; and Australian historical fiction, debating the perceived past (dissertation)“. University of Western Australia. School of Social and Cultural Studies, 2008. http://theses.library.uwa.edu.au/adt-WU2008.0070.
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Novel The Fellow What is knowledge? Who should own it? Why is it used? Who can use it? Is knowledge power, or is it an illusion? These are some of the questions addressed in The Fellow. At the time of Australian federation, the year 1901, while a nation is being drawn into unity, one of its primary educational institutions is being drawn into disunity when an outsider challenges the secure world of The University of Melbourne. Arriving in Melbourne after spending much of his life travelling around Australia, an old Jack-of-all-trades bushman finds his way into the inner sanctum of The University of Melbourne. Not only a man of considerable and varied skill, he is also a man who is widely read and self-educated. However, he applies his knowledge in practical ways, based on what he has experienced in the
20
Thoday, Heather Frances. „Lived spaces of representation : thirdspace and Janette Turner Hospital's political praxis of postmodernism /“. Title page, abstract and table of contents only, 2004. http://web4.library.adelaide.edu.au/theses/09PH/09pht449.pdf.
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21
Anderson, Emma Kate School of English UNSW. „Representations of female sexuality in chick-lit texts and reading Anais Nin on the train“. Awarded by:University of New South Wales. School of English, 2006. http://handle.unsw.edu.au/1959.4/27319.
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My critical essay uses Foucault???s theory of discursive formation to chart the emergence of the figure of the single modern woman as she is created by the various discourses surrounding her. It argues that representations of the single modern woman continue a tradition of perceiving the female body as a source of social anxiety. The project explores ???chick-lit??? as a site within the discursive formation from which the single modern woman emerges as a paradoxical figure; the paradoxes fundamentally linked to her sexuality. This essay, then, essentially seeks to investigate representations of female sexuality within chick-lit, exposing for scrutiny the paradoxes inherent in and around the figure of the single modern woman. My fictional piece is a work of erotica. It is divided into four sections: The Reader, The Writer, The Muse and The Critic. Essentially it explores the relationships between female sexuality and literature; between female sexuality and feminist, post-feminist and patriarchal values and between literature and issues of truth, perspective and representation. The two works complement each other to illuminate the paradox of female sexuality: one from a theoretical perspective and the other from a fictional perspective. The critical work focuses on female sexuality and its relationship to, and development within, the current social context. Chick-lit, as a new and immensely popular genre of fiction which holistically explores the lives of single modern women was useful for examining the relationship between the sexual persona of the single modern woman and society. The fiction is concerned with a narrower focus: specifically the sexual life of the single modern woman. Through the creative process, it became apparent that working within the genre of ???erotica??? would be not only more useful than working within chick-lit, but more powerful in exploring the themes I was interested in. The creative work draws on numerous points of interest raised in the critical work from, for example, the grander notions of the relationship between object and discourse ??? in this case female sexuality and literature ??? and the female body as a source of social fascination and anxiety to finer observations such as what it means to have sex ???like a man.??? In essence, the creative work seeks to examine the many faces of the single modern woman as a sexual being and to illuminate, on an intimate level, the many conflicts between and surrounding those faces and to suggest that while paradox remains in female sexual ideology, the single modern woman will remain suspended in a kind of sexual paralysis.
22
Ellis, Jeanne. „Past (pre)occupations, present (dis)locations : the nineteenth century restoried in texts from/about South Africa, Canada, Australia and Aotearoa New Zealand“. Thesis, Stellenbosch : Stellenbosch University, 2014. http://hdl.handle.net/10019.1/96012.
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Thesis (PhD)--Stellenbosch University, 2014.ENGLISH ABSTRACT: This thesis focuses on the 'restorying‘ of British settler colonialism in a range of texts that negotiate the intricacies of post-settler afterlives in the postcolonial contexts of South Africa, Canada, Australia and Aotearoa New Zealand. In this, I do not undertake a sustained, programmatic comparative reading in order to deliver a set of answers based on insights achieved into the current state of post-settler colonial identities. Rather, I approach the study as an open-ended exploration by reading a combination of texts of various kinds – novels, poetry, drama, films and installation art – from and about these different geographical and historical contexts, structured as a sequence of four chapters, each with a distinct theoretical ensemble specific to the (pre)occupations of the settler colonial past and the linked senses of (dis)location in the present that emerge from the primary texts combined in each case. Since this project is informed by my location as a South African researcher, the cluster of primary texts in every chapter always includes one or more South African texts as pivotal to the juxtapositional dynamics such a reading attempts. By placing this study of the textual afterlives of settler colonialism undertaken from a South African perspective within the ambit of neo-Victorian studies, it is my intention to contribute to the growing body of critical and theoretical work emerging from this interdisciplinary field and to introduce to it a set of primary texts that will extend the parameters of its productive intersections with colonial and postcolonial studies.
