In Ceridwen Dovey’s short story cycle, Only the Animals, inter-textual allusions to established fictional animals are imposed onto settings of human conflict and ventriloquised through diverse animal subjects. This paper defends narrating from a non-human animal perspective, not as a radical act, but as a move to reinvigorate our conceptions of human-animal relations. Meaningful encounters between human and non-human animals are presented with a recognition of the impossibility of full and mutual inter-species understanding. The juxtaposition of the limits of figuring literary animals with human/animal intimacy and incomprehension marks Dovey’s work as a logical progression of some ideas presented in J. M. Coetzee’s Elizabeth Costello. This paper reads Dovey’s deployment of textual self-referentiality and overt intersection with Coetzee’s work in Only the Animals as a reflexive writing form that works to critique another representational dispossession: that of anthropocentric realism. Both works understand that humans do not share language with non-human animals but we often meet questions of the animal through stories. This makes the stories we tell highly significant; indeed – vital – components of the cultural landscape.
{"title":"Revisiting the ‘Problem’ of Anthropomorphism through Ceridwen Dovey’s *Only the Animals* (2014)","authors":"C. Archer-Lean","doi":"10.20314/ALS.80AC7927CD","DOIUrl":"https://doi.org/10.20314/ALS.80AC7927CD","url":null,"abstract":"In Ceridwen Dovey’s short story cycle, Only the Animals, inter-textual allusions to established fictional animals are imposed onto settings of human conflict and ventriloquised through diverse animal subjects. This paper defends narrating from a non-human animal perspective, not as a radical act, but as a move to reinvigorate our conceptions of human-animal relations. Meaningful encounters between human and non-human animals are presented with a recognition of the impossibility of full and mutual inter-species understanding. The juxtaposition of the limits of figuring literary animals with human/animal intimacy and incomprehension marks Dovey’s work as a logical progression of some ideas presented in J. M. Coetzee’s Elizabeth Costello. This paper reads Dovey’s deployment of textual self-referentiality and overt intersection with Coetzee’s work in Only the Animals as a reflexive writing form that works to critique another representational dispossession: that of anthropocentric realism. Both works understand that humans do not share language with non-human animals but we often meet questions of the animal through stories. This makes the stories we tell highly significant; indeed – vital – components of the cultural landscape.","PeriodicalId":42299,"journal":{"name":"AUSTRALIAN LITERARY STUDIES","volume":"364 21","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-07-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41330804","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Review of *A World of Fiction: Digital Collections and the Future of Literary History*, by Katherine Bode","authors":"Kenneth M. Price","doi":"10.20314/ALS.40CCD47432","DOIUrl":"https://doi.org/10.20314/ALS.40CCD47432","url":null,"abstract":"","PeriodicalId":42299,"journal":{"name":"AUSTRALIAN LITERARY STUDIES","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-07-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42047418","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Review of *The Transported Imagination: Australian Interwar Magazines and the Geographical Imaginaries of Colonial Modernity*, by Victoria Kuttainen, Susann Liebich and Sarah Galletly","authors":"M. Cooper","doi":"10.20314/ALS.6D06BD508D","DOIUrl":"https://doi.org/10.20314/ALS.6D06BD508D","url":null,"abstract":"","PeriodicalId":42299,"journal":{"name":"AUSTRALIAN LITERARY STUDIES","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-07-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41360472","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Review of *Like Nothing on this Earth: A Literary History of the Wheatbelt*, by Tony Hughes-d’Aeth","authors":"D. Graham","doi":"10.20314/ALS.E487F5777E","DOIUrl":"https://doi.org/10.20314/ALS.E487F5777E","url":null,"abstract":"","PeriodicalId":42299,"journal":{"name":"AUSTRALIAN LITERARY STUDIES","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-07-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41825784","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Ends of Empire: Australian Steampunk and the Reimagining of Euro-Modernity","authors":"C. Mills, Geoffrey Hondroudakis","doi":"10.20314/ALS.CCA231AF02","DOIUrl":"https://doi.org/10.20314/ALS.CCA231AF02","url":null,"abstract":"","PeriodicalId":42299,"journal":{"name":"AUSTRALIAN LITERARY STUDIES","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-12-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49395336","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Viewed through the lens of feminist criminology, how does the subgenre of domestic noir dramatise domestic violence through generic or subversive elements of craft? Drew Humphries asserts that feminist criminology has challenged, reframed and improved legal definitions and data collection regarding women and violence (as both victims and perpetrators), and that those changes have been registered more widely in the community via media both in journalistic choices and in the themes and features of literary genres (xi). Drawing on this conceptual framework, my research analyses representations of domestic violence in domestic noir novels with reference to feminist criminological theories, including gender critiques of Life Course Theory and the General Strain Theory of Deviance. This article presents a textual analysis of Emily Maguire’s An Isolated Incident (2016) as a literary crime novel with domestic noir features centring on the use of domestic violence to build narrative interest and deliver dramatic tension, while also identifying the subversion of generic elements to enable thematic consideration of intersectional feminist concerns. I demonstrate that the rise in popularity of domestic noir occurs against a backdrop of an increased culture of interest in domestic violence, arguing that domestic noir narrative strategies leverage the complexities of feminist gains in criminology and criminal justice to give voice to women’s and girls’ experiences of gendered violence.
