Current scholarship on Miles Franklin emphasises the gaps and contradictions of a secretive and mysterious author. The eagerly awaited release of her private papers was marked by Paul Brunton's 2004 publication of her diaries, an edition that has been conceived and understood as a revelation of "the real Miles Franklin" (Lecture Title, State Library). This thesis disrupts the concept of a "real" Franklin by arguing that these diaries, in their manuscript form, give us more delay. Foregrounding the performative guises of the private diary subject, this thesis establishes that we are, and will always be, waiting for the real Miles Franklin to arrive. The insights of diary and textual theories illuminate Franklin, I will argue, as one who seeks the proliferative creativity of the anonymous author, and who would use her diary writing to escape definition within public discourse. Yet the tension between creativity and the daily enables us to see how potential is distorted into waiting in the surrogate space of these diaries, as Franklin seeks protection within the nostalgia of a national past and an Edenic vision of the future. This vantage point directs us to identify, as will be seen, the vulnerabilities and instabilities of this space for Franklin, as it implicates her in the dilemma of her times. In this way, we can ascertain how she holds the line as a "spotless virgin" (3 May 1942) in her resistance to the gender performances of new women, her refusal to be defined as one thing or another. This resistance to imitation will also be analysed as it plays out via the curse of Franklin's self-repetition in an Australia that waits, disrupting her attempts to achieve anonymity as the embodiment of a national literary tradition. In her avoidance of being a private text to be read, Franklin promotes herself, I will contend, as a "world classic" (Franklin Furphy 3) author of and in these diaries, resisting the transition from the readerly to the modernist writerly text at a time of artistic revolution (Barthes S/Z 4). In illuminating Franklin's exposure to these very vulnerabilities as a subject-in-process, in a document intended for posthumous publication, this thesis will establish that she has made a courageous contribution to the complexities of a particular moment within Australian modernity

Univerzita Karlova v Praze Pedagogická fakulta Mystifikace ve výtvarné výchově/Skutečnost a fikce Anna Daňhelková Katedra výtvarné výchovy Pedf UK Vedoucí diplomové práce: doc. ak. mal. Ivan Špirk Studijní program: Učitelství pro základní školy, I. ST 2019 ABSTRACT: The diploma thesis is focused on mystification in literary and visual arts, and on the use of this topic in art education at primary school. At the same time, the thesis deals with the concept of art and also with interdisciplinary relations. The aim of the thesis is to create an art work composed of fictitious artefacts that make a record of a foreign trip. Furthermore, the work of art is linked to the lessons of art education. To achieve this goal, it is necessary to introduce a theory that examines the subject of mystification and the diary. Furthermore, it is necessary to create artefacts and test the art lessons in practice. The contribution of the thesis is the creation of artistic work, which can be used within the motivational part of individual art lessons and thus to link the areas of education. The thesis is divided into three parts. First, the theoretical part which explains the concept of mystification and introduces authors related to this topic. It also deals with the conceptual art and its influences on the further development of...

Though feminist scholars criticize Helen Fielding’s Bridget Jones series as they feel that Bridget’s diary minimizes her work, close analysis reveals that Bridget’s work is equally important to her as her relationships. The novels charts Bridget’s linear progression toward autonomy and creative freedom, and her work mistakes function as ironic commentary on the creative industries. Though she critiques the entertainment industry, she validates its accessibility to a variety of audiences, particularly through adaptations. Throughout the series, Bridget documents her own life into her diary, and, in the final two novels, adapts her past diaries for a new purpose. The diary form departs from Austen’s more distanced narrator as well as from the traditional scholarship on the diary, which dictates the diary as a way to work through trauma. Fielding alters the diary form, and through her use of interiority, creates a complex protagonist whose success does not make her inaccessible.