Academic literature on the topic 'Australian novelists'
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Journal articles on the topic "Australian novelists"
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RYAN, J. S. "Australian Novelists' Perceptions of German Jewry and National Socialism." Australian Journal of Politics & History 31, no. 1 (June 28, 2008): 138–46. http://dx.doi.org/10.1111/j.1467-8497.1985.tb01328.x.
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Farley, Simon. "Years of agony and joy: The Sadie and Xavier Herbert Collection." Queensland Review 22, no. 1 (May 7, 2015): 96–98. http://dx.doi.org/10.1017/qre.2015.9.
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The University of Queensland's Fryer Library is home to many fine literary vintages. Established in 1927 as the J.D. Fryer Memorial Library of Australian Literature in honour of a former Arts student and soldier in the Australian Imperial Force (AIF), John Denis Fryer, the collection includes the papers of significant Australian journalists, novelists and poets, including Ernestine Hill, John Forbes, David Malouf, Bruce Dawe, Thomas Shapcott, Peter Carey and Oodgeroo Noonuccal among others.
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Shek-Noble, Liz. "“An Indigenous Sovereignty of the Imagination”: Reenvisioning the Great Australian Novel in Alexis Wright's Carpentaria." Genre 54, no. 2 (July 1, 2021): 195–219. http://dx.doi.org/10.1215/00166928-9263065.
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Alexis Wright's second novel, Carpentaria, received critical acclaim upon its publication by Giramondo in 2006. As the recipient of the Miles Franklin Literary Award in 2007, Carpentaria cemented Wright's position as the country's foremost Indigenous novelist. This article places Carpentaria within contemporary discussions of “big, ambitious novels” by contemporary women novelists by examining the ways the novel simultaneously invites and resists its inclusion into an established canon of “great Australian novels” (GANs). While critics have been quick to celebrate the formal innovations of Carpentaria as what makes it worthy of GAN status, the novel nevertheless opposes the integrationist and homogenizing myths that accompany canonization. Therefore, the article finds that Wright's vision of a future Australia involves moments of antagonism and mutual understanding between white settler and Indigenous communities. This article uses the work of Homi Bhabha to argue that Carpentaria demonstrates the emergence of a third space wherein negotiation between these two cultures produces knowledge that is “new, neither the one nor the other.” In so doing, Wright shows the resilience of Indigenous knowledge even as it is subject to transformation upon contact with contradictory ideological and epistemological frameworks.
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Conor, Liz, and Ann McGrath. "Xavier Herbert: Forgotten or Repressed?" Cultural Studies Review 23, no. 2 (November 27, 2017): 62–69. http://dx.doi.org/10.5130/csr.v23i2.5818.
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Xavier Herbert is one of Australia’s outstanding novelists and one of the more controversial. In his time, he was also an outspoken public figure. Yet many young Australians today have not heard of the man or his novels. His key works Capricornia (1938) and Poor Fellow My Country (1975) won major awards and were judged as highly significant on publication, yet there has been relatively little analysis of their impact. Although providing much material for Baz Luhrmann’s blockbuster film Australia (2008), his works are rarely recommended as texts in school curricula or in universities. Gough Whitlam took a particular interest in the final draft of Poor Fellow My Country, describing it as a work of ‘national significance’ and ensuring the manuscript was sponsored to final publication. In 1976 Randolph Stow described it as ‘THE Australian classic’. Yet, a search of the Australian Literature database will show that it is one of the most under-read and least taught works in the Australian literary canon. In our view, an examination of his legacy is long overdue. This collection brings together new scholarship that explores the possible reasons for Herbert’s eclipse within public recognition, from his exposure of unpalatable truths such as interracial intimacy, to his relationship with fame. This reevaluation gives new readings of the works of this important if not troublesome public intellectual and author.
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Pearce, Sharyn. "The evolution of the Queensland kid: Changing literary representations of Queensland children in children's and adolescent fiction." Queensland Review 3, no. 2 (July 1996): 59–75. http://dx.doi.org/10.1017/s1321816600006449.
