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Relevant bibliographies by topics / Australian gothic fiction

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Journal articles

Academic literature on the topic 'Australian gothic fiction'

Author: Grafiati

Published: 5 December 2024

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Journal articles on the topic "Australian gothic fiction"

1

Kral, Françoise. "Postcolonial Gothic as Gothic Sub-version?: A Study of Black Australian Fiction." Gothic Studies 10, no. 2 (2008): 110–20. http://dx.doi.org/10.7227/gs.10.2.9.

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2

Green, Stephanie. "The condition of recognition: Gothic intimations in Andrew McGahan's The White Earth." Queensland Review 23, no. 1 (2016): 84–94. http://dx.doi.org/10.1017/qre.2016.9.

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AbstractThis article discusses the evocation of the Gothic as a narrative interrogation of the intersections between place, identity and power in Andrew McGahan's The White Earth (2004). The novel deploys common techniques of Gothic literary fiction to create a sense of disassociation from the grip of a European colonial sensibility. It achieves this in various ways, including by representing its central architectural figure of colonial dominance, Kuran House, as an emblem of aristocratic pastoral decline, then by invoking intimations of an ancient supernatural presence which intercedes in the

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3

Rodríguez-Salas, Gerardo. "Communitarian Theory and Andalusian Imagery in Carmel Bird’s Fiction. An Interview." IRIS, no. 35 (June 30, 2014): 123–39. http://dx.doi.org/10.35562/iris.1803.

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Australian writer Carmel Bird writes fiction that, while being highly individual and varied, settles within the Australian traditions of both Peter Carey’s fabulism and Thea Astley’s humane wit. As William H. Wilde, Joy Hooton and Barry Andrews state (1994), Bird is a “witty writer with a wide but always highly original tonal range”, who “raises what is often potentially sinister or horrific to something approaching comedy. Disease, deaths and violence are staples in her fictional world, which has similarities with Barbara Hanrahan’s Gothic sensuality and feminist irony, although Bird’s deadpa

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4

Frank, Jane. "Ironbark and stone: Place and belonging in the nature novels of Inga Simpson." Queensland Review 24, no. 2 (2017): 229–41. http://dx.doi.org/10.1017/qre.2017.34.

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AbstractThis article discusses Sunshine Coast writer Inga Simpson's nature writing in three recent novels, Mr Wigg (2013), Nest (2014b) and Where the Trees Were (2016c). It addresses Simpson's self-categorisation as a nature writer, and shows how the recurrent motif of sacred trees allows three introspective protagonists to reach new understandings of universal themes: loss of love and innocence, ageing, inheritance, childlessness, sexuality, death, ancient cultures, cultural integrity and preservation of the environment. The article considers Simpson's ‘anti-Gothic’ approach to landscape in h

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5

Wisker, Gina. "Postcolonial Gothic fictions from the Caribbean, Canada, Australia and New Zealand." Journal of Postcolonial Writing 49, no. 3 (2013): 363–64. http://dx.doi.org/10.1080/17449855.2013.766045.

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6

Thomas, Sue. "Book Review: Postcolonial Gothic Fictions from the Caribbean, Canada, Australia and New Zealand, written by Alison Rudd." New West Indian Guide 89, no. 1-2 (2015): 182–84. http://dx.doi.org/10.1163/22134360-08901036.

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7

Sawers, Naarah. "‘You molded me like clay’: David Almond’s Sexualised Monsters." Papers: Explorations into Children's Literature 18, no. 1 (2008): 20–29. http://dx.doi.org/10.21153/pecl2008vol18no1art1179.

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   Monsters and the Gothic fiction that creates them are therefore technologies, narrative technologies that produce the perfect figure for negative identity. Monsters have to be everything the human is not and, in producing the negative of the human, these novels make way for the invention of human as white, male, middle-class, and heterosexual. (Halberstam, 1995, p.22). Something unusual is happening in some of the most well-regarded, contemporary British children’s fiction. David Almond and Neil Gaiman are investing their stories with a seemingly contemporary feminis

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8

West, Patrick Leslie. "Towards a Politics and Art of the Land: Gothic Cinema of the Australian New Wave and Its Reception by American Film Critics." M/C Journal 17, no. 4 (2014). http://dx.doi.org/10.5204/mcj.847.

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Many films of the Australian New Wave (or Australian film renaissance) of the 1970s and 1980s can be defined as gothic, especially following Jonathan Rayner’s suggestion that “Instead of a genre, Australian Gothic represents a mode, a stance and an atmosphere, after the fashion of American Film Noir, with the appellation suggesting the inclusion of horrific and fantastic materials comparable to those of Gothic literature” (25). The American comparison is revealing. The 400 or so film productions of the Australian New Wave emerged, not in a vacuum, but in an increasingly connected and inter-mix

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9

Starrs, Bruno. "Writing Indigenous Vampires: Aboriginal Gothic or Aboriginal Fantastic?" M/C Journal 17, no. 4 (2014). http://dx.doi.org/10.5204/mcj.834.

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The usual postmodern suspicions about diligently deciphering authorial intent or stridently seeking fixed meaning/s and/or binary distinctions in an artistic work aside, this self-indulgent essay pushes the boundaries regarding normative academic research, for it focusses on my own (minimally celebrated) published creative writing’s status as a literary innovation. Dedicated to illuminating some of the less common denominators at play in Australian horror, my paper recalls the creative writing process involved when I set upon the (arrogant?) goal of creating a new genre of creative writing: th

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10

Piatti-Farnell, Lorna, and Erin Mercer. "Gothic: New Directions in Media and Popular Culture." M/C Journal 17, no. 4 (2014). http://dx.doi.org/10.5204/mcj.880.

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In a field of study as well-established as the Gothic, it is surprising how much contention there is over precisely what that term refers to. Is Gothic a genre, for example, or a mode? Should it be only applicable to literary and film texts that deal with tropes of haunting and trauma set in a gloomy atmosphere, or might it meaningfully be applied to other cultural forms of production, such as music or animation? Can television shows aimed at children be considered Gothic? What about food? When is something “Gothic” and when is it “horror”? Is there even a difference? The Gothic as a phenomeno

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