Dissertations / Theses: 'Austria, fiction'

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Davidson, Elizabeth Macleod. "Women's writing in exile : three Austrian case studies, Veza Canetti, Anna Gmeyner, Lilli Korber." Thesis, University of Oxford, 2010. http://ora.ox.ac.uk/objects/uuid:17215528-0abb-41d2-8f22-883fc185e7c9.

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Despite the recent increase in scholarship on the subject of the female experience in exile, there is still much to be done. Exile scholars now have at their disposal an abundance of broad, general overviews of the circumstances and fates of displaced women writers, but a dearth of scholarship that considers specific literary works in an individualised fashion still exists. This is especially true of those female writers who have only recently been 'rediscovered', such as the three under discussion in this thesis. This thesis explores in detail the exile writings of Veza Canetti, Anna Gmeyner, and Lili Korber, about which little scholarship exists, and uses them as case studies to illuminate the situation of exiled women writers in general The exile works of these three authors repay study both for their own literary merits and for what they can tell us about the individual experience of exile. In their broad similarities, these writers also provide us with case studies of the larger experience of authorial exile - particularly, but by no means exclusively, the gendered experience - that allow us to derive more general lessons about the influence of forced flight on literary art. By giving due consideration to work produced in exile, this thesis calls into question some of the generalisations commonly found in recent scholarship and demonstrates that, despite hardsrnps and setbacks and contrary to common scholarly contention, all three women continued to write well into their exile years and that in those years they took their writing in new, skilful, and creative directions.

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Pineau, Noémi. "Pensée et écriture du réel : pour une interprétation de l'oeuvre d'Ilse Aichinger de 1945 à 2006." Thesis, Strasbourg, 2012. http://www.theses.fr/2012STRAC032.

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Cette thèse de doctorat se donne pour objet d’analyser la notion de réalité dans l’oeuvre d’Ilse Aichinger, née en 1921 à Vienne. Cette recherche s’attache à la réflexion théorique de l’auteure sur les relations entre littérature et réalité, ainsi qu’aux différents aspects textuels de l’écriture de cette réalité. Il s’agit également de replacer la production d’Aichinger dans le contexte de la littérature d’après 1945, au sein de laquelle la réflexion sur la transmission du réel et sur la fonction cognitive de l’écrivain occupe une place essentielle. La première partie de ce travail traite de la place de la fiction dans l’oeuvre et la pensée d’Ilse Aichinger, à travers les notions de fictivité et fictionalité. Cette analyse est complétée par une réflexion sur le statut de la fiction dans le contexte de la production et de la réception des textes littéraires de cette auteure. Le savoir constitue la seconde approche de ce travail sur la notion de réalité. Nous caractérisons dans cette partie le statut du savoir au fil de l’oeuvre d’Aichinger, pour ensuite nous intéresser à ses mises en oeuvre spécifiques, telles que le savoir subjectif ou l’intuition. Pour finir, cette recherche se consacre à l’étude de deux articulations de la réalité plus spécifiques à la littérature. Il s’agit d’une part de traiter la notion d’artificialité textuelle,ce qui aboutit à une réflexion sur l’authenticité et le statut de l’imaginaire chez cette auteure. Une étude de l’évolution des structures narratives dans l’oeuvre d’Aichinger vient conclure cette thèse
This doctoral research analyzes the statute of the reality notion within Ilse Aichinger’s literature. It focuses on her theoretical cogitation about the connection between literature and reality and on the different textual aspects of her writing about reality. We also tried to set Aichinger’s production back in the context of literature after 1945, in which cogitation about transmission of reality and about the cognitive function of writers plays a great part.The approach of the first part is the importance of fiction through the concepts of fictivity and fictionality. This analysis is completed by a cogitation about fiction in the context of literature production and reception. Knowledge is the second approach of this research about reality. In this part, we first characterize the status of knowledge in Aichinger’s literature and secondly describe some particular examples which are characteristic for Aichinger’s writing, as subjective knowledge or intuition. We finally analyze two different ways of writing about reality in literature. The study on the artificiality of the literature text leads to a reflection about the meaning of authenticity and imagination by this author. We conclude this research by analyzing the changing of narrative structures in Ilse Aichinger’s literature

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Bolton, Philip Joseph. "Staat, Stadt, Subjekt : the body and the city in contemporary Austrian fiction." Thesis, Durham University, 2012. http://etheses.dur.ac.uk/5904/.

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Since the publication in 1960 of Hans Lebert’s, Die Wolfshaut, Austrian fiction has been dominated by the so-called Anti-Heimatroman or ‘critical regional novel’, which deploys the provincial setting as a key vehicle for the socially-critical representation of the Austrian nation. Such is the dominance of the Anti-Heimatroman that critics have identified a concern with regional Austria as one of the few constants of post-war Austrian writing. In the vast majority of the literature produced since the 1960s, therefore, Vienna has no role to play; the capital has occupied only a marginal position on Austria’s literary landscape. Recently, however, critics have acknowledged a return to the city in Austrian fiction. This thesis provides the first detailed account of this ‘urban turn’, focussing on the question of how the literary text’s socially-critical function has evolved as a result of the transition from province to metropolis. Placing its focus at the intersection of the body and (primarily urban) space, it provides readings of five novels published during the 1990s and 2000s. Its five case studies draw on the work of Michel Foucault and Walter Benjamin to explore the role that the subject’s interaction with urban topographies plays in contemporary literature’s critical engagement with Austrian realities. Chapter One challenges the established view that the Anti-Heimatroman became obsolete during the 1980s. It examines the construction of the gendered Heimat in Norbert Gstrein’s Das Register (1992), and explores in particular the extent to which Gstrein’s work draws on the generic norms of the Anti-Heimatroman. Turning to novels that are set in Vienna, subsequent chapters isolate two phases in the evolution of literature’s engagement with the realities of present-day and historical Austria. Readings of Lilian Faschinger’s Wiener Passion (1999) and Doron Rabinovici’s Suche nach M. (1997) show that during the 1990s, the city replaces the province as a privileged backdrop for critical engagement with the problematic discourses that structure Austria’s post-war identity politics. By contrast, the post-Jahrtausendwende texts discussed here, Arno Geiger’s Es geht uns gut (2005) and Thomas Stangl’s Ihre Musik (2006), are marked by a turn inward, as writers become more interested in the emotional, psychological and existential orientation of the urban subject. But this turn inward results ultimately in a shift outward, enabling Austrian writers to focus on more universal socio-political issues. This thesis explores the development of literary engagement with Austrian realities during two decades of Austria’s literary history that remain conspicuously under-researched. The contemporaneity of the urban turn demands a critical focus on younger authors who have traditionally stood in the long shadows cast by their better-established colleagues. This unconventional approach, which leads away from the Austrian canon, is the source of second contribution that this thesis makes to Austrian Studies. By engaging explicitly with novels produced by younger authors, this thesis asks what the work of newer constellations of Austrian writers can tell us about the changing status of literature, and of its relationship to the society of which it is a product.

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Helen, Maureen. "The back flats." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2002. https://ro.ecu.edu.au/theses/851.

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This thesis comprises two interrelated sections. The first is a Piece of creative writing, a period novel, The Back 'Flats, which is set in the coastal hamlet of Greenough in Western Australia in the years 1887-1888. The twin themes of the novel are the resolution of maternal grief and Irish settlement in Western Australia. The second section is an essay concerned with the arrival of Irish people to Australia in the nineteenth century and, the influence they exerted on the culture of the developing nation, demonstrated through history and contemporary novels. The Back Flats is about a group of Irish Catholic settlers in a rural area as they experience the effects of the death of their baby girl from pneumonia on the mother, Kate O'Brien. The close-knit community has a superstitious fear of madness, which they believe can result if a woman withdraws from family and friends as part of her mourning process. An old woman whose baby died many years previously, and who was incapacitated by the death for years afterwards, now suffers from dementia. The Villagers think that the old woman’s condition is proof of what may happen to Kate. During a major flood caused by cyclonic rains at the source of the Greenough River, Kate and the old woman are thrown into close proximity. While she comforts the old Woman, Kate recognises that the other woman is not a threat to her or to her sanity. Irish convicts and freed immigrants accounted for a third of all immigration to Australia in the first century following the arrival of the First Fleet and the beginning of white settlement. The essay describes the settlement of the Greenough region from the early 1850s and the immigration of Irish people to Australia with particular reference to Irish women. It also places The Back FIats in a context of Australian literature about Irish convicts, immigrants, settlers and wanderers.

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Foster, Ian. "The image of the Habsburg Army in Austrian prose fiction, 1888 to 1914." Thesis, University of Cambridge, 1989. https://www.repository.cam.ac.uk/handle/1810/272628.