AFRIKAANSE OPSOMMING: Hierdie tesis bestudeer die 'restorying' van Britse setlaar-kolonialisme in ‘n groep tekste wat die verwikkeldheid van post-setlaar 'afterlives' in the post-koloniale kontekste van Suid Afrika, Kanada, Australië en Aotearoa Nieu-Seeland vervat. Hiermee onderneem ek nie ‘n volgehoue, programmatiese vergelykende interpretasie met die oog daarop om die huidige stand van post-setlaar koloniale identiteite tot ‘n stel antwoorde te reduseer nie. Ek benader die studie eerder as ‘n verkenning van moontlikhede gegenereer deur die lees van ‘n kombinasie van verskillende tekste – romans, gedigte, drama, films en installasie kuns – wat hulle oorsprong in hierdie verkillende geografiese en historiese kontekste het, asook daaroor handel. Gevolglik bestaan die studie uit vier hoofstukke wat elkeen die (pre)okkupasies van die setlaar-koloniale verlede en die gepaardgaande gevoel van (dis)lokasie in die hede, soos tevoorskyn gebring deur die kombinasie van primere tekste, aan die hand van ‘n toepaslike teoretiese ensemble bespreek. Aangesien die projek uit my posisie as Suid Afrikaanse navorser spruit, en ‘n jukstaposisionele dinamiek grondliggend aan my leesbenadering is, betrek ek telkens een of meer Suid Afrikaanse tekste by die groep primere tekste wat die basis van elke hoofstuk vorm. Deur hierdie studie van die tekstuele 'afterlives' van setlaar-kolonialisme, wat vanuit ‘n Suid Afrikaanse perspektief onderneem word, binne die raamwerk van neo-Viktoriaanse studies te plaas, beoog ek om by te dra tot die korpus van kritiese en teoretiese werk van hierdie interdisiplinere veld. Deur die toevoeging van die betrokke groep primere tekste word die area waar hierdie veld met koloniale en post-koloniale studies oorvleuel verbreed.
23
Spear, Peta. „Libertine : a novel and A writer's reflection : the Libertine dynamic: existential erotic and apocalyptic Gothic“. Thesis, View thesis, 1998. http://handle.uws.edu.au:8081/1959.7/26115.
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This thesis comprises two works: a novel ‘Libertine’ and a monograph ‘A writer’s reflection’. ‘Libertine’contemplates the eroticising and brutalising of being, and sex as currency, as need and as sacrament. It is set in a city where war is the norm, nightmare the standard, and ancient deities are called upon to witness the new order of killing technologies. The story is narrated by a woman chosen to be the consort of the General, a despostic war leader who believes that he has been chosen by the goddess Kali. She journeys deep into a horror which exists not only around her, but also within her. ‘Libertine’, by melding the erotic and the Gothic, tells the story of a woman enacting the role cast for her in the complex theatres of war. ‘A writer’s reflection’ discusses the themes of the novel, introducing the notion of existential erotica. The existential experience particular to the expression of the erotic being is discussed, and the dilemma which arises from a self yearning to merge ecstatically with an/other in order to obtain a heightened or differently valued self. This theme is elaborated in ‘Libertine’ with regard to subjectivity and the broader issues of nausea, horror and choice, drawing on the conventions of Gothic literature and apocalyptic visioning. This visioning, as eroticised death worship, is found in a Sadian credo of cruelty, the tantric rituals of Kali devotion, and the annihilating erotic excess propounded by Bataille. The monograph illustrated that ‘Libertine’ is not a re-representation of these elements, but an original contribution to the literature of erotica.
