y separately published work icon Australasian Journal of Victorian Studies periodical issue   peer reviewed assertion
Issue Details: First known date: 2013... vol. 18 no. 1 2013 of Australasian Journal of Victorian Studies est. 2007 Australasian Journal of Victorian Studies
The material on this page is available to AustLit subscribers. If you are a subscriber or are from a subscribing organisation, please log in to gain full access. To explore options for subscribing to this unique teaching, research, and publishing resource for Australian culture and storytelling, please contact us or find out more.

Contents

* Contents derived from the , 2013 version. Please note that other versions/publications may contain different contents. See the Publication Details.
The Disruption Of Fairyland : “Fairies Had Never Known How To Cry Until Then”, Anita Callaway , single work criticism

'This article considers the rise and fall of Ida Rentoul Outhwaite’s antipodean fairyland, her pictorial alternative to the masculinist vision of Australia at the nominal end of its colonial thraldom to Britain. Unlike their mischievous and anachronistic antecedents from Victorian Britain, Outhwaite’s fairies were both virtuous and up-to-date, presenting an idealised picture of how post-federation Australia might have been, had it been left in girlish hands. Outhwaite not only gave Australian girls entrée to a modern and serene femocracy, but offered her contemporaries a practical alternative to the closed-shop of traditional landscape painting. However, the gendered integrity of Outhwaite’s fairyland was short-lived. Her images progressively show marauding boys disrupting its harmony, much as their colonising fore-fathers had callously disrupted Terra Australis. Just as these fanciful episodes may be considered visual metaphors for the social oppression of women and even for the bully-boy ruthlessness of colonisation itself, the same images may also figuratively describe the eventual appropriation by conservative male painters of this feminine art speciality and its subsequent erasure from the orthodox history of Australian visual culture.' (Author's abstract)

(p. 17-27)
She Rides Astride : Mateship, Morality and the Outback-Colonial Girl, Caroline Campbell , single work criticism

'This article focuses on the representation of girlhood, gender and mateship particular to Australia, and to a lesser extent New Zealand, within the context of an emerging nationalism, social change and political upheaval. In it, I apply an illustrator’s perspective to interrogating the cultural significance of Mary Grant Bruce’s iconic outback heroine, Norah of Billabong Station. By comparatively examining Norah’s sequential representation in the narrative text, and the illustrations produced by John MacFarlane, I argue Bruce and her little-known, and rarely discussed immigrant illustrator combined to create an ideal and national type that was counter to anything that had been created for colonial girl readers before.' (Author's abstract)

(p. 28-39)
X