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Jackson, Laura McGee. "Negotiating identity : mother-daughter relationships in novels by Jutta Heinrich, Elfriede Jelinek, Waltraud Anna Mitgutsch and Helga Novak /." Thesis, Connect to this title online; UW restricted, 1996. http://hdl.handle.net/1773/9932.

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Paton, Elizabeth, and n/a. "Creativity and the Dynamic System of Australian Fiction Writing." University of Canberra. Communication, 2008. http://erl.canberra.edu.au./public/adt-AUC20090825.125448.

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Given the growing interest in fiction writing in Australia, seen in the rise in the number of festivals, writers' centres, how-to books, biographies and creative writing classes, it is surprising that very little research has been done within Australia on the nature of literary creativity itself. A review of international literature on creativity from areas such as the arts, history, psychology, sociology, cultural studies, business and education shows movement away from traditional and conventional ideas of creativity that focus primarily on the individual, towards more contextual approaches that reconceptualise creativity as the result of a dynamic system at work. Mihaly Csikszentmihalyi's tripartite model of creativity, which includes a field of experts, a domain of knowledge and an individual author, has been successfully applied to the arts and sciences in North America. It is argued that the systems model is also relevant to Australian fiction writing, a term which is used here to include novels in literature, popular fiction and genre fiction categories. This thesis is primarily based on in-depth interviews with 40 published Australian fiction writers. With over 400 publications between them, the individual writers interviewed represent a broad cross section of Australian fiction categories at both the national and international level. In addition to literary writers like Carmel Bird and Venero Armanno, this sample also incorporates writers in other genres such as Di Morrissey and Nick Earls (popular fiction), Paul Collins (science fiction and fantasy), Anna Jacobs (romance), Peter Doyle (crime) and Libby Gleeson and Gary Crew (children's and young adult fiction). Although the individual writers possess unique combinations of characteristics, biographies and processes, their collective responses demonstrate common participation in systemic processes of creativity. By analysing these responses in terms of Csikszentmihalyi's systems model, this thesis presents evidence that demonstrates a system of creativity at work in Australian fiction. The analysis of the collected data provides evidence, firstly, of how writers adopt and master the domain skills and knowledge needed to be able to write fiction through processes of socialisation and enculturation. Secondly, it is also the contention of this thesis that the individual's ability to contribute to the domain depends not only on traditional biological, personality and motivational influences but also socially and culturally mediated work practices and processes. Finally, it is asserted that the contribution of a field of experts is also crucial to creativity occurring in Australian fiction writing. This social organisation, comprised of all those who can affect the domain, is important not only for its influence on and acceptance of written works but also for the continuation of the system itself. The evidence shows that the field supports further writing as well as writing careers with many authors becoming members of the field themselves. In sum, the research demonstrates that, rather than being solely the property of individual authors, creativity in Australian fiction writing results from individuals making choices and acting within the boundaries of specific social and cultural contexts.

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Herbert, Elanna, and n/a. "Hannah�s Place: a neo historical fiction (Exegesis component of a creative doctoral thesis in Communication)." University of Canberra. Communication Media & Culture Studies, 2005. http://erl.canberra.edu.au./public/adt-AUC20070122.150626.

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The creative component of my doctoral thesis articulates narratives of female experience in Colonial Australia. The work re-contextualises and re-narrativises accounts of events which occurred in particular women�s lives, and which were reported in nineteenth century newspapers. The female characters within my novel are illiterate and from the lower classes. Unlike middle-class women who wrote letters and kept journals, women such as these did not and could not leave us their stories. The newspaper accounts in which their stories initially appeared reflected patriarchal (and) class ideologies, and represented the women as the �other�. However, it is by these same textual artefacts that we come to know of their existence. The multi-layered novel I have written juxtaposes archival pre-texts (or intertexts) against fictional re-narrativisations of the same events. One reason for the use of this style is in order to challenge the past positioning of silenced women. My female characters� first textual iterations, those documents which now form our archival records, were written from a position of hegemonic patriarchy. Their first textual iteration were the record of female existence recorded by others. The original voices of the fictionalised female characters of my novel are heard as an absence and the intertext, as well as the fiction, now stands as a trace of what once existed as women�s lived, performative experience. My contention is that by making use of concepts such as historiographic metafiction, transworld identities, and sideshadowing; along with narrative structures such as juxtaposition, collage and the use of intertext and footnotes, a richer, multidimensional and non-linear view of female colonial experience can be achieved. And it will be one which departs from that hegemonically imposed by patriarchy. It is the reader who becomes the meaning maker of �truth� within historical narration. My novel sits within the theoretical framework of postmodern literature as a variant on a new form of the genre that has been termed �historical fiction�. However, it departs from traditional historical fiction in that it foregrounds not only an imagined fictional past world created when the novel is read, but also the actual archival documents, the pieces of text from the past which in other instances and perhaps put together to form a larger whole, might be used to make traditional history. These pieces of text were the initial finds from the historical research undertaken for my novel. These fragments of text are used within the work as intertextual elements which frame, narratively interrupt, add to or act as footnotes and in turn, are themselves framed by my female characters� self narrated stories. These introduced textual elements, here foregrounded, are those things most often hidden from view within the mimetic and hermeneutic worlds of traditional historical fiction. It is also with these intertextual elements that the fictional women engage in dialogue. At the same time, my transworld characters� existence as fiction are reinforced by their existence as �objects� (of narration) within the archival texts. Both the archival texts and the fiction are now seen as having the potential to be unreliable. My thesis suggests that in seeking to gain a clearer understanding of these events and the narrative of these particular marginalised colonial women�s lives, a new way of engaging with history and writing historical fiction is called for. I have undertaken this through creative fiction which makes use of concepts such as transworld identity, as defined by Umberto Eco and also by Brian McHale, historiographic metafiction, as defined by Linda Hutcheon and the concept of sideshadowing which, as suggested by Gary Saul Morson and Michael Andr� Bernstein, opens a space for multiple historical narratives. The novel plays with the idea of both historical facts and historical fiction. By giving textual equality to the two the border between what can be considered as historical fact and historical fiction becomes blurred. This is one way in which a type of textual agency can be brought to those silenced groups from Australia�s past. By juxtaposing parts of the initial textual account of these events alongside, or footnoted below, the fiction which originated from them, I create a female narrative of �new writing� through which parts of the old texts, voiced from a male perspective, can still be read. The resulting, multi-layered narrative becomes a collage of text, voice and meaning thus enacting Mikhail Bakhtin�s idea of heteroglossia. A reading of my novel insists upon questioning the truthfulness or degree of reliability of past textual facts as accurate historic records of real women�s life events. It is this which is at the core of my novel�an historiographic metafictional challenging by the fictional voices of female transworld identities of what had been written as an historical, legitimate account of the past. This self-reflexive style of historical fiction makes for a better construct of a multi-dimensional, non-linear view of female colonial experience.

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Dahlstrom, James. "Imagining Australia: The Struggle to Locate Australian Identity in Peter Carey’s Early Fiction." Thesis, The University of Sydney, 2016. http://hdl.handle.net/2123/15356.

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In this thesis, I examine in Peter Carey’s early fiction the portrayal of Australia’s struggle to imagine a unique identity for itself. Three different, but overlapping, approaches will be woven together to serve as a lens through which his work can be read. First, it will be useful to situate the work within the context of Australian history and popular culture, which suggests an obsessive search for an “authentic” Australian identity, as well as the theoretical work on the social construction of such identities. Second, I will draw upon the work of Benedict Anderson, paired with that of Pheng Cheah, as a means of discussing the comparative process by which national identities are imagined and how those imagined identities emerge in cultural productions. In particular, I examine the typically unique characteristics and ideologies that are used as a basis when imagining national identities, as many of Australia’s are shared with both Britain and America. I will therefore engage with concepts like “totality,” “unisonance” and “seriality” as a means of discussing Carey’s work. Moreover, I will be utilising Louis Althusser’s concept of national ideology as a means of explicating Anderson’s and Cheah’s work. Finally, since the intersection between the national and the transnational is often conceived of in post-colonial language, especially in terms of Australia’s relationship to Britain and the United States, this thesis will draw on the work of post-colonial theorists like Bill Ashcroft, Gareth Griffiths and Helen Tiffin, Homi K. Bhabha, and Edward Said.

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Bowman, Christopher M. "Gallery of the Past: Writing Historical Fiction with 19th Century Photography in Canada and Australia." Thesis, Griffith University, 2013. http://hdl.handle.net/10072/365910.

