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Journal articles on the topic 'Fantasy fiction, Australian'

Author: Grafiati

Published: 4 June 2021

Last updated: 21 February 2023

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1

Collins‐Gearing, Brooke. "Imagining Indigenality in Romance and Fantasy Fiction for Children." Papers: Explorations into Children's Literature 13, no. 3 (December 1, 2003): 32–42. http://dx.doi.org/10.21153/pecl2003vol13no3art1284.

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Romance and fantasy fiction by non-Indigenous authors from the nineteenth through to the twentieth century positions non-Indigenous readers as the natural, normal inhabitants of the Australian nation through strategies of appropriation and indigenisation. At the same time, these narratives exclude Indigenous children from the category 'Australian children' and construct narrators as experts on Aboriginal culture and traditions.

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2

Wilkins, Kim. "‘A crowd at your back’: fantasy fandom and small press." Media International Australia 170, no. 1 (November 30, 2017): 115–25. http://dx.doi.org/10.1177/1329878x17743524.

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This article presents a study of a model of textual production that situates genre fiction, specifically fantasy fiction, within its community and industry contexts. I argue that Australian fantasy ‘fandom’ operates in some ways like a research and development space for the literature it consumes, through allowing, enabling and enthusiastically supporting – both ethically and materially – a thriving small press culture. Fandom is known for its passionate investments in texts, and those investments are rarely passive. The fantasy genre community is already oriented towards prosumption, and smal

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3

Vijayasekaran, P., and G. Alan. "The Future of Colonialism in Australian Indigenous Fiction – A Psychoanalytic Study of Trauma in The Swan Book and Terra Nullius." Theory and Practice in Language Studies 12, no. 8 (August 1, 2022): 1664–68. http://dx.doi.org/10.17507/tpls.1208.25.

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The goal of this study is to examine the colonial concerns depicted in the futuristic Australian fictions Terra Nullius and The Swan Book. The Swan Book, a 2013 Australian novel by Alexis Wright, digs deeply into subjects like climate catastrophes and the repressive condition of the natives in a future Australia. Claire G. Coleman's fantasy novel Terra Nullius, on the other hand, presents a futuristic Australia in which many colonial themes are subtly and implicitly depicted. This research article aims to emphasize the aftermath effects of colonization and to put together how they are thinking

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4

Wilkins, Kim. "Popular genres and the Australian literary community: the case of fantasy fiction." Journal of Australian Studies 32, no. 2 (June 2008): 265–78. http://dx.doi.org/10.1080/14443050802056771.

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5

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

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

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Webber, Millicent, Rebecca Giblin, Yanfang Ding, and François Petitjean-Hèche. "Exploring the circulation of digital audiobooks: Australian library lending 2006–2017." Information Research: an international electronic journal 26, no. 2 (June 15, 2021). http://dx.doi.org/10.47989/irpaper899.

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Introduction. We investigated patterns in digital audiobook and e-book circulation through Australian libraries to identify and analyse trends in audiobook publishing and reading. Method. In partnership with four Australian library services we collated a dataset of 555,618 audiobook checkouts and 3,475,188 e-book checkouts, representing all OverDrive checkouts through these services from 2006 until July 2017. Analysis. We examined the availability and popularity of audiobook and e-book titles over time. We used bibliographic metadata and manual and automated coding to examine major publishers,

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7

Dooley, Gillian, and Sean Williams. "World-building, Dangerous Magic and Jane Austen." Writers in Conversation 7, no. 1 (January 21, 2020). http://dx.doi.org/10.22356/wic.v7i1.63.

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Sean Williams is a South Australian author who has published more than 50 books and well over 100 short stories for adults, young adults and children. Most of his work is science fiction or fantasy, and he has created several series, including Twinmaker (3 volumes) and The Books of the Change (10 volumes). He often co-authors with writers such as Garth Nix and Shane Dix. Sean is a multiple recipient of both the Ditmar and Aurealis Awards for science fiction and has appeared on the New York Times Bestseller list.I got to know Sean when he joined the staff of the English and Creative Writing dep

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8

Masson, Sophie Veronique. "Fairy Tale Transformation: The Pied Piper Theme in Australian Fiction." M/C Journal 19, no. 4 (August 31, 2016). http://dx.doi.org/10.5204/mcj.1116.

