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Artículos de revistas sobre el tema "Australian fiction"

Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 31 de julio de 2024

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1

Owens, Alison, and Donna Lee Brien. "Australian women writers’ popular non-fiction prose in the pre-war period: Exploring their motivations." Australasian Journal of Popular Culture 11, no. 1 (December 1, 2022): 63–80. http://dx.doi.org/10.1386/ajpc_00051_1.

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Since the 1970s, feminist scholars have undertaken important critical work on Australian women’s writing of earlier eras, profiling and promoting their fiction. Less attention has been afforded to the popular non-fiction produced by Australian women writers and, in particular, to that produced before the Second World War. Yet this writing is important for several reasons. First, the non-fiction writing of Australian women was voluminous and popular with readers. Second, this popular work critically engaged with a tumultuous political, social and moral landscape in which, as women’s rights were

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2

Smith, Michelle J. "Imagining Colonial Environments: Fire in Australian Children's Literature, 1841–1910." International Research in Children's Literature 13, no. 1 (July 2020): 1–14. http://dx.doi.org/10.3366/ircl.2020.0324.

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This article examines children's novels and short stories published in the late nineteenth and early twentieth centuries that feature bushfires and the ceremonial fires associated with Indigenous Australians. It suggests that British children's novels emphasise the horror of bushfires and the human struggle involved in conquering them. In contrast, Australian-authored children's fictions represent less anthropocentric understandings of the environment. New attitudes toward the environment are made manifest in Australian women's fiction including J. M. Whitfield's ‘The Spirit of the Bushfire’ (

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3

Leane, Elizabeth, and Stephanie Pfennigwerth. "Antarctica in the Australian imagination." Polar Record 38, no. 207 (October 2002): 309–12. http://dx.doi.org/10.1017/s003224740001799x.

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AbstractAntarctica and Australia share a geographical marginality, a commonality that has produced and continues to reinforce historical and political ties between the two continents. Given this close relationship, surprisingly few fulllength novels set in or concerned with the Antarctic have been produced by Australian authors. Until 1990, two latenineteenth- century Utopias, and two novels by Thomas Keneally, were (to our knowledge) the sole representatives of this category. The last decade, however, has seen an upsurge of interest in Antarctica, and a corresponding increase in fictional res

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4

Frank, Helen. "Discovering Australia Through Fiction: French Translators as Aventuriers." Meta 51, no. 3 (September 21, 2006): 482–503. http://dx.doi.org/10.7202/013554ar.

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Abstract The translation into French of referents of Australia and Australianness in fiction necessitates a considerable variety of translational tendencies and interpretive choices. This study focuses on French translations of selected passages and blurbs from Australian fiction set in regional Australia to determine how referents of Australian flora, fauna, landscape and people are translated and interpreted in a non-English speaking cultural system. Guided by concerns for the target readers’ understanding of the text, French translators employ normative strategies and adaptive procedures co

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5

Bahfen, Nasya. "1950s vibe, 21st century audience: Australia’s dearth of on-screen diversity." Pacific Journalism Review : Te Koakoa 25, no. 1&2 (July 31, 2019): 29–38. http://dx.doi.org/10.24135/pjr.v25i1and2.479.

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The difference between how multicultural Australia is ‘in real life’ and ‘in broadcasting’ can be seen through data from the Census, and from Screen Australia’s most recent research into on screen diversity. In 2016, these sources of data coincided with the Census, which takes place every five years. Conducted by the Australian Bureau of Statistics, this presents a ‘snapshot’ of Australian life. From the newest Census figures in 2016, it appears that nearly half of the population in Australia (49 percent) had either been born overseas (identifying as first generation Australian) or had one or

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6

Xu, Daozhi. "Australian Children’s Literature and Postcolonialism: A Review Essay." Ilha do Desterro A Journal of English Language, Literatures in English and Cultural Studies 69, no. 2 (June 7, 2016): 193. http://dx.doi.org/10.5007/2175-8026.2016v69n2p193.

