AustLit
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Contents
- Ballad of Sydney Royali"O, Sydney Royal's a motherly soul,", single work poetry (p. 7-9)
- The Fortune Teller's Songi"Oh, joy's a snare ! True love is rare;", single work poetry (p. 59-60)
Publication Details of Only Known VersionEarliest 2 Known Versions of
Works about this Work
-
Transformative 'Australianness' and Powerful Children : Miles Franklin's Sydney Royal
1999
single work
criticism
— Appears in: Bookbird , vol. 37 no. 1 1999; (p. 25-30) -
Miles Franklin's Sydney Royal (1947) : An Antipodean Menippea for Children
1995
single work
criticism
— Appears in: New Review of Children's Literature and Librarianship , vol. 1 no. 1 1995; (p. 135-160)'This article considers the formal features of Sydney Royal (1947) — by the canonised mainstream Australian writer (Stella) Miles Franklin (1879–1954) — against Bakhtin's description of the serio‐comical genre of the menippea. Generic location may make us reconsider dismissal of this virtually unknown work as an insignificant freak within children's literature. The menippea is a genre pervaded by ambivalence and dualism, and presents the literary reflections of carnival space and time and of carnival rituals. Its characteristic features are a comic element, free invention, an ideational end, slum naturalism, the posing of ultimate questions, three‐planed construction, an experimental fantasticality of perspective, the presentation of unusual psychic states, scandal, profanation of the sacred, sharp contrasts, oxymoronic combinations, Utopia, parody, multistylation and tonality, and presentation of topical issues. The carnival sense destroys barriers between genres and violates the sense of what is generically appropriate in a work. All these are features of Sydney Royal, which presents a space of all‐encompassing Utopian flux, a fantasticality of perspective incarnated by the blurred identities of all the characters and other devices, fairytale parody which breaks down the generic barriers between realistic and stylised narrative kinds, and the testing of ideas about the mutability of life and the simultaneity of time. The article is intended to start us thinking whether children's literature might have its own menippean tradition.'
Source: Abstract.
-
Recent Children's Books
1947
single work
column
— Appears in: The Australasian Book News and Literary Journal , August vol. 2 no. 2 1947; (p. 93-96) -
Sydney Royal
1947
single work
review
— Appears in: Fellowship , June vol. 3 no. 5 1947; (p. 3)
— Review of Sydney Royal : Divertisement 1947 single work children's fiction
-
Sydney Royal
1947
single work
review
— Appears in: Fellowship , June vol. 3 no. 5 1947; (p. 3)
— Review of Sydney Royal : Divertisement 1947 single work children's fiction -
Transformative 'Australianness' and Powerful Children : Miles Franklin's Sydney Royal
1999
single work
criticism
— Appears in: Bookbird , vol. 37 no. 1 1999; (p. 25-30) -
Recent Children's Books
1947
single work
column
— Appears in: The Australasian Book News and Literary Journal , August vol. 2 no. 2 1947; (p. 93-96) -
Miles Franklin's Sydney Royal (1947) : An Antipodean Menippea for Children
1995
single work
criticism
— Appears in: New Review of Children's Literature and Librarianship , vol. 1 no. 1 1995; (p. 135-160)'This article considers the formal features of Sydney Royal (1947) — by the canonised mainstream Australian writer (Stella) Miles Franklin (1879–1954) — against Bakhtin's description of the serio‐comical genre of the menippea. Generic location may make us reconsider dismissal of this virtually unknown work as an insignificant freak within children's literature. The menippea is a genre pervaded by ambivalence and dualism, and presents the literary reflections of carnival space and time and of carnival rituals. Its characteristic features are a comic element, free invention, an ideational end, slum naturalism, the posing of ultimate questions, three‐planed construction, an experimental fantasticality of perspective, the presentation of unusual psychic states, scandal, profanation of the sacred, sharp contrasts, oxymoronic combinations, Utopia, parody, multistylation and tonality, and presentation of topical issues. The carnival sense destroys barriers between genres and violates the sense of what is generically appropriate in a work. All these are features of Sydney Royal, which presents a space of all‐encompassing Utopian flux, a fantasticality of perspective incarnated by the blurred identities of all the characters and other devices, fairytale parody which breaks down the generic barriers between realistic and stylised narrative kinds, and the testing of ideas about the mutability of life and the simultaneity of time. The article is intended to start us thinking whether children's literature might have its own menippean tradition.'
Source: Abstract.
- Sydney, New South Wales,