Victoria Genevieve Reeve Victoria Genevieve Reeve i(A12100 works by)
Born: Established: 1964 Brisbane, Queensland, ;
Gender: Female
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Works By

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1 Contemplating Affects : The Mystery of Emotion in Charlotte Wood’s The Weekend Victoria Genevieve Reeve , 2021 single work criticism
— Appears in: The Rise of the Australian Neurohumanities : Conversations Between Neurocognitive Research and Australian Literature 2021;

'In this chapter, I explore my affective engagement with Charlotte Wood’s The Weekend (2019). Adopting definitions that reveal the nested hierarchies of feeling, affect, and emotion, I situate emotion as a semantic experience within the framework of thought, arguing that thought itself is an affectual process that carries meaning. Cognition, in other words, is an affective process. Thought’s affectual status is often overlooked, however, with the focus on its semantic content drawing attention from this; yet meaning affects us, and this is the function of thought as affect: it organises experience in ways that are, in turn, affecting. My approach to Wood’s novel aims to emphasise this and find firmer ground on which to perceive emotion as a kind of thought, noting that reading stimulates thinking in terms of grammatically established points of view.'

Source: Abstract.

1 Gothic Moods and Colonial Night Guests : Beatrice Grimshaw's Writings on Fiji Victoria Genevieve Reeve , 2017 single work criticism
— Appears in: Claiming Space for Australian Women's Writing 2017; (p. 93-106)

'In 1904, Beatrice Grimshaw travelled to the Pacific islands, documenting her tour of Fiji in a book-length travel narrative, From Fiji to the Cannibal Islands (1907) (subsequently re-published as Fiji and its Possibilities [1907]). Her book makes scant reference to indentured Indian labour and focuses instead on the amiable Fijian as reformed cannibal. The point of this essay is that the Australian literary tradition must be read with clear-sighted and unflinching appraisal of its unsavoury elements (and Grimshaw’s blatant racism provides an example of such) as much as it lauds its achievements. To do so offers a way forward for Australian literature as it navigates a tradition of denial and silence on key aspects of its colonial past.'

Source: Abstract.

1 Wandering in Intersectional Time : Subjectivity and Identity in Richard Flanagan’s The Narrow Road to the Deep North Victoria Genevieve Reeve , 2016 single work criticism
— Appears in: TEXT : Special Issue Website Series , no. 34 2016;
'Using hokku poet Bashō’s aesthetics of wandering, as defined by Thomas Heyd, I argue that, by detailing the excruciating pointlessness of work undertaken according to commands that take little or no account of their feasibility, Richard Flanagan’s novel, The Narrow Road to the Deep North (which takes its title from Bashō) transforms the features of this aesthetics into the lived experience of prisoners of war on the ‘line’. In doing so, Flanagan transfers Bashō’s aesthetics into a represented actuality through the privileging of subjectivity over identity and the dissolution of the body on the line. The three prongs to Bashō’s aesthetics are found in Flanagan’s novel. In this, Flanagan is identifying the complexity of meanings evident in the terminology of such aesthetics, rendering what appears positive in the context of Bashō’s poetry negative in its practical application as this is articulated through the prisoners’ wartime experiences. Rather than being formative, Flanagan’s novel suggests wartime experience has a complexly ‘opposite’ effect. This is apparent in the complications of identity represented in postwar terms as a disunity (rather than a coherent unity), as articulated through the use of spatial metaphors that reverse the formative intensities of subjectivity and body through symbolic acts of dispersal and dissolution.' (Publication abstract)
1 Never Mind the Earworm, Read This Book Victoria Genevieve Reeve , 2014 single work review
— Appears in: TEXT : Journal of Writing and Writing Courses , April vol. 18 no. 1 2014;

— Review of Holiday in Cambodia Laura Jean McKay , 2013 selected work short story
1 On the Road to Excellence Victoria Genevieve Reeve , 2013 single work review
— Appears in: TEXT : Journal of Writing and Writing Courses , April vol. 17 no. 1 2013;

— Review of You Lose These and Other Stories Goldie Goldbloom , 2011 selected work short story
1 Mid-Century Well-Meaning? Victoria Genevieve Reeve , 2013 single work review
— Appears in: TEXT : Journal of Writing and Writing Courses , October vol. 17 no. 2 2013;

— Review of Southerly vol. 72 no. 1 2012 periodical issue
1 Untitled Victoria Genevieve Reeve , 2012 single work review
— Appears in: JASAL , vol. 12 no. 3 2012;

— Review of The Censor's Library Nicole Moore , 2012 single work criticism
1 Emotion, Motive, Narrative : Finding Heartland in Kim Scott’s Benang and Peter Carey’s Jack Maggs Victoria Genevieve Reeve , 2012 single work criticism
— Appears in: JASAL , vol. 12 no. 3 2012;
'In this essay, I want to explore the possibility that the success of narrative in stimulating empathy comes from the relation that narrative bears to emotion—where emotion is a kind of proto-narrative that possibly accounts for the structure and range of narratives themselves —and that our familiarity with emotions as micro-narratives results in the motivation of narrative. That is, the resolution of events occurs in terms of feeling rather than other forms of closure, since other forms of closure represent literal endings as, quite simply, the cessation of events whereas emotion achieves its end by being felt or translated in empathetic terms and in ways that endure beyond the formality of the fictive event that ends the narrative. I will be using Kim Scott's Benang: From the Heart (1999) and Peter Carey's Jack Maggs (1997) to discuss narrative and emotions, or the role of emotion in motivating narrative events and the role of narrative in conveying and stirring emotion in the reader.' (Author's abstract)
1 Who Cares Who’s Speaking? Cultural Voice in Peter Carey’s True History of the Kelly Gang Victoria Genevieve Reeve , 2010 single work criticism
— Appears in: JASAL , Special Issue 2010;
'When we speak about voice as it relates to specific individuals, we invariably strive to define its qualities: idiomatic, posh, intellectual, lowbrow, highbrow, regional, rural, suburban, urbane, musical, mellow, honeyed—a range of tonal, and competence-defined terms get used, but also place-related ones in terms of accent—geographical indicators like language and vernacular patterns of speech. Our descriptions endeavour, in some form, to identify voices in sensual terms that either locate them in time and space or which respond to the sensuality of hearing by making value judgments that categorise voices as having an impact upon the listener—pleasurable or otherwise. Voice hints, somewhat tantalisingly, at the historical traces of its past locations through these telltale signs of social and cultural situatedness. It seems to want to tell us where it's been over and above the grammatical indicators of where it's coming from. Yet voice—whatever that may be and however we may define it—is a performance: "the writing in the voice" to which Derrida has referred, is that rhetorical expression of presence inherent in our speech and arranged according to the conventions and rules of language. I perform my presence, grammatically, rhetorically and semantically, when I speak: the true indicator of my being, my voice and my presence, is something I myself can only gesture toward, and in gesturing, I perform: I write myself into my voice every time I speak.
In this essay I discuss, through an analysis of voice in Peter Carey's True History of the Kelly Gang, what this means in terms of understanding voice as it is identified in the novel, arguing that cultural voice performs, in its own way, the locatedness of voice within the history of its speaker's life.' (Author's abstract)
1 A Crack in the Wall Victoria Genevieve Reeve , 1993 single work short story
— Appears in: Shrieks : A Horror Anthology 1993; (p. 140-143)
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