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

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Hackett, Lisa J., and Jo Coghlan. "Bubbles." M/C Journal 24, no. 1 (March 15, 2021). http://dx.doi.org/10.5204/mcj.2763.

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Welcome to the ‘bubbles’ issue of M/C Journal. When we first pitched the idea of ‘bubbles’ for an issue of M/C Journal it was 2019, several months before COVID-19 was identified in Wuhan, China, and the resulting pandemic that brought the term ‘bubble’ to prominence in ways we had not even imagined. Our pre-pandemic line of enquiry focussed on how bubbles manifested themselves within popular culture and society and how the media reported on these concepts. Thinking about bubbles from bubbly champagne to the ‘political bubble’ we asked researchers to think about the ephemeral nature of bubbles.

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10

Herb, Annika. "Non-Linear Modes of Narrative in the Disruption of Time and Genre in Ambelin Kwaymullina’s The Interrogation of Ashala Wolf." M/C Journal 22, no. 6 (December 4, 2019). http://dx.doi.org/10.5204/mcj.1607.

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While Young Adult dystopian texts commonly manipulate expectations of time and space, it is largely in a linear sense—projecting futuristic scenarios, shifting the contemporary reader into a speculative space sometimes only slightly removed from contemporary social, political, or environmental concerns (Booker 3; McDonough and Wagner 157). These concerns are projected into the future, having followed their natural trajectory and come to a dystopian present. Authors write words and worlds of warning in a postapocalyptic landscape, drawing from and confirming established dystopian tropes, and af

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11

Brien, Donna Lee. "Bringing a Taste of Abroad to Australian Readers: Australian Wines & Food Quarterly 1956–1960." M/C Journal 19, no. 5 (October 13, 2016). http://dx.doi.org/10.5204/mcj.1145.

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IntroductionFood Studies is a relatively recent area of research enquiry in Australia and Magazine Studies is even newer (Le Masurier and Johinke), with the consequence that Australian culinary magazines are only just beginning to be investigated. Moreover, although many major libraries have not thought such popular magazines worthy of sustained collection (Fox and Sornil), considering these publications is important. As de Certeau argues, it can be of considerable consequence to identify and analyse everyday practices (such as producing and reading popular magazines) that seem so minor and in

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Kelso, Sylvia. "“The Cretaceous Border: Writing Non-Realist Fiction in North Queensland”." eTropic: electronic journal of studies in the tropics 9 (August 8, 2016). http://dx.doi.org/10.25120/etropic.9.0.2010.3422.

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This article combines the voice of an academic with that of a writer/author who is also a native of North Queensland, and one who, less commonly, publishes non-realist, or speculative fiction. This area, now often called specific in Australia, covers the genres of science fiction, or SF, fantasy, and horror. Here I will examine the way in which the three forms’ generic protocols and markets can intersect with the establishment of a North Queensland writer’s regional and/or gendered voice.

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Levine, Michael, and William Taylor. "The Upside of Down: Disaster and the Imagination 50 Years On." M/C Journal 16, no. 1 (March 18, 2013). http://dx.doi.org/10.5204/mcj.586.

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IntroductionIt has been nearly half a century since the appearance of Susan Sontag’s landmark essay “The Imagination of Disaster.” The critic wrote of the public fascination with science fiction disaster films, claiming that, on the one hand “from a psychological point of view, the imagination of disaster does not greatly differ from one period in history to another [but, on the other hand] from a political and moral point of view, it does” (224). Even if Sontag is right about aspects of the imagination of disaster not changing, the types, frequency, and magnitude of disasters and their repres

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Franks, Rachel. "Cooking in the Books: Cookbooks and Cookery in Popular Fiction." M/C Journal 16, no. 3 (June 22, 2013). http://dx.doi.org/10.5204/mcj.614.

