Democratising the literary experience: metafiction in the novels of Agusta Wibisono

This paper is a study of the intersection of text, context and presentation in Agusta Wibisono's two novels based on the wayang shadow puppet theatre of Central Java, Balada Narasoma (The Ballad of Narasoma) (1990) and Balada Cinta Abimanyu dan Lady Sundari (The Ballad of the Love of Abimanyu and Lady Sundari) (1990). It should be observed from the outset that in the field of modern Indonesian literary studies Agusta Wibisono is a virtually unknown figure, and in Indonesia his two novels are long out of print and now extremely hard to find. The publishing house responsible for the novels' initial print run, Pustakakarya Grafikatama, is now defunct. Adding to the enigma surrounding this man, Agusta Wibisono is in fact a pseudonym for a writer and a pilot in the Indonesian airforce, Mohammad Agus Suhadi.

Representing Islam: female subjects in Suzanne Fisher Staples's novels

This article offers a reading of Suzanne Fisher Staples's novels Shabanu, Haveli,and Under the Persimmon Tree, drawing on postcolonial theory (in particular, Chandra Talpade Mohanty's essay "Under Western Eyes: Feminist Scholarship and Colonial Discourses" and Edward Said's Orientalism) to inform its analysis of the construction of girls and women in these texts. It argues that the novels' representations of Muslim girls are built on a naturalized contrast between liberal humanist paradigms of individualism and personal freedom, and homogenizing depictions of oppressed Muslim females, thus producing Orientalist distinctions between the West and the Orient.

Presbyterian ethos and environment in the novels of John Buchan : a religious and historical study

The aim of this thesis is to establish, from a historical and religious perspective, that the Presbyterian ethos and environment in which John Buchan was reared was the predominating influence in the writing of his novels. Presbyterianism was not the only influence on Buchan that determined the character of his stories. Buchan was by temperament a romantic, and this had considerable influence on his literature. His novels are romances, peopled by romantic figures who pursue romantic adventures. There are the signs of Buchan's romantic nature in the contents of the novels: creative imagination, sensitivity to nature, and expectations of the intrusion of other worlds, with destiny-determining events to follow. But Buchan had also an acquired classicism. His studies at Glasgow and Oxford Universities brought him in touch with a whole range of the master-pieces of classical literature, especially the works of Plato and Virgil. This discipline gave him clarity and conciseness in style, and balanced the romantic element in him, keeping his work within the bounds of reason. At the heart of Buchan's life and work, however, was his deeply religious nature and this, while influenced by romanticism and classicism, was the dominant force behind his work. Buchan did not accept in its entirety the Presbyterian doctrine conveyed to him by his father and his Church. He was moderate by temperament and shrank from excesses in religious matters, and, being a romantic, he shied away from any fixed creeds. He did embrace the fundamentals of Christianity, however, which he learned from his father and his Church, even if he did put aside the Rev. John's orthodox Calvinism. The basic Christianity which underlies all Buchan's novels has the stamp of Presbyterianism upon it, and that stamp is evident in his characters and their adventures. The expression of Christianity which Buchan embraced was the Christian Platonism of seventeenth century theologians, who taught and preached at Cambridge University, They gave prominence to the place of reason and conscience in man's search for God, They believed that reason and conscience were the ‘candle of the Lord’ which was existed every one. It was their conviction that, if that light was followed, it would lead men and women to God. They were against superstition and fanaticism in religion, against all forms of persecution for religious beliefs, and insisted that God could only be known by renouncing evil and setting oneself to live according to God’s will. This teaching Buchan received, but the stamp of his Presbyterianism was not obliterated. The basic doctrines which arose from his father's Presbyterianism and are to be found in Buchan's novels are as follows: a. the fear (or awe) of God, as life's basic religious attitude; b. the Providence of God as the ultimate determinative force in the outcome of events; c. the reality, malignity and universality of evil which must be forcefully and constantly resisted; d. the dignity of human beings in bearing God's image; e. the conviction that life has meaning and that its ultimate goal, therefore, is a spiritual one - as opposed to the accumulation of wealth, the achieving of recognition from society, and the gaining access to power; f. the necessity of challenge in life for growth and fulfilment, and the importance of fortitude in successfully meeting such challenge; g. the belief that, in the purpose of God, the weak confound the strong. These emphases of Presbyterianism are to be found in all Buchan's novels, to a greater or lesser degree. All his characters are serious people, with a moral purpose in life. Like the pilgrims of the Bible, they seek a country: true fulfilment. This quest becomes more spiritual and more dearly defined as Buchan grows in age and maturity. The progress is to be traced from his early novels, where fulfilment is sought in honour and self-approving competence, as advocated by classicism; to the novels of his middle years, where fulfilment is sought in adventures suggested by romanticism. In his final novel Sick Heart River. Buchan appears to have moved somewhat from his earlier classicism and his romanticism as the road to fulfilment. In this novel, Buchan expresses what, for him, is ultimate fulfilment: a conversion to God that produces self-sacrificing love for others. The terminally-ill Edward Leithen sets out on a romantic adventure that will enable him to die with dignity, and so, in classic style, justify his existence. He has a belief in God, but in a God who is almighty, distant and largely irrelevant to Leithen's life. In the frozen North of Canada, where he expects to find his meagre beliefs in God's absolute power confirmed by the icy majesty of mountain and plain, he finds instead God's mercy and it melts his heart. In a Christ-like way, he brings life to others through his death, believing that, through death, he will find life. There is sufficient evidence to give plausibility to the view that Buchan is describing in Leithen his own pilgrimage. If so, it means that Buchan found his way back to the fundamental experience of the Christian life, conversion, so strongly emphasised in his orthodox Presbyterianism home and Church. However, Buchan reaches this conclusion in a Christian Platonist way, through the natural world, rather than through the more orthodox pathway of Scripture.