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This thesis, consisting of a novel and dissertation, explores the writing of historical fiction, and the use of photography as research in visualising the several settings that the characters inhabit. As the novel is set in the late 19th century, the conventions of Victorian-era photography came to the forefront of the research. The story sees two fictional brothers leave their home on Vancouver Island in Canada, each traveling alone, and each with a different weight on his heart. They find themselves in towns with very real, and very documented, histories, and this is where my research into photography began. Joseph Richard, the younger brother, finds work in the town of Yale, on the Fraser River in British Columbia during the early days of the construction of the Canadian Pacific Railway. Yale was a boomtown and major depot during railway construction, and there are many photographs from the 1880s to chronicle its buildings and denizens, its remote and wild surroundings, its place in history.
Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Humanities
Arts, Education and Law
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Jackson, Blair Millard. "Where were you when I needed you? Omission in law and fiction." Thesis, The University of Sydney, 2021. https://hdl.handle.net/2123/27105.

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This thesis, comprising a creative component and exegesis, examines and critiques Australian laws relating to killing by omission. It traces some of the fictive techniques I adopted in an attempt to produce an affective and embodied reading experience of this legal space. The creative work comprises seven short stories, some connected by a common character. They explore specific reasons people fail to act to help others in danger. The stories are influenced by Australian laws relating to omission and criticise what I perceive to be the unjustifiable state of the law. In an attempt to produce an affective reading experience of omission, the creative work explores the limits of the “show don’t tell” technique and tests how the omission of a character’s consciousness can produce a reading experience of catharsis. The exegesis traces the development of my ideas relating to killing by omission and the fictive strategies I employed. I examine the history of Australian laws relating to killing by omission in an attempt to expose the laws as arbitrary, anachronistic, and immoral. I also attempt to establish clear lines of influence from the legal concepts to my fiction. The exegesis identifies a shift in my creative work from a focus on legal critique to the production of fictive effects, namely emotion. My work contributes to the ongoing debate about the need to reform Australian laws relating to killing by omission. It seeks to do this by reminding people of the tragic consequences omissions can have on those we care about most. Accordingly, this thesis may interest people working in law reform, law and literature researchers, and fiction writers and researchers interested in literary omission. Ultimately, the development of my creative work involved significant negotiation between legal criticism and aesthetic demands. At the fore, however, was a desire to create an emotional and persuasive fictive world.

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Robertson, Pixi. "Steel Riders : a novel for young adult readers and, An hermeneutical examination of Steel Riders." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2006. https://ro.ecu.edu.au/theses/326.

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This project consists of two parts, Section One: Steel Riders, a novel for young adult readers, and Section Two: An Hermeneutical Examination q(Steel Riders. Section One: Steel Riders is a hybrid text based largely on the conventions of the detective novel. The protagonist of Steel Riders is a nineteen-year-old university student, Bella Buchanan, who returns to her home in a small industrial town in regional Western Australia. Bella is disillusioned with her life in the city, but finds that she has become alienated from the life of her peers in her home town of Sandon. This distancing of Bella allows her to observe the manners of the townspeople from the perspective of an outsider/insider. Bella's quiet life is interrupted by the arrival of her ex-boyfriend, Tallis McGuin, local Nyungah football hero who has recently joined the police force as an Aboriginal Police Aid. Bella's life is thrown into further turmoil when she begins work as a security guard at the local sand mining plant. It is here at the plant that Bella discovers a plot to conceal an important anthropological report relating to a local Nyungah burial ground. The resulting 'investigation' undertaken by Bella and Tallis into this situation results in their uncovering of local government corruption and a large, commercial marijuana plantation. This simple plot allows for a complex investigation of many issues and situations that confront young people living in regional and remote areas and at the same time celebrates the beauty of the Australian bush and the importance of community. Section Two: An Hermeneutical Examination of Steel Riders is a circular investigation of the journey to creativity which investigates the ways in which the lived experience feeds the creative impulse. The fictional town of Sandon, where Steel Riders is set, is based on the real-life coal-mining town of Collie in Western Australia where I have lived for a number of years. My experiences before I came to Collie and my "life-relation" (Bultmann, 1986, p. 243) to that town, my researches into the history of the town, and my friendships with the local residents, both Nyungah and Wadgela, are interrogated within the context of the Hermeneutic Circle and the work of Johann Martin Chladenius (1742/1986) and Johann Gustav Droysen (1858/J 986). Steel Riders features a number of Indigenous characters and I have contextualised my position as a white, female writer within a discourse of Aboriginalism as propounded by Bob Hodge and Vijay Mishra (1991 ).

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Cain, Lara Anne. "Reading Culture : the translation and transfer of Australianness in contemporary fiction." Thesis, Queensland University of Technology, 2001. https://eprints.qut.edu.au/15785/1/Lara_Cain_Thesis.pdf.

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The dual usage of 'reading' in the title evokes the nature of this study. This thesis will analyse the ways in which people 'read' (make sense of/produce) images of culture as they approach translated novels. Part of this analysis is the examination of what informs the 'reading culture' of a given community; that is, the conditions in which readers and texts exist, or the ways in which readers are able to access texts. Understanding of the depictions of culture found in a novel is influenced by publicity and promotion, educational institutions, book stores, funding bodies and other links between the reading public and the production and sale of books. All of these parties act as 'translators' of the text, making it available and comprehensible to readers. This thesis will make use of a set of contemporary Australian novels, each of which makes extensive use of Australianness and Australianisms throughout its narrative. The movement of these texts from their cultures of origin towards wider Australia, the United Kingdom and France will provide the major case studies. The thesis will assert that no text is accessed without some form of translation and that the reading positions established by translators are a powerful influence on the interpretations arrived at by readers. More than ever, in the contemporary reading environment, the influence of the press and other 'translators' is significant to the ways in which texts are read, and to perceptions held by readers of the culture from which a novel originates.

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Baker, Suzanne Lynda. "Clowning seriously: The political force of magic realism in postcolonial fiction from Australia and Canada." Thesis, Baker, Suzanne Lynda (1997) Clowning seriously: The political force of magic realism in postcolonial fiction from Australia and Canada. PhD thesis, Murdoch University, 1997. https://researchrepository.murdoch.edu.au/id/eprint/52961/.

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The primary objective of this thesis is to demonstrate that the discursive mode of magic realism can contribute to the political force of postcolonial texts. This is achieved through detailed readings of contemporary works of fiction, written in English, from Australia and Canada. While the term ‘magic realism’ has been in use for more than seventy years, in recent times it has gained increasing currency in the critical discourses of Western literature. Commonly associated with the literature of the Latin American region, with Gabriel Garcia Marquez’s novel One Hundred Years of Solitude generally considered the paradigmatic example of literary magic realism, the term is now being applied to writing emerging from countries as diverse as Canada, Australia, Greece, and Norway. This thesis will argue that because of its inherent ambivalence and hybridity, the mode of magic realism represents a challenge to the authority of colonial discourses and hence its current popularity in the context of postcolonial writing. This thesis works on two fronts. The first part examines the historical evolution of the concept of magic realism, from its origins in the art world to its appearance in the literatures of the Latin American region. Existing definitions of the term will be evaluated in order to delineate the most important characteristics of magic realist writing. By exploring the concept in this way, the thesis aims to demonstrate the relevance of the term for contemporary literary theory. The second part of the thesis specifically addresses magic realism in the context of postcolonial writing from Canada and Australia. These nations have been chosen because of their similar postcolonial literary histories. This thesis represents the first extended study of magic realism in the context of postcolonial writing. The central claim of this thesis is that magic realism is an important politicising agent in that it challenges dominant and coercive ideologies and belief-systems at the same time as it challenges the conventions of the realist genre through which these ideologies are often perpetuated. It is argued here that the transgression of boundaries inherent in magic realism enables writers to move beyond the constrictions of commonly-accepted hierarchies. At the same time, however, by maintaining links with the discourse of realism, magic realism anchors the narrative to a ‘real’ world and thus creates a space where such hierarchies can be challenged and perhaps overturned. The thesis substantiates this claim by presenting readings of selected texts from the postcolonial settler cultures of Canada and Australia in which specific instances of magic realism add political force to the postcolonial themes and concerns which the texts explore. While magic realism has occupied a prominent position in Canadian literary theory for some time, this thesis is the first critical survey of magic realism in Australian fiction. The special contribution which this thesis makes to postcolonial studies is its bringing together of Australian and Canadian texts to explore their use of magic realism in the context of postcolonial writing. Also, included as a part of this thesis is the first annotated critical bibliography of magic realism which, it is anticipated, will be of considerable value for other researchers in the field. There is no doubt that we live in a world where rapid developments in technology and vast increases in scientific knowledge have meant that the limits of the ‘possible’ are constantly being challenged and redefined. This thesis will conclude by arguing that in spite of the fact that everyday ‘reality’ is becoming more and more ‘incredible’ as the borders of the possible and the impossible are subject to constant expansion and change, magic realism will continue to be an important and relevant discursive mode for exposing and critically challenging the ideologies behind the current status quo.

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Barker, Elaine M. "Civilization in the wilderness : the homestead in the Australian colonial novel, 1830-1860 /." Title page, contents and abstract only, 1989. http://web4.library.adelaide.edu.au/theses/09ARM/09armb255.pdf.