{"title":"The Menace of Intimacy: Domestic Noir, Feminist Criminology, and Emily Maguire’s *An Isolated Incident*","authors":"Meggan Vann","doi":"10.20314/ALS.A32C478454","DOIUrl":"https://doi.org/10.20314/ALS.A32C478454","url":null,"abstract":"Viewed through the lens of feminist criminology, how does the subgenre of domestic noir dramatise domestic violence through generic or subversive elements of craft? Drew Humphries asserts that feminist criminology has challenged, reframed and improved legal definitions and data collection regarding women and violence (as both victims and perpetrators), and that those changes have been registered more widely in the community via media both in journalistic choices and in the themes and features of literary genres (xi). Drawing on this conceptual framework, my research analyses representations of domestic violence in domestic noir novels with reference to feminist criminological theories, including gender critiques of Life Course Theory and the General Strain Theory of Deviance. This article presents a textual analysis of Emily Maguire’s An Isolated Incident (2016) as a literary crime novel with domestic noir features centring on the use of domestic violence to build narrative interest and deliver dramatic tension, while also identifying the subversion of generic elements to enable thematic consideration of intersectional feminist concerns. I demonstrate that the rise in popularity of domestic noir occurs against a backdrop of an increased culture of interest in domestic violence, arguing that domestic noir narrative strategies leverage the complexities of feminist gains in criminology and criminal justice to give voice to women’s and girls’ experiences of gendered violence.","PeriodicalId":42299,"journal":{"name":"AUSTRALIAN LITERARY STUDIES","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-12-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47322201","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Models of Publishing and Opportunities for Change: Representations in Harlequin, Montlake and Self-Published Romance Novels","authors":"C. Parnell","doi":"10.20314/ALS.1CD73E2F68","DOIUrl":"https://doi.org/10.20314/ALS.1CD73E2F68","url":null,"abstract":"","PeriodicalId":42299,"journal":{"name":"AUSTRALIAN LITERARY STUDIES","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-12-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41702213","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Review of *Half the Perfect World: Writers, Dreamers and Drifters on Hydra, 1955-1964*, by Paul Genoni and Tanya Dalziell","authors":"S. Lever","doi":"10.20314/ALS.5F6E1063AE","DOIUrl":"https://doi.org/10.20314/ALS.5F6E1063AE","url":null,"abstract":"","PeriodicalId":42299,"journal":{"name":"AUSTRALIAN LITERARY STUDIES","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-12-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49319415","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Defining and Redefining Popular Genres: The Evolution of ‘New Adult’ Fiction","authors":"J. McAlister","doi":"10.20314/ALS.0FD566D109","DOIUrl":"https://doi.org/10.20314/ALS.0FD566D109","url":null,"abstract":"","PeriodicalId":42299,"journal":{"name":"AUSTRALIAN LITERARY STUDIES","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-12-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45382839","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Australian popular fiction is the most significant growth area in Australian trade publishing since the turn of the twenty-first century, yet it has received little sustained scholarly attention (Fletcher et al. 5). Over the last two decades, the rhetoric of the decline of literary fiction has become a recurring theme in cultural journalism (see, for example, Knox; Mordue; Neill; Sullivan; Williamson). But while the fate of literature prompts elegiac reflection, Australian popular fiction is a success story hidden in plain view. Nationally and internationally, critically and commercially, Australian popular fiction titles have performed strongly over the twenty-first century. For example, in 2010 Peter Temple’s Truth won Australia’s most prestigious literary award, the Miles Franklin, following German, Swedish, US, and UK prizes for this and his earlier novels; in 2015 Australian fantasy writer Angela Slatter won a World Fantasy Award for her short story collection, The Bitterwood Bible and Other Recountings ; and in 2017 romance novelist Stephanie Laurens appeared on the New York Times Best Seller List for the 38th time with Lord of the Privateers . As we have shown elsewhere, the three major genres of crime, fantasy and romance are not just growing by output, but driving change in the post-digital publishing economy (Driscoll et al., ‘Publishing Ecosystems’). This special issue is part of our larger research agenda to address the gaps in knowledge about this thriving sector of literary culture, both in Australia and internationally.
