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Journal articles on the topic 'Australian Gothic Literature'

Author: Grafiati

Published: 11 December 2022

Last updated: 26 January 2023

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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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2

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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3

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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4

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 (2017): 156–70. http://dx.doi.org/10.1080/02560046.2017.1386702.

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5

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 (2020): 577–88. http://dx.doi.org/10.1080/00111619.2020.1758612.

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6

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 (2022): 295–318. http://dx.doi.org/10.1080/09699082.2022.2050517.

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7

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 (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

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8

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 (2021): 46–60. http://dx.doi.org/10.1080/14443058.2021.1876138.

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9

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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10

Wolff, Mark. "In search of a Tropical Gothic in Australian visual arts." eTropic: electronic journal of studies in the tropics 18, no. 1 (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 portray

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11

Doolan, Emma. "Hinterland Gothic: Subtropical Excess in the Literature of South East Queensland." eTropic: electronic journal of studies in the tropics 18, no. 1 (2019). http://dx.doi.org/10.25120/etropic.18.1.2019.3679.

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South East Queensland’s subtropical hinterlands—the mountainous, forested country lying between the cities of the coast and the Great Dividing Range—are sites of a regional variation of Australian Gothic. Hinterland Gothic draws its atmosphere and metaphors from the specificities of regional landscapes, climate, and histories.In works by Eleanor Dark, Judith Wright, Janette Turner Hospital, and Inga Simpson, South East Queensland’s Gold Coast and Sunshine Coast hinterlands are represented as Gothic regions “beyond the visible and known” (“Hinterland” in Oxford Dictionaries Online 2019), where

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12

Carleton, Stephen. "Australian Gothic : Theatre and the Northern Turn." Australian Literary Studies, June 1, 2012. http://dx.doi.org/10.20314/als.a6e355f701.

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13

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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14

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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15

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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16

McVeigh, Margaret. "Urban girl: writing the female gothic in the Australian landscape." TEXT, April 30, 2018. http://dx.doi.org/10.52086/001c.25675.

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17

Herbert-Goodall, Eileen. "The haunting power of dreamscapes within Tim Winton’s gothic novella In the Winter Dark." TEXT 26, Special 68 (2022). http://dx.doi.org/10.52086/001c.57573.

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Nightmares and their aesthetics of terror have been linked to Gothic literature since the birth of the genre during the pre-Romantic era. Indeed, many early authors of the form, including Horace Walpole, Ann Radcliffe and Mary Shelley, were driven to articulate the content of disturbing dreams via their literary work. Significantly, dark literary dream sequences continue to be a cornerstone feature of many contemporary Gothic texts. In this paper, I reflect upon some of the uniquely Australian Gothic tropes on display within Tim Winton’s 1988 novella, In the Winter Dark, while also discussing

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18

"31. Althans, Katrin. 2010. Darkness subverted: Aboriginal Gothic in Black Australian literature and film." English and American Studies in German 2011, no. 1 (2011): 69–71. http://dx.doi.org/10.1515/east-2011-0033.

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19

Gildersleeve, Jessica. "“Weird Melancholy” and the Modern Television Outback: Rage, Shame, and Violence in Wake in Fright and Mystery Road." M/C Journal 22, no. 1 (2019). http://dx.doi.org/10.5204/mcj.1500.

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In the middle of the nineteenth century, Marcus Clarke famously described the Australian outback as displaying a “Weird Melancholy” (qtd. in Gelder 116). The strange sights, sounds, and experiences of Australia’s rural locations made them ripe for the development of the European genre of the Gothic in a new location, a mutation which has continued over the past two centuries. But what does it mean for Australia’s Gothic landscapes to be associated with the affective qualities of the melancholy? And more particularly, how and why does this Gothic effect (and affect) appear in the most accessibl

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20

Shek-Noble, Liz. "**Disability in Three Australian Gothic Novels: *The Well*, *Sing Fox to Me* and _Lilian’s Story_**." Australian Literary Studies, April 30, 2022. http://dx.doi.org/10.20314/als.a3d9c712dd.

