Готові списки джерел за темами / Australian crime fiction

Добірка наукової літератури з теми "Australian crime fiction"

Автор: Grafiati

Опубліковано: 10 грудня 2022

Оновлено: 28 січня 2023

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Статті в журналах з теми "Australian crime fiction"

Knight, Stephen. "Peter Temple: Australian Crime Fiction on the World Stage." Clues: A Journal of Detection 29, no. 1 (March 1, 2011): 71–81. http://dx.doi.org/10.3172/clu.29.1.71.

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Watson, Nicole. "Deadly detectives: how Aboriginal Australian writers are re-creating crime fiction." AlterNative: An International Journal of Indigenous Peoples 15, no. 1 (December 16, 2018): 75–81. http://dx.doi.org/10.1177/1177180118818187.

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The depiction of Aboriginal people in Australian detective novels has always been problematic. In colonial crime stories, Aboriginal people were typically represented as dangerous brutes and noble savages. Today, overtly demeaning stereotypes are less common, but Aboriginal characters still tend to lack complexity and perform subservient roles. In recent decades, Aboriginal writers have chosen to reclaim the genre and transform it into a space of empowerment. Their primary tool is the trope of characters that bring Aboriginal voices to the centre of the narrative. This trope is evident in protagonists that are engaged with political issues that affect their communities, and who experience racism as pervasive. Aboriginal detectives often suffer from the legacies of the former child removal policy. The reconciliation of such individuals with their kin and ancestral homelands will often occur in tandem with the resolution of the crime.

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Polak, Iva. "Unpunishable Crimes in Claire G. Coleman’s Futuristic Novel Terra Nullius." Humanities 11, no. 2 (March 25, 2022): 47. http://dx.doi.org/10.3390/h11020047.

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Aside from being part of a vibrant corpus of Indigenous futurism, Claire G. Coleman’s novel Terra Nullius (2017) can also be analysed as an eco-crime novel. Indigenous Australian authors of this genre (e.g., Philip McLaren, Steven McCarthy, Nicole Watson) often anchor the source of criminal acts in the theft, loss and devastation of traditional lands, which provides their crime novels with a heightened awareness of environmental issues. The same applies to Terra Nullius. This is, however, a novel that successfully conceals its futuristic framework until halfway through. Equally, this successfully disrupts the usual postulates of crime fiction by shifting the reader’s attention from the usual “whodunnit” to the more elusive “whoizzit” mode of crime fiction. This, as the discussion reveals, means that the criminal acts in Terra Nullius are rendered unpunishable. This paradox, as it is argued, is strengthened by introducing the so-called “noir detective” (Timothy Morton) in the character of Father Grark, who cannot investigate that which constitutes the crime and the alibi shaping the world of Coleman’s futuristic novel.

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Gavin, Adrienne E. "Women writing crime fiction, 1860–1880: fourteen American, British and Australian authors." European Journal of English Studies 21, no. 2 (March 23, 2017): 207–9. http://dx.doi.org/10.1080/13825577.2017.1282201.

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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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Franks, Rachel. "Gendering the genre: Three Australian women writers and their debut crime fiction novels." Australasian Journal of Popular Culture 3, no. 1 (March 1, 2014): 57–71. http://dx.doi.org/10.1386/ajpc.3.1.57_1.

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Mayr, Andrea. "Chopper: From the Inside: Discourses of the ‘celebrity’ criminal Mark Brandon Read." Language and Literature: International Journal of Stylistics 21, no. 3 (July 24, 2012): 260–73. http://dx.doi.org/10.1177/0963947012444220.