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http://dx.doi.org/10.5007/2175-8026.2016v69n2p193The theme of land and country is resonant in Australian children’s literature with Aboriginal subject matter. The textual and visual narratives present counter-discourse strategies to challenge the colonial ideology and dominant valuation of Australian landscape. This paper begins by examining the colonial history of seeing Australia as an “empty space”, naming, and appropriating the land by erasing Aboriginal presence from the land. Then it explores the conceptual re-investment of Aboriginal connections to country in the representation of Austr

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7

Richards, Isabel, and Anna-Sophie Jürgens. "Being the environment: Conveying environmental fragility and sustainability through Indigenous biocultural knowledge in contemporary Indigenous Australian science fiction." Journal of Science & Popular Culture 4, no. 2 (December 1, 2021): 153–71. http://dx.doi.org/10.1386/jspc_00031_1.

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In contemporary Indigenous Australian fiction, all (non-)human animals, plants and the land are interconnected and interdependent. They are aware that they are not in the environment but are the environment. The planet and its non-human inhabitants have a creative agency and capacity for experience that demands our ethical consideration. In this article we investigate how Ambelin Kwaymullina’s Tribe novels and Ellen van Neerven’s novella Water empower environmental awareness by promoting sustainability and protection of the environment – within their fictional worlds and beyond. We argue that

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8

Carter, David. "The literary field and contemporary trade-book publishing in Australia: Literary and genre fiction." Media International Australia 158, no. 1 (January 7, 2016): 48–57. http://dx.doi.org/10.1177/1329878x15622078.

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This article examines fiction as a major sector of trade-book publishing in exploring the place of Australian publishing within a globalised industry and marketplace. It traces the function of ‘literary fiction’ as industry category and locus of symbolic value and national cultural capital, mapping its structures and dynamics in Australia, including the impact of digital technologies. In policy terms, literature and publishing remain significant sites of national and state government investment. Following Bourdieu’s model of the field of cultural production, the literary/publishing field is pr

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9

Brown, Ruth, and Michael Wilding. "Studies in Classic Australian Fiction." Yearbook of English Studies 29 (1999): 337. http://dx.doi.org/10.2307/3509005.

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10

Kerry, Stephen Craig. "Australian Queer Science Fiction Fans." Journal of Homosexuality 66, no. 1 (November 7, 2017): 100–116. http://dx.doi.org/10.1080/00918369.2017.1395262.

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11

Rooney, Brigid, and Michael Wilding. "Studies in Classic Australian Fiction." Labour History, no. 76 (1999): 187. http://dx.doi.org/10.2307/27516642.

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12

Peters, Pam. "The Survival of the Subjunctive." English World-Wide 19, no. 1 (January 1, 1998): 87–103. http://dx.doi.org/10.1075/eww.19.1.06pet.

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The status of the subjunctive is examined in this Australian study of its manifestations in subordinate clauses: in mandative constructions as well as those expressing purpose, condition, concession and the counterfactual. Data from the Australian ACE corpus (1986) is compared with (a) those from the American Brown corpus and the British LOB corpus (both 1961); and with (b) findings from an Australian elicitation survey of 1993. Both the diachronic corpus comparisons and the sociolinguistic profiles associated with the survey indicate declining use of the subjunctive in adverbial clauses, most

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13

Matek, Ljubica. "Australian Aboriginal SF – Blending Genre and Literary Fiction: A Review of Futuristic Worlds in Australian Aboriginal Fiction by Iva Polak." ELOPE: English Language Overseas Perspectives and Enquiries 15, no. 1 (April 18, 2018): 129–31. http://dx.doi.org/10.4312/elope.15.1.129-131.

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The fact that Iva Polak’s monograph Futuristic Worlds in Australian Aboriginal Fiction is the first volume in Peter Lang’s World Science Fiction Studies series, edited by Sonja Fritzsche, is symbolic of the actual novelty and relevance of Polak’s work. It is, in fact, the first book-length study in English dedicated to the analysis of Australian Aboriginal fiction from the point of view of the theory of the fantastic.

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14

Chan, Henry. "The Identity of the Chinese in Australian History." Queensland Review 6, no. 2 (November 1999): 1–10. http://dx.doi.org/10.1017/s1321816600001100.

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Theorising about identity has become fashionable. During 1999 alone several conferences and seminars were dedicated to identities in Australia: “Alter/Asians: Exploring Asian/Australian Identities, Cultures and Politics in an Age of Crisis” held in Sydney in February, the one-day conference “Cultural Passports” on the concept and representations of “home” held at the University of Sydney in June, and “Asian-Australian Identities: The Asian Diaspora in Australia” at the Australian National University in September. To me as a Chinese who had his childhood and education in New Zealand this concer

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15

Nelson, Claudia. "Ethel Turner and the ‘Voices of Dissent’: Masculinities and Fatherhood in The Cub and Captain Cub." Papers: Explorations into Children's Literature 13, no. 1 (January 1, 2003): 4–10. http://dx.doi.org/10.21153/pecl2003vol13no1art1292.

