L. M. Rutherford L. M. Rutherford i(A16329 works by) (a.k.a. Leonie Rutherford; Leonie Margaret Rutherford)
Gender: Female
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Works By

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1 y separately published work icon Social Reading Cultures on BookTube, Bookstagram and BookTok Bronwyn Reddan , L. M. Rutherford , Amy Schoonens , Michael Dezuanni , Abingdon : Routledge , 2024 28229225 2024 single work criticism

'This book examines the reading cultures developed by communities of readers and book lovers on BookTube, Bookstagram, and BookTok as an increasingly important influence on contemporary book and literary culture. It explores how the affordances of social media platforms invite readers to participate in social reading communities and engage in creative and curatorial practices that express their identity as readers and book lovers.

'The interdisciplinary team of authors argue that by creating new opportunities for readers to engage in social reading practices, bookish social media has elevated the agency and visibility of readers and book consumers within literary culture. It has also reshaped the cultural and economic dynamics of book recommendations by creating a space in which different actors are able to form an identity as mediators of reading culture.

'Concise and accessible, this introduction to an increasingly central set of literary practices is essential reading for students and scholars of literature, sociology, media, and cultural studies, as well as teachers and professionals in the book and library industries.'

Source: Publisher's blurb.

1 From ‘Fiction Fanatic’ to ‘Book Abstainer’ : Which Type of Reader Is Your Teenager? L. M. Rutherford , Andrew Singleton , Bronwyn Reddan , Katya Anne-Madsen Johanson , Michael Dezuanni , 2024 single work essay
— Appears in: The Conversation , 5 April 2024;
1 #Ownvoices, Disruptive Platforms, and Reader Reception in Young Adult Publishing L. M. Rutherford , Katya Anne-Madsen Johanson , Bronwyn Reddan , 2022 single work criticism
— Appears in: Publishing Research Quarterly , September vol. 38 no. 3 2022; (p. 573–585)

'The concept of #ownvoices writing has gained traction in contemporary publishing as both a genre of reader interest and a focus for debates about authors’ rights to write cross-culturally. This paper examines tensions the #ownvoices movement reveals between the commissioning, publishing, and critical reception of a book, using debate about Craig Silvey’s Honeybee, an Australian novel focalized through a young trans protagonist but written by a straight male author. Drawing on the theory of recognition, it analyzes author and publisher media interviews, social media, and literary reviews in mainstream publications, which are given context through with selected interviews with Australian publishers. Misrepresentation and appropriation are concerns for many readers, while judgements about aesthetic quality vary. Structures within the book industries limit the economic representation of diverse creators which, in turn, has implications for the diversity of experience represented in young adult fiction and its literary quality.'  (Publication abstract)

1 Using Modernist Techniques to Promote Deep Reading in Y.A. Fiction Michelle Mcrae , L. M. Rutherford , 2019 single work criticism
— Appears in: New Writing , vol. 16 no. 2 2019; (p. 128-138)
1 Children and the Media L. M. Rutherford , 2014 single work companion entry
— Appears in: A Companion to the Australian Media : C 2014; (p. 91-94)
1 Tales of Mystery and the Mundane : Children's Books in 2013 L. M. Rutherford , 2013 single work review
— Appears in: The Conversation , 16 December 2013;

— Review of The Children of the King Sonya Hartnett , 2012 single work children's fiction ; Today We Have No Plans Jane Godwin , 2012 single work picture book ; Sea Hearts Margo Lanagan , 2012 single work novel ; Unforgotten Tohby Riddle , 2012 single work picture book
1 Negotiating Masculinities : Yolngu Boy L. M. Rutherford , 2004 single work column
— Appears in: Metro Magazine , no. 140 2004; (p. 62-69)
1 Australian Animation Aesthetics L. M. Rutherford , 2003 single work criticism
— Appears in: Lion and the Unicorn , April vol. 27 no. 2 2003; (p. 251-267)
Traces an aesthetic tendency in Australian animation for children, a modern development in film studies.
1 Electr(a)ic Realism L. M. Rutherford , 1997 single work criticism
— Appears in: Making It Real : Proceedings of the Fourth Children's Literature Conference 1997; (p. 23-26)
1 Louisa Lawson : Collected Poems with Selected Critical Commentaries : Textual Introduction to the Poetry L. M. Rutherford , 1996 single work criticism biography
— Appears in: Louisa Lawson : Collected Poems with Selected Critical Commentaries 1996; (p. xii-xix)
1 2 y separately published work icon Louisa Lawson : Collected Poems with Selected Critical Commentaries Louisa Lawson , L. M. Rutherford (editor), M. E. Roughley (editor), Nigel Spence (editor), Armidale : University of New England. Centre for Australian Language and Literature Studies , 1996 Z224172 1996 collected work poetry
1 Louisa Lawson's Poetry : A Case Study in Revision and Textual Practice L. M. Rutherford , 1996 single work criticism
— Appears in: Louisa Lawson : Collected Poems with Selected Critical Commentaries 1996; (p. 229-244)
1 'Lineaments of Gratified [Parental] Desire': Romance and Domestication in Some Recent Australian Children's Fiction L. M. Rutherford , 1993 single work criticism
— Appears in: Papers : Explorations into Children's Literature , April vol. 4 no. 1 1993; (p. 3-13)
Rutherford examines two novels intended for an adolescent, female readership, Playing Beatie Bow by Ruth Park and The Devil's Own by Deborah Lisson and in which an anti-social female child, 'is domesticated and rendered safe by means of an initiation into romantic love' (3). She argues that in both narratives, the child becomes a 'woman' by attaining a complimentary (male) lover who makes her 'complete' and that 'by means of this process the child becomes colonized to the needs of the adult members of the family' (3). This follows the traditional paradigm of romantic fiction, whereby the ideological construction of 'the mother under patriarchy' is maintained and perpetuated by way of the female hero and her quest to find the male counterpart which will complete her (3). Rutherford suggests that rather than representing childhood, both novels fundamentally represent 'parental anxieties about the child's desire for autonomy' (3) and instead of a narrative concerned with female adolescent desire, the texts inhere 'adult anxieties about the potentially uncontollable female child' and as such, continue to support 'the domestication of female sexuality' (12).
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