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Introduction Food has always been an essential component of daily life. Today, thinking about food is a much more complicated pursuit than planning the next meal, with food studies scholars devoting their efforts to researching “anything pertaining to food and eating, from how food is grown to when and how it is eaten, to who eats it and with whom, and the nutritional quality” (Duran and MacDonald 234). This is in addition to the work undertaken by an increasingly wide variety of popular culture researchers who explore all aspects of food (Risson and Brien 3): including food advertising, food

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Piatti-Farnell, Lorna, and Erin Mercer. "Gothic: New Directions in Media and Popular Culture." M/C Journal 17, no. 4 (August 20, 2014). http://dx.doi.org/10.5204/mcj.880.

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

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Muller, Vivienne. "Motherly Love." M/C Journal 5, no. 6 (November 1, 2002). http://dx.doi.org/10.5204/mcj.2008.

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There is a humorously disturbing cartoon by Mary Leunig of a mother as a suffering Jesus figure crucified on the cross of motherhood. The image simultaneously evokes and countersigns the idealised portrait of mothers as serene and self-sacrificing Madonna figures. In Leunig’s cartoon the mother wears a crown of nappy pins; her children, inconsolable, bereft of the mother as a site of selfless love and nurture, look up at her on the cross. Over twenty years old, this cartoon haunts the viewer with its ironic/iconic motifs of motherhood, because it signifies the presence of an absence – the abse

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Meakins, Felicity, and Kate Douglas. "Self." M/C Journal 5, no. 5 (October 1, 2002). http://dx.doi.org/10.5204/mcj.1979.

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Me? "I" am everywhere. The 'self' permeates contemporary culture. Through capitalist individualism and conservative politics, 'self' must be considered first above the needs of the group - "looking after no. 1". In therapeutic, religious and consumerist discourses of self-improvement, self-help or self-actualisation, 'self' is obscured; an entity which needs to be sought and found, changed or accommodated, an entity which one needs to become "in touch with". Within these permutations "self" carries the assumption of its own existence, as either a stable, unchanging entity or as a contextually

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18

Gibson, Chris. "On the Overland Trail: Sheet Music, Masculinity and Travelling ‘Country’." M/C Journal 11, no. 5 (September 4, 2008). http://dx.doi.org/10.5204/mcj.82.

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Introduction One of the ways in which ‘country’ is made to work discursively is in ‘country music’ – defining a genre and sensibility in music production, marketing and consumption. This article seeks to excavate one small niche in the historical geography of country music to explore exactly how discursive antecedents emerged, and crucially, how images associated with ‘country’ surfaced and travelled internationally via one of the new ‘global’ media of the first half of the twentieth century – sheet music. My central arguments are twofold: first, that alongside aural qualities and lyrical cont

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Brennan, Joseph. "Slash Manips: Remixing Popular Media with Gay Pornography." M/C Journal 16, no. 4 (August 11, 2013). http://dx.doi.org/10.5204/mcj.677.

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A slash manip is a photo remix that montages visual signs from popular media with those from gay pornography, creating a new cultural artefact. Slash (see Russ) is a fannish practice that homoeroticises the bonds between male media characters and personalities—female pairings are categorised separately as ‘femslash’. Slash has been defined almost exclusively as a female practice. While fandom is indeed “women-centred” (Bury 2), such definitions have a tendency to exclude male contributions. Remix has been well acknowledged in discussions on slash, most notably video remix in relation to slash

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20

Larsson, Chari. "Suspicious Images: Iconophobia and the Ethical Gaze." M/C Journal 15, no. 1 (November 4, 2011). http://dx.doi.org/10.5204/mcj.393.

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If iconophobia is defined as the suspicion and anxiety towards the power exerted by images, its history is an ancient one in all of its Platonic, Christian, and Judaic forms. At its most radical, iconophobia results in an act of iconoclasm, or the total destruction of the image. At the other end of the spectrum, contemporary iconophobia may be more subtle. Images are simply withdrawn from circulation with the aim of eliminating their visibility. In his book Images in Spite of All, French art historian Georges Didi-Huberman questions the tradition of suspicion and denigration governing visual r

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Heise, Franka. ""I’m a Modern Bride": On the Relationship between Marital Hegemony, Bridal Fictions, and Postfeminism." M/C Journal 15, no. 6 (October 12, 2012). http://dx.doi.org/10.5204/mcj.573.