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In his interesting study 'Making the Australian Male: Middle-Class Masculinity 1870-1920', Martin Crotty argues that turn-of-the-century Australians firmly rejected the androgynous, domesticated gender role that both children's fiction and the public schools had offered Australian boys in the 1870s... Work such as Crotty's should help to inspire any number of reexaminations of the masculine gender role in texts that sought to acculturate young readers before, during, and after the Great War.

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16

Sean McMullen. "Australian Science Fiction in the Sixties." Antipodes 27, no. 1 (2013): 73. http://dx.doi.org/10.13110/antipodes.27.1.0073.

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17

Jean-François Vernay. "The Ringside View of Australian Fiction." Antipodes 31, no. 1 (2017): 38. http://dx.doi.org/10.13110/antipodes.31.1.0038.

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18

Pridmore, Saxby. "Suicide in 19th-century Australian fiction." Australian & New Zealand Journal of Psychiatry 51, no. 10 (April 4, 2017): 1058–59. http://dx.doi.org/10.1177/0004867417699475.

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19

Tilney, Martin. "Covert modernist techniques in Australian fiction." Language, Context and Text 1, no. 2 (July 22, 2019): 313–40. http://dx.doi.org/10.1075/langct.00013.til.

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Abstract Peter Carey’s short story American dreams (Carey 1994 [1974]) presents a recalibration of consciousness as a small Australian town gradually becomes Americanized. The text foregrounds epistemological concerns by demonstrating a clear tendency toward delayed understanding. For this reason, I argue that the story is an instance of modernist fiction: a label not previously applied to Carey’s stories. In contrast with popular modernist techniques such as free indirect discourse and stream of consciousness, the techniques presented in the text appear to be covert, which may at least partia

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20

Klik, Lukas. "The Mabo Turn in Australian Fiction." Journal of Australian Studies 42, no. 4 (October 2, 2018): 540–42. http://dx.doi.org/10.1080/14443058.2018.1542939.

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21

Pocock, Celmara. "Nostalgia and belonging: Henry George Lamond writing the Whitsunday Islands." Queensland Review 22, no. 1 (May 7, 2015): 49–61. http://dx.doi.org/10.1017/qre.2015.5.

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Henry George Lamond is no longer a household name, but he was once popular and widely known in Australia and overseas. An extremely prolific writer, he published fifteen books of fiction and non-fiction, and more than 900 essays and magazine articles in his lifetime. His essays and articles include writing in a wide range of subjects and genres, from romantic fiction to practical agricultural advice. He was perhaps best known for his animal-based books, including Horns and Hooves (1931), An Aviary on the Plains (1934a), Dingo (1945), Brindle Royalist (1946) and Big Red (1953a). These titles we

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22

Setecka, Agnieszka. "“Gold … Was Certainly Very Attractive; But He Did Not Like New South Wales as a Country in Which to Live.” The Representation of Australian Society in Trollope’s John Caldigate." Studia Anglica Posnaniensia 52, no. 4 (December 20, 2017): 395–408. http://dx.doi.org/10.1515/stap-2017-0017.

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Abstract Australia features in numerous Victorian novels either as a place of exile or a land of new opportunities, perhaps the most memorable image of the country having been presented in Charles Dickens’s Great Expectations (1861). Anthony Trollope’s writing, however, offers a much more extensive and complex presentation of Australian life as seen by a Victorian English gentleman. In his Australian fictions, including Harry Heathcote of Gangoil (1874), Catherine Carmichael (1878), and John Caldigate (1879), he presents Australia both as a land of new opportunities and as a place where social

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23

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

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

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24

Booth, Emily, and Bhuva Narayan. "Behind Closed Gates: The Barriers to Self-Expression and Publication for Australian Young Adult Authors of OwnVoices Fiction." International Research in Children's Literature 14, no. 2 (June 2021): 183–98. http://dx.doi.org/10.3366/ircl.2021.0396.