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Popular culture has been inundated with stories and images of True Crime for a long time, which is testament to people’s enduring fascination with criminals and their deviant actions. In such stories, which present actual cases of notorious crimes in a style that often resembles fiction, criminals are either reviled as monsters or lauded as cultural icons. More recently, popular autobiographical accounts by criminals themselves have begun to emerge within this True Crime genre. Typically self-celebratory in nature, such representations construct a rather glamorized public image of the author. This article undertakes a multimodal analysis of what has been classed as one typical example of this True Crime sub-genre, Australian Mark Brandon Read’s autobiographical account Chopper: From the Inside. It thereby seeks to demonstrate that the book, while glamorizing and mythologizing its protagonist, simultaneously offers scope for a qualitative understanding of Read’s life of crime and the sensual dynamics of his violent offending. To this end, the analysis focuses on some of the linguistic and pictorial strategies Read employs in constructing a public image of himself that alternates between the dangerous ‘hardman’ and the ‘larrikin’ criminal hero. However, it is also shown that Read’s account reveals a degree of critical self-reflection. In addition to the multimodal analysis, the article also endeavours to explore the link between celebrity and crime, thereby engaging with the nature of popular culture’s fascination with celebrated criminals.

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Knight, Stephen. "Detection and Gender in Early Crime Fiction: Mrs Bucket to Lady Molly." Crime Fiction Studies 3, no. 2 (September 2022): 89–105. http://dx.doi.org/10.3366/cfs.2022.0068.

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Crime fiction is often mistakenly held to be based on books and male detection. In fact, in the nineteenth century periodicals were a major mode of publication and from the mid-century on women inquirers played a recurring role in the developing genre, while most early male detectives were, by later standards, distinctly under-gendered. Chambers’s Edinburgh Journal was a major early source; by the 1860s, female detectives were being created by male writers and in Bleak House (1852–53), Dickens gave Inspector Bucket’s wife distinct inquiring capacities. The major Australian author Mary Fortune – with more than four hundred stories in magazines over forty years from the 1860s – developed female inquirers over time. By the 1890s, professional English woman detectives were created, Loveday Brooke by C.L. Pirkis and Florence Cusack by L.T. Meade, while Baroness Orczy created as well as her best-selling ‘Scarlet Pimpernel’ the leading police detective Lady Molly, like the others first appearing in magazines.

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Claringbold, Erin. "Useless Afghans and Clever Whites: Sustaining the Myths of "White Superiority" in Early-Twentieth-Century Australian Crime Fiction." Clues: A Journal of Detection 32, no. 2 (September 1, 2014): 71–78. http://dx.doi.org/10.3172/clu.32.2.71.

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Elliott, Dorice Williams. "TRANSPORTED TO BOTANY BAY: IMAGINING AUSTRALIA IN NINETEENTH-CENTURY CONVICT BROADSIDES." Victorian Literature and Culture 43, no. 2 (February 25, 2015): 235–59. http://dx.doi.org/10.1017/s1060150314000539.

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The speaker of this ballad(circa 1828) laments the fact that, though he was born of “honest parents,” he became “a roving blade” and has been convicted of an unspecified crime for which he has been sentenced to “Botany Bay,” a popular name for Australia. Although he addresses his audience as “young men of learning,” the rest of the ballad implies that he, as is conventional in the broadside form, is a working-class apprentice gone astray. Like this fictional speaker, approximately 160,000 men and women convicted of crimes ranging from poaching hares to murder – but mostly theft – were transported to one of the new British colonies in Australia between the years 1787 and 1867. Minor crimes such as shoplifting, which today would merit some community service and a fine, yielded a sentence of seven years, while other felons were sentenced for fourteen years to life for more serious crimes. While non-fictional accounts of the young colony of New South Wales were published in Britain almost as soon as the First Fleet arrived there in 1788, these were written by people with at least a middle-class education, whereas the vast majority of the convicted felons who were transported came from the working classes. Since books and newspapers were expensive and the level of literacy among working-class people varied considerably, few of them would have had access to such accounts of the new colonies. Several descriptions, mostly borrowed from the writings of the officers who accompanied the First Fleet, were published in cheap chapbook form, while occasional letters from convicts to their families were printed and distributed, and of course there were unpublished letters plus word-of-mouth reports from convicts or soldiers who did return. But none of these were broadly disseminated among working-class people.

