This thesis examines the crime fiction of Mary Helena Fortune (c.18331910). My analysis concentrates on Fortune’s series, “The Detective’s Album”, more than four hundred self-contained crime stories published over forty years that are framed as the “casebook” of a colonial detective, Mark Sinclair. Although this series remains nominally the reminiscences of Sinclair, the stories within the casebook increasingly employ private and amateur detectives, and Sinclair himself transforms from a member of the colonial police force into a private inquiry agent. I characterise this move as constituting a shift from Fortune’s detecting heroes acting essentially as “public avengers” to becoming instead predominantly “private defenders”. Accompanying the evolution of the detective are other structural changes in Fortune’s crime fiction, so that by the 1880s an increasingly private model of detective was more often resolving a domestic mystery in a suburban setting than investigating a violent crime on the mean streets. The central aim of this thesis is to demonstrate the ways in which these transformations relate to the differentiated social and historical conditions within colonial Australia. Through the close analysis of Fortune’s crime texts and examination of the cultural and historical context in which they were produced, the thesis offers perspectives on broad cultural patterns. This thesis draws predominantly on a lineage of critics who have analysed crime fiction using Marxist, Foucauldian and Postcolonialist strategies. I utilise in particular the central paradigm of D. A. Miller’s The Novel and the Police (1988): – his assertion that in the nineteenth-century novel the “move to discard the role of the detective is at the same time a move to disperse the function of detection”. The appearance of private and amateur detectives in Fortune’s crime fiction indicates respectively the professionalisation and privatisation of the mechanism of detection, evolutions that reflect a broad embourgeoisment within her crime corpus. Such a social transformation of nineteenth-century crime fiction occurred across the industrialised world. In British crime fiction, for instance, the ordinary workaday policeman of the 1850s had given way by the 1890s to such independent and professional detectives as Sherlock Holmes. But while the embourgeoisment of crime fiction was an international phenomenon, I argue that in Australian crime fiction the emergence of private and surrogate detectives also performed a second, crucial function: to distance the agent of detection, and demotic crime fiction itself, from the enforcement of imperial order in the colonial landscape. The movement from simple criminal apprehensions to financial and reputation protection also increasingly distances Fortune’s crime fiction from the kind of direct social control necessary to enforce imperial order. v This thesis contains four analytical chapters, each of which is devoted to exploring mechanisms by which Fortune’s crime fiction dispersed the function of detection and concealed the conservative disciplinary order that underpins the fiction. The first three chapters examine familiar forms of fictional detectives: the official police detective; the private and the amateur detective; and the female detective, both official and unofficial. The final analytical chapter examines the way in which the criminal also worked as part of the dispersed function of detection. One of the key ways in which Fortune’s crime fiction works to reinforce disciplinary order is, paradoxically, to make the detectives often fail to solve the crime, so that order is restored only by the collective efforts of several individuals or through the mechanism of fate or an avenging land, or even as a consequence of the criminals’ own actions. Thus Fortune’s crime fiction is not a celebration of virtuoso individualism, as is found in the stories of Sherlock Holmes, but instead of an ethically logical and just world in which order is the product of collective efforts on the part of a largely cohesive community, and in which the apprehension of criminals and restoration of order are presented as inevitable outcomes. Stephen Knight has described Fortune as “internationally the most significant woman writing about crime in the mid-nineteenth century” (Continent of Mystery 4), and yet her impressive corpus of crime fiction has never received extended scholarly attention. This thesis addresses this omission, but more importantly, the conclusions I offer about Mary Fortune’s crime fiction contribute to an understanding of a much larger question about how Australians began to imagine and adopt a national identity in the nineteenth century. It is certainly clear from Fortune’s crime corpus that well before the nationalist-democratic cultural insurrection of the 1890s, Australian fiction already offered versions of the key paradigms that still inflect the national imagination into the twenty-first century.

