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Relevant bibliographies by topics / Australian Gothic Literature

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Academic literature on the topic 'Australian Gothic Literature'

Author: Grafiati

Published: 11 December 2022

Last updated: 26 January 2023

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Journal articles on the topic "Australian Gothic Literature"

1

Ramakrishna, Devarakonda. "The Australian Gothic and Edgar Allan Poe." Edgar Allan Poe Review 9, no. 1 (2008): 49–54. http://dx.doi.org/10.2307/41506282.

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

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Green, Stephanie. "The condition of recognition: Gothic intimations in Andrew McGahan's The White Earth." Queensland Review 23, no. 1 (May 31, 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 linear descent of colonial possession and, ultimately, by providing a rational explanation for the novel's events. The White Earth further demonstrates the inherently adaptive qualities of Gothic narrative technique as a means of confronting the limits to white belonging in post-colonial Australia by referencing a key historical moment, the 1992 Mabo judgment, which rejected the concept of terra nullius and recognised native title under Australian common law. At once discursive and performative, the sustained way in which the work employs the tropic power of Gothic anxiety serves to reveal the uncertain terms in which its characters negotiate what it means to be Australian, more than 200 years after colonial invasion.

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Barnes, Anne. "Mapping the Landscape with Sound: Tracking the Soundscape from Australian Colonial Gothic Literature to Australian Cinema and Australian Transcultural Cinema." Critical Arts 31, no. 5 (September 3, 2017): 156–70. http://dx.doi.org/10.1080/02560046.2017.1386702.

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Jeffery, Ella. "“Impossible to Keep”: Home Renovation and the Australian Suburban Gothic in Sonya Hartnett’s Golden Boys." Critique: Studies in Contemporary Fiction 61, no. 5 (May 3, 2020): 577–88. http://dx.doi.org/10.1080/00111619.2020.1758612.

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Wisker, Gina. "Australian and New Zealand Women’s Supernatural and Gothic Stories 1880–1924: Rosa Praed and Dulcie Deamer." Women's Writing 29, no. 2 (April 3, 2022): 295–318. http://dx.doi.org/10.1080/09699082.2022.2050517.

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Anae, Nicole. "Gothic Secret Histories and Representing Australian Colonial Deaths at Sea: The Case of Captain Charles Wright Harris and the Wreck of the SS Admella (1859)." Journal of Victorian Culture 25, no. 4 (July 8, 2020): 512–36. http://dx.doi.org/10.1093/jvcult/vcz061.

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Abstract Extant ephemera documenting the wreck of the SS Admella off the South Australian coast on 6 August 1859 offers a compelling story of real-life maritime calamity characterized by death and extraordinary heroism. The much less written about account, however, is the story lying in between ‘official accounts’ of the wreck, and those that emerged in the contemporary reports of the day, including a body of verse termed ‘Admella poetry’. Verse forms and telegraphic reports of the wreck appear to be at odds with other witness statements, and official records have corrupted details from either telegraphic reports or published survivor statements, or both. This re-reading of one of the key heroic fatalities in the story of the wreck of the SS Admella – 37-year-old Captain Charles Wright Harris, a passenger aboard the Admella – theorizes on his death at sea as mapping plural histories. I argue that the account of the event preserved as political and bureaucratic memory – and its counterpoint – the account of the event preserved in the popular press and Admella poems, characterizes an alternative Victorian cultural memory, a gothic secret history concerning the wreck of the SS Admella and colonial deaths at sea.

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Craven, Allison. "A Happy and Instructive Haunting: Revising the Child, the Gothic and the Australian Cinema Revival in Storm Boy (2019) and Picnic at Hanging Rock (2018)." Journal of Australian Studies 45, no. 1 (January 2, 2021): 46–60. http://dx.doi.org/10.1080/14443058.2021.1876138.

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Sawers, Naarah. "‘You molded me like clay’: David Almond’s Sexualised Monsters." Papers: Explorations into Children's Literature 18, no. 1 (June 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 feminist agenda, but one that is profoundly troubled by psychoanalytic discourses that disrupt the narratives’ overt excursions into a potentially positive gender re-acculturation of child audiences. Their books often show that girls can be strong and intelligent while boys can be sensitive, but the burgeoning sexual identities of the child protagonists appear to be incompatible with the new wave of gendered equity these stories ostensibly seek. In a recent collaborative essay with two of my colleagues teaching children’s literature at Deakin University, Australia, we considered the postfeminism of ‘other mothers’ and their fraught relationships with daughters in Neil Gaiman’s stories Coraline and The Mirror Mask (forthcoming). While Almond’s Skellig(1998) and Clay (2006) ostensibly tell very different fantastic tales, the differences, on closer inspection, seem only to relate to the gender of the protagonists. Gaiman’s girls and Almond’s boys undertake an identical Oedipal quest for heteronormative success, and in doing so reverse the politically correct bids for gender equality made on their narrative surfaces. When read through a psychoanalytical lens, the narratives also undo all the potential transformations of gendered politics made possible through the authors’ employment of magical realism that could offer manifold ways to disrupt binary oppositions. Indeed, that all four stories rely on the blurring of fantasy and reality might be more telling still about the ambivalence with which feminism is tolerated and/or advanced in a progressive nation like Britain. In such a culture the theoretical premise of equality is acceptable, but strange fantasies emerge in response, and gender difference is rearticulated.