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Дисертації з теми "Australian crime fiction"

Davies, Jasmine Yvette. "The candidate : a novella and examination of Australian Gothic crime fiction." Thesis, Queensland University of Technology, 2010. https://eprints.qut.edu.au/37294/1/Jasmine_Davies_Thesis.pdf.

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Australia is a land without haunted castles or subterranean corridors, without ancient graveyards or decaying monasteries, a land whose climate is rarely gloomy. Yet, the literary landscape is splattered with shades of the Gothic genre. This Gothic heritage is especially evident within elements of nineteenth century Australian sensation fiction. Australian crime fiction in the twentieth century, in keeping with this lineage, repeatedly employs elements of the Gothic, adapting and appropriating these conventions for literary effect. I believe that a ‘mélange’ of historical Gothic crime traditions could produce an exciting new mode of Gothic crime writing in the Australian context. As such, I have written a contemporary literary experiment in a Gothic crime ‘hybrid’ style: this novella forms my creative practice. The accompanying exegesis is a critical study of a selection of Australian literary works that exhibit the characteristics of both Gothic and crime genres. Through an analysis of these creative works, this study argues that the interlacing of Gothic traditions with crime writing conventions has been a noteworthy practice in Australian fiction during both the nineteenth and twentieth centuries and these literary tropes are interwoven in the writing of ‘The Candidate’, a Gothic crime novella.

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Schofield, Robert James. "The Dissenter and Anti-authoritarian Aspects of Australian History and Character that Inform the Moral Ambiguity that Marks Australian Crime Fiction." Thesis, Curtin University, 2017. http://hdl.handle.net/20.500.11937/69320.

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This thesis consists of two distinct but related parts: a creative component, the contemporary crime novel ‘The Grass Mud Horse’, and an exegesis. Both will attempt to answer the question: How has the moral ambiguity that marks Australian crime fiction been informed and influenced by the dissenter and anti-authoritarian aspects of Australian history and character? It examines how issues usually associated with noir fiction of the twentieth century were present earlier in Australian crime fiction.

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Watson, Kate. "Hand that rocks the crime fiction cradle : British, American and Australian women's criminographic narratives, 1860-1880." Thesis, Cardiff University, 2010. http://orca.cf.ac.uk/54533/.

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'The hand that rocks the cradle' is a phrase indicative of motherhood, the world, and change. When applied to women's criminographic narratives, it can be read in terms of a challenge to the hegemonic belief in male writers as the founding 'fathers' of the crime and detective genre. This study will examine women's criminous narratives in Britain, North America, and Australia from 1860-1880, with the purpose of bringing to light women writers who have hitherto and for the majority been excluded from what has been seen as the masculine crime canon. Men have long been expounded in critical work on crime and detective fiction and women writers have frequently been eclipsed by male authors such as Edgar Allan Poe, Wilkie Collins, Charles Dickens, and Arthur Conan Doyle. I seek to redress this masculine-centric view of the genre and its development: I aim to show that contrary to this viewpoint, women were both present from the start and were significantly contributing towards the formation of the crime and detective genre as we now know it. The period chosen has recurrently been perceived as an interstitial space, though I contend that this epoch, rather than representing vacuity, is central to the formation of the crime and detective form: while the genre was still nascent, the melange of sub genres in this period saw the establishment of the foundations for what was to follow. Authors considered from Britain include Catherine Crowe, Caroline Clive, Elizabeth Cleghorn Gaskell, Mary Elizabeth Braddon, and Mrs Henry (Ellen) Wood. From North America, I discuss Harriet Prescott Spofford, Louisa May Alcott, Metta Victoria Fuller Victor, and Anna Katharine Green, and from Australia, the writing of Celeste de Chabrillan, 'Oline Keese' (Caroline Woolmer Leakey), Eliza Winstanley, Ellen Davitt, and Mary Helena Fortune. This thesis inspects these women's work in terms of that of their male contemporaries and of their national/historical and societal background. The importance of their crime writing demonstrates the need for a feminine reconstruction of the canon of crime/detective fiction.