自21世纪初以来，澳大利亚通俗小说是澳大利亚贸易出版中增长最显著的领域，但它很少受到持续的学术关注(Fletcher等人5)。在过去的二十年里，文学小说衰落的修辞已经成为文化新闻中反复出现的主题(例如，见诺克斯;Mordue;尼尔;沙利文;Williamson)。然而，尽管文学的命运引发了悲歌般的反思，但澳大利亚通俗小说是一个隐藏在普通视野中的成功故事。在国内和国际上，评论界和商业上，澳大利亚流行小说在21世纪表现强劲。例如，2010年，彼得·坦普尔的《真相》获得了澳大利亚最负盛名的迈尔斯·富兰克林文学奖，继德国、瑞典、美国和英国的《真相》及其早期小说之后;2015年，澳大利亚奇幻作家安吉拉·斯莱特(Angela Slatter)凭借短篇小说集《Bitterwood Bible and Other narratives》获得世界奇幻奖;2017年，言情小说家斯蒂芬妮·劳伦斯凭借《私掠者之王》第38次登上《纽约时报》畅销书排行榜。正如我们在其他地方所展示的那样，犯罪、奇幻和浪漫这三种主要类型不仅在产量上增长，而且还推动了后数字出版经济的变化(Driscoll等人，“出版生态系统”)。这期特刊是我们更大的研究议程的一部分，旨在解决澳大利亚和国际上对这一蓬勃发展的文学文化领域的知识差距。
{"title":"What is Australian Popular Fiction?","authors":"Kim Wilkins, Beth Driscoll, L. Fletcher","doi":"10.20314/als.4e3df0ec9c","DOIUrl":"https://doi.org/10.20314/als.4e3df0ec9c","url":null,"abstract":"Australian popular fiction is the most significant growth area in Australian trade publishing since the turn of the twenty-first century, yet it has received little sustained scholarly attention (Fletcher et al. 5). Over the last two decades, the rhetoric of the decline of literary fiction has become a recurring theme in cultural journalism (see, for example, Knox; Mordue; Neill; Sullivan; Williamson). But while the fate of literature prompts elegiac reflection, Australian popular fiction is a success story hidden in plain view. Nationally and internationally, critically and commercially, Australian popular fiction titles have performed strongly over the twenty-first century. For example, in 2010 Peter Temple’s Truth won Australia’s most prestigious literary award, the Miles Franklin, following German, Swedish, US, and UK prizes for this and his earlier novels; in 2015 Australian fantasy writer Angela Slatter won a World Fantasy Award for her short story collection, The Bitterwood Bible and Other Recountings ; and in 2017 romance novelist Stephanie Laurens appeared on the New York Times Best Seller List for the 38th time with Lord of the Privateers . As we have shown elsewhere, the three major genres of crime, fantasy and romance are not just growing by output, but driving change in the post-digital publishing economy (Driscoll et al., ‘Publishing Ecosystems’). This special issue is part of our larger research agenda to address the gaps in knowledge about this thriving sector of literary culture, both in Australia and internationally.","PeriodicalId":42299,"journal":{"name":"AUSTRALIAN LITERARY STUDIES","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-12-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46750037","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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