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Wolff, Mark. "In search of a Tropical Gothic in Australian visual arts." eTropic: electronic journal of studies in the tropics 18, no. 1 (May 30, 2019). http://dx.doi.org/10.25120/etropic.18.1.2019.3691.

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The field of Gothic Studies concentrates almost exclusively on literature, cinema and popular culture. While Gothic themes in the visual arts of the Romantic period are well documented, and there is sporadic discussion about the re-emergence of the Gothic in contemporary visual arts, there is little to be found that addresses the Gothic in northern or tropical Australia. A broad review of largely European visual arts in tropical Australia reveals that Gothic themes and motifs tend to centre on aspects of the landscape. During Australia’s early colonial period, the northern landscape is portrayed as a place of uncanny astonishment. An Australian Tropical Gothic re-appears for early modernists as a desolate landscape that embodies a mythology of peril, tragedy and despair. Finally, for a new wave of contemporary artists, including some significant Aboriginal and Torres Strait Islander artists, Gothic motifs emerge to animate tropical landscapes and draw attention to issues of environmental degradation and the dispossession of Australian Aboriginal and Torres Strait Islander peoples.

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Dissertations / Theses on the topic "Australian Gothic Literature"

1

Althans, Katrin [Verfasser]. "Darkness Subverted : Aboriginal Gothic in Black Australian Literature and Film / Katrin Althans." Bonn : Universitäts- und Landesbibliothek Bonn, 2021. http://d-nb.info/1229086420/34.

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Doolan, Emma D. "Hinterland Gothic: Reading and writing Australia's east coast hinterlands as Gothic spaces." Thesis, Queensland University of Technology, 2018. https://eprints.qut.edu.au/115465/2/Doolan%20Hinterland%20Gothic%20exegesis.pdf.

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This practice-led thesis brings together creative writing practice with Gothic, spatial, postcolonial, feminist, and ecocritical theories to investigate Australia's east coast hinterlands as Gothic spaces in literature. It argues that the hinterland, literally the "land behind" or the region "lying beyond what is visible or known", functions as a liminal, heterotopic zone in which marginalised female, Indigenous, and ecological stories and histories are articulated through a Gothic "web of metaphor". Lush, fertile, and green, the hinterland disrupts dominant depictions of hostile, barren Australian landscapes with which Australian literary tradition and national identity have been bound up, unsettling dominant cultural narratives.

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George, Kathleen W. "Beware the house: Australian Gothic Literature the house and the protagonist: A practice-led project." Thesis, Queensland University of Technology, 2016. https://eprints.qut.edu.au/98898/12/Kathleen_George_Thesis.pdf.

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This was a practice-led project investigating the house and its surroundings in Australian Gothic Literature. It explored whether these could impact upon the protagonists, causing tension or even madness. Using my own creative fiction as well as various Australian Gothic writers the house was explored as a catalyst of trauma in the protagonist, and for its outcome on the narrative. Additionally, the landscape was considered in relation to the house, and the long established belief that it is the Australian outback alone that causes derangement was challenged by my findings.

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Spear, Peta. "Libertine : a novel & A writer's reflection : the Libertine dynamic : existential erotic and apocalyptic Gothic /." View thesis, 1998. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030909.143230/index.html.

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5

Rudd, Alison. "'Demons from the deep' : postcolonial Gothic fictions from the Caribbean, Canada, Australia and New Zealand." Thesis, University of Northampton, 2006. http://nectar.northampton.ac.uk/2962/.