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Emanuel, Elizabeth Frances. "Writing the oriental woman : an examination of the representation of Japanese women in contemporary Australian crime fiction." Thesis, Queensland University of Technology, 2009. https://eprints.qut.edu.au/64475/1/Elizabeth_Emanuel_Exegesis.pdf.

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This study considers the challenges in representing women from other cultures in the crime fiction genre. The study is presented in two parts; an exegesis and a creative practice component consisting of a full length crime fiction novel, Batafurai. The exegesis examines the historical period of a section of the novel—post-war Japan—and how the area of research known as Occupation Studies provides an insight into the conditions of women during this period. The exegesis also examines selected postcolonial theory and its exposition of representations of the 'other' as a western construct designed to serve Eurocentric ends. The genre of crime fiction is reviewed, also, to determine how characters purportedly representing Oriental cultures are constricted by established stereotypes. Two case studies are examined to investigate whether these stereotypes are still apparent in contemporary Australian crime fiction. Finally, I discuss my own novel, Batafurai, to review how I represented people of Asian background, and whether my attempts to resist stereotype were successful. My conclusion illustrates how novels written in the crime fiction genre are reliant on strategies that are action-focused, rather than character-based, and thus often use easily recognizable types to quickly establish frameworks for their stories. As a sub-set of popular fiction, crime fiction has a tendency to replicate rather than challenge established stereotypes. Where it does challenge stereotypes, it reflects a territory that popular culture has already visited, such as the 'female', 'black' or 'gay' detective. Crime fiction also has, as one of its central concerns, an interest in examining and reinforcing the notion of societal order. It repeatedly demonstrates that crime either does not pay or should not pay. One of the ways it does this is to contrast what is 'good', known and understood with what is 'bad', unknown, foreign or beyond our normal comprehension. In western culture, the east has traditionally been employed as the site of difference, and has been constantly used as a setting of contrast, excitement or fear. Crime fiction conforms to this pattern, using the east to add a richness and depth to what otherwise might become a 'dry' tale. However, when used in such a way, what is variously eastern, 'other' or Oriental can never be paramount, always falling to secondary side of the binary opposites (good/evil, known/unknown, redeemed/doomed) at work. In an age of globalisation, the challenge for contemporary writers of popular fiction is to be responsive to an audience that demands respect for all cultures. Writers must demonstrate that they are sensitive to such concerns and can skillfully manage the tensions caused by the need to deliver work that operates within the parameters of the genre, and the desire to avoid offence to any cultural or ethnic group. In my work, my strategy to manage these tensions has been to create a back-story for my characters of Asian background, developing them above mere genre types, and to situate them with credibility in time and place through appropriate historical research.

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Ashman, Adrian F. "Unfinished business." Thesis, Queensland University of Technology, 1999.

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Przewloka, Christopher. "Southern Land, Hardened Heart: the possibility of Australian Neon Noir." Thesis, Queensland University of Technology, 2016. https://eprints.qut.edu.au/101077/1/Christopher_Przewloka_Thesis.pdf.

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This creative-based project discussed the potential of neon noir writing in Australia—a hardened style of crime fiction that investigates the dark underbelly of society. The craft-based research outlined how such fiction could be localised to examine our distinct history, culture, and politics. The associated creative work, a neon noir novel set in regional Queensland during the height of governmental corruption, was created in direct response to the discoveries of this research.

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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.

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De, Iacovo Joe. "Easy : a novella /." View thesis, 1999. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030910.142345/index.html.

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Carter, Alan. "Ring of Fire: Crime Fiction as a Means of Examining Projections of Australian National Identity into the Asia-Pacific Region: A Novel and Exegesis." Thesis, Curtin University, 2019. http://hdl.handle.net/20.500.11937/76145.