24
Reddy, Colleen. „Ecological consciousness in modern Australian poetry“. Thesis, Queensland University of Technology, 1998.
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One of the most significant issues confronting humanity as the twentieth century draws to a close is that concerning environmental degradation. This study posits the dual notion that at the centre of any movement to protect the earth from further degradation there must be a change in the predominant anthropocentric worldview, and that there is a role for poets to help bring about such change by
writing ecologically-conscious poetry. The study explains what is meant by ecological consciousness as distinct from a
conservation or environmental ethic. There follows a brief discussion of Deep Ecology (the philosophical perspective which, along with others, critiques human domination of nature) and a survey of relevant literature. The growth of an Australian poetic and the concomitant development of an Australian relationship with the land are also surveyed. Then, through a process of close reading, comparative analysis and discourse, the work of a number of poets (both
indigenous and non-indigenous) is considered for its ecological awareness. The study highlights some pivotal ideas for the development of a new worldview:
these are the development of a non-anthropocentric perspective of nature similar to that embraced by adherents of Deep Ecology; acceptance of the notion that nature
is ambivalent (that the cycle of life is also a cycle of death and decay); and the possible use of indigenous people's deeply ecological relationship with the land as
a basic model on which to build a new worldview. The study contends that only poetry which is grounded in ecocentrism, rather than anthropocentrism, can claim to be ecologically-conscious. It concludes by reaffirming the need for poets to
encourage a change in the prevailing anthropocentric worldview by adopting a deeply-ecological focus on nature in some of their poetry.
25
Lyons, Sara J. „The sacrifice of honey (fiction) ; The depiction of the media in The shark net, Evil angels and The sacrifice of honey (thesis)“. University of Western Australia. English, Communication and Cultural Studies Discipline Group, 2006. http://theses.library.uwa.edu.au/adt-WU2006.0055.
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26
Grogan, Bridget Meredith. „"Abject dictatorship of the flesh" : corporeality in the fiction of Patrick White“. Thesis, Rhodes University, 2013. http://hdl.handle.net/10962/d1001554.
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Truter, Victoria Zea. „Dreamscape and death : an analysis of three contemporary novels and a film“. Thesis, Rhodes University, 2014. http://hdl.handle.net/10962/d1012976.
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With its focus on the relationship between dreamscape and death, this study examines the possibility of indirectly experiencing – through writing and dreaming – that which cannot be directly experienced, namely death. In considering this possibility, the thesis engages at length with Maurice Blanchot's argument that death, being irrevocably absent and therefore unknowable, is not open to presentation or representation. After explicating certain of this thinker's theories on the ambiguous nature of literary and oneiric representation, and on the forfeiture of subjective agency that occurs in the moments of writing and dreaming, the study turns to an examination of the manner in which such issues are dealt with in selected dreamscapes. With reference to David Malouf's An Imaginary Life, Alan Warner's These Demented Lands, Cormac McCarthy's The Road, and Richard Linklater's Waking Life, the thesis explores the literary and cinematic representation of human attempts to define, resist, or control death through dreaming and writing about it. Ultimately, the study concludes that such attempts are necessarily inconclusive, and that it is only ever possible to represent death as a (mis)representation.
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Flavell, Helen. „Writing-between : Australian and Canadian ficto-criticism /“. Access via Murdoch University Digital Theses Project, 2005. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20051222.114143.
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Habel, Chad Sean, und chad habel@gmail com. „Ancestral Narratives in History and Fiction: Transforming Identities“. Flinders University. Humanities, 2006. http://catalogue.flinders.edu.au./local/adt/public/adt-SFU20071108.133216.
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This thesis is an exploration of ancestral narratives in the fiction of Thomas Keneally and Christopher Koch. Initially, ancestry in literature creates an historical relationship which articulates the link between the past and the present. In this sense ancestry functions as a type of cultural memory where various issues of inheritance can be negotiated. However, the real value of ancestral narratives lies in their power to aid in the construction of both personal and communal identities. They have the potential to transform these identities, to transgress natural boundaries and to reshape conventional identities in the light of historical experience.
