Relevant bibliographies by topics / Women authors, Australian History and criticism

Academic literature on the topic 'Women authors, Australian History and criticism'

Author: Grafiati
Published: 10 December 2022
Last updated: 29 January 2023

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Journal articles on the topic "Women authors, Australian History and criticism"

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Dascăl, Reghina. "‘Dancing through the Minefield’: Canon Reinstatement Strategies for Women Authors." Gender Studies 14, no. 1 (December 1, 2015): 48–67. http://dx.doi.org/10.1515/genst-2016-0004.

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Abstract The paper explores the limiting and detrimental effects of biographical criticism and exceptionalism in the efforts of reinstating women authors into the Renaissance canon, by looking into the literary merits of Elizabeth Cary’s The Tragedy of Mariam, The Fair Queen of Jewry and The History of The Life, Reign and Death of Edward II. Whereas the conflation of biography and fiction is a successful recipe for canonization and for the production of feminist icons, it renders the text impotent because of its resulting inability to compete with or to be seen in correlation and interplay with other contemporary texts.
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Feldman, Andrea. "New women in a new state." Review of Croatian history 18, no. 1 (December 14, 2022): 155–74. http://dx.doi.org/10.22586/review.v18i1.24285.

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This paper intends to explain not only the origins of the modern woman in a changing political and social environment in a newly established state after First World War, but also the development of ideas formulated by women in their intellectual endeavors, through their influence and criticism, and their hopes and expectations of the new state. It focuses on Croat and South Slavic spaces in the process of unification of the State of Serbs, Croats and Slovenes in 1918 (called the Kingdom of SHS, Kingdom of Yugoslavia from 1929). This period saw the unprecedented involvement of women in political and public life with the aim of achieving political and legal equality. Examining the complex structural changes that took place amidst great economic, social, and political commotion, the paper encompasses the personalities and ideas that challenged the established understanding of the status of women and analyses the ways and forms of some of their social and public actions. The most important among them was Zovka Kveder Demetrović, a journalist and editor of a prominent women’s magazine Ženski svijet/Jugoslavenska žena [Women’s World/The Yugoslav Woman] whose advocacy of women’s issues is the focus of this paper. It informs the reader on new possibilities of understanding the intellectual and political contribution of women, and identifies the most important, if generally unknown, women authors from the region whose work contributed to the general advancement of women’s issues in the aftermath of First World War.
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Jones, Jocelyn, Mandy Wilson, Elizabeth Sullivan, Lynn Atkinson, Marisa Gilles, Paul L. Simpson, Eileen Baldry, and Tony Butler. "Australian Aboriginal women prisoners’ experiences of being a mother: a review." International Journal of Prisoner Health 14, no. 4 (December 17, 2018): 221–31. http://dx.doi.org/10.1108/ijph-12-2017-0059.

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PurposeThe rise in the incarceration of Aboriginal and Torres Strait Islander mothers is a major public health issue with multiple sequelae for Aboriginal children and the cohesiveness of Aboriginal communities. The purpose of this paper is to review the available literature relating to Australian Aboriginal women prisoners’ experiences of being a mother.Design/methodology/approachThe literature search covered bibliographic databases from criminology, sociology and anthropology, and Australian history. The authors review the literature on: traditional and contemporary Aboriginal mothering roles, values and practices; historical accounts of the impacts of white settlement of Australia and subsequent Aboriginal affairs policies and practices; and women’s and mothers’ experiences of imprisonment.FindingsThe review found that the cultural experiences of mothering are unique to Aboriginal mothers and contrasted to non-Aboriginal concepts. The ways that incarceration of Aboriginal mothers disrupts child rearing practices within the cultural kinship system are identified.Practical implicationsAboriginal women have unique circumstances relevant to the concept of motherhood that need to be understood to develop culturally relevant policy and programs. The burden of disease and cycle of incarceration within Aboriginal families can be addressed by improving health outcomes for incarcerated Aboriginal mothers and female carers.Originality/valueTo the authors’ knowledge, this is the first literature review on Australian Aboriginal women prisoners’ experiences of being a mother.
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Piqué-Angordans, Jordi, and David Viera. "Women in the Crestià of Francesc Eiximenis Revisited." Medieval Encounters 12, no. 1 (2006): 97–117. http://dx.doi.org/10.1163/157006706777502514.