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Skyes, Gillian E. "The new woman in the new world : fin-de-siècle writing and feminism in Australia." Phd thesis, Faculty of Arts, 2002. http://hdl.handle.net/2123/16473.

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Cain, Lara Anne. "Reading Culture: the translation and transfer of Australianness in contemporary fiction." Queensland University of Technology, 2001. http://eprints.qut.edu.au/15785/.

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The dual usage of &171;reading&171; in the title evokes the nature of this study. This thesis will analyse the ways in which people &171;reading&171; (make sense of/produce) images of culture as they approach translated novels. Part of this analysis is the examination of what informs the &171;reading culture&171; of a given community; that is, the conditions in which readers and texts exist, or the ways in which readers are able to access texts. Understanding of the depictions of culture found in a novel is influenced by publicity and promotion, educational institutions, book stores, funding bodies and other links between the reading public and the production and sale of books. All of these parties act as &171;translators&171; of the text, making it available and comprehensible to readers. This thesis will make use of a set of contemporary Australian novels, each of which makes extensive use of Australianness and Australianisms throughout its narrative. The movement of these texts from their cultures of origin towards wider Australia, the United Kingdom and France will provide the major case studies. The thesis will assert that no text is accessed without some form of translation and that the reading positions established by translators are a powerful influence on the interpretations arrived at by readers. More than ever, in the contemporary reading environment, the influence of the press and other &171;translators&171; is significant to the ways in which texts are read, and to perceptions held by readers of the culture from which a novel originates.

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Saleh, Rofail Lydia. "City Space and Urban Identity: A Post-9/11 Consciousness in Australian Fiction 2005 to 2011." Thesis, The University of Sydney, 2019. https://hdl.handle.net/2123/21803.

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This thesis undertakes a detailed examination of a close corpus of five Australian literary novels published between 2005 and 2011, to assess the political, social, and cultural implications of 9/11 upon an urban Australian identity. My analysis of the literary city will reveal how this identity is trapped between layers of trauma which include haunting historical atrocities and inward nationalism, as well as the contrasting outward pull of global aspirations. Dead Europe by Christos Tsiolkas (2005), The Unknown Terrorist by Richard Flanagan (2006), Underground by Andrew McGahan (2006), Breath by Tim Winton (2008), and Five Bells by Gail Jones (2011) are uniquely varied narratives written in the shadow of 9/11. These novels reconfigure fictional notions of Australian urbanism in order to deal with fears and threats posed by 9/11 and the fallout that followed, where global interests fed into national concerns and discourses within Australia and resonated down to local levels. Adopting an Australia perspective, this thesis contextualises subsequent traumatic and apocalyptic trajectories in relation to urbanism and Australian identity in a post-9/11 world. As a cultural and political artefact based on literary analysis, this study captures a particular moment in time within the decade after 9/11, in order to contextualise political, social, and cultural implications upon a multi-layered Australian identity as reflected in the selected examples. To articulate this complexity, I forge an approach and methodology from the foundational framework of trauma theory, which brings together a constellation of traumas that resonate in collective or individual memory or are projected onto the Australian urban landscape. They include global terrorism and the legacy of settler colonial violence in Australia, as well as other mass-mediated catastrophes of the twenty-first century, which fed into a worldwide post-9/11 mood of anxiety that resonated on national and local levels within Australia. Although separate from each other, these traumas operate in a multidimensional matrix which I extend in the second part of this thesis to incorporate apocalyptic landscapes.

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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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Collins, Matthew Graham. "The fiction of Franz Nabl in literary context : a re-examination." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:67478695-5e36-41c3-be68-bd5857e33a2d.

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This thesis re-evaluates the work of the neglected Austrian novelist Franz Nabl. Nabl’s reputation has long been overshadowed by the prestige of Jung-Wien, denigrated by inaccurate association with the Heimatroman, and even unjustly tarnished by his appropriation during National Socialism. My work aims to correct these misconceptions, demonstrating that his best fiction merits rehabilitation not only in its own right, but also for the important questions it raises about conventional narratives of Austrian literary history. Structured chronologically, the five chapters of this thesis provide fresh analyses of Nabl’s texts, many of which have previously received only scant scholarly attention. These close readings are located in a range of relevant literary-historical and cultural contexts, illustrating that Nabl’s writing not only belongs in surprising literary company, but also that his works fit into important, yet often overlooked patterns in Austrian literary history which are often obscured by a tradition of criticism which values ‘modernism’ over ‘realism’, and privileges the aesthetically progressive over the apparently conservative. The first chapter investigates Nabl’s earliest fiction in the literary and cultural context of fin-de-siècle Vienna, revealing unexpected connections between Nabl and acknowledged modernists, such as Schnitzler and Kafka. The second and third chapters engage with Nabl’s novels, Ödhof and Das Grab des Lebendigen, establishing his status as a significant critical realist within a long tradition of Austrian works exploring unhappy family life. The fourth chapter focuses on the misleading view of Nabl as a regionalist, demonstrating that, while not all Heimat novels deserve critical condemnation, Nabl’s narratives of rural life invoke the conventions of the Heimatroman only to disappoint them. In the last chapter, I explore Nabl’s complicated relationship to National Socialism, showing that, although his involvements with the Nazis were ill-judged, Nabl was not committed to their politics and wrote only politically innocuous fiction during the regime.

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Evans, Katherine Elizabeth. "'Das Politische ist nicht anders erlebbar als privat' : a study of Anna Mitgutsch's fiction and its portrayal of Austrian society." Thesis, Bangor University, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.252371.

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22

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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23

Van, Luyn Ariella. "The artful life story : the oral history interview as fiction." Thesis, Queensland University of Technology, 2012. https://eprints.qut.edu.au/60921/1/Ariella_Van_Luyn_Thesis.pdf.

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This practice-led PhD project consists of two parts. The first is an exegesis documenting how a fiction writer can enter a dialogue with the oral history project in Australia. I identify two philosophical mandates of the oral history project in Australia that have shaped my creative practice: an emphasis on the analysis of the interviewee’s subjective experience as a means of understanding the past, and the desire to engage a wide audience in order to promote empathy towards the subject. The discussion around fiction in the oral history project is in its infancy. In order to deepen the debate, I draw on the more mature discussion in ethnographic fiction. I rely on literary theorists Steven Greenblatt, Dorrit Cohn and Gerard Genette to develop a clear understanding of the distinct narrative qualities of fiction, in order to explore how fiction can re-present and explore an interviewee’s subjective experience, and engage a wide readership. I document my own methodology for producing a work of fiction that is enriched by oral history methodology and theory, and responds to the mandates of the project. I demonstrate the means by which fiction and the oral history project can enter a dialogue in the truest sense of the word: a two-way conversation that enriches and augments practice in both fields. The second part of the PhD is a novel, set in Brisbane and based on oral history interviews and archival material I gathered over the course of the project. The novel centres on Brisbane artist Evelyn, who has been given an impossible task: a derelict old house is about to be demolished, and she must capture its history in a sculpture that will be built on the site. Evelyn struggles to come up with ideas and create the sculpture, realising that she has no way to discover who inhabited the house. What follows is a series of stories, each set in a different era in Brisbane’s history, which take the reader backwards through the house’s history. Hidden Objects is a novel about the impossibility of grasping the past and the powerful pull of storytelling. The novel is an experiment in a hybrid form and is accompanied by an appendix that identifies the historically accurate sources informing the fiction. The decisions about the aesthetics of the novel were a direct result of my engagement with the mandates of the oral history project in Australia. The novel was shortlisted in the 2012 Queensland Literary Awards, unpublished manuscript category.

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White, Terri-Ann. "Finding Theodore and Brina." Thesis, Curtin University, 2000. http://hdl.handle.net/20.500.11937/537.

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The form I have chosen for this dissertation is fiction-of a certain kind- that incorporates historical detail, family history, and popular mythology of the Western Australian community. Through the details of family and social history, I aim to tell another version of settlement of Perth from the mid-nineteenth century to the present. This story belongs to my family, starting with great-grandparents who travelled from London to Australia in the 185Os: one as a convict, one a free settler; both were Jewish, and the convict was Polish.The writing is textured with forgotten voices, is self-reflexive, and tackles the paradoxes involved in telling stories from within the family I belong to, one that resists telling its own stories because of shame and the lack of an authoritative, or socially given, voice. From family history to social history, my interest is in the material that sits on the margins: the unspoken and generally unwritten histories of people on the edges of this society. This material, which is not recorded or spoken, nonetheless "speaks" a shame that shapes the ever-developing identity of a family and a community.The work is informed by feminist ideas about voice and the hierarchy which licenses select people in our society to speak. Relying on the varied materials that sit between historical writing and personal memories, it follows evidence, both written and oral, recognising how malleable memory can be. One of my purposes is to explore ideas about memory, from the individual act of memory to its transmutation into collective memory-to recover, recuperate, and explore what is involved in forgetting and remembering, and do this through a layering of stories, of voices, of form.