For Keneally, ancestral narratives depict national forbears who narrate the nation into being. His earlier fictions present ancestors of the nation within a mythic and symbolic framework to outline Australian national identity. This identity is static, oppositional, and characterized by the delineation of boundaries which set nations apart from one another. However, Keneallys more recent work transforms this conventional construction of national identity. It depicts an Irish-Australian diasporic identity which is hyphenated and transgressive: it transcends the conventional notion of nations as separate entities pitted against one another. In this way Keneallys ancestral narratives enact the potential for transforming identity through ancestral narrative.
On the other hand, Kochs work is primarily concerned with the intergenerational trauma causes by losing or forgetting ones ancestral narrative. His novels are concerned with male gender identity and the fragmentation which characterizes a self-destructive idea of maleness. While Keneallys characters recover their lost ancestries in an effort to reshape their idea of what it is to be Australian, Kochs main protagonist lives in ignorance of his ancestors life. He is thus unable to take the opportunity to transform his masculinity due to the pervasive cultural amnesia surrounding his family history and its role in Tasmanias past.
While Keneally and Koch depict different outcomes in their fictional ancestral narratives they are both deeply concerned with the potential to transform national and gender identities through ancestry.
30
Bailey, Raymond Frederick. „Some preoccupations of Australian literary criticism 1945-83“. Thesis, University of London, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.282412.
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Holliday, Brian. „The conundrum of the West : reading the novels of Nicholas Hasluck“. Thesis, Curtin University, 1998. http://hdl.handle.net/20.500.11937/1335.
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The purpose of this thesis is to explore the ways in which Nicholas Hasluck's novels have been read in the past, and to develop an alternative interpretation which takes into account all Hasluck's narratives, reading them through the framework of current trends in literary and cultural theory. Hasluck is a Western Australian writer whose work takes seriously, while at the same time parodies, the institutions of both Western Australia and Western society.The initial section comprises three chapters, in which Hasluck's novels are read through the commonly used frameworks of the mystery-thriller genre and satire. The second part of the thesis, which covers four chapters, is a reading of Hasluck's narratives through the shift from modernism to postmodernism, drawing particularly on the work of theorists such as Linda Hutcheon, Michel Foucault and Brian McHale. This interpretation reveals how Hasluck's work increasingly uses the marginal, regional narratives of Western Australia to contest the mega-narratives of the West.The significance of this thesis is twofold. Firstly, this is currently the most in-depth examination of the work of a neglected Western Australian writer, and, secondly, the combining of Hasluck's literary themes and this thesis's critical framework provides a productive format for exploring issues of Western Australian history and literature.
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Fairley, Ian. „Criticism in history : the work of György Lukacs, 1902-1914“. Thesis, University of York, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.333708.
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Skyes, Gillian E. „The new woman in the new world : fin-de-siècle writing and feminism in Australia“. Phd thesis, Faculty of Arts, 2002. http://hdl.handle.net/2123/16473.
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Schillinger, Stephen. „Common representations : Jack Straw and literary history as cultural history on the early modern stage /“. Thesis, Connect to this title online; UW restricted, 2005. http://hdl.handle.net/1773/9363.
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Shoemaker, Adam. „Black words, white page : the nature and history of Aboriginal literature, 1929-1984“. Phd thesis, 1985. http://hdl.handle.net/1885/139397.
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Heley, Matthew. „"Men made out of words": reading men writing masculinities in Australian literature“. Thesis, 1996. http://hdl.handle.net/2440/110812.
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This study of some Australian literary texts covers Rod Jones ("Julia Paradise"), David Brooks ("The book of Sei"), Robert Drewe ("A cry in the jungle bar"), George Johnston ("My brother Jack") and Patrick White ("The Twyborn affair")Thesis (M.A.) -- University of Adelaide, Dept. of English Language and Literature, 1996
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Jewell, Melinda R., University of Western Sydney, College of Arts und School of Communication Arts. „The representation of dance in Australian novels : the darkness beyond the stage-lit dream“. 2008. http://handle.uws.edu.au:8081/1959.7/39463.