Abstract This thesis offers the first detailed critical account of the Greek-Australian writer, Alex Doucas (1900-1962) who came to Australia in 1927 as a migrant from Asia Minor. It attempts to place his work in the perspectives of Greek and Australian literatures and to evaluate his position both as a migrant and as a writer. The Asia Minor Catastrophe and the exchange of populations between Greece and Turkey in 1923, as well as the Great Depression he faced in Australia along with many other Australians had a profound effect on his social outlook. Considered one of the pioneers of Greek-Australian Literature, Doucas played an important role in the development of Greek community life in Australia during the pre- and post-World War II periods. His work consists of two published novels (one posthumously) and a significant body of published and unpublished, stories, poems, translations and essays. Out of print for some decades, it remains largely unknown to the general public or even to academic circles in Greece and in Australia. It was, however, a landmark of Greek-Australian Literature and continues to have more than historical interest in its treatment of migration, exile and displacement, and in its use of intercultural perspectives to forge a positive vision for humanity. Although forced into ill-paid manual labour for much of his life after his arrival in Australia, Alex Doucas tried to develop links and relationships with Australian intellectual circles and to become involved in Australian life in the broadest way. At the same time, he never lost contact with social, political and literary developments in Greece. Alex Doucas maintained close relations with both the Greek and Australian literary traditions. As a writer he belongs to the Greek generation of the 1930s and its literary traditions. In his work, he dealt with events which took place in Anatolia before the Asia Minor Catastrophe as well as with the impact the catastrophe had on Greek society. He is one of the first writers of his generation who turned his attention to the “other side of the coin” and investigated the impact of the Catastrophe on the Turkish people. This perspective was adopted mainly due to the openness that he found in Australia, an openness that led to Multiculturalism. Alex Doucas was a multiculturalist before his time. His work is a fine example of the Australian version of Multiculturalism. Through his brother Stratis Doucas (also a writer) and others, he kept himself informed on all sorts of changes and developments in his native country, Greece, especially as it was shaped after the Asia Minor Catastrophe. At the same time, he tried to understand the Australian way of life, its culture and its literary traditions. His bi-cultural position gave him a powerful perspective. He attempted to understand the Australian way of life through his Greekness and to find answers for problematic events that happened in Greece through his Australian experience. Across the entire span of Doucas’s work, it is clear that his political philosophy and his belief in the goals of socialism played a crucial role in his consciousness of himself as a writer whose role was to provide the artistic equivalent of the philosophical basis of Marxism, best expressed in the Theses on Feuerbach (1845) by Marx, in his famous dictum, "Philosophers have hitherto only interpreted the world in various ways; the point is to change it". In other words, it was never enough for Doucas simply to describe in social realist terms the conditions of life and the aspirations of human beings. His aim was to show how these conditions might be changed for the better, not only for the individual, but for the community as a whole. Equally, he wished to show how people’s aspirations, particularly those of an immigrant community familiar with exile, suffering and loss, might be more fully realised.

Doctor of Philosophy(PhD) / This thesis offers both an examination of the depiction of Thailand in Australian novels, short stories and poems written in the 1980s and after, and an analysis of modern Thai novels and short stories that reflect similar themes to those covered in the Australian literature. One Australian film is also examined as the film provides an important framework for the analysis of some of the short stories and novels under consideration. The thesis establishes a dialogue between Thai and Australian literatures and demonstrates that the comparison of Australian representations of Thailand with Thai representations challenges constructively certain dominant political and social ideologies that enhance conservatism and the status quo in Thailand. The author acknowledges that the discussion of the representations of Thailand in contemporary Australian novels and short stories needs to take into account the colonial legacy and the discourse of Orientalism that tends to posit the ‘East’ as the ‘West’’s ‘Other’. Textual analysis is thus informed by post-colonial and cross-cultural theories, starting from Edward Said’s powerful and controversial critique of Western representation of the East in Orientalism. The first part of the thesis examines Australian crime stories and shows how certain Orientalist images and perceptions persist and help reinforce the image of the East and its people as the antithesis of the West. From Chapters Three through Six, however, more literary works by Australian authors are examined. The important finding is that most of the Australian authors under consideration attempt, though not always successfully, to resist and challenge the Eurocentric stereotypes of Asia and Asians that dominated Australian literature in earlier periods. This difference between contemporary Australian authors and their predecessors seems to reflect modern Australia’s endeavor to distinguish itself from the rest of the Western world and to redefine its relationship with Asia. As literary representations cannot be separated from socio-political contexts, the thesis also includes discussion of the Thai social and political history and, where appropriate, shows how colonialism and neo-colonialism exert their impact on modern Thailand.