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AbstractNineteenth and early twentieth-century criticism oftentimes tended to lump literary works on the topic of women from the middle ages and early modern times as either essentially misogynist or feminist. Moral-didactic works that often fluctuated between antifeminist and profeminist opinion were often categorized as misogynist, akin to works such as Boccaccio's Corbaccio. This is the case of Francesc Eiximenis' Catalan literature, written for the most part in València. The authors of this study analyzed Eiximenis' views on women, for the most part taken from biblical, patristic, scholastic, and canonical sources, and found within his writings various contradictions. In this study, Eiximenis emerges as one who readily cited antifeminist literature, but who also defended women, whom he views as weaker than men, but equally if not more capable of being devout, performing good works, and most importantly, worthy of salvation.
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Hunter, Rosemary. "Australian Legal Histories in Context." Law and History Review 21, no. 3 (2003): 607–14. http://dx.doi.org/10.2307/3595121.

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Australian legal history has only emerged as a field of scholarship in its own right in the last twenty years. Prior to that, Australian legal history tended to be written and taught as a footnote to the great sweep of English legal history—the history of the king's courts, the common law and equity, and major nineteenth-century statutory reforms, with a chapter at the end about the classification of the Australian colonies as “settled” colonies, and the consequent reception of English law. This year (2002) sees the twentieth anniversary of Alex Castles's groundbreaking work An Australian Legal History, the first book to take Australian laws and legal institutions as its entire subject matter. It is also the twentieth anniversary of the first Australian Law and History Conference. The years since 1982 have seen the advent of the Australian and New Zealand Law and History Society, increasing attendances at its annual conferences, the establishment of the Australian Journal of Legal History, the completion of a number of Ph.D.theses in the field, and the publication of further influential texts and edited collections by (among others) the authors of the two articles featured in this forum. Two of the most productive strands in this developing literature have concerned the history of colonization and the dispossession of indigenous peoples and histories of women and gender relations in law, although these are by no means that only areas that have been explored. Running through much of this literature, too, are themes of imperial-colonial relations, and relations between law and colonial economies and societies, particularly prior to federation in 1901.
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Lisowska, Katarzyna. "Women and Intertextuality: On the Example of Margaret Atwood’s The Penelopiad." Analyses/Rereadings/Theories: A Journal Devoted to Literature, Film and Theatre 2, no. 1 (January 1, 2014): 18–27. http://dx.doi.org/10.18778/2353-6098.2.03.

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The aim of the study is to consider feminist retellings of myths and legends. As an example, Margaret Atwood’s book The Penelopiad is analyzed. The interpretation is situated in a broader context of intertextual practices characteristic of the feminist vision of literature. I present the ideas which Atwood shares with authors engaged in women’s movement. Among these there is Atwood’s understanding of intertextuality (noticeable especially in The Penelopiad). Bibliographical basis of the study comprises books which are fundamental to feminist and gender criticism (e.g. Poetics of Gender, ed. by N. Miller, New York 1986; S. M. Gilbert, S. Gubar The Madwoman in the Attic. The Woman Writer and the Nineteenth- Century Literary Imagination, New Haven and London 1984). What is more, the study refers to the books which allow considering the notion of intertextuality (G. Allen, Intertextuality, London and New York 2010, J. Clayton. E. Rothstein (eds.), Influence and Intertextuality in Literary History, Wisconsin 1991) and connecting the interpretation with the problems crucial to contemporary literary studies (L. Hutcheon L. A Poetics of Postmodernism. History, Theory, Fiction, New York and London 1988, B. Johnson, A World of Difference, Baltimore and London 1989).
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Kelly, Veronica. "Beauty and the Market: Actress Postcards and their Senders in Early Twentieth-Century Australia." New Theatre Quarterly 20, no. 2 (April 21, 2004): 99–116. http://dx.doi.org/10.1017/s0266464x04000016.

