AustLit

David Matthews examines the production of the Gothic in the fiction of Marcus Clarke.

Peter Otto focuses 'on the ways in which Kendall uses the Gothic - Gothic medievalism and Gothic primitivism, in particular - to generate a sense of belonging in an alien locale and, often at the same time, a disabling awareness of alienation, violence and loss' (19-20).

Andrew Lynch reads sections of Francis Webb's Around Costessey sequence of poems to indicate how the medieval 'is confronted and deployed within the formation of Australian identity' (42).

Louise D'Arcens examines the differences in the way two heroines from novels by Jessica Anderson read Arthurian legends. She suggests that 'the transition between the two heroines' medievalisms reflects the changing significance of the Middle Ages as an imaginative prism through which Australian experience has been refracted. The development they embody [...] is an index of Australia's transition from colonial dependency at the beginning of the twentieth century to cultural autonomy and sovereignty a the century's end' (62-63).

Margaret Rogerson demonstrates types of medievalism in Australian literature, through a discussion of the deployment of the 'everyman' figure.

Jenna Mead analyses the relationship between medievalism and memory in a reading of 'two of medievalism's afterlives. [The] first sifts together two medieval towers [in Tasmania] and the sparse and ephemeral historical documents pertaining to one moment in the history of those towers; [the] second reads three documents in what might be called the history of literary studies in Australia and, more narrowly, that history as it focuses on medieval literary studies' (101).

Valerie Krips discusses the 'trafficking' in history in three recent Australian children's books. She demonstrates how 'the past as represented in each novel is in the service of present concerns' (123).