Doctor of Philosophy(PhD) / This thesis offers both an examination of the depiction of Thailand in Australian novels, short stories and poems written in the 1980s and after, and an analysis of modern Thai novels and short stories that reflect similar themes to those covered in the Australian literature. One Australian film is also examined as the film provides an important framework for the analysis of some of the short stories and novels under consideration. The thesis establishes a dialogue between Thai and Australian literatures and demonstrates that the comparison of Australian representations of Thailand with Thai representations challenges constructively certain dominant political and social ideologies that enhance conservatism and the status quo in Thailand. The author acknowledges that the discussion of the representations of Thailand in contemporary Australian novels and short stories needs to take into account the colonial legacy and the discourse of Orientalism that tends to posit the ‘East’ as the ‘West’’s ‘Other’. Textual analysis is thus informed by post-colonial and cross-cultural theories, starting from Edward Said’s powerful and controversial critique of Western representation of the East in Orientalism. The first part of the thesis examines Australian crime stories and shows how certain Orientalist images and perceptions persist and help reinforce the image of the East and its people as the antithesis of the West. From Chapters Three through Six, however, more literary works by Australian authors are examined. The important finding is that most of the Australian authors under consideration attempt, though not always successfully, to resist and challenge the Eurocentric stereotypes of Asia and Asians that dominated Australian literature in earlier periods. This difference between contemporary Australian authors and their predecessors seems to reflect modern Australia’s endeavor to distinguish itself from the rest of the Western world and to redefine its relationship with Asia. As literary representations cannot be separated from socio-political contexts, the thesis also includes discussion of the Thai social and political history and, where appropriate, shows how colonialism and neo-colonialism exert their impact on modern Thailand.

No description available.

Abstract This thesis offers the first detailed critical account of the Greek-Australian writer, Alex Doucas (1900-1962) who came to Australia in 1927 as a migrant from Asia Minor. It attempts to place his work in the perspectives of Greek and Australian literatures and to evaluate his position both as a migrant and as a writer. The Asia Minor Catastrophe and the exchange of populations between Greece and Turkey in 1923, as well as the Great Depression he faced in Australia along with many other Australians had a profound effect on his social outlook. Considered one of the pioneers of Greek-Australian Literature, Doucas played an important role in the development of Greek community life in Australia during the pre- and post-World War II periods. His work consists of two published novels (one posthumously) and a significant body of published and unpublished, stories, poems, translations and essays. Out of print for some decades, it remains largely unknown to the general public or even to academic circles in Greece and in Australia. It was, however, a landmark of Greek-Australian Literature and continues to have more than historical interest in its treatment of migration, exile and displacement, and in its use of intercultural perspectives to forge a positive vision for humanity. Although forced into ill-paid manual labour for much of his life after his arrival in Australia, Alex Doucas tried to develop links and relationships with Australian intellectual circles and to become involved in Australian life in the broadest way. At the same time, he never lost contact with social, political and literary developments in Greece. Alex Doucas maintained close relations with both the Greek and Australian literary traditions. As a writer he belongs to the Greek generation of the 1930s and its literary traditions. In his work, he dealt with events which took place in Anatolia before the Asia Minor Catastrophe as well as with the impact the catastrophe had on Greek society. He is one of the first writers of his generation who turned his attention to the “other side of the coin” and investigated the impact of the Catastrophe on the Turkish people. This perspective was adopted mainly due to the openness that he found in Australia, an openness that led to Multiculturalism. Alex Doucas was a multiculturalist before his time. His work is a fine example of the Australian version of Multiculturalism. Through his brother Stratis Doucas (also a writer) and others, he kept himself informed on all sorts of changes and developments in his native country, Greece, especially as it was shaped after the Asia Minor Catastrophe. At the same time, he tried to understand the Australian way of life, its culture and its literary traditions. His bi-cultural position gave him a powerful perspective. He attempted to understand the Australian way of life through his Greekness and to find answers for problematic events that happened in Greece through his Australian experience. Across the entire span of Doucas’s work, it is clear that his political philosophy and his belief in the goals of socialism played a crucial role in his consciousness of himself as a writer whose role was to provide the artistic equivalent of the philosophical basis of Marxism, best expressed in the Theses on Feuerbach (1845) by Marx, in his famous dictum, "Philosophers have hitherto only interpreted the world in various ways; the point is to change it". In other words, it was never enough for Doucas simply to describe in social realist terms the conditions of life and the aspirations of human beings. His aim was to show how these conditions might be changed for the better, not only for the individual, but for the community as a whole. Equally, he wished to show how people’s aspirations, particularly those of an immigrant community familiar with exile, suffering and loss, might be more fully realised.

