Weaving textual tapestries: weaving the 'Italian woman-writer' into the social fabric

A tapestry is a fabric in which multicoloured threads are interwoven to produce a pictorial design. The design of a tapestry often seems three-dimensional with layers of interwoven images of people and events from various times past and present. I use the tapastry as a motif or metaphor to describe the bordering and interweaving of my 'multiple lifeworlds' (Cope & Kalantzis 8) as an Italian Australian woman, academic, writer and social activist. Within and between each .of these worlds are points of tension and confluence, questions and emotions that motivate my own research and writing, and motivate my work with young people to articulate their own 'multiple lifeworlds' through writing
and art.

Fundamentalism meets feminism : postmodern confrontation in the work of Janette Turner Hospital

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Cross talk : collaborative indigenous life writing in Australia and Canada

This thesis argues that the critical reading of Indigenous life writing needs to move beyond its concern for power relations operating between the narrators and editors of collaboratively produced texts. It discusses the role of Indigenous families and communities in both the production and the reading of Indigenous texts.

Escape artists

The figure of the female visual artist within literature has attracted a great deal of attention from feminists. In this thesis, the author examines the idea of a feminist gaze located in the female protagonists within fiction that insists on the sense of touch to alter the principle of vision.

Education and work in service of the nation: Canadian and Australian girls' fiction, 1908-1921

This chapter compares early twentieth-century Australian novels by Ethel Turner, Mary Grant Bruce, and Lilian Turner to Canadian novels by Nellie McClung and L.M. Montgomery to demonstrate important differences in attitudes towards education and work. Girls’ fiction in these white settler colonies has many similarities, containing strong ideals related to domesticity, education, employment, and femininity. In the Canadian fiction, attitudes towards women’s higher education and employement are generally much more positive. Although both Australian and Canadian girls’ fiction typically conclude with marriage, Montgomery’s Anne of Green Gables and Nellie McClung’s Pearlie Watson are offered the opportunity to pursue higher education and use this education to teach others. In contrast, Lilian Turner’s Paradise and the Perrys, Ethel Turner’s Fair Ines, and Mary Grant Bruce’s ’Possum emphasise the importance of domesticity while also showing how girls sought to earn income without leaving home. Through our comparison of these Canadian and Australian novels, all published between 1908 and 1921, we demonstrate how the different feminine ideals embodied through these heroines are inevitably intertwined with the needs of the nation

Holocaust literature : an exploration of second-generation publication in Australia

Normally we expect the magic of art to intensify, transfigure and elevate actuality. Touch the Holocaust and the flow is reversed (Clendinnen 1998, p. 185). This dissertation explores the relationships between the second-generation Holocaust writer, the Australian publishing industry and the reading public. It contends that a confluence of elements has made the 'genre' of second-generation Holocaust writing publishable in the late 20th century in a way that would not seem obvious from its major themes and the risk-averse publishing strategies increasingly adopted by the multinational conglomerates controlling the Australian industry. The research explores the nature of connections between writing, publishing and reading Holocaust literature, seeking to answer the following questions: What are the driving forces that compel children of Holocaust survivors to write about their parents' lives and their own experiences of growing up in a 'survivor' family? By what mechanisms are such stories published in an Australian industry dominated by international conglomerates focused on mass-market publishing? How do readers receive and make sense of this material?

The work of death in Brontë's and Dickinson's poetry

Death determines distinctly different, almost inverse, responses and outcomes for Emily Dickinson and Emily Brontë. Death is an imaginative poetic solution for Dickinson, demonstrating her belief that art is the only way to transcend death. But death is the ultimate solution for Brontë, for whom freedom of the imagination leads to mystical unity and continuity.

(Post)colonial ambivalences : Christina Stead and Janet Frame

This thesis is an evaluative comparison of two significant writers, the Australian Christina Stead, and New Zealander Janet Frame. In a detailed analysis of the novels, the writerly ambivalences of each author are explored. Their writings are revealed to be creative of new possibilities for female (post)colonial agency.

Fatal women in renaissance tragedy, 1550-1650

Drawing upon the femme fatale of film noir, this thesis examines the presence of a fatal woman on the Renaissance stage. The thesis analyses the representation of emotionally and sexually independent women as fatally attractive to, yet ultimately destructive of, the men they entrap and seduce.

Spirit-music unbound: Romanticism and print politics in Australian women's poetry 1830-1905

This thesis presents a re-mapping of Australian poetic tradition to reflect the presence of colonial women poets. The research recovers a wide range of neglected poetry, offering a new way of reading these important poets as politic and transnational, particularly through the significance of newspaper authorship and international women’s poetry.

‘I am content with Canada’: Canadian girls at the turn of the twentieth century

This essay focuses on British girls' periodicals and novels published around the turn of the twentieth century that generate an imagined picture of Canadian girlhood; I also begin to contrast these representations with those produced and published in Canada.

Understanding transition towards information security culture change

Transitioning towards an information security culture for organisations has not been adequately explored in the current security and management literature. Many authors have proposed how information security culture can be created, fostered and managed within organisations, but have failed to adequately address the transition process towards information security culture change, particularly for small medium enterprises (SMEs). This paper aims to (1) recapitulate key developments and trends within information security culture literature; (2) explore in detail the transition process towards organisational change; (3) adapt the transition process with respects to the key players involved in transition and propose a transition model for information security culture change; and (4) consider how this model could be used by managers and employees of Australian SMEs. A major intention of this paper is to provide academic researchers and practicing managers with an understanding of the transition process towards achieving information security culture change within SMEs.

Postcolonial bildungsroman: indigenous subjects and identity-formation

In the bildungsroman as it has conventionally been defined, individuals attain self-actualisation through a series of experiences whereby they accommodate their individuality to a social order.  Protagonists negotiate their transition from childhood to young-adulthood by way of educative experiences, trials of various kinds, and a search for identity, which is generally formulated as a fixed or stable essence which they must discover or accept.  In this paper I focus on two examples of bildungsroman by Indigenous Canadian and Australian authors: Jeannette Armstrong’s Slash (1985),and Richard J. Frankland’s Digger J. Jones (2007).  Both novels feature male protagonists whose stories play out against the background of Indigenous activism in the 1960s.  As they track the identity-formation of their protagonists, the two novels deconstruct simple or fixed ideas of national identity by pointing to the complex cross-cultural relationships which have characterised settler societies.  At the same time,these novels dramatise the power of socialising practices which promote white superiority and position Indigenous peoples as supplicants or victims.  Both novels draw on what Paul Havemann terms the "new politics of identity and cultural recognition" which characterise contemporary Indigenous activism, re-reading events and settings of the 1960s in the light of discourses of cultural recognition and self-determination.