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This thesis explores the field of Postcolonial Gothic, initially through an examination of theories of the Gothic and the postcolonial and their points of intersection. Homi Bhabha’s notion of the ‘unhomely’ as the paradigm for postcolonial experience, particularly with regard to migrancy and Julia Kristeva’s concept of the abject are identified as particularly productive for a Postcolonial Gothic framework, which is then applied to a survey of the way the Gothic is figured on the individual and the Local, regional or national levels in the context of Caribbean, Canadian, Australian and New Zealand postcolonial writing and demonstrates how the Gothic as a mode of writing furnishes postcolonial authors with a narrative strategy to express the traumas of colonialism and their postcolonial legacies. In coming to terms with the past, historical temporality and authority are rendered problematic by postcolonial writers because the physical and psychic violence of colonialism and its effects on the individual and on society are compounded by the repression of past trauma. The effects of such trauma threaten to resurface despite resistance. These experiences underpin the images of postcolonial revenants as hybrid, distorted and monstrous figures, which arise out of cultural contact between colonised and coloniser. The ghost, the phantom, the revenant, gain new meanings in the service of the postcolonial, where the duppy, and the soucouyant, from the Caribbean; the Bunyip from Australia and the shape- shifting figure of Coyote from Canada are hybrid manifestations created from European, indigenous and cross-cultural remains and they speak of culturally specific histories, traumas and locations. The thesis is arranged into four chapters: Caribbean gothic, Canadian Gothic, Australian Gothic and New Zealand Gothic. Each chapter provides an overview of the Gothic in the national or regional context, placing the emphasis on the postcolonial and then focuses on the way the Gothic is utilised by both dominant and marginal cultures: by white settlers and indigenous peoples in Canada, Australia and New Zealand, by the descendents of people forcibly mobilised through slavery in the Caribbean, and by other more recent migrants to, or between these locations. The writers discussed have different tales to tell about the effects of colonialism on the individual and on their society, but they have chosen the Gothic as means of expression for some of the most violent and unspeakable acts of colonialism and their legacy in the postcolonial

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6

Yannakis, Donna. "Violence and the other in the novels of Carmel Bird." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2019. https://ro.ecu.edu.au/theses/2224.

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This thesis argues that throughout her fictional work, Carmel Bird interrogates multiple forms of violence against the gendered and racialised other. Using Judith Butler’s theories of gender performativity and the discursive construction of race, the thesis shows how these constructions not only inform or incite violence against the other, but are inherently violent in themselves. To chart these multiple forms of violence, the thesis uses Slavoj Žižek’s delineation of a triumvirate of violence: symbolic, systemic and subjective violence. He describes subjective violence as the most visible, physical violence of an actor or actors against an other. He determines that this subjective violence is only one part of a trinity of violence that includes two forms of more insidious, invisible violence – symbolic and systemic violence. Žižek argues that the symbolic violence of language and discourse and the systemic violence of political, economic and social systems inform, incite and produce subjective violence. With recourse to Butler and Žižek, the thesis demonstrates this argument by examining how Bird uses intertextuality, landscapes of surface and depth, non-traditional narrative strategies, Gothicism and irony in the novels Cherry Ripe (1985), The Bluebird Café (1990), The White Garden (1995), Red Shoes (1998), Cape Grimm (2004), Child of the Twilight (2010) and Family Skeleton (2016) to expose the ways these multiple forms of violence intersect and inform one another. Chapter One argues that Cherry Ripe uses intertextuality to show how the reiterative power of discourse enacts a symbolic violence by producing normative models of femininity. This symbolic violence, in turn, produces the systemic violence of female shame when women fail to adhere to those normative models. Chapter Two examines the construction of landscape in The Bluebird Café to argue that the novel interrogates the elision of the systemic and subjective violence against the convict and Aboriginal other in historical and cultural discourses. It additionally argues that this elision, alongside Australian discursive myth-making, constitutes an ongoing symbolic violence against the other. Chapter Three returns to the use of intertextuality in The White Garden. The novel’s invocation of an institutional scandal of abuse, hagiography and fairy-tales reveals the ways symbolic violence in these discourses inform the systemic and subjective violence against the female body and sexuality. Chapter Four examines the pre-occupation with narration and narrative strategy in Red Shoes to argue that narration and narrative control dictates who can speak and whose stories can be told. It particularly interrogates the ways narration enacts a symbolic violence by silencing the female voice and female stories. It goes on to demonstrate how these silences allow for systemic and subjective violence against women and children. Chapter Five focusses on the use of Gothic conventions and tropes in Cape Grimm to argue that the novel continues Bird’s concern with the elision of colonial, subjective violence against Aboriginal Australians and how that violence continues to haunt the present in the form of systemic violence against the indigenous population. It also argues that the construction of white belonging in Australia performs a symbolic violence in its attempts to shore up a sense of white indigeneity. Chapter Five explores Bird’s characteristic irony in Child of the Twilight to argue that the novel interrogates notions of origin, authenticity and faith to demonstrate the symbolic violence of human belief systems. The thesis concludes by examining the ways in which the symbolic, systemic and subjective violence invoked in these novels intersect with and inform the violence in Bird’s latest novel Family Skeleton.

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7

Spear, Peta, University of Western Sydney, and School of Communication and Media. "Libertine : a novel and A writer's reflection : the Libertine dynamic: existential erotic and apocalyptic Gothic." 1998. http://handle.uws.edu.au:8081/1959.7/26115.