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This article based on an empirical study of Australian authors argues that, despite the OwnVoices movement gathering momentum in Australia, there are still barriers and limitations for authors from marginalised communities within the Australian publishing industry. This is due to power imbalances in publishing spaces which silence marginalised writers, limiting the availability of their books to teenage readers.

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25

Wilson, Kim. "Abjection in Contemporary Australian Young Adult Fiction." Papers: Explorations into Children's Literature 11, no. 3 (December 1, 2001): 24–31. http://dx.doi.org/10.21153/pecl2001vol11no3art1325.

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26

Ackland, Michael. "Australian Fiction and the Lure of Painting." Le Simplegadi 21, no. 23 (2023): 37–50. http://dx.doi.org/10.17456/simple-210.

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Questo saggio studia il perché i pittori, le tecniche pittoriche e i temi legati all’arte siano presenti nella narrativa australiana dal colonialismo ad oggi. La pittura infatti ha rivestito a lungo un ruolo importante nei diari dei coloni e nella loro narrativa, diventando un emblema dei dilemmi rivelatori e delle ispirazioni condivise dagli autori. In breve, viene dimostrato come l’arte pittorica sia stata scelta come Arte Sorella della scrittura antipodea dei bianchi.

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27

WILSON, KIM. "The Past Re-imagined: Memory and Representations of Power in Historical Fiction for Children." International Research in Children's Literature 1, no. 2 (December 2008): 111–24. http://dx.doi.org/10.3366/ircl.2008.0001.

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This article argues that historical fiction functions as a collective memory: it provides a social framework for recollections that speak of a national agenda often through personal experiences. Taking as its examples three Australian and New Zealand fictions for children and young adults, from the late twentieth and early twentieth-first century, the article examines texts that focus on how we remember the past and what aspects of that past should be remembered: Memorial (1999), a picture book by Gary Crew (author) and Shaun Tan (illustrator), The Divine Wind (1998) by Garry Disher, and The S

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28

Pham, Hoa. "We are Vietnamese. A Reflection on Being Vietnamese-Australian." PORTAL Journal of Multidisciplinary International Studies 15, no. 1-2 (June 26, 2018): 87–91. http://dx.doi.org/10.5130/portal.v15i1-2.5733.

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We are Vietnamese - A reflection on being Vietnamese-Australian is a creative non fiction piece concerning being a Vietnamese-Australian author in the present day. It explores Hoa’s meeting with Pham Thi Hoai, a Vietnamese author in exile in Berlin, and her encounters with Thich Nhat Hanh the Vietnamese Zen Master. It also interrogates the cultural perceptions of Vietnam in Australia and Hoa’s own subject position as a published Asian Australian author.  We are Vietnamese - A reflection on being Vietnamese-Australian est un essais sur ce que signifie être un auteur australo-vietnam

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29

Bootle, Sandi. ""The Greens" and "Green Fire"." Pacific Conservation Biology 3, no. 4 (1997): 403. http://dx.doi.org/10.1071/pc980403.

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"The Greens", written by Bob Brown and Peter Singer introduces the Greens to a wide audience. Both authors were Green candidates for the Australian Senate at the time of writing. Bob Brown is one of the founders of the Australian Greens. As director of the Tasmanian Wilderness Society, he led the campaign that saved the Franklin River from impoundment for a hydroelectric scheme, and was a member of the Tasmanian parliament from 1983?93. Brown was voted Australian of the Year in 1993 by The Australian newspaper, and in 1990 won the prestigious Goldman Environmental Prize. Peter Singer is Austra

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30

Guttfeld, Dorotta. "Australian Science Fiction: in Search of the “Feel”." Zeitschrift für Australienstudien / Australian Studies Journal 2122 (2008): 65–72. http://dx.doi.org/10.35515/zfa/asj.2122/200708.08.

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31

Kačer, Tomáš. "Czech translations and receptions of contemporary Australian fiction." Journal of Postcolonial Writing 58, no. 1 (January 2, 2022): 51–64. http://dx.doi.org/10.1080/17449855.2021.1994755.

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32

Driscoll, Beth, Lisa Fletcher, Kim Wilkins, and David Carter. "The publishing ecosystems of contemporary australian genre fiction." Creative Industries Journal 11, no. 2 (May 4, 2018): 203–21. http://dx.doi.org/10.1080/17510694.2018.1480851.