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A hundred years ago the international craze for picture postcards distributed millions of images of popular stage actresses around the world. The cards were bought, sent, and collected by many whose contact with live theatre was sometimes minimal. Veronica Kelly's study of some of these cards sent in Australia indicates the increasing reach of theatrical images and celebrity brought about by the distribution mechanisms of industrial mass modernity. The specific social purposes and contexts of the senders are revealed by cross-reading the images themselves with the private messages on the backs, suggesting that, once outside the industrial framing of theatre or the dramatic one of specific roles, the actress operated as a multiply signifying icon within mass culture – with the desires and consumer power of women major factors in the consumption of the glamour actress card. A study of the typical visual rhetoric of these postcards indicates the authorized modes of femininity being constructed by the major postcard publishers whose products were distributed to theatre fans and non-theatregoers alike through the post. Veronica Kelly is working on a project dealing with commercial managements and stars in early twentieth-century Australian theatre. She teaches in the School of English, Media Studies, and Art History at the University of Queensland, is co-editor of Australasian Drama Studies, and author of databases and articles dealing with colonial and contemporary Australian theatre history and dramatic criticism. Her books include The Theatre of Louis Nowra (1998) and the collection Our Australian Theatre in the 1990s (1998).
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Tulloch, John, Tom Burvill, and Andrew Hood. "Reinhabiting ‘The Cherry Orchard’: Class and History in Performing Chekhov." New Theatre Quarterly 13, no. 52 (November 1997): 318–28. http://dx.doi.org/10.1017/s0266464x00011441.

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Chekhov's The Cherry Orchard is clearly ‘about’ the end of one social order – about time changing and time static. Yet different interpretive communities – academics in journal articles and students in their classrooms, newspaper reviewers, theatre writers like Trevor Griffiths and David Mamet, and theatre directors like Adrian Noble and Richard Eyre – ‘read’ Chekhov's representation of history and class change in different ways. The authors of this study have been exploring these different reading formations in a three-year project funded by the Australian Research Council, ‘Chekhov: in Criticism, Performance, and Reading’. Here – grounding their work in industry ‘readings’ via production study and interviews – they focus on production and performance of The Cherry Orchard, contrasting the Richard Eyre/Trevor Griffiths production of 1977 (reproduced in 1981 for BBC TV) with Adrian Noble's production at the Swan Theatre, Stratford, in 1995. In particular, they discuss the writing, directing, acting, and staging of Chekhov's ‘modernity’ in these productions, suggesting that whereas Noble referenced and yet simultaneously occluded class in his rehearsal style and staging, Griffiths and Eyre worked for a production which not only embodied the intra-class mobility of the Thatcher era in 1981, but also the ‘then’ of Chekhov's own particular engagement with modernity and environment. John Tulloch, Professor of Cultural Studies at Charles Sturt University, New South Wales, is author of Chekhov: a Structuralist Study. Tom Burvill is Associate Professor of Drama and Cultural Studies at Macquarie University, Sydney, where Andrew Hood is a PhD student working on reception cultures.
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Butler-Henderson, Kerryn, Alisa Percy, and Jo-Anne Kelder. "Editorial 18:3 Celebrating women in higher education on International Women’s Day." Journal of University Teaching and Learning Practice 18, no. 3 (July 1, 2021): 2–5. http://dx.doi.org/10.53761/1.18.3.1.

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We have timed publishing our first standard issue of the year to coincide with International Woman’s Day, 8 March 2021 to celebrate the contribution women have made to higher education. The first woman documented as teaching in a university was more than 800 years ago, and yet it is only the last century that the number of female academics has started to increase (Whaley, 2011). In Australia, the first university was established in 1851, yet it would be another 32 years until Julia Guerin graduated in 1883 from the University of Melbourne with a Bachelor of Arts (Hons) in 1883 (Women's Museum of Australia, 2020). And another 10 years when Leonora Little graduated from Melbourne University with a Bachelor of Science in 1983. Despite these accomplishments in the late 19th century, it was not until 1959 when the first woman, Dorothy Hill, was awarded a Chair appointment (Chair of Geology) in an Australian university, and nearly a century before Australia has its first female Vice Chancellor, when Dianne Yerbury became the Vice-Chancellor of Macquarie University in 1987, a position she held for twenty years. Australia’s higher education history tells a clear story of the slow integration of women in higher education, particularly within the STEM fields. For example, Little graduated in 1893 with a Bachelor of Science, but it was 1928 before the first female Lecturer in Mathematics, Ethel Raybould was appointed, and another 36 years before Hanna Neumann became the first female Professor of Pure Mathematics in 1964. It was just over 60 years ago that Margaret Williams-Weir was the first female Indigenous Australian to graduate with a university qualification in 1959. Female Indigenous Australians remain under-represented in the Australian university graduate population. The current situation for Australian higher education still retains a dominance of males within academic roles, such as 30 percent more men in Associate and Full Professor roles than women (Devlin, 2021). And whilst there has been progress in some jurisdictions, such as the majority of Queensland vice chancellors are women in 2021, these continue to be the exception, for example only 28% of vice chancellors in Australia are women. International Woman’s Day is an opportunity to reflect on the significant contribution women make in higher education in Australia and globally. We celebrate through the publication of this issue, with many female authors from across higher education globally.
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Lehmann, Caitlyn. "Libertine Intrigues: Opera Girls in Eighteenth-Century British Discourse." Dance Research 37, no. 2 (November 2019): 239–56. http://dx.doi.org/10.3366/drs.2019.0275.