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Since the education explosion in mid-nineteenth century England, when astute publishers began to capitalise upon a newly created and burgeoning market, Australia has always featured prominently in fiction aimed at children and adolescents. Those British children who initially made up the bulk of the reading audience for books set in Australia were eager to read episodic stories set in exciting countries far from home, and an Australian setting offered a glamorous backdrop for tales of high adventure. Moreover, it appears that while the nineteenth-century British reading public perceived Australia as an exotic place, then Queensland was quintessentially so. A disproportionate number of early tales about life in Australia is set in this colony, most often in the outback regions, but also in the vicinity of the coastal tropics. Nineteenth-century Queensland was viewed by the British, as well as by many Australians, as a remote outpost of Great Britain; it was commonly thought of as the least urbanised, the least “civilised”, the least industrialised and perhaps the most remote of all the regions of Australia. It was widely seen as an area of great and diverse (if also mysterious and desolate) natural beauty, of rural innocence as yet unpolluted by dark, satanic mills (even Brisbane was a sleepy, sprawling country town in picturesque contrast to the bustling southern cities of Sydney and Melbourne). Children's novelists capitalised on the mystique of Queensland, archetypal frontier colony, by creating a cluster of tales showing what it was like to be a Queensland kid.
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Walsh, Pete. "What ifs and idle daydreaming: The creative processes of Andrew McGahan." Queensland Review 23, no. 1 (May 31, 2016): 62–71. http://dx.doi.org/10.1017/qre.2016.7.
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AbstractAndrew McGahan is one of Queensland's most successful novelists. Over the past 23 years, he has published six adult novels and three novels in his Ship Kings series for young adults. McGahan's debut novel, Praise (1992), won the Vogel National Literary Award for an unpublished manuscript, Last Drinks (2000) won the Ned Kelly Award for Crime Writing, and The White Earth went on to win the Miles Franklin Literary Award, The Age Book of the Year Award and the Courier-Mail Book of the Year Award, and was shortlisted for the Queensland Premier's Literary Awards. In 2009, Wonders of a Godless World earned McGahan the Best Science Fiction Novel in the Aurealis Awards for Excellence in Australian Speculative Fiction. McGahan's unashamedly open critiques of Australian, and specifically Queensland, society have imbued his works with a sense of place and space that is a unique trait of his writing. In this interview, McGahan allows us a brief visit into the mind of one of Australia's pre-eminent contemporary authors, shedding light on the ‘what ifs’ and ‘idle daydreaming’ that have pushed his ideas from periphery to page.
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Lee, Christopher. "Literary Adaptation and Market Value: Encounters with the Public in the Early Career of Roger McDonald." Queensland Review 21, no. 1 (May 8, 2014): 39–48. http://dx.doi.org/10.1017/qre.2014.6.
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In The world republic of letters, Pascale Casanova suggests that an intimate relation between politics and literature is a feature of postcolonial nations because the relative lack of literary capital on the margins prevents the autonomy that is available to writers in the great national literary spaces such as France, England and the United States. The pressing imperatives of post-colonial responsibility certainly pose a particular challenge for contemporary Australian novelists aspiring not just to local distinction, but also access to international markets and a wider reputation in the world republic of letters. In Australia, the writer's aspiration to a wider market share and greater cultural capital has often been construed as a forlorn search for a reliable readership. An established following provides a foundation for the development of a consistent artistic oeuvre, which is in turn able to support the critical topoi of canonisation: promise, originality, development and genius.
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Hale, Frederick. "Universal Salvation in a Universal Language? Trevor Steele’s Kaj staros tre alte." Religion & Theology 20, no. 1-2 (2013): 19–35. http://dx.doi.org/10.1163/15743012-12341249.
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Abstract Extensive secularisation in Europe and several other parts of the world in recent decades has not diminished the attractiveness of Jesus as a theme in contemporary fiction internationally. Fictional biographies of him continue to appear in many languages. Among the novelists who have tapped their imaginations to fill in gaps in the canonical gospels and construct a Jesus who fits their own agenda is the Australian Trevor Steele. His work of 2006, Kaj staros tre alte, presents Jesus as essentially a supernaturally gifted healer but also as a teacher of universal brotherhood. Steele argues that the effectiveness of Jesus was severely limited by contemporary notions of Jewish apocalypticism and Messianism. Steele’s literary device for providing extra-biblical information about Jesus is a manuscript purportedly written by a Roman tax officer who was stationed in Caesarea approximately a decade after the Crucifixion. Discovered in 2001, this Greek text forms the fictional basis of Kaj staros tre alte.
