y separately published work icon Tressa's Resolve single work   novel  
Issue Details: First known date: 1872... 1872 Tressa's Resolve
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Publication Details of Only Known VersionEarliest 2 Known Versions of

Serialised by: The Sydney Mail 1860-1938 newspaper (2470 issues)
      1872 .
      Note/s:
      • Serialised in the Sydney Mail, 31 August 1872 - 7 December 1872.
      • 'by the late Mrs Calvert'
    • Canberra, Australian Capital Territory,: Mulini Press , 2004 .
      Extent: 1v.p.
      Note/s:
      • Book launched at the Louisa Atkinson Celebration, Mt Tomah Botanic Gardens on 28 November 2004.
VIEW PUBLICATION DETAILS FOR ALL VERSIONS ()

Works about this Work

A Taste of Hell : Fires, Landscape, Emotions and Renewal Grace Moore , 2016 single work essay
— Appears in: Histories of Emotion from Medieval Europe to Contemporary Australia , January 2016;
James Calvert, Louisa Atkinson and the Plains of Promise : The Story Behind Louisa Atkinson's Last Novel Patricia Clarke , 2009 single work criticism
— Appears in: Margin , April no. 77 2009; (p. 20-34)

Patricia Clarke argues that the Queensland scenes of Louisa Atkinson's novel Tressa's Resolve are 'clearly based on her husband's [James Calvert's] recollections of the harsh nature of the country he travelled over during his historic fifteen months journey to Port Essington [with Ludwig Leichhardt in 1844-45] and on his scepticism of the grandiose plans for settlement, particularly of the district that was deceptively named 'The Plains of Promise'.' (28)
Writing from the Contact Zone : Fiction by Early Queensland Women Belinda McKay , 2004 single work criticism
— Appears in: Hecate , vol. 30 no. 2 2004; (p. 53-70) Hibiscus and Ti-Tree : Women in Queensland 2009; (p. 30-45) This paper examines 'some of the ways in which white women novelists also contributed powerfully to shaping the literary imaginative landscape through which Australian readers came to "know" Indigenous people, and the nature of inter-racial contact, in the period before the publication of writing by Indigenous women began to disrupt the textual terrain' (54). The focus is on the writing of women who grew up in rural Queensland and/or used Queensland as settings. The paper concludes that women writers, though presenting themselves as sympathetic and knowledgeable observers and spokespersons for Indigenous people, were 'active participants in the ongoing colonial projects of subjugating Indigenous people and managing perceptions of that process' (68).
'The One Jarring Note' : Race and Gender in Queensland Women's Writing to 1939 Belinda McKay , 2001 single work criticism
— Appears in: Queensland Review , May vol. 8 no. 1 2001; (p. 31-54)
'The literary production of women in Queensland from Separation to World War II records and reflects on various aspects of colonial life and Australian nationhood in a period when white women's participation in public life and letters was steadily increasing. Unease with the colonial experience underpins many of the key themes of this body of work: the difficulty of finding a literary voice in a new land, a conflicted sense of place, the linking of masculinity with violence, and the promotion of racial purity. This chapter will explore how white women writers – for there were no published Indigenous women writers in this era – responded to the conditions of living and writing in Queensland prior to the social and cultural changes initiated by World War II.' (Extract)
y separately published work icon Louisa Atkinson and Her Novels Victor Crittenden , Canberra : Mulini Press , 1997 Z9590 1997 single work criticism
Writing from the Contact Zone : Fiction by Early Queensland Women Belinda McKay , 2004 single work criticism
— Appears in: Hecate , vol. 30 no. 2 2004; (p. 53-70) Hibiscus and Ti-Tree : Women in Queensland 2009; (p. 30-45) This paper examines 'some of the ways in which white women novelists also contributed powerfully to shaping the literary imaginative landscape through which Australian readers came to "know" Indigenous people, and the nature of inter-racial contact, in the period before the publication of writing by Indigenous women began to disrupt the textual terrain' (54). The focus is on the writing of women who grew up in rural Queensland and/or used Queensland as settings. The paper concludes that women writers, though presenting themselves as sympathetic and knowledgeable observers and spokespersons for Indigenous people, were 'active participants in the ongoing colonial projects of subjugating Indigenous people and managing perceptions of that process' (68).
James Calvert, Louisa Atkinson and the Plains of Promise : The Story Behind Louisa Atkinson's Last Novel Patricia Clarke , 2009 single work criticism
— Appears in: Margin , April no. 77 2009; (p. 20-34)

Patricia Clarke argues that the Queensland scenes of Louisa Atkinson's novel Tressa's Resolve are 'clearly based on her husband's [James Calvert's] recollections of the harsh nature of the country he travelled over during his historic fifteen months journey to Port Essington [with Ludwig Leichhardt in 1844-45] and on his scepticism of the grandiose plans for settlement, particularly of the district that was deceptively named 'The Plains of Promise'.' (28)
y separately published work icon Louisa Atkinson and Her Novels Victor Crittenden , Canberra : Mulini Press , 1997 Z9590 1997 single work criticism
'The One Jarring Note' : Race and Gender in Queensland Women's Writing to 1939 Belinda McKay , 2001 single work criticism
— Appears in: Queensland Review , May vol. 8 no. 1 2001; (p. 31-54)
'The literary production of women in Queensland from Separation to World War II records and reflects on various aspects of colonial life and Australian nationhood in a period when white women's participation in public life and letters was steadily increasing. Unease with the colonial experience underpins many of the key themes of this body of work: the difficulty of finding a literary voice in a new land, a conflicted sense of place, the linking of masculinity with violence, and the promotion of racial purity. This chapter will explore how white women writers – for there were no published Indigenous women writers in this era – responded to the conditions of living and writing in Queensland prior to the social and cultural changes initiated by World War II.' (Extract)
A Taste of Hell : Fires, Landscape, Emotions and Renewal Grace Moore , 2016 single work essay
— Appears in: Histories of Emotion from Medieval Europe to Contemporary Australia , January 2016;
VIEW ALL WORKS ABOUT (5)
Last amended 4 Jul 2006 13:08:21
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