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21

Hassall, Linda. "Contemporary Theatrical Landscapes: The Legacy of Romanticism in two examples of contemporary Australian Gothic drama." TEXT, October 31, 2017. http://dx.doi.org/10.52086/001c.25935.

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22

Vandamme, Christine. "The Spell of Place in Carpentaria." Alexis Wright’s Carpentaria: “A self-governing literature that belongs to place”, no. 6 (December 19, 2022). http://dx.doi.org/10.56078/motifs.853.

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The following paper allows us to study the links between place and Australian Aboriginal Dreamtime or Dreaming. Such an approach foregrounds the need to re-envision our world as in permanent co-presence of human and other-than-human, and thus the necessity to reassess and ultimately refuse monological nationalist foundation narratives and replace them with more inclusive ones to reflect more fully what sustainable relationships in nature and society at large really consist in.Carpentaria offers a very original revisiting of the Gothic spectral motifs of disappearance and disorientation so prev

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23

Masson, Sophie Veronique. "Fairy Tale Transformation: The Pied Piper Theme in Australian Fiction." M/C Journal 19, no. 4 (2016). http://dx.doi.org/10.5204/mcj.1116.

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The traditional German tale of the Pied Piper of Hamelin inhabits an ambiguous narrative borderland, a liminal space between fact and fiction, fantasy and horror, concrete details and elusive mystery. In his study of the Pied Piper in Tradition and Innovation in Folk Literature, Wolfgang Mieder describes how manuscripts and other evidence appear to confirm the historical base of the story. Precise details from a fifteenth-century manuscript, based on earlier sources, specify that in 1284 on the 26th of June, the feast-day of Saints John and Paul, 130 children from Hamelin were led away by a pi

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24

Starrs, Bruno. "Hyperlinking History and Illegitimate Imagination: The Historiographic Metafictional E-novel." M/C Journal 17, no. 5 (2014). http://dx.doi.org/10.5204/mcj.866.

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‘Historiographic Metafiction’ (HM) is a literary term first coined by creative writing academic Linda Hutcheon in 1988, and which refers to the postmodern practice of a fiction author inserting imagined--or illegitimate--characters into narratives that are intended to be received as authentic and historically accurate, that is, ostensibly legitimate. Such adventurous and bold authorial strategies frequently result in “novels which are both intensely self-reflexive and yet paradoxically also lay claim to historical events and personages” (Hutcheon, A Poetics 5). They can be so entertaining and

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25

Mercer, Erin. "“A deluge of shrieking unreason”: Supernaturalism and Settlement in New Zealand Gothic Fiction." M/C Journal 17, no. 4 (2014). http://dx.doi.org/10.5204/mcj.846.

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Like any genre or mode, the Gothic is malleable, changing according to time and place. This is particularly apparent when what is considered Gothic in one era is compared with that of another. The giant helmet that falls from the sky in Horace Walpole’s Castle of Otranto (1764) is a very different threat to the ravenous vampires that stalk the novels of Anne Rice, just as Ann Radcliffe’s animated portraits may not inspire anxiety for a contemporary reader of Stephen King. The mutability of Gothic is also apparent across various versions of national Gothic that have emerged, with the specificit

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26

Mallan, Kerry Margaret, and Annette Patterson. "Present and Active: Digital Publishing in a Post-print Age." M/C Journal 11, no. 4 (2008). http://dx.doi.org/10.5204/mcj.40.

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At one point in Victor Hugo’s novel, The Hunchback of Notre Dame, the archdeacon, Claude Frollo, looked up from a book on his table to the edifice of the gothic cathedral, visible from his canon’s cell in the cloister of Notre Dame: “Alas!” he said, “this will kill that” (146). Frollo’s lament, that the book would destroy the edifice, captures the medieval cleric’s anxiety about the way in which Gutenberg’s print technology would become the new universal means for recording and communicating humanity’s ideas and artistic expression, replacing the grand monuments of architecture, human engineer

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27

Hawkins, Katharine. "Monsters in the Attic: Women’s Rage and the Gothic." M/C Journal 22, no. 1 (2019). http://dx.doi.org/10.5204/mcj.1499.