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33

Love, Glen A. "Australian Short Fiction: A History by Bruce Bennett." Western American Literature 38, no. 3 (2003): 320–21. http://dx.doi.org/10.1353/wal.2003.0073.

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34

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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35

Kameniar, Barbara, Sally Windsor, and Sue Sifa. "Teaching Beginning Teachers to ‘Think What We Are Doing’ in Indigenous Education." Australian Journal of Indigenous Education 43, no. 2 (November 10, 2014): 113–20. http://dx.doi.org/10.1017/jie.2014.27.

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Working with beginning teachers to assist them to begin to ‘think what we do’ (Arendt, 1998) in both mainstream and Indigenous education is problematic. This is particularly so because the majority of our teacher candidates, and indeed most of their university lecturers, are positioned close to the racial, social and cultural centre of Australian education. That is, teachers and teacher educators tend to be white, middle class, educationally successful, and accepting of the main premises and assumptions, purposes and values of formal schooling in Australia. This proximity to the centre can lea

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36

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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37

Walsh, Pete. "What ifs and idle daydreaming: The creative processes of Andrew McGahan." Queensland Review 23, no. 1 (May 31, 2016): 62–71. http://dx.doi.org/10.1017/qre.2016.7.

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AbstractAndrew McGahan is one of Queensland's most successful novelists. Over the past 23 years, he has published six adult novels and three novels in his Ship Kings series for young adults. McGahan's debut novel, Praise (1992), won the Vogel National Literary Award for an unpublished manuscript, Last Drinks (2000) won the Ned Kelly Award for Crime Writing, and The White Earth went on to win the Miles Franklin Literary Award, The Age Book of the Year Award and the Courier-Mail Book of the Year Award, and was shortlisted for the Queensland Premier's Literary Awards. In 2009, Wonders of a Godles

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38

Birns, Nicholas. "Introduction to John Kinsella's PINK LAKE." Thesis Eleven 155, no. 1 (December 2019): 3–7. http://dx.doi.org/10.1177/0725513619892170.

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John Kinsella’s fiction emphasizes similar themes of environmental activism, political protest, and critique of Australian society, as does his widely acclaimed poetry. As in his verse, his orientation as a fiction writer is both local and global, regional and cosmopolitan. But in his fiction Kinsella engages in a double interrogation of both mainstream society and his own posture in opposition to it. In the novella Pink Lake a film director is interviewed by an uncomprehending journalist and driven to desperation by the philistinism of Australian society. But his own arrogance, unexamined whi

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Collins, Peter, and Xinyue Yao. "Colloquialisation and the evolution of Australian English." English World-Wide 39, no. 3 (November 2, 2018): 253–77. http://dx.doi.org/10.1075/eww.00014.col.

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Abstract This paper investigates whether colloquialisation – a stylistic shift by which written genres come to be more similar to spoken genres – has played a role in the endonormativisation of the grammar of Australian English, a variety which has long been noted for its penchant for colloquialism. The study tracks changes in grammatical colloquialism from the early 20th century against the historical backdrop of the progressive decline in Britishness in Australia and the pervasive effects of “Americanisation”. The data are derived from a suite of parallel Brown-family corpora representing Br

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40

Pearce, Sharyn. "The evolution of the Queensland kid: Changing literary representations of Queensland children in children's and adolescent fiction." Queensland Review 3, no. 2 (July 1996): 59–75. http://dx.doi.org/10.1017/s1321816600006449.

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Since the education explosion in mid-nineteenth century England, when astute publishers began to capitalise upon a newly created and burgeoning market, Australia has always featured prominently in fiction aimed at children and adolescents. Those British children who initially made up the bulk of the reading audience for books set in Australia were eager to read episodic stories set in exciting countries far from home, and an Australian setting offered a glamorous backdrop for tales of high adventure. Moreover, it appears that while the nineteenth-century British reading public perceived Austra

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41

James, Kathryn. "'There's a Black Boy Dead and a Migloo Holding a Gun': Death, Aboriginality and History in Australian Adolescent Literature." Papers: Explorations into Children's Literature 19, no. 1 (January 1, 2009): 5–16. http://dx.doi.org/10.21153/pecl2009vol19no1art1153.