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Introduction This article aims to explore some of the ideological discourses that reinforce marriage as a central social and cultural institution in US-American society. Andrew Cherlin argues that despite social secularisation, rising divorce rates and the emergence of other, alternative forms of love and living, marriage “remains the most highly valued form of family life in American culture, the most prestigious way to live your life” (9). Indeed, marriage in the US has become an ideological and political battlefield, with charged debates about who is entitled to this form of state-sanctione

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22

Watson, Robert. "E-Press and Oppress." M/C Journal 8, no. 2 (June 1, 2005). http://dx.doi.org/10.5204/mcj.2345.

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   From elephants to ABBA fans, silicon to hormone, the following discussion uses a new research method to look at printed text, motion pictures and a teenage rebel icon. If by ‘print’ we mean a mechanically reproduced impression of a cultural symbol in a medium, then printing has been with us since before microdot security prints were painted onto cars, before voice prints, laser prints, network servers, record pressings, motion picture prints, photo prints, colour woodblock prints, before books, textile prints, and footprints. If we accept that higher mammals such as elepha

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Piatti-Farnell, Lorna, and Emerald L. King. "Dream Cultures." M/C Journal 23, no. 1 (March 18, 2020). http://dx.doi.org/10.5204/mcj.1647.

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Dreams have fascinated human cultures and societies for thousands of years. What dreams are, what they look like, and what they mean have been the centre of discussions in a variety of contexts, across disciplines, and languages. The very notion of ‘dream’ entails, on the one hand, something unattainable, whimsical, and even fantastic. Dreams reside, perhaps by definition, in the realm of the imaginary. This does not mean, however, that they do not have cultural and historical relevance. David Shulman and Guy G. Stroumsa argue that “while we by no means assume that we can make contact with the

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Ettler, Justine. "When I Met Kathy Acker." M/C Journal 21, no. 5 (December 6, 2018). http://dx.doi.org/10.5204/mcj.1483.

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I wake up early, questions buzzing through my mind. While I sip my morning cup of tea and read The Guardian online, the writer, restless because I’m ignoring her, walks around firing questions.“Expecting the patriarchy to want to share its enormous wealth and power with women is extremely naïve.”I nod. Outside the window pieces of sky are framed by trees, fluffy white clouds alternate with bright patches of blue. The sweet, heady first wafts of lavender and citrus drift in through the open window. Spring has come to Hvar. Time to get to work.The more I understand about narcissism, the more I u

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Caldwell, Nick. "Seen But Not Heard." M/C Journal 2, no. 4 (June 1, 1999). http://dx.doi.org/10.5204/mcj.1760.

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There are certain discourses operating in contemporary western culture that are granted tremendous power and authority to speak about those issues that cut across the racial, class, and gender boundaries of a culture. Life, death and politics are all central and legitimate categories for the discourses generated by media institutions. As we slide from the 'factual' realm (which the news media is taken to represent) into the fictional, the authority to speak of these categories steadily declines. Certain films and television dramas have this legitimacy, provided that they retain a certain veris

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Döring, Nicola, and Dan J. Miller. "Performer Bodily Appearance (Portrayals of Sexuality in Pornography)." DOCA - Database of Variables for Content Analysis, October 24, 2022. http://dx.doi.org/10.34778/5p.

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Pornography is a fictional media genre that depicts sexual fantasies and explicitly presents naked bodies and sexual activities for the purpose of sexual arousal (Williams, 1989; McKee et al., 2020). Regarding media ethics and media effects, pornography has traditionally been viewed as highly problematic. Pornographic material has been accused of portraying sexuality in unhealthy, morally questionable and often sexist ways, thereby harming performers, audiences, and society at large. In the age of the Internet, pornography has become more diverse, accessible, and widespread than ever (Döring,

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Knowles, Claire Elizabeth. "A Woman’s Place Is in the Morgue: Understanding Scully in the Context of 1990s Feminism." M/C Journal 21, no. 5 (December 6, 2018). http://dx.doi.org/10.5204/mcj.1465.

