Thesis (PhD)--Macquarie University, Division of Society, Culture, Media & Philosophy, Department of Critical and Cultural Studies, 2005. / Bibliography: p. 274-291.

Thesis (MA)--Macquarie University (Division of Humanities, Department of English), 2006. / Submitted in fulfilment of the requirements for the degree of Masters in English in the Division of Humanities, Dept. of English, 2006. Bibliography: p. 199-210.

Thesis (M.C.A.)--University of Wollongong, 2004. / Typescript. Title on DVD case: Ephemera : the reconciliation monologues. Includes bibliographical references.

Thesis (PhD)--Macquarie University, Division of Society, Culture, Media & Philosophy, Department of Critical and Cultural Studies, 2005. / Bibliography: p. 274-291. / Introduction -- The emergence of "honyakugeki" -- Shôgekijô and the quest for national identity -- "Honyakugeki" after the rise of Shôgekijô -- The presentation of Australian plays as "honyakugeki" -- Representations of Aborigines in Japan -- Minorities in Japan and theatre -- The Japanese productions of translated Aboriginal plays -- Significance of the productions of Aboriginal plays in Japan -- Conclusion. / Many Australian plays have been presented in Japan since the middle of the 1990s. This thesis demonstrates that in presenting Australian plays the Japanese Theatre has not only attempted to represent an aspect of Australian culture, but has also necessarily revealed aspects of Japanese culture. This thesis demonstrates that understanding this process is only fully possible when the particular cultural function of 'translated plays' in the Japanese cultural context is established. In order to demonstrate this point the thesis surveys the history of so-called 'honyakugeki' (translated plays) in the Japanese Theatre and relates them to the production of Western plays to ideas and processes of modernisation in Japan. -- Part one of the thesis demonstrates in particular that it was the alternative Theatre movement of the 1960s and 1970s which liberated 'honyakugeki' from the issue of 'authenticity'. The thesis also demonstrates that in this respect the Japanese alternative theatre and the Australian alternative theatre of the same period have important connections to the quest for 'national identity'. Part one of the thesis also demonstrates that the Japanese productions of Australian plays such as The Floating World, Diving for Pearls and Honour reflected in specific ways this history and controversy over 'honyakugeki'. Furthermore, these productions can be analysed to reveal peculiarly Japanese issues especially concerning the lack of understanding of Australian culture in Japan and the absence of politics from the Japanese contemporary theatre. -- Part two of the thesis concentrates on the production of translations of the Australian Aboriginal plays Stolen and The 7 Stages of Grieving. 'This part of the thesis demonstrates that the presentation of these texts opened a new chapter in the history of presenting 'honyakugeki' in Japan. It demonstrates that the Japanese theatre had to confront the issue of 'authenticity' once more, but in a radically new way. The thesis also demonstrates that the impact of these productions in Japan had a particular Japanese cultural and social impact, reflecting large issues about the issue of minorities and indigenous people in Japan and about the possibilities of theatre for minorities. In particular the thesis demonstrates that these representations of Aborigines introduced a new image of Australian Aborigines to that which was dominant amongst Japanese anthropologists. / Mode of access: World Wide Web. / 291 p

In My Vicious Angel, wave-like musical time, with its rhythms, echoes and repetitions, is counterposed in both harmony and discord to linear narrative time, with its implied causality and its imperative need to subordinate the journey to the destination. In drawing on the tension between certain musical and narrative modes of address, the author has tried to foreground the volatility of time's relation to trauma and to memory. It is an anecdotal truism that in accidents, time slows down, emotion is suspended and sensory impressions acquire an extraordinary clarity and intensity. If traumatic incidents form a kind of rupture to the fabric of narrative time, how might this impact on the ongoing weaving of narrative? What kinds of rhythms, shock waves, stammerings result? Further, if the emotional charge of any event affects the subjective organisation of time, very quickly the tight weave of the linear narrative begins to resemble something more like beginners' macrame. If the writing has resonance, it does so because it finds a sympathetic emptiness, an echo chamber within the listener where the dialogue can move in counterpoint to lines of story already begun elsewhere which rub up against each other and whisper in the dark, travelling (like water, like memory) in waves. / Master of Arts (Hons)