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Allahyari, Keyvan. "Antipodeanism, and Charles Dickens’ Imperialist Undertakings in Depicting Australia." MANUSYA 14, no. 2 (2011): 24–35. http://dx.doi.org/10.1163/26659077-01402002.
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Charles Dickens (1812-1870) was, at once, the most prominent English novelist of the mid-nineteenth century and one of the most industrious workers in facilitating the emigration of the British lower classes to colonial Australia. Throughout his novelistic and journalistic depictions of Australia, Dickens draws upon the textual tradition of the imaginary construction of the southern continent. His writings, therefore, function as complementing pieces for the discursive puzzle of ‘Australia’ and ‘the Australian’ from the Empire’s point of view. I will argue that Dickens’ picture of Australia echoes the tenets of the centuries-held discourse of Antipodeanism. Under the guise of an impartial outlook, Dickens’ writings about the southern colony act as a hegemonic drive to ease the dissemination of imperialist ideas, hence the material domination of Australia. The power-directed aspect of these items, however, remains hidden under a philanthropic veneer. In addition, economic and spatial availability of Australia could not be justified in Dickens’ words, unless the core binarist system of representing the colony in relation to the metropolis is maintained.
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S., Roopha, and Patchainayagi S. "The Postmodern Rewritings of Great Expectations to Reinvent Antipodean identities; A Study on Jack Maggs by Peter Carey and Mister Pip by Lloyd Jones." Revista de Gestão Social e Ambiental 18, no. 7 (April 12, 2024): e05530. http://dx.doi.org/10.24857/rgsa.v18n7-062.
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The present study pivots on the individual analysis of the antipodean writers` novels Jack Maggs by Peter Carey and Mister Pip by Lloyd Jones the retellings of Great Expectations by Charles Dickens. The paper concentrates on the approaches based on its perception towards ideological, historical, authorial, cultural, narrative and geographical representations of Australia in literature. The select novels are under analysis for their employment of postmodern narrative strategies such as intertextuality and carnivalesque. By applying these theories, the writers are successful in generating new ideologies, varying perspectives and reframing the status of canon. The fictionist takes cues from the fictional world which is a rhetorical construct, by having the possibility of adding and filling gaps to complete it by using intertextuality. In a postmodern scenario, the literary mode of carnivalesque is utilized to reverse the conviction of realism. The novelists give liberty to their protagonists Maggs and Matilda to vindicate their rights by unearthing the voices as well as to vocalize their stories in a way of deconstructing artificial stereotypes. One of the ideologies of postmodernism is “incredulity towards metanarratives” (p. xxiv) propound by Lyotard, it replaces by mini or local narratives. Thus, oral narratives/ storytelling take dominion and unfold a space for a new authentic narrative rendering from the indigenous other, by a subaltern voice and a cast-out victim. Objective: The paper strives to analyze its antipodean characters and their continuum with historical equivalents in Australia. The novelists try to imply and recontextualize rewritings from a broader spectrum of cultural reproductions. The article also endeavors to readdress nineteenth-century texts into their contemporary postmodern relevance. Theoretical Framework: The theoretical framework of the study is to look through the lens of postmodernism. Postmodernism believes that every text carries the fragment or traces of other texts and every work can be read against the relation or background to each other texts. In Jack Maggs the story gives the background to why and how the eponymous character becomes a convict and thus offering him a voice and re-centering him in the center like an Englishman Pip. Mister Pip is about the journey of an indigenous girl named Matilda who dives into the fictional world of Dickens amidst war and personal losses. The select novels have the ability of genre-blurring intersecting with historical novel, fictional biography, and metafiction. The point of departure from the existing research about the novels Jack Maggs and Mister Pip is that there is an alteration of focus from political resistance towards foregrounding postmodern literary struggle in rewriting. Method: The paper discusses with a postmodern study of the novel Jack Maggs and Mister Pip as a retelling of Dickens` Great Expectations. The methodology of the study is qualitative textual analysis with a postmodern approach. The theories that are applied to the select texts are, Julia Kristeva`s Intertextuality and Mikhail Bakhtin's Carnivalesque. The select novels are written to subvert Eurocentric metanarratives, which is further explained by Jean-Françoise Lyotard that, ‘those totalizing narratives are to be replaced with mini or local narratives.’ The framework of the paper is restricted to study the textual, intertextual, thematic and contextual analysis. Results and Discussion: This article investigates the way in which Australian identities are remodeled using fictional constructs. Finally, by reading these novels the readers get to know the multiple perceptions of the canon. The novel`s self-reflexivity has subdued any fixed, totalizing or final assertion towards any narrative. These novels foreground the importance of storytelling, writing, each creating their own story amid falsehood and misrepresentation. Postmodern novels are concerned with the representation of reality. It is cynical towards versions of history and reminds the readers that history itself is an artificial construct. The oral narratives/ storytelling take dominion and unfold a space for a new authentic narrative rendered from the indigenous other, by a subaltern voice and a cast-out victim. The fictional reinvention of the antipodean authors not only questions the ambiguous status of representation, but they are successful in recreating their autonomous versions of their self-supporting narratives. Thus, by reading Careys` and Jones` novels through the lens of postmodernism have attempted to evaluate the validity of western metanarratives and cultural conventions.
Dissertations / Theses on the topic "Australian novelists"
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Taylor, Anthea School of English UNSW. "Stones, ripples, waves: refiguring The first stone media event." Awarded by:University of New South Wales. School of English, 2005. http://handle.unsw.edu.au/1959.4/22506.
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This interdisciplinary study critically revisits the Australian print media???s engagement with Helen Garner???s controversial work of ???non-fiction???, The First Stone (1995). Print news media engagement with the book, marked by intense discursive contestation over feminism, has been constituted both by feminists and other critics as a significant cultural signpost. However, the highly visible print media event following the book???s publication raised a plethora of critical questions and dilemmas that remain unsatisfactorily addressed. Building upon John Fiske???s work on media events as sites of maximum visibility and discursive turbulence (Fiske: 1996), this study re-theorises the public dialogue following The First Stone???s publication in terms of four constitutive elements: narrative, celebrity, audience, and history and conflict. Through an analysis of these four diverse yet interconnected aspects of the media event, I create a critical space not only for its limitations to emerge but also the frequently overlooked possibilities it offers in terms of the wider feminism and print media culture relationship. As part of its central aim to refigure The First Stone media event, this thesis argues against prior characterisations of the debate as constitutive of either a monologic articulation of conservative, antifeminist voices or an unmitigated attack on its author by a homogenous feminism. In particular, I use this media event as indicative of the sophistication and complexity of media engagement with contemporary feminism, despite both continued derision and overly simplistic celebration of this relationship. Texts subject to analysis here include: The First Stone, various ???mainstream??? media representations and self-representations of three ???celebrity feminists??? (Helen Garner, Anne Summers and Jenna Mead), letters to the editor of newspapers and magazines, ???popular??? feminist books by Kathy Bail and Virginia Trioli, and a number of media texts in which those claiming a feminist subject position and those sympathetic to feminism act as either news sources or columnists/commentators. Although Garner???s narrative is throughout identified to be deeply problematic, I argue that the media event it precipitated provides valuable insights into both the opportunities and the constraints of the print media-feminism nexus in 1990s Australia.
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O’Neill, Patrick Nathaniel. "Paul Solanges : soldier, industrialist, translator : a biographical study and critical edition of his correspondence with Antonio Fogazzaro and Henry Handel Richardson." Monash University. Faculty of Arts. School of Languages, Cultures and Linguistics, 2007. http://arrow.monash.edu.au/hdl/1959.1/53105.