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This thesis comprises two works: a novel ‘Libertine’ and a monograph ‘A writer’s reflection’. ‘Libertine’contemplates the eroticising and brutalising of being, and sex as currency, as need and as sacrament. It is set in a city where war is the norm, nightmare the standard, and ancient deities are called upon to witness the new order of killing technologies. The story is narrated by a woman chosen to be the consort of the General, a despostic war leader who believes that he has been chosen by the goddess Kali. She journeys deep into a horror which exists not only around her, but also within her. ‘Libertine’, by melding the erotic and the Gothic, tells the story of a woman enacting the role cast for her in the complex theatres of war. ‘A writer’s reflection’ discusses the themes of the novel, introducing the notion of existential erotica. The existential experience particular to the expression of the erotic being is discussed, and the dilemma which arises from a self yearning to merge ecstatically with an/other in order to obtain a heightened or differently valued self. This theme is elaborated in ‘Libertine’ with regard to subjectivity and the broader issues of nausea, horror and choice, drawing on the conventions of Gothic literature and apocalyptic visioning. This visioning, as eroticised death worship, is found in a Sadian credo of cruelty, the tantric rituals of Kali devotion, and the annihilating erotic excess propounded by Bataille. The monograph illustrated that ‘Libertine’ is not a re-representation of these elements, but an original contribution to the literature of erotica.
Doctor of Philosophy (PhD)

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Books on the topic "Australian Gothic Literature"

1

Stephanie, Trigg, ed. Medievalism and the Gothic in Australian culture. Turnhout, Belgium: Brepols Publishers, 2005.

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2

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

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3

Peripheral fear. New York: P.I.E. Peter Lang, 2009.

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4

Darkness Subverted Aboriginal Gothic In Black Australian Literature And Film. V&r; Unipress, 2010.

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5

Trigg, Stephanie. Medievalism and the Gothic in Australian Culture. Melbourne University Publishing, 2006.

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Althans, Katrin. Darkness Subverted: Aboriginal Gothic in Black Australian Literature and Film. V&R unipress GmbH, 2010.

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Steer, Philip. Colonial Gothic. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199609932.003.0015.

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This chapter examines the colonial Gothic novel. Pervasive in the literatures of Canada, Australia, New Zealand, and the Caribbean, the colonial Gothic is more appropriately described as a mode rather than a discrete genre, and its representational possibilities have been shaped by three broad phases of generic transformation and cross-fertilization within the Anglophone novel during the period in question. While the popularity of the Gothic novel peaked in the 1790s with the romances of Ann Radcliffe, its translation into British colonial contexts was enabled in the early decades of the nineteenth century through the hugely successful historical novels of Walter Scott and James Fenimore Cooper. A resurgence of Gothic tropes and themes occurred in the wake of the British romance revival of the 1880s. Finally, twentieth-century examples of the colonial Gothic increasingly occur within a literary terrain transformed by the rise of modernism and growing attempts to produce distinct national traditions of realist writing.

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Howells, Coral Ann, Paul Sharrad, and Gerry Turcotte, eds. The Oxford History of the Novel in English. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199679775.001.0001.

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This book explores the history of English-language prose fiction in Australia, Canada, New Zealand, and the South Pacific since 1950, focusing not only on the ‘literary’ novel, but also on the processes of production, distribution and reception, and on popular fiction and the fictional sub-genres, as well as the work of major novelists, movements, and tendencies. After World War II, the rise of cultural nationalism in Australia, Canada, and New Zealand and movements towards independence in the Pacific islands, together with the turn toward multiculturalism and transnationalism in the postcolonial world, called into question the standard national frames for literary history. This resulted in an increasing recognition of formerly marginalised peoples and a repositioning of these national literatures in a world literary context. The book explores the implications of such radical change through its focus on the English-language novel and the short story, which model the crises in evolving narratives of nationhood and the reinvention of postcolonial identities. Shifting socio-political and cultural contexts and their effects on novels and novelists, together with shifts in fictional modes (realism, modernism, the Gothic, postmodernism) are traced across these different regions. Attention is given not only to major authors but also to Indigenous and multicultural fiction, children's and young adult novels, and popular fiction. Chapters on book publishing, critical reception, and literary histories for all four areas are included in this innovative presentation of a Trans-Pacific postcolonial history of the novel.

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Book chapters on the topic "Australian Gothic Literature"

1

Gildersleeve, Jessica. "Terror in Colonial Australian Literature." In The Palgrave Handbook of Steam Age Gothic, 203–15. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-40866-4_12.

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2

Barnes, Anne. "Mapping the Landscape with Sound: Tracking the Soundscape from Australian Colonial Gothic Literature to Australian Cinema and Australian Transcultural Cinema." In Screen Culture in the Global South, 156–70. Routledge, 2020. http://dx.doi.org/10.4324/9780429356216-14.

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