Writing the oriental woman : an examination of the representation of Japanese women in contemporary Australian crime fiction

This study considers the challenges in representing women from other cultures in the crime fiction genre. The study is presented in two parts; an exegesis and a creative practice component consisting of a full length crime fiction novel, Batafurai. The exegesis examines the historical period of a section of the novel—post-war Japan—and how the area of research known as Occupation Studies provides an insight into the conditions of women during this period. The exegesis also examines selected postcolonial theory and its exposition of representations of the 'other' as a western construct designed to serve Eurocentric ends. The genre of crime fiction is reviewed, also, to determine how characters purportedly representing Oriental cultures are constricted by established stereotypes. Two case studies are examined to investigate whether these stereotypes are still apparent in contemporary Australian crime fiction. Finally, I discuss my own novel, Batafurai, to review how I represented people of Asian background, and whether my attempts to resist stereotype were successful. My conclusion illustrates how novels written in the crime fiction genre are reliant on strategies that are action-focused, rather than character-based, and thus often use easily recognizable types to quickly establish frameworks for their stories. As a sub-set of popular fiction, crime fiction has a tendency to replicate rather than challenge established stereotypes. Where it does challenge stereotypes, it reflects a territory that popular culture has already visited, such as the 'female', 'black' or 'gay' detective. Crime fiction also has, as one of its central concerns, an interest in examining and reinforcing the notion of societal order. It repeatedly demonstrates that crime either does not pay or should not pay. One of the ways it does this is to contrast what is 'good', known and understood with what is 'bad', unknown, foreign or beyond our normal comprehension. In western culture, the east has traditionally been employed as the site of difference, and has been constantly used as a setting of contrast, excitement or fear. Crime fiction conforms to this pattern, using the east to add a richness and depth to what otherwise might become a 'dry' tale. However, when used in such a way, what is variously eastern, 'other' or Oriental can never be paramount, always falling to secondary side of the binary opposites (good/evil, known/unknown, redeemed/doomed) at work. In an age of globalisation, the challenge for contemporary writers of popular fiction is to be responsive to an audience that demands respect for all cultures. Writers must demonstrate that they are sensitive to such concerns and can skillfully manage the tensions caused by the need to deliver work that operates within the parameters of the genre, and the desire to avoid offence to any cultural or ethnic group. In my work, my strategy to manage these tensions has been to create a back-story for my characters of Asian background, developing them above mere genre types, and to situate them with credibility in time and place through appropriate historical research.

Visions of the virtual : the role of computers and artificial intelligence in a selection of Australian young adult fiction

Advances in computer technology over the last twenty years have resulted in a number of different visions of what it means to be real, and of what it means to be human. This paper will explore how computers and artificial intelligence are used as major themes in four Australian novels written for young adults: Gillian Rubinstein’s Space Demons trilogy — comprising Space Demons, Skymaze and Shinkei — and Michael Pryor’s The Mask of Caliban. In so doing, the paper will look at how these texts explore the relationship between increasingly developed technology and visions of a better world. By comparing a series of oppositions that occur in all four books, this paper will look at how the theme of technology is used to privilege particular values and to advocate particular beliefs.

More than a mere story : social and political markers in Australian short fiction of the 1980's

This thesis is a literary history which argues that much of the short fiction published in Australia during the 1980s was deeply influenced by the rapid social and political changes during that decade. My argument concentrates on links between the short stones of the period and the socio/political environment into which they were written. The decade was marked by massive changes in technology, the workplace, and in all other areas of social life. In general terms, the ideology of the 'market' predominated over notions of small 'l' liberalism and the last vestiges of state intervention in the economy. The Australian short story benefited from the social 'experiments' of the 1970s in that its concerns became broader - encompassing the onslaught of feminism, the foregrounding of 'multicultural' concerns, and a move away from the bush into the city as a primary site for narratives. The decade was a rich period for the genre. Why was there a tolerance for a new diversity, in literary terms, when the social and political environment was turning to the right? This is a central question of the thesis. I argue that instead of the 'base' determining the 'superstructure' (i.e. culture) the superstructural changes were essential to the deconstruction of the social and political landscape. This thesis contends that a relationship always exists between the 'literary' and 'the social'. I argue, among other things, that many of the short fictions were influenced by 'postmodern' theory to the extent that they became a form of traumatic note-taking, which masked a late romanticism beneath a fear of the sovereign subject. The fear of 'closure' which insinuated itself into many of the texts, besides being a form of academic corrective, was also a flight from emotional candor. I argue that storytelling was, in many cases, the loser.