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This thesis consists of a creative component – the novel Crocodile Tears, and a theoretical essay. Both address the question: How has Australian crime fiction worked to reinforce or undermine projections of Australian national identity into the Asia-Pacific region? Crocodile Tears is a detective story reuniting Indigenous “spook” Rory Driscoll with Detective Philip Kwong of the WA police. A retiree is murdered in suburban Perth, the trail leads to Timor Leste, and its blood-soaked history.

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Simpson, Inga Caroline. "Lesbian detective fiction : the outsider within." Thesis, Queensland University of Technology, 2008. https://eprints.qut.edu.au/20120/1/Inga_Simpson_Exegesis.pdf.

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Lesbian Detective Fiction: the outsider within is a creative writing thesis in two parts: a draft lesbian detective novel, titled Fatal Development (75%) and an exegesis containing a critical appraisal of the sub-genre of lesbian detective fiction, and of my own writing process (25%). Creative work: Fatal Development -- It wasn’t the first time I’d seen a dead body, but it didn’t seem to get any easier. -- When Dirk and Stacey discover a body in the courtyard of their Brisbane woolstore apartment, it is close friend and neighbour, Kersten Heller, they turn to for support. The police assume Stuart’s death was an accident, but when it emerges that he was about to take legal action against the woolstore’s developers, Bovine, Kersten decides there must be more to it. Her own apartment has flooded twice in a month and the builders are still in and out repairing defects. She discovers Stuart was not alone on the roof when he fell to his death and the evidence he had collected for his case against Bovine has gone missing. Armed with this knowledge, and fed up with the developer’s ongoing resistance to addressing the building’s structural issues, Kersten organises a class action against Bovine. Kersten draws on her past training as a spy to investigate Stuart’s death, hiding her activities, and details of her past, from her partner, Toni. Her actions bring her under increasing threat as her apartment is defaced, searched and bugged, and she is involved in a car chase across New Farm. Forced to fall back on old skills, old habits and memories return to the surface. When Toni discovers that Kersten has broken her promise to leave the investigation to the police, she walks out. The neighbouring – and heritage-listed – Riverside Coal development site burns to the ground, and Kersten and Dirk uncover evidence of a network of corruption involving developers and local government officials. After she is kidnapped in broad daylight, narrowly escaping from the boot of a moving car, Kersten is confident she is right, but with Toni not returning her calls, and many of the other residents selling up, including Dirk and Stacey, Kersten begins to question her judgment. In a desperate attempt to turn things around, Kersten calls on an old Agency contact to help prove Bovine was involved in Stuart’s death, her kidnapping, and ongoing corruption. To get the evidence she needs, Kersten plays a dangerous game: letting Bovine know she has uncovered their illegal operations in order to draw them into revealing themselves on tape. Hiding alone in a hotel room, Kersten is finally forced to confront her past: When Mirin didn’t come home that night, I was ready to go out and find her myself, disappear, and start a new life together somewhere far away. Instead they pulled me in before I could finish making arrangements, questioned me for hours, turned everything around. It was golden child to problem child in the space of a day. This time, she’s determined, things will turn out differently. Exegesis: The exegesis traces the development of lesbian detective fiction, including its dual origins in detective and lesbian fiction, to compare the current state of the sub-genre with the early texts and to establish the dominant themes and tropes. I focus particularly on Australian examples of the sub-genre, examining in detail Claire McNab’s Denise Cleever series and Jan McKemmish’s A Gap in the Records, in order to position my own lesbian detective novel between these two works. In drafting Fatal Development, I have attempted to include some of the political content and complexity of McKemmish’s work, but with a plot-driven narrative. I examine the dominant tropes and conventions of the sub-genre, such as: lesbian politics; the nature of the crime; method of investigation; sex and romance; and setting. In the final section, I explain the ways in which I have worked within and against the subgenre’s conventions in drafting a contemporary lesbian detective novel: drawing on tradition and subverting reader expectations. Throughout the thesis, I explore in detail the tradition of the fictional lesbian detective as an outsider on the margins of society, disrupting notions of power and gender. While the lesbian detective’s outsider status grants her moral agency and the capacity to achieve justice and generate change, she is never fully accepted. The lesbian detective remains an outsider within. For the lesbian detective, working within a system that ultimately discriminates against her involves conflict and compromise, and a sense of double-play in being part of two worlds but belonging to neither. I explore how this double-consciousness can be applied to the lesbian writer in choosing whether to write for a mainstream or lesbian audience.