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Paul Solanges was one of the most prolific (in correspondence) and enthusiastic fans of Australian author Henry Handel Richardson (HHR). What was it about him that made HHR invest so much time in his translation of her novel, and to what extent can credence be given to the self-portrait in his letters? This thesis reveals his illegitimate royal background, considers his early career as a cavalry officer in North Africa and in the Franco-Prussian War, and describes his long career as manager of the gasworks in Milan. It also portrays in detail his other life as a translator of songs, short stories and operas from Italian to French. Finally, it compares his relationship with Italian novelist Antonio Fogazzaro to his relationship with HHR. A critical edition of Solanges’s correspondence with Fogazzaro and HHR offers the reader a privileged insight into the life and character of this Franco-Italian littérateur.
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McFarland, Michele. "The intellectual life of Catherine Helen Spence." Thesis, University of Ballarat, 2004. http://researchonline.federation.edu.au/vital/access/HandleResolver/1959.17/60437.
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This thesis will argue that Catherine Helen Spence, a writer, preacher and reformer who migrated from Scotland to Australia in 1839, performed the role of a public intellectual in Australia similar to that played by a number of women of letters in Victorian England. While her ideas were strongly influenced by important British and European nineteenth-century intellectual figures and movements, as well as by Enlightenment thought, her work also reflects the different socio-political, historical and cultural environment of Australia. These connections and influences can be seen in her engagement with what were some of the "big ideas" of the nineteenth century, including feminism, socialism, religious scepticism, utopianism and the value of progress. In arguing that Spence was a public intellectual, I will consider the ways in which she used the literary genres of fiction and journalism, as well as her sermons, to try to help her fellow citizens make sense of the world, attempting to organise and articulate some of the significant ideas affecting the political, social and cultural climates in which they lived. Through the exploration of Spence's intellectual work, I will show how she can be regarded as making a significant contribution to nineteenth-century Australian intellectual life, one that has been under-recognised and under-valued.Doctor of Philosophy
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Gray, Nigel. "His story, a novel memoir (novel) ; and Fish out of water (thesis)." University of Western Australia. School of Social and Cultural Studies, 2009. http://theses.library.uwa.edu.au/adt-WU2009.0095.
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His Story takes the form of a fictive but autobiographically based investigation into the child and young adult I used to be, and follows that protagonist into early adulthood. It tries to show the damage done to that character and the way in which he damaged others in turn. As Hemingway said, We are all bitched from the start and you especially have to hurt like hell before you can write seriously. More importantly, the main protagonist is somebody who became concerned with, and cognizant of the main political and social events of his day. His life is set in its social context, and reaches out to the larger issues. That is to say, the personal events of the protagonist's life are recorded alongside and set in the context of the major events taking place on the world stage. The manuscript is some sort of hybrid of novel, autobiography, and historical and social document. As Isaac Bashevis Singer said, The serious writer of our time must be deeply concerned about the problems of his generation. In order to make His Story effective in sharing my ideas and beliefs, and, of course, in order to protect the innocent and more particularly, the guilty, it is created in the colourful area that is the overlap between memory and fiction. When we tell the stories of our lives to others, and indeed, to ourselves, we prise them out of memory's fingers and transform them into fiction. To write autobiography well, as E.L. Doctorow said, you have to invent everything, even memory.
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Wells-Green, James Harold, and n/a. "Contrivance, artifice, and art: satire and parody in the novels of Patrick White." University of Canberra. Creative Communication, 2005. http://erl.canberra.edu.au./public/adt-AUC20060418.131055.
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This study arose out of what I saw as a gap in the criticism of Patrick White's
fiction in which satire and its related subversive forms are largely overlooked. It
consequently reads five of White's post-1948 novels from the standpoint of satire.
It discusses the history and various theories of satire to develop an analytic
framework appropriate to his satire and it conducts a comprehensive review of the
critical literature to account for the development of the dominant orthodox
religious approach to his fiction. It compares aspects of White's satire to aspects
of the satire produced by some of the notable exemplars of the English and
American traditions and it takes issue with a number of the readings produced by
the religious and other established approaches to White's fiction.