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The Gothic is not always suited to women’s emancipation, but it is very well suited to women’s anger, and all other instances of what Barbara Creed (3) would refer to as ‘abject’ femininity: excessive, uncanny and uncontained instances that disturb patriarchal norms of womanhood. This article asserts that the conventions of the Gothic genre are well suited to expressions of women’s rage; invoking Sarah Ahmed’s work on the discomforting presence of the kill-joy in order to explore how the often-alienating processes of uncensored female anger coincide with contemporary notions of the Monstrous F

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28

Phillipov, Michelle. "“Just Emotional People”? Emo Culture and the Anxieties of Disclosure." M/C Journal 12, no. 5 (2009). http://dx.doi.org/10.5204/mcj.181.

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In an article in the Sunday Tasmanian shortly after the deaths of Melbourne teenagers Jodie Gater and Stephanie Gestier in 2007, Tasmanian Catholic Schools Parents and Friends Federation president Bill Button claimed: “Parents are concerned because all of a sudden their child, if they have access to a computer, can turn into an Emo” (qtd. in Vowles 1).For a few months in 2007, the dangers of emo and computer use were significant themes in Australian newspaper coverage. Emo, an abbreviation of the terms “emocore” or “emotional hardcore”, is a melodic subgenre of punk rock music, characterised b

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29

Brien, Donna Lee. "The Real Filth in American Psycho." M/C Journal 9, no. 5 (2006). http://dx.doi.org/10.5204/mcj.2657.

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   1991 An afternoon in late 1991 found me on a Sydney bus reading Brett Easton Ellis’ American Psycho (1991). A disembarking passenger paused at my side and, as I glanced up, hissed, ‘I don’t know how you can read that filth’. As she continued to make her way to the front of the vehicle, I was as stunned as if she had struck me physically. There was real vehemence in both her words and how they were delivered, and I can still see her eyes squeezing into slits as she hesitated while curling her mouth around that final angry word: ‘filth’. Now, almost fifteen years later, the

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30

Franks, Rachel. "A Taste for Murder: The Curious Case of Crime Fiction." M/C Journal 17, no. 1 (2014). http://dx.doi.org/10.5204/mcj.770.

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Introduction Crime fiction is one of the world’s most popular genres. Indeed, it has been estimated that as many as one in every three new novels, published in English, is classified within the crime fiction category (Knight xi). These new entrants to the market are forced to jostle for space on bookstore and library shelves with reprints of classic crime novels; such works placed in, often fierce, competition against their contemporaries as well as many of their predecessors. Raymond Chandler, in his well-known essay The Simple Art of Murder, noted Ernest Hemingway’s observation that “the goo

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31

Kustritz, Anne. "Transmedia Serial Narration: Crossroads of Media, Story, and Time." M/C Journal 21, no. 1 (2018). http://dx.doi.org/10.5204/mcj.1388.

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The concept of transmedia storyworlds unfolding across complex serial narrative structures has become increasingly important to the study of modern media industries and audience communities. Yet, the precise connections between transmedia networks, serial structures, and narrative processes often remain underdeveloped. The dispersion of potential story elements across a diverse collection of media platforms and technologies prompts questions concerning the function of seriality in the absence of fixed instalments, the meaning of narrative when plot is largely a personal construction of each au

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32

Glitsos, Laura. "From Rivers to Confetti: Reconfigurations of Time through New Media Narratives." M/C Journal 22, no. 6 (2019). http://dx.doi.org/10.5204/mcj.1584.

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IntroductionIn the contemporary West, experiences of time are shaped by—and inextricably linked to—the nature of media production and consumption. In Derrida and Steigler’s estimation, teletechnologies bring time “into play” and thus produce time as an “artifact”, that is, a knowable product (3). How and why time becomes “artifactually” produced, according to these thinkers, is a result of the various properties of media production; media ensure that “gestures” (which can be understood here as the cultural moments marked as significant in some way, especially public ones) are registered. Being

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