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Hagemann, Helen. "Silhouettes of Alice." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2006. https://ro.ecu.edu.au/theses/345.

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This thesis comprises three sections. Section One is a novel Silhouettes of Alice, divided into four parts. Parts I and II are set in the fifties and sixties, and Part IV is set in the twenty-first century. The novel highlights the formative years of a girl's life from the age of five to twelve years, leaving home at twenty, and later, at mid-life, getting divorced and starting over. Section Two is a collection of twenty poems that form part of the creative writing component, a new work entitled Country Girl. Section Three is an essay on Views from the Veranda: Visual Maps of Place, Culture and Identity. This area of research highlights the veranda as a significant cultural contribution to the Australian way of life, place and identity. The veranda is featured in both manuscripts, and is integral to themes of love, home, friendship and familial guardianship. In the essay, by utilizing several authors' works, I discuss how the veranda acts as a caesura, a pause on the edge of the house, a reflective space where families interact, educate, communicate, and socialize. The research into the veranda, especially Philip Drew's work Veranda: Embracing Place, has facilitated my inquiry into the social, physical and cultural significance of the veranda. The essay also utilizes Gaston Bachelard's The Poetics of Space, primarily for theoretical insights into spatial environments, and his philosophical and metaphysical theories on intimate places where the mind rests, evoking the imagination, memories and daydreams - the writer's essential tools .

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Smith, Burston Helen K. "Heartlines : a novel and, A study of the cultural context of adoption between 1950 and 1980 with particular, but not exclusive, reference to the Australian birth mother and her relinquished child : an accompanying essay." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2006. https://ro.ecu.edu.au/theses/329.

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This thesis deals with the loss experienced by all participants in adoption, especially during the period 1950 to 1980 and with particular, but not exclusive, reference to the birth mother and her child. The work is in two parts, the first being a contemporary novel, 'Heartlines', written in the form of a fictional memoir from the point of view of a woman in her early forties who suddenly is confronted with the daughter she relinquished twenty years previously, and whose existence she has kept secret from her husband. The novel deals with the difficult relationship that develops between mother ann daughter and the adjustments the main character must make in her realisation that the young woman who has come back into her life is not the person she had imagined her to be during the years since she was forced to give her up for adoption. Part Two is an essay that puts into context the cultural background of the period studied, the stigmatisation of women who bore ex-nuptial children and how the society in which they lived left them few options other than to abandon their infants to strangers. It deals with the consequences for young women following a lapse of judgement that would have repercussions for the rest of their lives. Many of the women who relinquished babies during the period are believed to have suffered post-traumatic stress disorder as a result of their experience, and remained in an ongoing state of pathological grief.

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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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Booth, Sharron. "Venturing into silences:The silence of water (novel) - and - Convicts, women and Western Australian stories (essay)." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2020. https://ro.ecu.edu.au/theses/2312.

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This thesis examines the harsh impact of convict transportation on Western Australian life and literary production with a novel, “The Silence of Water”, and an accompanying essay. The Swan River Colony (Western Australia) was established in 1829 with the express intention never to accept convicts; however, almost 10,000 men were transported there from Britain between 1850 and 1868. “The Silence of Water” depicts the life of one convict, Customs and Excise officer and former tailor Edwin Thomas Salt, who was convicted of the murder of his wife, Mary Ann, in Edinburgh in 1860. The case attracted attention in newspapers across Britain partly due to the “extreme provocation” Edwin was said to have suffered because of Mary Ann’s drinking. Edwin’s death sentence was commuted and he was transported to Western Australia in 1862. Edwin later received a conditional pardon that allowed him to live as a free man. In Western Australia he married twice, had more children and worked sporadically as a tailor. He died in Fremantle in 1910. A literate man with no prior convictions, sometimes a drunk and a bully, Edwin Salt differs from the convicts usually depicted in Western Australian fiction. Through the characters of Edwin Salt, his Australian daughter and granddaughter, “The Silence of Water” explores themes of exile, incarceration, family dislocation, secrets and intergenerational silences. The accompanying essay claims complex convict characters are largely missing from Western Australia’s literature and suggests how “The Silence of Water” claims a place for convicts and the women associated with them in Western Australia’s founding colonial narrative. It also discusses key research frameworks, methods and literary strategies. Chapter one examines how the convict figure functions across a range of novels from 1880 to 2015 and finds that Western Australia’s convict figure differs markedly from that seen in novels from other Australian states. Chapter two examines two research methods used to write the novel: engagement with the archives and engagement with place. It demonstrates how exploration of Edwin Thomas Salt broadened to focus on the women associated with him, driven by a feminist theoretical framework. Chapter three discusses some literary strategies selected for “The Silence of Water” and their rationale, drawing on the work of contemporary Western Australian fiction writers. Overall, the thesis illuminates an under-explored area of Western Australian cultural production and contributes new knowledge about Western Australia’s convict era, the consequences of which are still visible today.

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Elder, Catriona, and catriona elder@arts usyd edu au. "Dreams and nightmares of a 'White Australia' : the discourse of assimilation in selected works of fiction from the 1950s and 1960s." The Australian National University. Faculty of Arts, 1999. http://thesis.anu.edu.au./public/adt-ANU20050714.143939.

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This thesis is an analysis of the production of assimilation discourse, in terms of Aboriginal people’s and white people’s social relations, in a small selection of popular fiction texts from the 1950s and 1960s. I situate these novels in the broader context of assimilation by also undertaking a reading of three official texts from a slightly earlier period. These texts together produce the ambivalent white Australian story of assimilation. They illuminate some of the key sites of anxiety in assimilation discourses: inter-racial sexual relationships, the white family, and children and young adults of mixed heritage and land ownership. The crux of my argument is that in the 1950s and early 1960s the dominant cultural imagining of Australia was as a white nation. In white discourses of assimilation to fulfil the dream of whiteness, the Aboriginal people – the not-white – had to be included in or eliminated from this imagined white community. Fictional stories of assimilation were a key site for the representation of this process, that is, they produced discourses of ‘assimilation colonization’. The focus for this process were Aboriginal people of mixed ancestry, who came to be represented as ‘the half-caste’ in assimilation discourse. The novels I analyse work as ‘conduct books’. They aim to shape white reactions to the inclusion of Aboriginal people, in particular the half-caste, into ‘white Australia’. This inclusion, assimilation, was an ambivalent project – both pleasurable and unsettling – pleasurable because it worked to legitimate white colonization (Aboriginal presence as erased) and unsettling because it challenged the idea of a pure ‘white Australia’.

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Bell, Pamela. "Art that never was : representations of the artist in twentieth-century Australian fiction." Thesis, The University of Sydney, 2003. http://hdl.handle.net/2123/7310.

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This thesis traces the development of the artist figure as a leading character in twentieth-century Australian novels. In Australia there have always been complex interconnections between the worlds of art and literature, perhaps the most obvious being the cluster of artists and writers centred on the journal Vision, co-edited by Norman Lindsay’s son Jack with Kenneth Slessor, who was heavily influenced by Lindsay. Slessor’s poem “Five Bells”, an elegy for his artist friend Joe Lynch, later became the subject of a mural painted for Sydney Opera House by John Olsen. Although this and other connections between poetry and art are of interest, this thesis concentrates on fiction only.

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Curtin, Amanda. "Ellipsis: a novel and exegesis." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2006. https://ro.ecu.edu.au/theses/337.