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Throughout the eighteenth century, scandalous literature perpetuated a strongly male-gendered image of dance spectatorship through its preoccupation with the moral and sexual status of female ballet dancers. The frequency with which authors of scandal sheets, novels, satire and political criticism alluded to liaisons involving elite men and dancers was, in part, a reflection of the period's broader fascination with the status of women on the stage. However, this active preoccupation with the sexuality of dancers was also allied to an interrogation of aristocratic and moral codes in Britain and France, and was used to instantiate a performative ideal of elite masculinity. This article focuses on the recurring figure of the opera girl, whose pursuit by aristocratic libertines aroused the contempt, curiosity and envy of readers. Incorporating a critique of extant dance criticism, the article explores the interpretative dilemmas that the opera girl's sensational sexuality has traditionally posed for dance scholarship on account of the tendency for the opera girl's attributes to be mapped onto representations of real-life dancers. Sampling sources as diverse as fashionable periodicals, works of history, sentimental novels and prostitute narratives, this article introduces the singular typology and rhetorical functions of the opera girl that distinguish her as a literary type. In the process, a more nuanced reading of opera girls is offered, one that stresses how opera girls refract the debates and anxieties of the period.
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Dissertations / Theses on the topic "Women authors, Australian History and criticism"

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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.
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Brooklyn, Bridget. "Something old, something new : divorce and divorce law in South Australia, 1859-1918." Title page, contents and summary only, 1988. http://web4.library.adelaide.edu.au/theses/09PH/09phb872.pdf.

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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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Weekes, Ann Owens. "BEGINNING A TRADITION: IRISH WOMEN'S WRITING, 1800-1984 (EDGEWORTH, JOHNSTONE, KEANE, IRELAND)." Diss., The University of Arizona, 1986. http://hdl.handle.net/10150/183990.

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In search of an Irish women's literary tradition, this dissertation examines the fiction of Irish women writers from Maria Edgeworth in 1800 to Jennifer Johnston in 1984. Contemporary anthropological, psychoanalytical, and literary theory suggests that women, even those of different cultures, excluded from public life and limited to the domestic sphere, would develop similar interests. When these interests ran counter to those of the dominant group, the women would have had to develop a technique to simultaneously express and encode these interests and concerns. This technique in literature, and specifically in the writers considered, often results in a muted plot. On the overt level the plot reifies the values and tenets of the establishment, but, at the muted level, the plot often expresses contradictory and subversive values. In 1800, Maria Edgeworth employs a "naive" narrator who both expresses male disinterest in the awful situations of the women he depicts and also distances the author from any implied criticism of this male perspective. Edgeworth combines her subtle expose with a critique of the desires encoded as "human," but actually merely "male," in canonical literature. At the end of the nineteenth century, E. OE. Somerville and Martin Ross again use an arguably deceptive narratorial device, as does Molly Keane in 1981. Elizabeth Bowen employs a more subtle narratorial device in The Last September, but one which still distances the author from her text. The re-vision of texts, literary and historical, indeed the re-visioning of history, recurs in Bowen, Keane, Kate O'Brien, Julia O'Faolain and Jennifer Johnston. Finally, one can trace similarities of both theme and technique over the whole period, despite the modifications of time and social change. We can also point to the major thematic and structural change which occurs when, in the past ten to fifteen years, writers have reversed the placement of muted and overt plot.
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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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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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Papineau, Joane. "Le recit amoureux feminin actuel ; suivi de Si tes rèves m'étaient contes." Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=22613.