(Queer) Deleuzean readings of desire in Australian young adult fiction

This thesis analyses the representation of adolescent girls' friendships in Australian young adult fiction. Through Deleuzean philosophy, the relationships between girls are read as spaces of empowering and unbounded passions which defy binarised distinctions and categorisations. The analysis of these fictional relationships disentangles desire from psychoanalytic lack and uncovers its productivity.

The ‘Australian Girl’ and the domestic ideal in colonial women’s fiction

The vast majority of novels and periodicals read by colonial Australian girls were written and published in Britain. ‘Daughters of the Southern Cross’ were more likely to have access to the Girl’s Own Paper by subscription or to imported fictions that had proven popular with British girl readers than any locally produced depictions of girlhood. From the 1880s, however, Australian authors produced several milestone fictions of girlhood for both adult and juvenile audiences. Rosa Praed's An Australian Heroine (1880) and Catherine Martin’s An Australian Girl (1890)  gave voice to the lived experience of Australia for young women, and their publication in Britain contributed to an emergent reciprocal transpacific flow of literary culture.

Two canonical Australian novels that focus on the maturation of girl protagonists who live on bush homesteads were also published in this period. Ethel Turner’s Seven Little Australians (1894) and Miles Franklin’s My Brilliant Career (1901) feature intelligent girls who are not able to be effectively socialised to embrace domesticity. Turner’s Judy Woolcot is distinct among her six siblings as a plucky girl who instigates trouble, while Franklin’s aspiring writer Sybylla Melvyn is informed that ‘girls are the helplessest, uselessest, troublesomest little creatures in the world.’

The 1890s saw an agricultural depression in Australia that only fuelled the urban perpet-uation of the idealised and nationalistic bushman myth in literary and popular culture. The ubiquity of the myth problematised any attempt to situate women heroically within the nation outside of the home. British fictional imaginings of Australian girls lauded their lack of conformity and physical abilities and often showed them bravely defending the family property with firearms. In contrast, Australian domestic fiction, this chapter argues, is unable to accommodate bracing female heroism, postulating ambiguous outcomes at best for heroines who deviate from the feminine ideal.

Judy’s grandmother describes her ‘restless fire’ as something that ‘would either make a noble, daring, brilliant woman of her’, or ‘would flame up higher and higher and consume her’. Turner does not allow Judy’s unconventionality to prosper. Instead, she is killed by a falling gum tree while saving the life of her brother, leaving the future fulfilment of the domestic ideal to her sister, Meg, whose subsequent story occupies Little Mother Meg (1902). Franklin’s Sybylla expresses her inability to be content with the simple pleasures of keeping a home, and this informs her decision to reject a marriage proposal from a wealthy suitor. The novel’s indeterminate conclusion does not allow fulfilment of Sybylla’s writing aspirations, situating her outside the feminine ideal yet not affirming the merits of her desire to reject married life.

While Sharyn Pearce suggests that Judy’s tragic end follows a narrative pattern that sup-ports the glorification of male heroes and renders ‘over-reaching women’ as ‘noble failures’, the novel might also productively be read within the context of other fictions featuring girl protagonists of the period, such as Praed and Martin's novels. This chapter makes the case that Turner and Franklin’s thwarted heroines critique the containment of Australian girls to the banalities of the home by exposing the negative and uncertain outcomes for those who desire the freedoms and aspirations permitted to boys and men. Unlike British fictions that champion adventurous girls, these Australian fictions critique the continuation of gendered restrictions in the colonies by proposing that girls who desire excitement and independence ‘should have been…boy[s]’ (as Sybylla’s mother remarks).

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

The Australian emigrant a rambling story, containing as much fact as fiction

Mode of access: Internet.