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This thesis comprises a novel entitled 'Ellipsis' and an exegesis entitled 'Ellipsis: Ambiguous genre, ambiguous gender'. The novel blends archival records and fiction into two woven narratives, one contemporary, one historical. In the contemporary narrative, set in 2004-2005, Willa Samson, flayed by guilt and grieving the loss of her daughter, is a hermit, unable to work, communicating with the world mainly through the Internet. But her desire to research a fragment of local history that has haunted her for years gently forces her back into the world. Willa is convinced that in the story of a nineteenth-century murder she can see an unlikely parallel with her daughter: that, like Imogen, the victim was intersexed. The historical narrative is a speculative telling of the life of the murder victim, known as Little Jock. Imogen's story, which unfolds through Willa's memories, dramatises the devastating though well-intentioned protocol established by twentieth-century medicine for dealing with intersex births: 'normalising' surgery to fashion the newborn into the sex deemed to be appropriate, followed by hormone treatment, rigid social conditioning and an aura of secrecy to silence any confusion or hint of difference. Imogen grows up suspecting that she is different, but no one will tell her the truth. Little Jock must also keep bodily truth hidden, for in the nineteenth century intersexuals-then termed 'hermaphrodites'-were often exploited as freaks. After leaving Northern Ireland during the Potato Famine, the child who becomes Little Jock finds, in the tenement slums of Glasgow, a place to disappear. A series of petty crimes results in his transportation to Western Australia-one of the nearly ten thousand convicts plucked from English prisons and sent to the Swan River Colony. The authorities believed all of them were male. Willa's research leads her to Scotland and Northern Ireland, and finally to Western Australia's South West, helped along the way by genealogists-people who cherish the bonds of family and history. And in the search for Little Jock, she draws closer to understanding what has happened to Imogen. The exegesis, after outlining the provenance of the novel's research, is structured as two essays linked by the themes of ambiguity and classification. The first, on ambiguous genre, sets out to investigate the framing (that is, in the form of an explanatory note) of hybrid sub genres of fiction, novels that draw directly or indirectly on people, events and issues that are part of the historical record. In considering what authors should say about 'what is real and what is not,' the essay canvasses ethics and reader expectations, the right to speak and the freedom to create, and the ways books are marketed, classified and read. The second essay, on ambiguous gender, draws on historical aspects of the classification of intersexed people, along with gender theory, to consider 'Ellipsis' in terms of the social forces acting on the ambiguous bodies of Little Jock in the nineteenth century and Imogen in the twentieth century, and how these characters survive in bodies that pose a challenge to deeply held cultural norms.

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Jarvey, Ali Marie. "On the corner of north and nowhere. A novel ‐ and ‐ Going back to go forward: An invitation to get lost. A critical essay." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2016. https://ro.ecu.edu.au/theses/1931.

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This thesis comprises a young adult (YA) novel called On the Corner of North and Nowhere and an exegesis entitled ‘Going Back to Go Forward: An Invitation to Get Lost’. On the Corner of North and Nowhere follows 18‐year‐old Nev Isles, who lives and works at Cleary’s, her grandmother’s art retreat in the Perth Hills. She dwells happily in an old cottage by herself, until her mother decides that she wants to move there too. Rather than live with her again, Nev runs away with her friend, Cole, set for the WA roads she travelled as a child and the mining town of Newman, where her father lives. The trip forces Nev to relive the slow fracturing of her relationship with her mother. Newman offers little reward. Her father has a girlfriend and wants to move from the town. As Nev grows homesick, she gravitates towards Cole. He encourages her to follow her instincts home, even though he cannot stay long himself: after they return to Perth, he has to leave for America to deal with his own family issues. Nev and Cole’s journey back to the city is set against some of the most beautiful and isolated stretches of WA road. They find that they would rather stay lost in these landscapes, than return to chaos. It is only after a brief stay at a beach camp on the corner of north and nowhere, that they decide it is time to return home to face their troubles and inevitable separation. While On the Corner of North and Nowhere is not autobiographical, it originates from my childhood, adolescent and adult experiences with WA places. ‘Going Back to Go Forward: An Invitation to Get Lost’ critically examines the composition of my manuscript, with distinct reference to these origins. It is written in two chapters, which are connected by the work and praxis of selected creative arts practitioners, whose experiences with place and literature in their youths also compel them to write as adults. Chapter one investigates the prevalence of Edenic landscapes in WA literature, focusing on authors, such as Dorothy Hewett and Tim Winton, who aim to reconstruct lost paradise from their youth, in their fiction and nonfiction. Cleary’s, by comparison, is constructed as an unconventional Eden that subverts the trope, thus supporting Nev’s eventual return to paradise and her maturation. Finally, chapter two investigates the influence of Betsy Hearne and Roberta Trites’ narrative compass model, which encourages female scholars to reflect on a resonant story from their youth, towards an understanding of how it impacts their research. Recognising the narrative patterns in my compass was fundamental to the development of On the Corner of North and Nowhere, as it enabled me to craft second and subsequent drafts of the manuscript, with attention to rites of passage in Australian YA literature.

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33

McMahon, Peter, and n/a. "Homefires and Embers." University of Canberra. Creative Communication, 2000. http://erl.canberra.edu.au./public/adt-AUC20090609.112638.

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In December 1945, four months after the end of the Second World War, two soldiers meet on an aeroplane flying towards Port Hedland, located in north-west Western Australia, the Pilbara district. Frank Grey found the war a horrific experience and is deeply traumatised. He is returning home, after an absence of five years, hoping to reunite with his wife, get his old job back, and continue on with his life as it was before the war. Patrick Gray is an Aboriginal. He also found the war horrific. However, for him, serving in the A.I.F. was also a liberating experience. For the first time in his life he received equal pay and conditions of white men. He found equality. He is hoping that because he, and other Aborigines, served in the armed forces, the social conditions for Aborigines will have improved in the 6 years he's been away. They are both disappointed.

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34

White, Terri-Ann. "Finding Theodore and Brina." Curtin University of Technology, School of Communication and Cultural Studies, 2000. http://espace.library.curtin.edu.au:80/R/?func=dbin-jump-full&object_id=10151.

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The form I have chosen for this dissertation is fiction-of a certain kind- that incorporates historical detail, family history, and popular mythology of the Western Australian community. Through the details of family and social history, I aim to tell another version of settlement of Perth from the mid-nineteenth century to the present. This story belongs to my family, starting with great-grandparents who travelled from London to Australia in the 185Os: one as a convict, one a free settler; both were Jewish, and the convict was Polish.The writing is textured with forgotten voices, is self-reflexive, and tackles the paradoxes involved in telling stories from within the family I belong to, one that resists telling its own stories because of shame and the lack of an authoritative, or socially given, voice. From family history to social history, my interest is in the material that sits on the margins: the unspoken and generally unwritten histories of people on the edges of this society. This material, which is not recorded or spoken, nonetheless "speaks" a shame that shapes the ever-developing identity of a family and a community.The work is informed by feminist ideas about voice and the hierarchy which licenses select people in our society to speak. Relying on the varied materials that sit between historical writing and personal memories, it follows evidence, both written and oral, recognising how malleable memory can be. One of my purposes is to explore ideas about memory, from the individual act of memory to its transmutation into collective memory-to recover, recuperate, and explore what is involved in forgetting and remembering, and do this through a layering of stories, of voices, of form.

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35

Klaebe, Helen Grace. "Creative work: Onward bound: The first fifty years of Outward Bound Australia and Exegesis written component: Creatively writing historical non fiction." Thesis, Queensland University of Technology, 2004. https://eprints.qut.edu.au/16296/1/Helen_Klaebe_Thesis.pdf.

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Onward Bound: -- the first 50 years of Outward Bound Australia traces the founding and development of this unique, Australian, non-profit, non-government organisation from its earnest beginnings to its formidable position today where it attracts some 5,000 participants a year to its courses. The project included interviewing hundreds of people and scouring archives and public records to piece together a picture of how and why Outward Bound Australia (OBA) developed -- recording its challenges and achievements along the way. A mediated oral history approach was used among past and present OBA founders, staff and participants, to gather stories about their history. This use of oral history (in a historical book) was a way of cementing the known recorded facts and adding colour to the formal historical outline, while also giving credence to the text through the use of 'real' people's stories.

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36

Klaebe, Helen Grace. "Creative work: Onward bound: The first fifty years of Outward Bound Australia and Exegesis written component: Creatively writing historical non fiction." Queensland University of Technology, 2004. http://eprints.qut.edu.au/16296/.

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Onward Bound: -- the first 50 years of Outward Bound Australia traces the founding and development of this unique, Australian, non-profit, non-government organisation from its earnest beginnings to its formidable position today where it attracts some 5,000 participants a year to its courses. The project included interviewing hundreds of people and scouring archives and public records to piece together a picture of how and why Outward Bound Australia (OBA) developed -- recording its challenges and achievements along the way. A mediated oral history approach was used among past and present OBA founders, staff and participants, to gather stories about their history. This use of oral history (in a historical book) was a way of cementing the known recorded facts and adding colour to the formal historical outline, while also giving credence to the text through the use of 'real' people's stories.

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Heuschele, Margaret, and n/a. "The Construction of Youth in Australian Young Adult Literature 1980-2000." University of Canberra. Creative Communication, 2007. http://erl.canberra.edu.au./public/adt-AUC20081029.171132.

