Journal Articles
Permanent URI for this collectionhttps://mro.massey.ac.nz/handle/10179/7915
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Item “'In America?’: Children, Violence and Commodification in Stephen King’s The Institute”(Liverpool University Press, 2021) Mercer EItem Capital, dialogue and community engagement - 'My Little Pony: Friendship is Magic' understood as an alternate reality game(Organization for Transformative Works, 15/09/2013) Veale KRThe experience of engaging with the television show 'My Little Pony: Friendship Is Magic' is structurally and affectively analogous to the experience of an alternate reality game. The community presents multiple tiers of engagement in which individual contributions can be recognized; the creators of the show include material with the specific intent that it be taken up by the community but without any control of the way in which it is used, and material created by the community is folded into the text by the creators in a dialogue. The context of the cocreative dialogue that surrounds the show and its community is a good example of both what Paul Booth identifies as a digi-gratis economy and the forensic fandom used by Jason Mittell to understand community engagement and response to 'Lost.'Item The Haze of the Shoah. Exilic Condition in the Work of Anna Langfus (1920-1966)(John Wiley and Sons Ltd, 2023-06) Grenaudier-Klijn F; Sauerberg, LO; Benne, C; Svend, EL; Kluge, S; Rosendahl Thomsen, MWhen Holocaust survivor Anna Langfus (1920–1966) left Poland for France in 1946, she broke all ties with her home country. French became her language of choice for the three novels she published between 1960 and 1965, and she never used Polish at home nor taught it to her only daughter. Yet, in a contribution to a volume on Chopin published a few months before her death, she had the famous composer cry out: ‘I do not want to die in this country. […] No, not here. But at home, in my home, the only home I ever owned, my parents' home. A home I shall never see again; a country I have abandoned.’ Drawing on the work of Julia Kristeva (abjection) and Dominick LaCapra (empathic unsettlement) I explore representations of exile in Langfus's fiction in three respects: the incommunicability of the Shoah and the ensuing exilic condition of the Holocaust survivor (exile from others); the fragmentation/dislocation of the narrator's body as expression of the survivor's existential anguish (exile from self); the fleeting solace offered by creative fiction and the connection established with readers (suspension of exile). Throughout this discussion, I will be guided by the motif of the fog, which features strongly in Langfus's Chopin text.Item Braiding Time: Sami Temporalities for Indigenous Justice(Taylor and Francis Group LLC, 2021-07-12) Buhre F; Bjork CIn Indigenous/settler relations, temporal rhetoric functions as an essential tool for both subjugation and resistance. Much scholarship on these temporalities focuses on Turtle Island and is thus implicitly shaped by a seminal historical event: the arrival of European colonizers. We extend this research by turning to Sweden, where the Indigenous Sami and the Scandinavians, who would later become their colonizers, have a long history of continuous interaction. We analyze a pamphlet written by Elsa Laula, the leader of the Sami civil rights movement in early twentieth-century Sweden, as well as Swedish policies and press documents from the time. While the settler Swedes employ similar techniques of temporal othering and erasure as colonizers on Turtle Island, Laula’s rhetoric differs subtly. Her rhetoric enacts resistance by highlighting how Sami temporalities are braided with Swedish temporalities, a rhetorical move that echoes their intertwined histories.Item Resisting Temporal Regimes, Imagining Just Temporalities(Taylor and Francis Group LLC, 2021-07-12) Bjork C; Buhre FItem Cute studies(UTS ePRESS, 2014) Duncan PKItem ‘Beaumont’s The Knight of the Burning Pestle and the Menace of the Authoring Audience’(Humanities Research Centre, Sheffield Hallam University, 2018) Angus WFrancis Beaumont’s play, The Knight of the Burning Pestle (1607) stages a disjunction between interpretation and legitimate authority, centred around an audience which is empowered partly by the threat of informing. As a contrast, Ben Jonson’s onstage audiences are often allowed only ridiculous or overblown reactions, a kind of instructional dysfunction, while remaining entirely under the control of the author. In The Knight of the Burning Pestle however, the onstage audience are allowed a much more actively intrusive role, as they attempt to hold sway over the writing and production of the play they inhabit. Beaumont’s onstage citizens therefore stage an authorship which feels itself to be under siege by a far more unruly form of audience empowerment and signify the fear of of venal interpretation and misheld authority. The end result is a theatrical form which accurately reproduces the critical atmosphere of the drama and of the material context of its production. In offering this Beaumont reveals the precarious nature of his own authority in relation to that of a potentially informing audience. His metadrama therefore registers, in both form and content, the solid fear that ‘unseemly speeches . . . mistaking the Author’s intention’ by informers may lead not only to ‘unkind reports’, but also ultimately to the horrors of the early modern gaol.Item “‘This horrible patrimony’: Masculinity, War and the Upper Classes in Jessie Douglas Kerruish’s The Undying Monster.”(Edinburgh University Press for the International Gothic Association, 2020-11) Mercer EThe recent reissue of Jessie Douglas Kerruish’s critically neglected Gothic novel The Undying Monster: A Tale of the Fifth Dimension (1922) describes it as ‘dated’ but its more conservative elements nevertheless exist alongside a subversive thrust. Published just four years after the end of the First World War, the novel extols the nobility of the landed gentry, positioning protagonist Oliver Hammand as representative of a positive tradition that guarantees social order in a time of chaos, while simultaneously discrediting the upper class by depicting Oliver as an untamed beast that threatens social order. The Undying Monster has something to add to understandings of Gothic narratives that use the figure of the werewolf to explore the sinister side of masculinity, in particular the possibility that depravity might belong to the upper classes, rather than the lower class as was popularly imagined.