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SCULLY: I said, I got the lab to rush the results of the Szczesny autopsy, if you're interested.MULDER: I heard you, Scully.SCULLY: And Szczesny did indeed drown, but not as the result of the inhalation of ectoplasm as you so vehemently suggested.MULDER: Well, what else could she possibly have drowned in?SCULLY: Margarita mix, upchucked with about 40 ounces of Corcovado Gold tequila which, as it turns out, she and her friends rapidly consumed in the woods while trying to reenact the Blair Witch Project.MULDER: Well, I think that demands a little deeper investigation, don't you?SCULLY: No, I do

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Döring, Nicola, and Dan J. Miller. "Performer Demographics (Portrayals of Sexuality in Pornography)." DOCA - Database of Variables for Content Analysis, October 24, 2022. http://dx.doi.org/10.34778/5o.

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Pornography is a fictional media genre that depicts sexual fantasies and explicitly presents naked bodies and sexual activities for the purpose of sexual arousal (Williams, 1989; McKee et al., 2020). Regarding media ethics and media effects, pornography has traditionally been viewed as highly problematic. Pornographic material has been accused of portraying sexuality in unhealthy, morally questionable and often sexist ways, thereby harming performers, audiences, and society at large. In the age of the Internet, pornography has become more diverse, accessible, and widespread than ever (Döring,

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Fuller, Glen. "The Getaway." M/C Journal 8, no. 6 (December 1, 2005). http://dx.doi.org/10.5204/mcj.2454.

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   From an interview with “Mr A”, executive producer and co-creator of the Getaway in Stockholm (GiS) films:  Mr A: Yeah, when I tell my girlfriend, ‘You should watch this, it’s good, it’s a classic, it’s an old movie’ and she thinks it’s, like, the worst. And when I actually look at it and it is the worst, it is just a car chase … [Laughs] But you have to look a lot harder, to how it is filmed, you have to learn … Because, you can’t watch car racing for instance, because they are lousy at filming; you get no sensation of speed. If you watch the World Rally Champi

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Mudie, Ella. "Unbuilding the City: Writing Demolition." M/C Journal 20, no. 2 (April 26, 2017). http://dx.doi.org/10.5204/mcj.1219.

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IntroductionUtopian and forward looking in tenor, official narratives of urban renewal and development implicitly promote normative ideals of progress and necessary civic improvement. Yet an underlying condition of such renewal is frequently the very opposite of building: the demolition of existing urban fabric. Taking as its starting point the large-scale demolition of buildings proposed for the NSW Government’s Sydney Metro rail project, this article interrogates the role of literary treatments of demolition in mediating complex, and often contradictory, responses to transformations of the b

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Piatti-Farnell, Lorna, and Gwyneth Peaty. "Monster." M/C Journal 24, no. 5 (October 5, 2021). http://dx.doi.org/10.5204/mcj.2851.

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Monsters are everywhere in our popular media narratives. They lurk in the shadows of video games and computer animations, ready to pounce. They haunt the frames of horror films and fantasy televisions shows. They burst out of panels in many comics and graphic novels, bringing with them grotesque forms and nightmarish transformations. They feature recurrently in scary stories for children, echoing the fears of old myths, legends, and fairy tales, and forever drawing attention to our complex views of heroes. They inhabit our nightmares, and challenge our certainties. Monsters are, above all, met

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Phillips, Dougal, and Oliver Watts. "Copyright, Print and Authorship in the Culture Industry." M/C Journal 8, no. 2 (June 1, 2005). http://dx.doi.org/10.5204/mcj.2340.