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Adolescence is an incredibly complex period of life. During this time young people are searching for and wanting to create their own unique identity, however being confronted with a plethora of roles and directions is challenging and confusing. These challenges are reflected in the vast array of young adult literature being presented to young people today. As a result young adult literature has the potential to function as scaffolding to assist teenagers in the struggles of adolescence by serving as an important source of information about the world and the people in it. Teenage novels also give young people the opportunity to try on different identities and vicariously experience consequences of actions while developing their own distinctive personality and character. As this study reveals, the Australian young adult novel has undergone considerable developments, with 1989 serving as a milestone year in which writers and publishers turned in new directions. In general, Australian young adult novels have changed from books set predominately in rural areas, incorporating major themes of child abuse, death, friendship and survival with introverted characters aged between twelve and sixteen in the early 1980s to novels with urban settings, a large increase in books about crime, dating, drugs and mental health and sexually active, extroverted characters aged between fourteen and eighteen in the late 1990s. To chart the progression of these changes and gain an understanding of the messages young adults receive from adolescent novels an evaluative framework was developed. The framework consists of two main sections. The first part applies to the work as a whole, obtaining data about the novel such as plot, style, setting, temporal context, use of humour, issues within the text and ending, while the second part collects information about character demographics including gender, age, occupational status, family type, sexual orientation, relationships with family and authority figures, personality traits and outlook for character. To qualitatively and quantitatively assess the construction of youth in Australian young adult literature a random selection of 20 per cent of Australian young adult books published in each year from 1980 to 2000 were analysed using the evaluative framework, with 186 novels being studied altogether. During the 1990s in particular, Australian young adult literature was heavily criticised for being too bleak, too dark, presenting a picture of life that was all gloom and doom. This research resoundingly dismisses this argument by showing that rather than being a negative influence on the lives of young people, Australian books for young people present a comprehensive portrayal of youth. They probe the entire gamut of teenage experiences, both the good and the bad, providing a wide range of scenarios, roles, relationships and characters for young people to explore. Therefore Australian young adult literature provides an important source of information and support for the psycho-social development of young people during the formative years of adolescence. This research is significant because it gives hard evidence to support the promotion of a representative selection of Australian young adult novels both in the classroom and in home, school and public libraries. By establishing the available range of contemporary Australian young adult literature through this study, young adult readers, teachers and librarians can be confident in the knowledge that appropriate titles are accessible which meet the needs and interests of young people. Consequently, the substantial amount of data gathered from this study will considerably add to the knowledge and understanding ofAustralian young adult novels to date and provide an excellent starting point for further research in the future.

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Chan, Kenneth, and n/a. "Chinese history books and other stories." University of Canberra. Creative Communication, 2005. http://erl.canberra.edu.au./public/adt-AUC20061020.144139.

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My thesis is a creative writing doctorate which focuses on one Chinese family's adaptation to living in Australia in the mid-twentieth century. The thesis is in two parts. Part I is an examination of Chineseness and identity within the context of the short stories that make up Part I1 of the thesis. In Part I, I have looked at the place of the Chinese within the larger, dominant cultures of America and Australia. In particular, I have discussed the way in which the discourses of the dominant culture have framed Chineseness; and also what it might mean to describe authentic and essential qualities in Chineseness. The question I ask is whether the concept of Chineseness shifts according to time, location, history, and intercultural encounters. This leads me to try to "place" my family and myself. I provide some background on my family and on specific incidents that have served as springboards for the fiction. Part I also discusses some aspects of narrative theory in relation to the stories and considers the stories within the context of other Chinese- Australian fiction and performance. Ln Part 11, I have written a collection of nine short stories about the lives of a fictitious family called the Tangs. The stories can be described as a cycle that is unified and linked by characters who are protagonists in one story but appear in a minor or supporting role in other stories. Composing a linked cycle of stories has given me the opportunity to extend the short story form, especially by giving me scope to expand the lives of the characters beyond a single story. The lives of the characters can take on greater complexity since they confront challenges at different stages of their lives from different perspectives.

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Habel, Chad Sean, and chad habel@gmail com. "Ancestral Narratives in History and Fiction: Transforming Identities." Flinders University. Humanities, 2006. http://catalogue.flinders.edu.au./local/adt/public/adt-SFU20071108.133216.

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This thesis is an exploration of ancestral narratives in the fiction of Thomas Keneally and Christopher Koch. Initially, ancestry in literature creates an historical relationship which articulates the link between the past and the present. In this sense ancestry functions as a type of cultural memory where various issues of inheritance can be negotiated. However, the real value of ancestral narratives lies in their power to aid in the construction of both personal and communal identities. They have the potential to transform these identities, to transgress natural boundaries and to reshape conventional identities in the light of historical experience. For Keneally, ancestral narratives depict national forbears who narrate the nation into being. His earlier fictions present ancestors of the nation within a mythic and symbolic framework to outline Australian national identity. This identity is static, oppositional, and characterized by the delineation of boundaries which set nations apart from one another. However, Keneallys more recent work transforms this conventional construction of national identity. It depicts an Irish-Australian diasporic identity which is hyphenated and transgressive: it transcends the conventional notion of nations as separate entities pitted against one another. In this way Keneallys ancestral narratives enact the potential for transforming identity through ancestral narrative. On the other hand, Kochs work is primarily concerned with the intergenerational trauma causes by losing or forgetting ones ancestral narrative. His novels are concerned with male gender identity and the fragmentation which characterizes a self-destructive idea of maleness. While Keneallys characters recover their lost ancestries in an effort to reshape their idea of what it is to be Australian, Kochs main protagonist lives in ignorance of his ancestors life. He is thus unable to take the opportunity to transform his masculinity due to the pervasive cultural amnesia surrounding his family history and its role in Tasmanias past. While Keneally and Koch depict different outcomes in their fictional ancestral narratives they are both deeply concerned with the potential to transform national and gender identities through ancestry.

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Ribas, Segura Catalina. "“Neither here and nor there does water quench our thirst”: Duty, Obedience and Identity in Greek-Australian and Chinese Australian Prose Fiction, 1971-2005." Doctoral thesis, Universitat de Barcelona, 2013. http://hdl.handle.net/10803/132804.

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This thesis presents original research: it examines the constructs of duty and obedience in post-World War II Greek-Australian and Chinese Australian literature and compares the strategies these first- and second-generation authors use to make their fictional characters deal with these concepts while living in Australia, the problems their characters face and the solutions they encounter. This thesis analyses ten texts: six written by Greek-Australian authors and four by Chinese Australian writers. It aims to examine how the above-mentioned cultural concepts appear in these texts and influence the behaviour and thoughts of the characters. In doing so, this thesis aims to state and compare the strategies used. This study looks at texts published in English by first- and second-generation Greek-Australian and first-generation Chinese Australian migrants during the period 1971- 2005. The date 1971 is significant because that year Australia saw the publication of the first English-language book written by a Greek-Australian. It was the poetry collection A Tree at the Gate, by Aristides George Paradissis. Also, it was the year when the People’s Republic of China and Australia re-established diplomatic relations twenty years after all ties between the two nations had been suspended. Likewise, the year 2005 is relevant as the racist Cronulla riots took place in December. The riots marked the end of the spirit of the 2000 Sydney Olympic Games and of the 2001 centennial celebrations of the Federation of Australia… This thesis begins with an analysis of the immigration policies in Australia from the British invasion of the country in 1788 until 2011 and an analysis of the policy of multiculturalism. It then looks at the concepts of duty and obedience in Greek culture and in Chinese culture, how these concepts evolved especially during the nineteenth and twentieth centuries and how they affect marriage and divorce, interpersonal and intergenerational relations, patriotism and migration. This historical-cultural section is followed by a theoretical chapter where the concept of “identity” is explored. The final step is to analyse these notions in the literary texts chosen and compare the strategies used by the authors to make the characters confront (or not) certain specific situations.

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Burns, Kathryn E. "This other Eden exploring a sense of place in twentieth-century reconstructions of Australian childhoods /." Connect to full text, 2006. http://hdl.handle.net/2123/1691.

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Thesis (Ph. D.)--University of Sydney, 2007.
Title from title screen (viewed 25 March 2008). Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy to the Dept. of English, Faculty of Arts. Degree awarded 2007; thesis submitted 2006. Includes bibliographical references. Also available in print form.

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Palmer, Kelly. "Belonging at the end of the world: (Re)imagining paradise through narratives of low-income locals on the Gold Coast." Thesis, Queensland University of Technology, 2020. https://eprints.qut.edu.au/198040/3/Kelly_Palmer_Thesis.pdf.

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This thesis includes a story collection and an exegesis that complicate ideas that the Gold Coast is simply a holidayworld with a criminal underbelly. Cultural texts imbue the Gold Coast with an otherworldly aura—one that mythologises the city as jointly being paradise and paradise lost. Low-income and disenfranchised locals simultaneously embody a sense of alienation and belonging in their lived experience of the Gold Coast. Their anxieties become projected onto the sea and the sky, where memories of invasion and evidence of climate change amplify their internal struggles.

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Brien, Donna L. "The case of Mary Dean: Sex, poisoning and gender relations in Australia." Thesis, Queensland University of Technology, 2003. https://eprints.qut.edu.au/117977/1/T%20%28CI%29%2094%20-%20THE%20CASE%20OF%20MARY%20DEAN.pdf.