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Книги з теми "Australian crime fiction"

John, Loder. Australian crime fiction: A bibliography, 1857-1993. Clayton, Vic: Thorpe in association with the National Centre for Australian Studies, 1994.

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Michael, Pollak. Gothic Matilda: The amazing visions of Australian crime fiction. Woollahra, NSW: Unity Press, 2002.

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Knight, Stephen Thomas. Continent of mystery: A thematic history of Australian crime fiction. Victoria, Australia: Melbourne University Press, 1997.

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The spirit of Australia: The crime fiction of Arthur W. Upfield. Bowling Green, OH: Bowling Green State University Popular Press, 1988.

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

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The siren's sting. Crows Nest, N.S.W: Allen & Unwin, 2011.

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Defender. Sydney, N.S.W: Momentum, 2015.

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Patricia, Carlon. Crime of silence. New York: Soho Press, 1998.

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Crime time: Australians behaving badly. Ormond, Vic: Hybrid Publishers, 2009.

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Hyland, Adrian. Gunshot Road. New York: Soho Crime, 2011.

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Частини книг з теми "Australian crime fiction"

Beasley, Carolyn. "The City Lives in Me: Connectivity and Embeddedness in Australia’s Peter Temple and Shane Maloney." In Serial Crime Fiction, 197–207. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137483690_19.

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"Visualising Villains: Crafting Criminals in Australian Crime Fiction." In The Real and the Reflected: Heroes and Villains in Existent and Imagined Worlds, 161–72. BRILL, 2012. http://dx.doi.org/10.1163/9781848881068_017.

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Anae, Nicole. "Indigenous Australian Detective Fiction as Political Writing." In Advances in Linguistics and Communication Studies, 1–30. IGI Global, 2019. http://dx.doi.org/10.4018/978-1-5225-9444-4.ch001.

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Indigenous voices emerged within Australian detective fiction with the greatest clarity in the 1990s. This chapter examines the figure of the Indigenous Aboriginal detective created by Indigenous writers as an underrepresented character and speaking subject within Australian detective fiction that both traverses and disrupts conventional elements of literary style. Certainly, the conventional characteristic elements of crime genre are present within detective fiction written by Indigenous writers, but this literary post-colonialist analysis explores how Indigenous writers such as Mudrooroo (“The Westralian,” “The Healer,” and “Home on the Range”), Philip McLaren (Scream Black Murder), and Sally Morgan (My Place) juxtaposed elements of style to both highlight constructs of reality in Australian detective fiction while simultaneously providing fresh perspectives on both the Indigenous detective as a figure of political interest and Australian Indigenous detective fiction as political writing.

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Knight, Stephen. "From Vidocq to the Locked Room." In Criminal Moves, 163–78. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789620580.003.0010.

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This chapter provides an in-depth history of the international development of the crime genre prior to the twentieth century. The chapter traces the emergence of a transnational genre from the 1700s through legal narratives and Romantic preoccupations and aesthetics in France, Germany, England, the United States, the Scandinavian countries and Australia. While crime fiction scholars have traditionally maintained that the genre emerged in Britain and America, this chapter places doubt on the supposed centrality of the genre’s British and American genealogy. By examining the genre’s early transnational mobility, the chapter challenges the dominant perception that the genre’s transnationality is a consequence of twentieth- and twenty-first-century globalization and, as such, that it is largely a contemporary phenomenon.

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