No description available.

Abstract This thesis offers the first detailed critical account of the Greek-Australian writer, Alex Doucas (1900-1962) who came to Australia in 1927 as a migrant from Asia Minor. It attempts to place his work in the perspectives of Greek and Australian literatures and to evaluate his position both as a migrant and as a writer. The Asia Minor Catastrophe and the exchange of populations between Greece and Turkey in 1923, as well as the Great Depression he faced in Australia along with many other Australians had a profound effect on his social outlook. Considered one of the pioneers of Greek-Australian Literature, Doucas played an important role in the development of Greek community life in Australia during the pre- and post-World War II periods. His work consists of two published novels (one posthumously) and a significant body of published and unpublished, stories, poems, translations and essays. Out of print for some decades, it remains largely unknown to the general public or even to academic circles in Greece and in Australia. It was, however, a landmark of Greek-Australian Literature and continues to have more than historical interest in its treatment of migration, exile and displacement, and in its use of intercultural perspectives to forge a positive vision for humanity. Although forced into ill-paid manual labour for much of his life after his arrival in Australia, Alex Doucas tried to develop links and relationships with Australian intellectual circles and to become involved in Australian life in the broadest way. At the same time, he never lost contact with social, political and literary developments in Greece. Alex Doucas maintained close relations with both the Greek and Australian literary traditions. As a writer he belongs to the Greek generation of the 1930s and its literary traditions. In his work, he dealt with events which took place in Anatolia before the Asia Minor Catastrophe as well as with the impact the catastrophe had on Greek society. He is one of the first writers of his generation who turned his attention to the “other side of the coin” and investigated the impact of the Catastrophe on the Turkish people. This perspective was adopted mainly due to the openness that he found in Australia, an openness that led to Multiculturalism. Alex Doucas was a multiculturalist before his time. His work is a fine example of the Australian version of Multiculturalism. Through his brother Stratis Doucas (also a writer) and others, he kept himself informed on all sorts of changes and developments in his native country, Greece, especially as it was shaped after the Asia Minor Catastrophe. At the same time, he tried to understand the Australian way of life, its culture and its literary traditions. His bi-cultural position gave him a powerful perspective. He attempted to understand the Australian way of life through his Greekness and to find answers for problematic events that happened in Greece through his Australian experience. Across the entire span of Doucas’s work, it is clear that his political philosophy and his belief in the goals of socialism played a crucial role in his consciousness of himself as a writer whose role was to provide the artistic equivalent of the philosophical basis of Marxism, best expressed in the Theses on Feuerbach (1845) by Marx, in his famous dictum, "Philosophers have hitherto only interpreted the world in various ways; the point is to change it". In other words, it was never enough for Doucas simply to describe in social realist terms the conditions of life and the aspirations of human beings. His aim was to show how these conditions might be changed for the better, not only for the individual, but for the community as a whole. Equally, he wished to show how people’s aspirations, particularly those of an immigrant community familiar with exile, suffering and loss, might be more fully realised.