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The genre of biography is, by nature, imprecise and limited. Real lives are lived synchronously and diversely; they do not divide spontaneously into chapters, subjects or themes. All biographers construct stories, in the process forcing the disordered complexity of an actual life into a neat literary form. This doctoral submission comprises a book length creative work, Poisoned: The Trials of Mary Dean, and a reflective written component on that creative work, Writing Fictionalised Biography. Poisoned is a biography of Mary Dean, who, although repeatedly poisoned by her husband at the end of the nineteenth century, did not die. This biography, presented in the form of a first-person memoir, is based closely on historical evidence and is supported with discursive notes and a select bibliography. The reflective written component, Writing Fictionalised Biography, outlines the process and challenges of writing a biography when the source material available is inadequate and unreliable. In writing Poisoned my genre solution has been fictionalised biography biography which is historically diligent while utilising fictional writing strategies and incorporating fictional passages. This written component reflectively discusses how I arrived at that solution. It includes discussion of the sources I utilised in writing Poisoned, including the limitations of trial transcripts and other court records as biographical evidence; useful precursors to the form; the process wherein I located both a form for my fictionalised biography and a voice for my biographical subject; possible models I considered; how I distinguished established fact from speculative supposition in the text; as well as some of the ambivalences and ethical concerns such a narrative process implies.

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Dávalos, Patrícia Miranda. "Ficção e autobiografia: uma análise comparativa das narrativas de Thomas Bernhard." Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/8/8144/tde-03032010-121929/.

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A partir da comparação do primeiro volume autobiográfico do escritor austríaco Thomas Bernhard, Die Ursache. Eine Andeutung (1975), com o romance Auslöschung. Ein Zerfall (1986), o qual simula, de certo modo, o gênero autobiográfico, procura-se observar como os mesmos complexos temáticos são configurados nos dois casos e como as diferenças encontradas se relacionam com as diferentes intenções ligadas aos textos, bem como aos diferentes momentos de escrita. É possível notar como a ficção possibilita ao autor mais liberdade para experimentar formalmente, bem como para intensificar o ataque desenvolvido contra suas origens, ao passo que na autobiografia, apesar de também apresentar um viés crítico acentuado, o fazer de forma mais sóbria, ocupando-se com questões de verossimilhança e autenticidade próprias do gênero. Além disso, este trabalho tenta mostrar como a ficção, surgida na mesma época da autobiografia, pode ser lida como uma espécie de comentário a esta.
This work deals with the comparison of the first autobiographical volume of the Austrian writer Thomas Bernhard, Die Ursache. Eine Andeutung (1975), with his novel Auslöschung. Ein Zerfall (1986), which has some characteristics of the autobiographical genre. The comparison intends to show how the same themes are configured in both cases and how the differences can be related to the different intentions and different moments of writing. Being noted as fiction allows the author more freedom to experiment formally and to intensify the attack he developed against his origins, while in the autobiography, although it also has a strong critical aspect, he puts his arguments in a restrained way, dealing with issues of verisimilitude and authenticity, which are typical for this genre. Furthermore, this text will try to analyse how the novel, written in the same context as the autobiography, completes it and functions like a kind of remark to the autobiographical work.

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Brien, Donna Lee. "The case of Mary Dean : sex, poisoning and gender relations in Australia." Queensland University of Technology, 2003. http://eprints.qut.edu.au/16340/.

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The genre of biography is, by nature, imprecise and limited. Real lives are lived synchronously and diversely; they do not divide spontaneously into chapters, subjects or themes. All biographers construct stories, in the process forcing the disordered complexity of an actual life into a neat literary form. This doctoral submission comprises a book length creative work, Poisoned: The Trials of Mary Dean, and a reflective written component on that creative work, Writing Fictionalised Biography. Poisoned is a biography of Mary Dean, who, although repeatedly poisoned by her husband at the end of the nineteenth century, did not die. This biography, presented in the form of a first-person memoir, is based closely on historical evidence and is supported with discursive notes and a select bibliography. The reflective written component, Writing Fictionalised Biography, outlines the process and challenges of writing a biography when the source material available is inadequate and unreliable. In writing Poisoned my genre solution has been fictionalised biography - biography which is historically diligent while utilising fictional writing strategies and incorporating fictional passages. This written component reflectively discusses how I arrived at that solution. It includes discussion of the sources I utilised in writing Poisoned, including the limitations of trial transcripts and other court records as biographical evidence; useful precursors to the form; the process wherein I located both a form for my fictionalised biography and a voice for my biographical subject; possible models I considered; how I distinguished established fact from speculative supposition in the text; as well as some of the ambivalences and ethical concerns such a narrative process implies.

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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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Burns, Kathryn E. "This Other Eden: Exploring a Sense of Place in Twentieth-Century Reconstructions of Australian Childhoods." Thesis, The University of Sydney, 2006. http://hdl.handle.net/2123/1691.

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This thesis explores the sense of place formed during childhood, as remembered by adult Australians who reconstruct their youth through various forms of life writing. While Australian writers do utilize traditional tropes of Western autobiography, such as the mythology of Eden and the Wordsworthian image of the child communing with Nature, these themes are frequently transformed to meet a uniquely Australian context. Isolation and distance from Europe, and the apparent indifference of our landscape towards white settlement, have received much critical attention in Australian studies generally and, indeed, broadly influence the formation of children’s sense of place across the continent. However, writers are also concerned with the role of place on a more local level. Through a comparison of writing from Western Australia, Queensland and Victoria, this thesis explores regional landscape preoccupations that create an awareness of local identity, variously contributing to or frustrating the child’s sense of belonging. Western Australian writing is dominated by images of isolation, the fragility of white settlement in a dry land lacking fresh water, and a pervasive beach culture. A strong sense of the littoral pervades writing from this region. Queensland’s frontier mythology is of a different flavour: warm and tropical, nature here is exuberant, constantly threatening to overwhelm culture, already perceived as transient due to the flimsy aspect of the “Queenslander” house. Writing from Victoria, to some extent, tends to more closely follow English models, juxtaposing country and city environments, although there is a distinctly local flavour to many representations of urban Melbourne and its flat, grid-like organization. As Australian society becomes more concentrated on the coastal fringe, the beach is an increasingly significant environment. Though more prominent in writing from some regions than others, coastal imagery broadly reflects the modern Australian’s sense of inhabiting a liminal zone with negotiable boundaries.

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Dedman, Stephen. "Techronomicon (novel) ; and The weapon shop : the relationship between American science fiction and the US military (dissertation)." University of Western Australia. School of Social and Cultural Studies, 2008. http://theses.library.uwa.edu.au/adt-WU2008.0093.

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Techronomicon Techronomicon is a science fiction novel that examines far-future military actions from several different perspectives. Human beings have colonized several planets with help from the enigmatic and more technologically advanced Zhir, who gave spaceships and habitable worlds to those they deemed suitable and their descendants. The Joint Expeditionary Force is the military arm of the Universal Faith, called in when conflicts arise that the Faith decides are beyond the local government and militia and require their intervention. Leneveldt and Roader are JEF officers assigned to Operation Techronomicon, investigating what seems to be a Zhir-built defence shield around the planet Lassana. Another JEF company sent to Kalaabhavan after the murder of the planets Confessor-General loses its CO to a land-mine, and Lieutenant Hellerman reluctantly accepts command. Chevalier, a civilian pilot, takes refugees fleeing military-run detention camps on Ararat to a biological research station on otherwise uninhabited Lila. The biologists on Lila discover a symbiote that enables humans to photosynthesize, which comes to the attention of Operation Techronomicon and the JEF's Weapons Research Division. Leneveldt and Roeder, frustrated by the lack of progress on Lassana, are sent to Lila to detain the biologists, who flee into the swamps. Hellerman's efforts to restore peace on Kalaabhavan are frustrated by the Confessors, and his company finds itself besieged by insurgents. The novel explores individuals' motives for choosing or rejecting violence and/or military service; the lessons they learn about themselves and their enemies; and the possible results of attempts to forcibly suppress ideas.

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Nancarrow, Cindy. "Bound to the borders: Representing refugees in the Australian space." Thesis, Queensland University of Technology, 2014. https://eprints.qut.edu.au/72792/4/Cindy_Nancarrow_Thesis.pdf.

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This project consists of a novel and an exegesis that explore the use of fiction to counter negative hegemonic representations of refugees in Australia. The possibilities of using Australian spaces, including border spaces, to reveal tensions surrounding refugee belonging and to highlight the reconfiguration of border sites in the Australian imaginary, is a particular focus of this work.

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McKenzie, Vahri. "As the owl discreet essay towards a conversation, and, Carly's dance : a novel /." Connect to thesis, 2008. http://portalapps.ecu.edu.au/adt-public/adt-ECU2008.0015.html.

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Dissertations / Theses on the topic 'Austria, fiction'

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