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Many Australian novelists since the late 1890s have written about dance in varied and interesting ways. Characters in many Australian novels are portrayed dancing on stage, dancing within the context of their everyday lives, watching corroborees, reminiscing about social dance events in distant homelands or gyrating under flashing lights at discos and raves. In other instances the word “dance” (or an associated term) is used metaphorically to convey actual or imagined movement such as the wind dancing in trees, or thoughts dancing in characters’ minds. Although representations of dance in Australian novels portray qualities such as vitality, beauty and transcendence, this thesis argues that they also elucidate a shadowland of pain and suffering and sometimes an uncertainty about Australian culture and identity. Indigenous dancers are scrutinised critically by non-Indigenous spectators. Despite the bright lights and glamour of their world, professional dancers are shown to struggle against the persistence of the cultural cringe. Unflattering notions of class and gender taint the excitement and romance of social dance occasions, migrant characters associate dance with painful memories of abandoned homelands and dancers performing professionally or privately risk being labelled mad, feminine or homosexual (or all three). The metaphorical use of the word dance does not always portray vital movement but often conveys heaviness, awkwardness and even imminent collapse. Descriptions of dance are minimalist to the point where the dance almost disappears from the reader’s view. As well as making dance in Australian novels visible, the investigation conducted in this thesis sharpens awareness of its negative or “shadow” side and challenges the widespread critical glorification of the presence of dance in literature more generally.Doctor of Philosophy (PhD)
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Chion, Loretta Ravera. „The female dilemma : subversion and art in some novels by Australian women writers“. Master's thesis, 1986. http://hdl.handle.net/1885/139376.
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Taylor, Johnson Heather. „And the Word was Song: a novel“. 2006. http://hdl.handle.net/2440/47791.
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v. 1 [Novel]: And the Word was Song [Embargoed] -- v. 2 [Exegesis]: The return to mother: exegesis accompanying the novel: And the Word was SongThe novel manuscript And the Word was Song is a work in five parts, structurally (and very loosely) mirroring the first five books of The Old Testament. It is the story of Lily May, a young woman who travels around the world trying to find meaning in her life after her prostitute, heroin-addicted mother has died. Throughout her journeys, Lily May comes into contact with people who have issues with sex and / or addiction, always forcing her to remember her mother, a loving yet entirely flawed woman. Some of her fellow travellers are neglected children; some are street-smart gypsies; some are lovers; all are unknowingly Lily May’s mother substitutes. Through an impending birth, a return to her childhood home and an unexpected discovery of a half-sister, Lily May is able to end her journey and accept her mother for who she was: an imperfect woman who gave birth to her, then loved and cared for her the best that she could. The story is about spirituality, sexuality, love, addiction, acquiescence — and Elvis. Ultimately it is about mothers. The exegetical essay is a reflection on the journey from daughter to mother. I discuss the structuring of my novel manuscript and explore ways in which memory is accessed in the recreation of the maternal bond. Through an imaginary conversation with my mother about the legitimacy of psychoanalysis in re-evaluating mothers and maternity, I look at three concepts of mother substitution, considering ways in which the subconscious reconstructs the mother in the relationships women have. I deliberate on homecomings, both literary and personal, and consider the ethics of using my mother’s stories to further my own story.
Thesis (PhD) -- School of Humanities, 2006
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Nosworthy, Mary. „The evolution of young adult literature and its growth and development in Australia : the guidance to write an Australian young adult novel“. Thesis, 2020. http://hdl.handle.net/1959.7/uws:58786.
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This exegesis investigates how Australian Young Adult Literature has grown and developed to provide a guide and influence in the composition of a Young Adult novel. Literature has existed for centuries however, a unique genre targeting adolescents between 12 and 18 years can be seen to have emerged after the Second World War. In the last 60 years books written specifically for Young Adult (YA) readers have increased markedly, with 1.8 million YA books sold in Australia in 2017 (Steger, 2019). This research focuses on the global rise and contribution of YA authors, and closely examines the acceptance and recognition of Australian YA books. The historical evolution, growth and development of YA novels and their authors is identified, as are particular characteristics and attributes that aided in the development of a novel for young adults, which is an integral part of this Creative Arts Doctorate. The research is multi-faceted, focusing on the historical development of YA literature; interviews with established Australian authors; reviews by the Children’s Book Council of Australia and detail from their judges on the award-winning YA books and novels pertinent to the area. The annual CBCA literary award-winning novels are reviewed and published in Reading Time. These provided an insight into the notable features and a rationale for their selection of annual Book of the Year for Older Readers. The reviews were written by a variety of critics but are governed by the parameters of the criteria used for the judging of the Book of the Year awards. This ensured comparability among the reviews. My research found that Australian YA novels have developed and diversified and reflect societal cultural changes. The transition to a more multicultural country is reflected in the novels produced in Australia from 1980–2019. Analysis of the historical development and examining the evolution of definitions and trends in literature and how that impacted on the YA genre is a focus of the research.