Adventurous girls of the empire : the pre-war novels of Bessie Marchant

Historically, the genre of adventure fiction most readily recalls books for boys and male heroes rather than girl readers and protagonists. These include enduringly well-known works such as H. Rider Haggard's King Solomon's Mines (1885) and She (1887), the early to mid-Victorian boys' stories of Frederick Marryat, W. H. G. Kingston, and R. M. Ballantyne and the late-Victorian G. A. Henty's tales (his more than one hundred adventure stories sold in excess of 25 million copies). The novel of adventure at the conclusion of the nineteenth century recounted tales of male exploration on land or sea, and quests or conquests in real or imagined lands removed from the gentility of civilized England. These generic features were aligned with masculine traits of activity and strength, and while girls could and did indeed read boys' adventure books, examples with female protagonists were uncommon in the Victorian period. Joseph Bristow argues that between 1870 and 1900, "narratives celebrating empire and techniques in teaching reading and writing gradually converged . . . [B]oth inside and outside the classroom, there was more and more emphasis on heroic adventure, and this involved a number of shifts in attitude towards juvenile publishing and curriculum design" (20–21). The works Bristow refers to were, of course, written by male authors about masculine adventurers.

The novels of Bessie Marchant—sometimes called "the girls' Henty" —began to be published as the nineteenth century drew to a close. Her girl heroines act independently in isolated areas in Australia, New Zealand, Canada, India, South America, India, South Africa, Siberia, and Central America. From 1894 until her death in 1941, Marchant wrote more than a 130 novels, many of which celebrated the capacity of British or colonial girls to rise to any challenge set before them in rugged.

A preliminary evaluation of the use of graphic novels in teaching information systems

As a result of declining student numbers, and poor satisfaction ratings, an introductory information systems unit was completely redeveloped. A number of innovative initiatives were designed and implemented and the unit has seen a significant improvement in student satisfaction rates. This paper describes the development of a series of graphic novels as a strategy to both increase student engagement with the unit content and enhance the attainment of learning outcomes. It also discusses how the graphic novels were used in lectures, workshops, and competitions to increase student engagement (with varying degrees of success). Students have generally found the graphic novels to be a valuable learning resource. There is a paucity of studies on the impact of graphic novels as a teaching tool, particularly within the context of higher education, and this research is a contribution to this evident gap in the literature.

Emotional histories and historical emotions: looking at the past in historical novels

For anyone interested in the past and its representation, historical novels are difficult to ignore. Unlike a multitude of other alternative representations of the past that have been brought into historical view, however, historical novels have been largely excluded from scholarly historical analysis. Although historians might find historical novels fascinating, might read them voraciously, might teach courses on or around them, and might even write them while on sabbaticals, this engagement is not reflected in the pages of their work. Taking Kate Grenville's controversial Australian novel The secret river (2005) as a case study, this article considers the emotional ways in which historical novels make sense of their pasts, offering a methodological way forward in the historical analysis of the genre.

A Narratological investigation of Australian graphic novels for children

This thesis analyses a selection of contemporary Australian graphic novels for children and young adults. Using comics theory and postclassical narratology it demonstrates the diversity and richness of these texts and reveals that their blend of visual and verbal language requires a distinctive mode of reading.

Subversion or socialization? Humor and carnival in Morris Gleitzman's texts

Like their counterparts elsewhere, Australian children favour humorous novels; comedic writers consistently dominate the preteen and early teen fiction market in Australia. Regardless of its popularity, however, in comparison to more serious writing, humorous literature has received little critical attention. Of the studies aimed at this area, most have tended to concentrate on the various stages of development in childrens preferences for humor, its strategies, forms and appeal, with very few examining the ideological assumptions informing particular texts. Yet, this article argues, humorous books are no less concerned with culture, value and meaning than any other kind of fiction for children. As Morris Gleitzmans texts illustrate, by highlighting the cultural processes involved in the construction of language and meaning, inviting readers to play with ideas about language, social roles and behaviors, and creating characters who act in ways which are oppositional to usual socializing expectations, humorous literature, especially in carnivalized forms, has the potential to problematize unquestioning acceptance of various ideological para-digms, values, social practices and rules.

Contesting binarisms in Harry Potter : creative rejigging, or gender tokenism?

This paper arises out of curiosity inspired by four Japanese women students' consumption in English of the entire Harry Potter series (five increasingly lengthy books) in 2003, and it asks whether the six novels are regressive or creative on gender grounds. In a series which pivots around binaries and rarely complicates them, does gender come in for the same treatment? In updating the schoolboy/schoolgirl and action/magic genres and locating them in a co-ed setting, does the author of Harry Potter write as a woman or does she cling to regressive gender scripts?