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This masters thesis in creative writing is comprised of two sections, a critical review of contemporary love stories written by women in the narrative mode and a novel entitled Si tes reves m'etaient contes.
In our study of Le recit amoureux feminin actuel, we attempt to explain women's preference for the narrative mode, to describe the new vocabulary of love and highlight its specific meaning and style. How do women write about love, how do they portray men, what have become their amorous preoccupations in the recent years?
Si tes reves m'etaient contes is the story of Catherine who, fast approaching her forties, reflects upon her life and her marriage. She is forced to conclude that her husband, whom she thought she knew so intimately, is no longer the man she married. He has become a stranger to her.
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Chin, Voon-sheong Grace, and 秦煥嫦. "Expressions of self/censorship: ambivalence and difference in Chinese women's prose writings from Malaysia andSingapore." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B31245237.

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Gossage, Ann. "Between the lines : the representation of Canadian women in English-language novels written by women in the 1930s." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=24085.

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This thesis examines the role of Canadian women as presented in English language novels of the 1930s written by women authors. Within the context of the Great Depression it focuses on issues that are central to women's daily lives such as work, love, marriage and motherhood. It also isolates recurring themes in the novels and attempts to understand the authors' messages within their social context. Social reform, politics and gender relationships are among the subjects explored.
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Marron, Rosalyn Mary. "Rewriting the nation : a comparative study of Welsh and Scottish women's fiction from the wilderness years to post-devolution." Thesis, University of South Wales, 2012. https://pure.southwales.ac.uk/en/studentthesis/rewriting-the-nation(acc79b10-cd63-48ee-b045-dabb5af2f77c).html.

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Since devolution there has been a wealth of stimulating and exciting literary works by Welsh and Scottish women writers, produced as the boundaries of nationality were being dismantled and ideas of nationhood transformed. This comparative study brings together, for the first time, Scottish and Welsh women writers’ literary responses to these historic political and cultural developments. Chapter one situates the thesis in a historical context and discusses some of the connections between Wales and Scotland in terms of their relationship with ‘Britain’ and England. Chapter two focuses on the theoretical context and argues that postcolonial and feminist theories are the most appropriate frameworks in which to understand both Welsh and Scottish women’s writing in English, and their preoccupations with gendered inequalities and language during the pre- and post-devolutionary period. The third chapter examines Welsh and Scottish women’s writing from the first failed referendum (1979) to the second successful one (1997) to provide a sense of progression towards devolution. Since the process of devolution began there has been an important repositioning of Scottish and Welsh people’s perception of their culture and their place within it; the subsequent chapters – four, five, six and seven – analyse a diverse body of work from the symbolic transference of powers in 1999 to 2008. The writers discussed range from established authors such as Stevie Davies to first-time novelists such as Leela Soma. Through close comparative readings focusing on a range of issues such as marginalised identities and the politics of home and belonging, these chapters uncover and assess Welsh and Scottish women writers’ shared literary assertions, strategies and concerns as well as local and national differences. The conclusions drawn from this thesis suggest that, as a consequence of a history of sustained internal and external marginalization, post-devolution Welsh and Scottish women’s writing share important similarities regarding the politics of representation. The authors discussed in this study are resisting writers who textually illustrate the necessity of constantly rewriting national narratives and in so doing enable their audience to read the two nations and their peoples in fresh, innovative and divergent ways.
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Books on the topic "Women authors, Australian History and criticism"

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Women writing crime fiction, 1860-1880: Fourteen American, British and Australian authors. Jefferson, NC: McFarland, 2012.

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1957-, Kerr Heather, and Nettelbeck Amanda, eds. The space between: Australian women writing fictocriticism. Nedlands, W.A: University of Western Australia Press, 1998.

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Nine lives. St Lucia, Qld: UQP, 2011.

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Lyn, McCredden, ed. Bridgings: Readings in Australian women's poetry. Melbourne: Oxford University Press, 1996.

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Between literature and painting: Three Australian women writers. New York: Peter Lang, 2002.

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Pen portraits: Women writers and journalists in nineteenth century Australia. Sydney: Allen & Unwin, 1988.

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Gilbert, Pam. Coming out from under: Contemporary Australian women writers. London: Pandora, 1988.

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Giuffré, Giulia. To be Australian, a woman, and a writer. London: Australian Studies Center, Institute of Commonwealth Studies, University of London, 1987.

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From Australia with love: A history of modern Australian popular romance novels. Fremantle, W.A: Curtin University Books, 2004.

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Rainforest narratives: The work of Janette Turner Hospital. St Lucia, Qld: University of Queensland Press, 2009.

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