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y separately published work icon Hecate periodical issue   peer reviewed assertion
Alternative title: Women Artists/Writers and Travelling Modernisms.
Issue Details: First known date: 2009... vol. 35 no. 1/2 2009 of Hecate est. 1975 Hecate
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Notes

  • Content indexed selectively.

Contents

* Contents derived from the 2009 version. Please note that other versions/publications may contain different contents. See the Publication Details.
First Drafts for Transnational Women's Writing : A Revisiting of the Modernism of Woolf, West, Fauset and Dark, Bonnie Kime Scott , single work criticism

This essay considers 'the potential for modernist transnational writing in four geographically distinct modernist sites, as found in selected essays and fiction by Virginia Woolf, Jessie Redmon Fauset, Rebecca West, and Eleanor Dark.' (p10)

(p. 10-28)
An Uncanny Vernacular : Comparing the Radical Modernisms of Lorine Niedecker and Lesbia Harford, Ann Vickery , single work criticism
This essay undertakes a comparative case study of Lorine Niedecker and Lesbia Harford in order to demonstrate how both were exploring radical modernism in similar ways. (p77, 90)
(p. 77-93)
Aileen Palmer - Twentieth Century Pilgrim : War, Poetry, Madness and Modernism, Sylvia Martin , single work criticism

'Aileen Palmer is one of only three women represented in a recent anthology of thirty-three poets writing about their experiences of the Spanish Civil War. The other two are English writers: Valentine Ackland and Sylvia Townsend Warner. In The Gender of Modernism Jane Marcus comments that the neglect of Warner's writing has occurred on many fronts: 'Left out of the literary histories of the Spanish Civil War presumably because she was a woman, she is left out of literary modernism because she was a communist and a lesbian. As her partner Valentine Ackland shared Warner's marginalities so, too, did Aileen Palmer, about whom could be added two more: she was Australian and she spent many years of her life in mental institutions.' (p94)

(p. 94-107)
Finding Hy-Brazil : Eugenics and Modernism in the Pacific, Susan Carson , single work criticism

This essay provides : 'a summary of the Australian literary engagement with eugenics as a broad category, followed by a discussion of the selective aspects of national and international eugenics ideas, before moving to a fuller examination of Prelude to Christopher.' (p 125)

(p. 124-133)
'Elusive as the Fires that Generate New Forms and Methods of Expression in Every Age and Country' : Nettie Palmer and the Modernist Short Story, Deborah Jordan , single work criticism

'The literary modernisms of [Nettie] Palmer and[Susannah] Prichard's generation were not a belated response to European and American developments, nor did they arise as a response to the trauma and tragedy of the Great War. Their engagement with Western European literary modernism stemmed from their direct experiences with 'the men of 1914' in London and America. When we begin with the situated perspectives of different women and understand writers as embodied subjects as a source of analytical power, new readings are possible.' (p134)

(p. 134-149)
Modernist Takes on Film in Jean Devanny's First Novels about Australia, Nancy L Paxton , single work criticism

In this essay, Paxton offers 'a more specifically modernist vantage point on the fiction Devanny wrote about Australia, soon after she moved with her family to Sydney in 1929, by looking more closely at her lesser-known romances, Out of Such Fires (1934) and The Ghost Wife (1935)'. (p 150)

(p. 150-170)
Jean Devanny as an Australasian 'Woman of 1928', Carole Ferrier , single work criticism

'It has been suggested by Susan Friedman that we might understand 'the geopolitical rhetoric of feminism' as operating 'according to a transnational grammar with a number of specific figural formations'; in particular, five tropic patterns: 'the metaphorics of nation, borders, migration, 'location' and conjuncture.' These tropes recur and can be recognized in Devanny's fiction, and also in the story of her life.' (p187)

(p. 187-201)
When Was Modernism? The Cold War Silence of Christina Stead, Susan Sheridan , single work criticism

'Christina Stead (1902-1983) was a long-time expatriate Australian writer who lived in, and wrote about Sydney, New York, Paris, London and many other European cities - she was a 'travelling modernist' par excellence. Today this geo-political and cultural range earns her the fashionable epithet, 'cosmopolitan'. But in the two decades after World War Two, when she and her American writer husband, William J. Blake, moved back to Europe and eventually settled in England, that same range earned her nothing but rejection slips and poverty. Her politicised form of modernist fiction did not travel well into the post-war period.' (p204)

(p. 204-218)
From Forty Shades of Green, Penelope Hanley , single work short story (p. 266-272)
Eve 1954, Odette Kelada , single work short story (p. 273-287)
Baptism, Tracie McBride , single work short story (p. 288-295)
On Wakingi"Wake at five am", Alison Lambert , single work poetry (p. 296)
Take-offi"Have you seen the way the day grows", Katherine Gallagher , single work poetry (p. 298)
Nicotine Forcefieldi"Laying on the laundry bench puts the spine right,", Carmen Leigh Keates , single work poetry (p. 298)
Found Subjecti"Late starter,", Helen Cerne , single work poetry (p. 299)
Louise Bourgeois 1911-i"A male reviewer recently wrote:", Helen Cerne , single work poetry (p. 300-301)
Now You're Herei"The ride-on mower", Kelly Pilgrim , single work poetry (p. 301)
Crossing the Bay from Rangitotoi"Wind fastens", Anne Elvey , single work poetry (p. 304)
Spilt Milki"In those days milk came in stout pints", Anne Elvey , single work poetry (p. 304)
Solidi"Solid", Justine Armstrong , single work poetry (p. 305)

Publication Details of Only Known VersionEarliest 2 Known Versions of

Last amended 21 Jan 2010 15:49:04
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