With the publication of her novel, My Brilliant Career, in 1901, Miles Franklin became the darling of the Sydney literati. Great things were expected of the little girl from the bush. But five years later, nothing had eventuated; her talent, Miles thought, was barely recognised in Australia. In the hope of gaining greater writing opportunities, she shipped to Chicago where she became involved in social reform. It was hard work and ill paid, and though she bewailed the fact that it sapped her writing energy, she nonetheless felt a commitment to the cause such that she remained for almost a decade. In her spare time, though, she continued to write -- and not just prose. More and more she wrote for the theatre, attempting to push into a world of which she had always dreamed. Blessed with a beautiful singing voice, she had long desired to be on the stage. This was impossible, though; her voice, she believed, had been ruined by bad training in her youth. To write for the stage, then, though a poor substitute, was at least in the field of her original ideal. Miles' plays, though, are not remembered today, and are little thought of in scholarship, are considered, in fact, to have failed. This gives the false impression that they were always little thought of. Her correspondence, however, reveals that at least five of the plays were produced, indicating a certain level of success. Miles Franklin's theatrical work, then, is surely worthy of further examination. This thesis looks at five of the plays in the light of Miles' life and in the light of the society in which she found herself. In turn, it uses the plays to reveal something of the nature of the playwright herself and to show that Miles Franklin's theatrical writing did not fail as once thought. In addition, it provides a complete bibliography of the plays (inclusive of locations), lists the duplications as they appear under alternate titles and provides synopses of a large number. This will make up for a gap in Miles Franklin scholarship and will facilitate other scholars in accessing the plays. This thesis, then, is an introduction to a new facet of Miles Franklin scholarship.

With the publication of her novel, My Brilliant Career, in 1901, Miles Franklin became the darling of the Sydney literati. Great things were expected of the little girl from the bush. But five years later, nothing had eventuated; her talent, Miles thought, was barely recognised in Australia. In the hope of gaining greater writing opportunities, she shipped to Chicago where she became involved in social reform. It was hard work and ill paid, and though she bewailed the fact that it sapped her writing energy, she nonetheless felt a commitment to the cause such that she remained for almost a decade. In her spare time, though, she continued to write -- and not just prose. More and more she wrote for the theatre, attempting to push into a world of which she had always dreamed. Blessed with a beautiful singing voice, she had long desired to be on the stage. This was impossible, though; her voice, she believed, had been ruined by bad training in her youth. To write for the stage, then, though a poor substitute, was at least in the field of her original ideal. Miles' plays, though, are not remembered today, and are little thought of in scholarship, are considered, in fact, to have failed. This gives the false impression that they were always little thought of. Her correspondence, however, reveals that at least five of the plays were produced, indicating a certain level of success. Miles Franklin's theatrical work, then, is surely worthy of further examination. This thesis looks at five of the plays in the light of Miles' life and in the light of the society in which she found herself. In turn, it uses the plays to reveal something of the nature of the playwright herself and to show that Miles Franklin's theatrical writing did not fail as once thought. In addition, it provides a complete bibliography of the plays (inclusive of locations), lists the duplications as they appear under alternate titles and provides synopses of a large number. This will make up for a gap in Miles Franklin scholarship and will facilitate other scholars in accessing the plays. This thesis, then, is an introduction to a new facet of Miles Franklin scholarship.

Thesis (M.A.) (Hons.) -- University of Western Sydney, Nepean, 1998. / Submitted for the degree of Masters (Honours), 1998, University of Western Sydney, Nepean.

Submitted in fulfilment of the requirements for the degree of Masters in English in the Division of Humanities, Dept. of English, 2006. / Thesis (MA)--Macquarie University (Division of Humanities, Department of English), 2006. / Bibliography: p. 199-210. / Introduction -- Defiance and servility in Andrew Bovell's Holy day -- Writing a reconciled nation: Katherine Thomson's Wonderlands -- Transformation of trauma: Tammy Anderson's I don't wanna play house -- The rage inside the pain: Richard J. Frankland's Conversations with the dead -- Conclusion: towards an understanding of witness to the trauma of invasion. / In an Australia shaped by neo-conservative government and by searing contention, national and global, over what the past is, how it should be allowed to affect the present and who are authentic bearers of witness, this thesis compares testimony to Australia's black/white relations in two plays by white writers, Andrew Bovell's 'Holy day' (2001) and Katherne Thomson's 'Wonderlands' (2003), and two black writers, Tammy Anderson's 'I don't wanna play house' (2001) and Richard J. Frankland's 'Conversations witht the dead' (2002). / Mode of access: World Wide Web. / 210 p. ill. 30 cm

Thesis (Ph.D.)--University of Wollongong, 2007. / "Including the plays Positive expectations and Waiting for ships." Title from web document (viewed 7/4/08). Includes bibliographical references: leaf 249-267.