I initially establish White as a satirist by elaborating the social satire that
emerges incidentally in The Tree of Man and rather more episodically in Voss. I
investigate White's sources for Voss to shed light on the extent of his engagement
with history, on his commitment to historical accuracy, and on the extent to which
this is a serious high-minded historical work in which he seeks to teach us more
about our selves, particularly about our history and identity. The way White
expands his satire in Voss given that it is an eminently historical novel is
instructive in terms of his purposes. I illustrate White's burgeoning use of satire
by elaborating the extended and sometimes extravagant satire that he develops in
Riders in the Chariot, by investigating the turn inwards upon his own creative
activity that occurs when he experiments with a variant subversive form, satire by
parody, in The Eye of the Storm, and by examining his use of the devices, tropes,
and strategies of post-modem grotesque satire in The Twyborn Affair.
My reading of White's novels from the standpoint of satire enables me to
identify an important development within his oeuvre that involves a shift away
from the symbolic realism of The Aunt's Story (1948) and the two novels that
precede it to a mode of writing that is initially historical in The Tree of Man and
Voss but which becomes increasingly satirical as White expands his satire and
experiments with such related forms as burlesque, parody, parodic satire, and
grotesque satire in his subsequent novels. I thus chart a change in the nature of
his satire that reflects a dramatic movement away from the ontological concerns
of modernism to the epistemological concerns of post-modernism. Consequent
upon this, I pinpoint the changes in the philosophy that his satire bears as its
ultimate meaning.
I examine the links between the five novels and White's own period to
establish the socio-historical referentiality of his satire. I argue that because his
engagement with Australian history, society, and culture, is ongoing and
thorough, then these five novels together comprise a subjective history of the
period, serving to complement our knowledge in these areas. This study
demonstrates that White's writing, because of the ongoing development of his
satire, is never static but ever-changing. He is not simply or exclusively a
religious or otherwise metaphysical novelist, or a symbolist-allegorist, or a
psychological realist, or any other kind of generic writer. Finally, I demonstrate
that White exceeds the categories that his critics have tried to impose upon him.
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Badami, S. "An allergy and Novelists of the past, historians of the present." Thesis, 2013. http://hdl.handle.net/10453/24183.
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University of Technology, Sydney. Faculty of Arts and Social Sciences.This thesis is comprised of a creative extract: Local History and Case Histories and an exegesis: Novelists of the Past, Historians of the Present. The creative extract is part of a much longer project, called an allergy, a multi-generic self-reflexive historiographical metafictional novel which explores ideas of history and fiction, memory and imagination, truth and identity across a number of genres, narratives, periods and voices. That history and fiction share many similarities is an idea well-established by both historians, critics and novelists, from Lionel Gossman and Hayden White to Richard Jenkins and E. L. Doctorow. The fiction–history debate has also stood at the heart of Australian literary history and Australian history itself, coming to a head during the ‘history’– and ‘culture wars’ declared by then-Prime Minister John Howard shortly after his election in 1996. These wars coincided with the so-called ‘memoir boom’ in which personal autobiographical narratives and first-person, present-tense fiction rose in popularity among a reading public hungry for ‘authentic’ stories, often by once-marginalised voices. Yet despite historian Mark McKenna calling for a dialogue between historians and novelists, the discussion seemed as vehement and vituperative as those surrounding the history– and culture wars. The creative extract offers my own parody of the memoir popular during the 1990s, and explores issues of race, authenticity, history, truth and identity, issues that were raised in cases like the controversy over Kate Grenville’s The Secret River, reaching back to the Koolmatrie and Demidenko affairs. I use these controversies as a springboard to examine in the exegesis that follows questions regarding issues fiction and fictional truth, imaginative empathy and creative freedom, appropriation and attribution, national and individual identity, especially in the context of Australia’s long and ignoble history of literary hoaxing. The exegesis examines the textual defences and broader contextual and moral criticisms in both controversies, analysing the rhetorical devices and narrative conventions common to fiction and history; it relates these problems and possibilities for negotiating them creatively and ethically to an allergy. The conceptual rationale for this thesis is embedded in the work in every possible way. My overall argument is not so much that history and fiction, truth and reality, memory and unreliability are now blurred — for this is an argument that has been made numerous times before — but that the act of retrieving truth, identity, authenticity or memory constitutes a re-imagining of the very elements it seeks to interrogate creatively and critically. The reader is ultimately positioned as an active creator of the text. The exegesis is followed by a short Appendix which contains a sample of a different section of an allergy by way of demonstrating this; while this section it is not offered for examination it showcases my deliberate merging of the boundaries of the scholarly and the creative.
