War is traditionally considered a male experience. By extension, the genre of war literature is a male-dominated field, and the tale of the battlefield remains the privileged (and only canonised) war story.
In Australia, although women have written extensively about their wartime experiences, their voices have been distinctively silenced. Shooting Blanks at the Anzac Legend calls for a re-definition of war literature to include the numerous voices of women writers, and further recommends a re-reading of Australian national literatures, with women's war writing foregrounded, to break the hold of a male-dominated literary tradition and pass on a vital, but unexplored, women's tradition.
Shooting Blanks at the Anzac Legend examines the rich body of World Wars I and II and Vietnam War literature by Australian women, providing the critical attention and treatment that they deserve. Donna Coates records the reaction of Australian women writers to these conflicts, illuminating the complex role of gender in the interpretation of war and in the cultural history of twentieth-century Australia.
By visiting an astonishing number of unfamiliar, non-canonical texts, Shooting Blanks at the Anzac Legend profoundly alters our understanding of how Australian women writers have interpreted war, especially in a nation where the experience of colonising a frontier has spawned enduring myths of identity and statehood.
Reihe
Sprache
Verlagsort
Zielgruppe
Produkt-Hinweis
Illustrationen
Maße
Höhe: 254 mm
Breite: 178 mm
Dicke: 20 mm
Gewicht
ISBN-13
978-1-74332-924-5 (9781743329245)
Copyright in bibliographic data and cover images is held by Nielsen Book Services Limited or by the publishers or by their respective licensors: all rights reserved.
Schweitzer Klassifikation
Donna Coates was born in Moose Jaw, Saskatchewan. She is an Associate Professor in the English Department of the University of Calgary, Canada. She is a long-term member of the American Association of Australasian Literary Studies. She has written extensively about the responses of women from Australia, Canada, New Zealand to twentieth-century wars.
Acknowledgements
Introduction
Part 1: World War I fictions
Chapter 1: The Digger on the lofty pedestal: Australian women's fictions of the Great War
Chapter 2: "Guns 'n' roses": Mollie Skinner's intrepid Great War fictions
Chapter 3: (Not) talking back: Australian women novelists lose the great (linguistic) war
Chapter 4: Lesbia Harford's home-front warrior and women's World War I writing
Chapter 5: Sleeping with the enemy: Patriot games in fictions by Lesbia Harford, Gwen Kelly and Joan Dugdale
Chapter 6: Demilitarising a military culture: Brenda Walker's The Wing of Night
Part 2: World War II fictions
Chapter 7: Damn(ed) Yankees: The Pacific's not pacific anymore
Chapter 8: "Where Have All the Flowers Gone?" in the film adaptation of Come in Spinner
Chapter 9: Country matters in the Little (Southern Steel) Company
Chapter 10: Reality bites: The impact of World War II on the Australian home front in Maria Gardner's Blood Stained Wattle and Robin Sheiner's Smile, the War Is Over
Chapter 11: Loving thine enemies: Representations of Italian prisoners of war in contemporary Australian women's World War II fictions
Chapter 12: Lies, secrets and silences: Prisoners-of-war in World War II Australian women's novels
Chapter 13: No hell like peacetime: Going (down) under in the land of the "fair go" Chapter 14: The new "Anzacs two" make their debut in contemporary Australian women's fictions
Part 3 The Vietnam War
Chapter 15: Coming home: The return of the (Australian Vietnam War) soldier
Chapter 16: "All we are saying is give peace a chance": The Vietnam war protest movement in Australian women's fictions by Janine Burke, Patricia Cornelius, Nuri Mass and Wendy Scarfe
Chapter 17: 'O what a lovely war: No more shooting blanks in Helen Nolan's Between the Battles: A Novel
Conclusion: Boomerangs do come back
Works cited
Index