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Capili, Jose Wendell P. „Migrations and mediations : the emergence of Southeast Asian diaspora writers in Australia, 1972-2006“. Phd thesis, 2007. http://hdl.handle.net/1885/150957.
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Harrow, Janet Gail. „Flight“. 2006. http://hdl.handle.net/2440/56815.
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Title page and synopsis only v.2; Title page, table of contents and abstract only. The complete thesis in print form is available from the University of Adelaide Library.Abstract from Exegesis: As writers create stories within fragile and contested territories, they are often confronted by difficult ethical questions. When the lives of people from different cultures, races and genders intersect, whose story should be told? Does the person of white, European ancestry have the right to tell his/her part of that story? Does a man have the right to tell a woman's story? If so, from whose point of view? If not, should stories be peopled only with one's own race, one's own gender? Must a person of mixed identity write only about one race, one ethnicity? If so, which one? What is the responsibility of the writer to create stories of the world she/he observes and lives in rather than the ideal one in which most of us would like to live? How does the writer construct writing practices that embody theoretical and ideological values without privileging polemic over artistic integrity? These questions are not just philosophical for me as a writer. The answers determine what I will or will not permit myself to write, especially since I want to approach story-telling with a sensitive eye to the power of literature to show readers a world of diverse and intersecting experiences. This essay explores the responses to such questions by a number of highly respected international writers whose work has informed my writing. It also looks at the ethical use point of view as a strategy for entering the space of intersecting human experiences within contested geographic and political terrain.
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Thesis (Ph.D.) -- University of Adelaide, School of Humanities, 2006
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Behin, Bahram. „Aspects of the role of language in creating the literary effect : implications for the reading of Australian prose fiction / by Bahram Behin“. Thesis, 1997. http://hdl.handle.net/2440/19041.
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Cleave, Kaye L. „Gifts from Catherine“. Thesis, 2006. http://hdl.handle.net/2440/56813.
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The memoir dealing with the 1st year following her daughter’s death, has developed from 5 personal essays on grief submitted for a Master of Fine Arts in Writing, University of San Francisco, 1992 and is intended to honour her daughter’s life and tell her own story. The exegesis: The ethics of life writing, grew out of the questions explored in the process of writing the memoir: What does it mean to write the ’truth’?; What must I consider when writing about others?; and, Should I reveal information that is regarded as secret or private?Thesis (Ph.D.) -- University of Adelaide, School of Humanities, 2006
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Cleave, Kaye L. „Gifts from Catherine“. 2006. http://hdl.handle.net/2440/56813.
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Title page, contents and abstract only. The complete thesis in print form is available from the University of Adelaide Library.The memoir dealing with the 1st year following her daughter’s death, has developed from 5 personal essays on grief submitted for a Master of Fine Arts in Writing, University of San Francisco, 1992 and is intended to honour her daughter’s life and tell her own story. The exegesis: The ethics of life writing, grew out of the questions explored in the process of writing the memoir: What does it mean to write the ’truth’?; What must I consider when writing about others?; and, Should I reveal information that is regarded as secret or private?
http://proxy.library.adelaide.edu.au/login?url= http://library.adelaide.edu.au/cgi-bin/Pwebrecon.cgi?BBID=1259954
Thesis (Ph.D.) -- University of Adelaide, School of Humanities, 2006
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Taylor, Johnson Heather. „And the Word was Song: a novel“. Thesis, 2006. http://hdl.handle.net/2440/47791.