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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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Hickman, Bronwen. "Mary Gaunt: a biography." Thesis, 1998. https://vuir.vu.edu.au/18175/.
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If a nation's story is told by the weaving together of the strands of
individual lives, the biographies of its achievers, then the story of Mary
Gaunt adds an important thread of colour and interest to the tapestry of
Australia's identity. Born on the Victorian goldfields in 1861, she grew up
in Colonial Victoria. She was the first woman to study at Melbourne
University. She travelled in the forests of West Africa and across China
and wrote books and gave lectures on her travels. She was a successful
novelist; she pushed against the limitations of women's lives in her own
life and in her fiction, and one of her books was banned in England as a
result. She lived in Europe for the second half of her life, but remained
proudly Australian; many of her books were set in Australia. Her
depiction of life on the goldfields, in the bush, in shanty towns in the
Colonies, and in particular her depiction of life for women, is a valuable
record of a world long gone.
Books on the topic "Australian novelists"
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Keon, Michael. Glad morning again. Watsons Bay, NSW: ETT Imprint, 1996.
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Niall, Brenda. Martin Boyd, a life. Carlton, Vic: Melbourne University Press, 1990.
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Niall, Brenda. Martin Boyd, a life. Carlton, Victoria: Melbourne University Press, 1988.
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Stead, Christina. A web of friendship: Selected letters, 1928-1973. Pymble, NSW, Australia: Angus & Robertson, 1992.
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Lewis, Julie. Olga Masters: A lot of living : compelling biography of this much-loved writer. [St. Lucia] Qld., Australia: University of Queensland Press, 1991.
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Hooton, Joy W. Ruth Park: A celebration. Canberra: Friends of the National Library of Australia, 1996.
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Stead, Christina. Talking into the typewriter: Selected letters, 1973-1983. Pymble, NSW, Australia: Angus & Robertson, 1992.
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Phelan, Nancy. Writing round the edges: A selective memoir. St. Lucia, Qld: University of Queensland Press, 2003.
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Groen, Frances De. Xavier Herbert: A biography. St Lucia, Qld: University of Queensland Press, 1998.
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Hanrahan, Barbara. The diaries of Barbara Hanrahan. St Lucia, Queensland, Australia: University of Queensland Press, 1998.
Find full textBook chapters on the topic "Australian novelists"
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Spittel, Christina. "“So homesick for Anzac”? Australian Novelists and the Shifting Cartographies of Gallipoli." In Australians and the First World War, 203–20. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-51520-5_12.
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Allahyari, Keyvan. "The Novelist, Australia, World." In New Directions in Book History, 9–30. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-27564-7_2.
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Topliss, Iain. "Maria Edgeworth: The Novelist and the Union." In Ireland and Irish-Australia, 270–84. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003514596-17.
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Woolfe, Sue. "On Waiting Upon: Speculations by an Australian Novelist on the Experience of Writing a Commissioned Novel." In The Rise of the Australian Neurohumanities, 67–79. New York, NY : Routledge, 2021. | Series: Routledge focus on literature: Routledge, 2021. http://dx.doi.org/10.4324/9781003161424-6-6.
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Li, Bella. "The Novelist Elena Ferrante." In Anthology of Australian Prose Poetry, 120. MUP, 2020. http://dx.doi.org/10.2307/jj.1640567.92.
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Woollacott, Angela. "Colonizing London Australian Women’s Neighborhoods, Networks, And Associations." In To Try Her Fortune In London, 73–104. Oxford University PressNew York, NY, 2001. http://dx.doi.org/10.1093/oso/9780195142686.003.0004.
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Abstract In 1908, when Katharine Susannah Prichard, struggling Australian journalist, and later to be eminent novelist, interviewed the prominent Australian contralto singer Ada Crossley at her home in London, she referred to her as the center of “the little colony of Australian musicians and artists.” Seven years later the newsletter for the Women’s College of the University of Sydney, reporting on the various graduates whose careers and ambitions had taken them to London, commented that the “little colony of College girls is therefore growing apace.” The recurrence of the word “colony,” even with the diminutive, is significant. Prichard and the newsletter writer both suggested, even if not completely consciously, that Australians were so clustered and cohesive a group in the earlytwentieth-century imperial metropolis that they had effectively colonized it.