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   Historically the impact of the printing press on Western culture is a truism. Print gave rise to the mass reproduction and circulation of information with wide reaching consequences in all fields: political, social, and economic. An aspect that this paper wishes to focus on is that this moment also saw the birth (and necessity) of copyright legislation, to administer and protect this new found ability to package and disseminate text. The term copyright itself, used freely in debates surrounding contemporary topics such as iTunes, DVD piracy, and file-sharing, is not only s

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Banks, John. "Controlling Gameplay." M/C Journal 1, no. 5 (December 1, 1998). http://dx.doi.org/10.5204/mcj.1731.

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Computer and video games are one of the primary uses of personal computer technologies, and yet despite an increasing interest in cultural practices that are organised around computer and information technologies cultural studies has paid very little attention to this phenomenon. In the War of Desire and Technology Allucquére Roseanne Stone comments "that there seems no question that a significant proportion of young people will spend a significant and increasing proportion of their waking hours playing computer-based games in one form or another, and so far the implications of this trend have

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Hutcheon, Linda. "In Defence of Literary Adaptation as Cultural Production." M/C Journal 10, no. 2 (May 1, 2007). http://dx.doi.org/10.5204/mcj.2620.

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   Biology teaches us that organisms adapt—or don’t; sociology claims that people adapt—or don’t. We know that ideas can adapt; sometimes even institutions can adapt. Or not. Various papers in this issue attest in exciting ways to precisely such adaptations and maladaptations. (See, for example, the articles in this issue by Lelia Green, Leesa Bonniface, and Tami McMahon, by Lexey A. Bartlett, and by Debra Ferreday.) Adaptation is a part of nature and culture, but it’s the latter alone that interests me here. (However, see the article by Hutcheon and Bortolotti for a discussi

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Davies, Elizabeth. "Bayonetta: A Journey through Time and Space." M/C Journal 19, no. 5 (October 13, 2016). http://dx.doi.org/10.5204/mcj.1147.

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Art Imitating ArtThis article discusses the global, historical and literary references that are present in the video game franchise Bayonetta. In particular, references to Dante’s Divine Comedy, the works of Dr John Dee, and European traditions of witchcraft are examined. Bayonetta is modern in the sense that she is a woman of the world. Her character shows how history and literature may be used, re-used, and evolve into new formats, and how modern games travel abroad through time and space.Drawing creative inspiration from other works is nothing new. Ideas and themes, art and literature are f

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Tofts, Darren, and Lisa Gye. "Cool Beats and Timely Accents." M/C Journal 16, no. 4 (August 11, 2013). http://dx.doi.org/10.5204/mcj.632.

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Ever since I tripped over Tiddles while I was carrying a pile of discs into the studio, I’ve known it was possible to get a laugh out of gramophone records!Max Bygraves In 1978 the music critic Lester Bangs published a typically pugnacious essay with the fighting title, “The Ten Most Ridiculous Albums of the Seventies.” Before deliciously launching into his execution of Uri Geller’s self-titled album or Rick Dees’ The Original Disco Duck, Bangs asserts that because that decade was history’s silliest, it stands to reason “that ridiculous records should become the norm instead of anomalies,” tha

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Ambrosetti, Angelina. "The Portrayal of the Teacher as Mentor in Popular Film: Inspirational, Supportive and Life-Changing?" M/C Journal 19, no. 2 (May 4, 2016). http://dx.doi.org/10.5204/mcj.1104.

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The mediocre teacher tells. The good teacher explains. The superior teacher demonstrates. The great teacher inspires. — William Arthur WardIntroductionThe first documented use of the term Mentor can be traced back to the 8th century BC poem by Homer entitled Odyssey (Hay, Gerber and Minichiello). Although this original representation of Mentor is contested in the literature (Colley), historically the term mentor has evolved to imply a wise and trusted other who advises, teaches, protects and supports someone younger who is inexperienced and not so knowledgeable with the ways of the world. The

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Hawkins, Katharine. "Monsters in the Attic: Women’s Rage and the Gothic." M/C Journal 22, no. 1 (March 13, 2019). http://dx.doi.org/10.5204/mcj.1499.

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

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