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In 'Preying on the past: Contexts of some recent neo-historical fiction', Peter Pierce argues that, over the last five or so decades, Australian historical fiction has turned away from 'unconstrained and idealistic affirmations about Australia's future' to empathise instead with those figures in the historical landscape who were previously marginalised: 'victims of imperialism, patriarchy, racism, capitalism' (1992, p.307). This trend is particularly applicable to historical literature for younger readers, which now often tries to renegotiate history by providing a counterpoint to the metanarr

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42

Burgmann, Verity, and Andrew Milner. "Tomorrow, Tomorrow and Yesterday: Eutopia, Dystopia and Violence in Marjorie Barnard and Flora Eldershaw’s Tomorrow and Tomorrow." Utopian Studies 33, no. 3 (November 2022): 447–59. http://dx.doi.org/10.5325/utopianstudies.33.3.0447.

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ABSTRACT Marjorie Barnard (1897–1987) and Flora Eldershaw (1897–1956) were prolific Australian authors who co-wrote, under the pseudonym “M. Barnard Eldershaw,” five novels and four works of nonfiction published between 1929 and 1947. Their final collaboration, a future fiction entitled Tomorrow and Tomorrow, first appeared in Melbourne in 1947 and was reissued by the London feminist publisher Virago in 1983. Lyman Tower Sargent’s bibliography of Australian utopian fiction describes the novel thus: “Dystopia. Public opinion sampling used to limit liberty.” This is a reasonable enough shorthand

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43

Brien, Donna Lee. "Beyond sun, sea and sand: Bondi Beach in Australian popular writing." Australasian Journal of Popular Culture 10, no. 1 (December 1, 2021): 103–22. http://dx.doi.org/10.1386/ajpc_00041_1.

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This article surveys book-length writing for a general readership about one of Australia’s most well-known and popular beaches, Sydney’s Bondi Beach. Having located narratives about Bondi Beach in a range of popular fiction and non-fiction writing, this investigation uses thematic analysis to examine these publications. Ten themes were identified in this analysis, revealing not only the wide range of topics related to Bondi Beach that are of interest to writers but also a series of tensions across these representations, as well as what is missing across these volumes.

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44

Knight, Stephen. "Peter Temple: Australian Crime Fiction on the World Stage." Clues: A Journal of Detection 29, no. 1 (March 1, 2011): 71–81. http://dx.doi.org/10.3172/clu.29.1.71.

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45

Beere, Diana. "Representations of the 'Absent Mother' in Australian Adolescent Fiction." Papers: Explorations into Children's Literature 8, no. 3 (December 1, 1998): 16–24. http://dx.doi.org/10.21153/pecl1998vol8no3art1370.

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46

Wright, Dorena Allen, and Carole Ferrier. "Gender, Politics and Fiction: Twentieth Century Australian Women's Novels." Comparative Literature 41, no. 3 (1989): 300. http://dx.doi.org/10.2307/1771122.

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47

Wheatley, Nadia. "Falling Backwards: Australian Historical Fiction and the History Wars." Australian Historical Studies 50, no. 2 (April 3, 2019): 270–71. http://dx.doi.org/10.1080/1031461x.2019.1598328.

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48

Lucas, Rose. "Not being echo: Women's voices in New Australian fiction." Australian Feminist Studies 4, no. 10 (December 1989): 131–35. http://dx.doi.org/10.1080/08164649.1989.9961663.

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49

Hazell, Anne. "Meals in minutes: food in contemporary Australian adolescent fiction." Australian Library Journal 49, no. 2 (January 2000): 151–58. http://dx.doi.org/10.1080/00049670.2000.10755916.

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50

Potter, Troy. "Ghosts of Australia Past: Postcolonial Haunting in Australian Adolescent Mystery Novels." International Research in Children's Literature 8, no. 2 (December 2015): 185–200. http://dx.doi.org/10.3366/ircl.2015.0167.

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Resumen

This essay explores the use of haunting in two Australian adolescent mystery novels, Victor Kelleher's Baily's Bones (1988) and Anthony Eaton's A New Kind of Dreaming (2001). Both novels mobilise the mystery genre as a means to interrogate Australia's colonial past and neocolonial present. The function of the spatial environments in which the novels take place and the construction and function of haunting in each novel is interrogated. It is argued that haunting is figured as a disruptive process whereby the repressed colonial scene intrudes on the present, such that the haunting the teenage p

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