Abstract This thesis offers the first detailed critical account of the Greek-Australian writer, Alex Doucas (1900-1962) who came to Australia in 1927 as a migrant from Asia Minor. It attempts to place his work in the perspectives of Greek and Australian literatures and to evaluate his position both as a migrant and as a writer. The Asia Minor Catastrophe and the exchange of populations between Greece and Turkey in 1923, as well as the Great Depression he faced in Australia along with many other Australians had a profound effect on his social outlook. Considered one of the pioneers of Greek-Australian Literature, Doucas played an important role in the development of Greek community life in Australia during the pre- and post-World War II periods. His work consists of two published novels (one posthumously) and a significant body of published and unpublished, stories, poems, translations and essays. Out of print for some decades, it remains largely unknown to the general public or even to academic circles in Greece and in Australia. It was, however, a landmark of Greek-Australian Literature and continues to have more than historical interest in its treatment of migration, exile and displacement, and in its use of intercultural perspectives to forge a positive vision for humanity. Although forced into ill-paid manual labour for much of his life after his arrival in Australia, Alex Doucas tried to develop links and relationships with Australian intellectual circles and to become involved in Australian life in the broadest way. At the same time, he never lost contact with social, political and literary developments in Greece. Alex Doucas maintained close relations with both the Greek and Australian literary traditions. As a writer he belongs to the Greek generation of the 1930s and its literary traditions. In his work, he dealt with events which took place in Anatolia before the Asia Minor Catastrophe as well as with the impact the catastrophe had on Greek society. He is one of the first writers of his generation who turned his attention to the “other side of the coin” and investigated the impact of the Catastrophe on the Turkish people. This perspective was adopted mainly due to the openness that he found in Australia, an openness that led to Multiculturalism. Alex Doucas was a multiculturalist before his time. His work is a fine example of the Australian version of Multiculturalism. Through his brother Stratis Doucas (also a writer) and others, he kept himself informed on all sorts of changes and developments in his native country, Greece, especially as it was shaped after the Asia Minor Catastrophe. At the same time, he tried to understand the Australian way of life, its culture and its literary traditions. His bi-cultural position gave him a powerful perspective. He attempted to understand the Australian way of life through his Greekness and to find answers for problematic events that happened in Greece through his Australian experience. Across the entire span of Doucas’s work, it is clear that his political philosophy and his belief in the goals of socialism played a crucial role in his consciousness of himself as a writer whose role was to provide the artistic equivalent of the philosophical basis of Marxism, best expressed in the Theses on Feuerbach (1845) by Marx, in his famous dictum, "Philosophers have hitherto only interpreted the world in various ways; the point is to change it". In other words, it was never enough for Doucas simply to describe in social realist terms the conditions of life and the aspirations of human beings. His aim was to show how these conditions might be changed for the better, not only for the individual, but for the community as a whole. Equally, he wished to show how people’s aspirations, particularly those of an immigrant community familiar with exile, suffering and loss, might be more fully realised.

Esta tese apresenta e analisa excertos da minha tradução não publicada de The Solid Mandala, de Patrick White, em português brasileiro, considerando seus aspectos sóciohistóricos e culturais em três níveis: como tradutor, como revisor da tradução e como crítico literário. A teoria dos polissistemas de Itamar Even-Zohar é adotada para justificar a importância de (re)introduzir Patrick White como representante da Literatura Australiana em nosso sistema literário brasileiro por meio da tradução. Como suporte às capacidades necessárias para realizar a tarefa, o modelo de competências de Amparo Hurtado Albir é apresentado. Quanto aos aspectos culturais, a teoria dos itens específico-culturais de Javier Franco Aixelá é empregada. As traduções publicadas em francês, italiano e espanhol são contrastadas com a minha a fim de identificar inconsistências e/ou soluções, bem como chamar a atenção para desafios que não foram contemplados. A versão em português brasileiro é proposta por meio de excertos selecionados, com os três níveis estando em funcionamento durante o processo de revisão da tradução. Ao buscar fazer a obra de Patrick White ser redescoberta não somente no Brasil, mas também na América Latina e em outros países de língua portuguesa, por meio da tradução, esta tese oferece uma contribuição inédita aos Estudos de Tradução. / This dissertation presents and analyzes excerpts from my unpublished translation of Patrick White’s The Solid Mandala into Brazilian Portuguese considering its socio-historical and cultural aspects at three levels of reading: as a translator, as a revisor/proofreader of the translation and as a literary critic. Itamar Even-Zohar’s Polysystems Theory is adopted to justify the importance of (re)introducing Patrick White as a representative of Australian Literature into our Brazilian system via translation. Supporting the abilities necessary to perform the task, Amparo Hurtado Albir’s model of competences is presented. In regards to cultural aspects, Javier Franco Aixelá’s culture-specific items theory is used. The translations into French, German, Italian and Spanish are contrasted to mine, so as to identify inconsistencies and/or solutions and call attention to challenges which were not addressed. The version in Brazilian Portuguese is conveyed in this dissertation via selected excerpts, with the three levels being at work during the proofreading process of the translation. By attempting to make Patrick White’s oeuvre be rediscovered not only in Brazil, but also in South America and in other Portuguese-speaking countries, through translation, this dissertation presents an innovative contribution to Translation Studies.