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v. 1 [Embargoed] And the Word was Song : Novel -- v. 2 The return to mother: exegesis accompanying the novelThe novel manuscript And the Word was Song is a work in five parts, structurally (and very loosely) mirroring the first five books of The Old Testament. It is the story of Lily May, a young woman who travels around the world trying to find meaning in her life after her prostitute, heroin-addicted mother has died. Throughout her journeys, Lily May comes into contact with people who have issues with sex and / or addiction, always forcing her to remember her mother, a loving yet entirely flawed woman. Some of her fellow travellers are neglected children; some are street-smart gypsies; some are lovers; all are unknowingly Lily May’s mother substitutes. Through an impending birth, a return to her childhood home and an unexpected discovery of a half-sister, Lily May is able to end her journey and accept her mother for who she was: an imperfect woman who gave birth to her, then loved and cared for her the best that she could. The story is about spirituality, sexuality, love, addiction, acquiescence — and Elvis. Ultimately it is about mothers. The exegetical essay is a reflection on the journey from daughter to mother. I discuss the structuring of my novel manuscript and explore ways in which memory is accessed in the recreation of the maternal bond. Through an imaginary conversation with my mother about the legitimacy of psychoanalysis in re-evaluating mothers and maternity, I look at three concepts of mother substitution, considering ways in which the subconscious reconstructs the mother in the relationships women have. I deliberate on homecomings, both literary and personal, and consider the ethics of using my mother’s stories to further my own story.
Thesis (Ph.D.) -- University of Adelaide, School of Humanities, 2006
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Cranston, CA. „Deformity as Device in the Twentieth-Century Australian Novel“. Thesis, 1991. https://eprints.utas.edu.au/1393/3/cranston_ch.6-bibliography.pdf.
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This study is based on several assumptions: it recognises that the person who is deformed has an existence both in the world and in the novel; it recognises that in both the world and the novel the deformed-being has borne a negative
stigma. It also recognises that a literature reflects its culture, as must the characters who exist within that literature. As Harry Heseltine states succinctly: 'No writer invents his metaphors ex nihilo; in the long run he finds them somewhere in the range of possibility that his culture makes available to him'. This study asks: can that most marginalised of all characters, the deformed-being, provide any revelations about the self, about the novel, the reader of the novel, and the culture within which all exist? The answer in each case is an unequivocal yes. Each chapter is devoted to a particular character in a major Australian novel; comparisons are made with other literary works, Australian and non- Australian. The individual chapters reveal the metaphors and symbolism attached to the character's particular deformity, and demonstrate how the deformed body informs the body of the text. The whole study presents an overall picture of deformity as a fairly consistent and an often-utilised metaphor. Chapter One provides a general survey of deformity as a metaphor. Chapter Two looks at Louis Stone's Jonah (1911), in which the hunchbacked larrikin character is a post-colonial interpretation of the traditionally conjoined outcast states, deformity and criminality. In Chapter Three the dwarf Jackie in Ruth Park's Swords and Crowns and Rings (1977) is seen as a metaphor for non-conformity during a time when Australia was signalling a resistance to the Old-World moulding. Chapter Four is also concerned with the post-colonial identity as revealed through the dwarf and half-caste Billy Kwan in C. J. Koch's The Year of Living Dangerously (1978); it questions an identity that is 'imposed', whether at a national or individual level. In Chapter Five the relationship of the hunchbacked dwarf Rhoda Courtney with her adopted brother, the artist Duffield, in Patrick White's The Vivisector (1970) places deformity in the tradition of the kunstlerroman. In Chapter Six, Koch's The Doubleman (1985) is shown to combine elements of the kunstlerroman while raising questions about the post-colonial identity through the dualities arising out of the doppelganger: spiritual, bodily, and cultural displacement are all focussed by the device of Richard Miller's lameness. Chapter Seven moves from deformity that is congenital or disease-originated, to disability or deformity that is human- caused (either by negligence or intervention), thus allowing a discussion of the importance of the etiology of deformity as a device: in Thea Astley's The Acolyte (1972) Jack Holberg's blindness is caused by fly-strike. Chapter Eight examines the use of terror evoked through archetypal evolution of the lame crone Hester Harper in Elizabeth Jolley's The Well (1985). In Chapter Nine the crypto-dwarf Arthur Blackberry in James McQueenls Hook's Mountain (1982) is portrayed with the accompanying baggage of dwarf mythology; his implicit demise raises questions about our responses towards the deformed. Chapter Ten is a literary history of eugenics, as seen primarily through Eleanor Dark's Prelude to Christopher (1934) and Christina Stead's The Man Who Loved Children (1940). The conclusion discusses the initial, problems of dealing with a taboo topic, along with reasons for excluding autobiographicaltreatments of deformity, biographical portrayals, war novels, and children's literature. Finally, Leslie Fiedler's comment that deformity is the reigning metaphor of our age is shown to be particularly apt in an Australian context.