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Galletly, Sarah. "Lindsay, Norman Alfred Williams (1879–1969)." In Routledge Encyclopedia of Modernism. London: Routledge, 2018. http://dx.doi.org/10.4324/9781135000356-rem2056-1.
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Norman Lindsay was one of Australia’s most prominent (and most notorious) artists in the early twentieth century. Throughout his extensive career he worked in a variety of media—pen and ink, oils, etching, sculpting—supporting his family through his work as a cartoonist, illustrator, journalist, and novelist. A figure of consistent media interest due to the moral outrage and questions of impropriety surrounding his extensive use of nudes and religious imagery in his artwork, his novels Redheap (1930) and The Cautious Amorist (1934) were both initially banned in Australia despite their critical and commercial success in Great Britain and the USA. Given this reputation, it is perhaps surprising that his most enduring literary contribution is his illustrated children’s novel The Magic Pudding (1918). Despite his early notoriety, Lindsay’s artwork sold well throughout his lifetime, his work as a cartoonist and illustrator for the Bulletin playing a prominent role in setting the style and tone of this iconic Australian periodical.
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"Speaking in Tongues: The Novelist as Historiographic Fool." In Australian Fiction as Archival Salvage, 143–91. Brill | Rodopi, 2016. http://dx.doi.org/10.1163/9789004311671_007.
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"Postmodern Rats in the Ranks: The Novelist and the Historian as Raiders of the Colonial Archive." In Australian Fiction as Archival Salvage, 95–141. Brill | Rodopi, 2016. http://dx.doi.org/10.1163/9789004311671_006.
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Giles, Paul. "Reorchestrating the Past." In The Planetary Clock, 316–56. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198857723.003.0008.
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Taking its title from Australian novelist Alexis Wright’s description of her novel Carpentaria as a ‘long song, following ancient tradition’, this chapter considers how antipodean relations of place interrupt abstract notions of globalization as a financial system. The first section exemplifies this by focusing on Australian/American director Baz Luhrmann, whose version of The Great Gatsby (2013), filmed in Sydney, resituates Fitzgerald’s classic novel within an antipodean context. The second section develops this through consideration of Wright’s fiction, along with that of New Zealand/Maori author Keri Hulme, so as to illuminate ways in which spiral conceptions of time, where ends merge into beginnings, contest Western epistemological frames. In the final section, this ‘long song’ is related to the musical aesthetics of Australian composer Peter Sculthorpe and English composers George Benjamin and Harrison Birtwistle. The chapter concludes by arguing that musical modes are an overlooked dimension of postmodernist culture more generally.
Conference papers on the topic "Australian novelists"
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Burns, Karen, and Harriet Edquist. "Women, Media, Design, and Material Culture in Australia, 1870-1920." In The 38th Annual Conference of the Society of Architectural Historians Australia and New Zealand. online: SAHANZ, 2022. http://dx.doi.org/10.55939/a4017pbe75.
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Over the last forty years feminist historians have commented on the under-representation or marginalisation of women thinkers and makers in design, craft, and material culture. (Kirkham and Attfield, 1989; Attfield, 2000; Howard, 2000: Buckley, 1986; Buckley, 2020:). In response particular strategies have been developed to write women back into history. These methods expand the sites, objects and voices engaged in thinking about making and the space of the everyday world. The problem, however, is even more acute in Australia where we lack secondary histories of many design disciplines. With the notable exception of Julie Willis and Bronwyn Hanna (2001) or Burns and Edquist (1988) we have very few overview histories. This paper will examine women’s contribution to design thinking and making in Australia as a form of cultural history. It will explore the methods and challenges in developing a chronological and thematic history of women’s design making practice and design thinking in Australia from 1870 – 1920 where the subjects are not only designers but also journalists, novelists, exhibiters, and correspondents. We are interested in using media (exhibitions and print culture) as a prism: to examine how and where women spoke to design and making, what topics they addressed, and the ideas they formed to articulate the nexus between women, making and place.