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Garretson, Anna. „Unsettling fictions : contemporary white writing from South Africa and Australia“. Phd thesis, 2008. http://hdl.handle.net/1885/151206.
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Dalley, Hamish. „Postcolonialism and the historical novel : allegorical realism and contemporary literature of the past in Nigeria, Australia and New Zealand“. Phd thesis, 2013. http://hdl.handle.net/1885/155168.
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The historical novel is one of the most prominent modes of contemporary writing in the former British Empire, yet the genre's postcolonial variant has not been the subject of critical analysis in its own right. This neglect can be explained by the dominance of a "resistance paradigm" in postcolonial studies, which tends to equate realism with naive mimesis and thus treats the historical novel as either a vehicle for imperialist ideology or a site of discursive conflict over the meaning of the past. As a result, the genre's epistemological and aesthetic complexities have been marginalised. This thesis responds to this neglect by critically analysing examples of the historical novel published since 2000 in Nigeria, Australia, and New Zealand. Historicised close analysis reveals that notwithstanding the anti-mimetic presumptions of much contemporary postcolonial criticism, and despite differences arising from contextual particularities, these texts are shaped by a common "realist impulse" that frames their narratives as defensible interpretations of the past. This ethical obligation to evidence-based interpretation has formal and epistemological consequences that manifest in an aesthetic framework I call allegorical realism. This term names a mode of representation in which fictional elements oscillate between ontological and conceptual registers in ways that simultaneously produce empathetically-unsettling relations to imagined individuals and interpretations of macro-historical change. This combination of affect and abstraction defines the genre as one based neither around assumptions about the transparency of language, nor overly pessimistic views that knowledge of the past is unachievable. I show that focusing analysis on allegorical realism allows critical attention to move away from its exclusive concern with textual resistance and instead explore how the genre is inflected by the various narratives it mediates and the specificities of postcolonial contexts. This research identifies three main variants of the contemporary postcolonial historical novel, each characterised by a different modulation of allegorical realism. Settler allegory comprises texts like Kate Grenville's The Secret River (2005) and Fiona Kidman's The Captive Wife (2006), in which colonists' alienation from occupied territory is reflected formally in the undercutting of allegorical procedures that align imaginary characters with their settings. Transnational historical novels, by contrast, stretch the spatio-temporal coordinates of allegorical realism to encompass processes taking place in global settings. This generates aesthetic effects that link apparently dissimilar novels like Witi Ihimaera's The Trowenna Sea (2009) and Chimamanda Ngozi Adichie's Half of a Yellow Sun (2006). Finally, melancholy realism describes texts like Chris Abani's Song for Night (2007) and Richard Flanagan's Gould's Book of Fish (2001)-texts which disrupt the boundaries between past and present to unsettle postcolonial complacency. Tracing allegorical realism across these modes reveals how postcolonial concerns continue to recreate the genre, and how the oscillation of the allegorical signifier can challenge dominant accounts of historical change. The genre provides a significant archive for exploring how postcolonial literature is characterised by disjunctive temporalities irreducible to dominant narratives of modernity, while nonetheless being shaped by processes that link the globalised world.
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Potter, Emily Claire. „Disconcerting ecologies : representations of non-indigenous belonging in contemporary Australian literature and cultural discourse / Emily Claire Potter“. Thesis, 2003. http://hdl.handle.net/2440/21970.
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Includes bibliographical references (leaves 313-325)[6], 325 leaves ; 30 cm.
Specific concern is the poetic, as well as literal, significance given to the environment, and in particular to land, as a measure of belonging in Australia. Environment is explored in the context of ecologies, offered here as an alternative configuration of the nation, and in which the subject, through human and non-human environmental relations, can be culturally and spatially positioned. Argues that both environment and ecology are narrowly defined in dominant discourses that pursue an ideal, certain and authentic belonging for non-indigenous Australians.
Thesis (Ph.D.)--University of Adelaide, Dept. of English, 2003