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Please note: the conference is in BUILDING 2 on the UC Bruce campus. 
Watch this space for information updates. 

DAILY FORECAST (care of Describing Things in Canberra):  

Wednesday Canberra weather: regardless of any thing Neil Finn may have said, you don’t really have your own personal weather bubble. You can easily test this by travelling from the Woden Valley to the northside on foggy morning. Or getting on a plane in December and flying to Helsinki.

So those of you who are in Canberra today will probably experience much the same weather as each other. Warm to hot and slighty sticky. The weather equivalent of spilling cocoa on your new trousers.

Chemical interventions such as deodorant, sunscreen, mosquito repellent and anti-histamines are strongly indicated. Consider long before you commit to opaque tights, however hairy your legs are. Once the sun is over the yard arm, applications of gin and tonic may be beneficial.



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Tuesday, November 29 • 9:00am - 10:00am
Smoke and Mirrors :: 2A12

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Susannah Oddi: Skodas and spiders: Issues of frequency illusion in the creation of Gothic serial fiction.

‘Frequency illusion’ describes a situation where an individual encounters something seemingly new, and thereafter, encounters it everywhere (Zwicky 2006, p.1). This reflection on creative writing practice-based research discusses how identifying elements in filmic Gothic texts similar to my narrative led to questioning my creativity. Expressing what occurs within one’s mind during the writing process may assist in exploring cognitive approaches to creative writing research (Frieman 2014, p.127).
      Inspired by research on Victorian science and the occult, my Gothic serial fiction-in-progress merges elements of sorcery with biomedical experimentation. While writing, I noticed many of my story elements in contemporary Gothic media such as The Walking Dead (2010-2016), True Blood (2008-2014) and The Knick (2014-2016). I began to doubt the originality of my narrative choices and avoided Gothic texts for fear of encountering more of my ‘original’ ideas. I diverted my attention to Fantasy fiction and was soon confronted by giant arachnids.
      Fantasy writers appear to have no misgivings about embracing the Fantasy trope of the oversize spider, which dates back two thousand years to Ovid’s Metamorphoses (2004). The originality of each spider lies in each writer’s unique approach to its animation, be the beast be made of ice (Martin 1996), have legs like steel blades (Rothfuss 2007), have an aggressive nature (Tolkien 1954) or demonstrate mercy (Rowling 1998). These writers have inspired me to embrace the tropes of my genre and strive for originality in their reanimation. As I endeavor to renege on the narcissistic illusion that the world mirrors my creative ideas (Kirwan-Taylor 2009), I acknowledge that influences on my work extend far beyond those I had consciously recognised.

Claire Duffy: Plundering the feminine grotesque in Angela Carter’s Nights at the circus.

The dominant patriarchal literary culture names certain feminine qualities grotesque based on historical ideas of the classical masculine body. In an act of disobedience, feminist humour plunders the literary tradition that makes women disgusting and turns to the comic and regenerative power of the grotesque to claim and empower the female body. The feminist grotesque estranges the masculine bodily ideal implicit in the grotesque female form, and transports the female body from the abjected grotesque to a powerful subject. This paper will discuss the grotesque in relation to humour and the body, and particularly the female body. Revisionist feminist literature, such as Angela Carter’s Nights at the Circus, appropriates the abjected female body, the repository of this fear, and inverts the power structures that name it. The disobedient writer negates the power of the dominant authority. Humour such as irony and satire, and narrative strategies such as polyphony and metafiction fracture the single voice of authority and create new meaning. Humour alleviates the shock of the horror invested in the grotesque body and polyphony and metafiction disrupt the traditional novel form because it reminds the reader that single narrative voices are not as reliable as dominant ideology would have us believe. At the heart of Angela Carter’s text is the disruptive polyphonic fracturing of the single misogynistic voice of patriarchy. Carter appropriates the power that patriarchal laws governing femininity deploy when it names the grotesque female body.

Gabrielle Everall: I Thought I Would Die like Deleuze

A prose piece that can be performed as a reading or presented on a panel. In the piece I steal the ideas and experiences of dead philosophers and poets comparing them with my own experiences of transgression. I steal the ideas and experiences of Gilles Deleuze and Sylvia Plath. Gilles Deleuze jumped from the third floor of his apartment later dying from the injuries.  The philosopher must not be scared of death. Similarly, I had fears of jumping off the third floor of my public housing apartment. In contradiction to the philosopher I am scared of death. When the protagonist in Sylvia Plath’s Johnny Panic and the Bible of Dreams is given e.c.t Johnny Panic ‘appears in a nimbus of arc lights on the ceiling overhead’ (1977, 39). Similarly, in my pink room in Graylands a man hovers above me in a dream or flashback. The piece is creative non-fiction. It gives the account of two hospitalizations.

Alex Dunkin: Forced re-creation: overcoming the restrictions of translating the Italian cannibale genre

This creative paper explores a re-creative model for reproducing the cannibale1 genre for non-Italian readers. It outlines the necessity and outcomes of such a model, which is required to overcome the difficulties in translating the genre’s texts.

Cannibale texts are loaded with critique of Italian culture and relies heavily on assumed social and knowledge to satirise the readers’ social norms. The use of Italian dialects and colloquial phrases, regular references to Italian popular culture icons, and the presentation of the Italian concept of ‘other’ enable cannibale texts to connect with Italian readers but simultaneously make translations unapproachable for foreign audiences.

While attempting to translate these texts, the characters and dialogue become so heavily altered so as to maintain their impact that a new creative piece is produced rather than a close translation or trans-creation.

The current presentation will visually display a model for analysing and producing cannibale texts. Appropriate sections of Italian examples will be introduced and compared to a new, Australian version of cannibale literature entitled Fair Day. A translated section of text by Niccolò Ammaniti will also be shown to highlight the impact of forced re-creation on the accessibility of the text for a non-Italian reader.

1 An Italian word meaning ‘cannibal’. The genre includes the work of authors such as Niccolò Ammaniti, Aldo Nove and Isabella Santacroce.



Jessica Seymour

HU University of Applied Sciences
Dr Jessica Seymour is an Australian early-career researcher and lecturer at HU University of Applied Sciences, Utrecht. Her research interests include children’s and YA literature, transmedia storytelling, and popular culture. She has contributed chapters to several essay collections, which range in topic from fan studies, to Doctor Who, to ecocriticism in the works of JRR Tolkien. She is currently researching gender dynamics in the... Read More →


Claire Duffy

Deakin University
Claire Duffy is a PhD candidate at Deakin University, Geelong. She relishes the transformative power of humour in feminist literature. She views writing as a powerful tool for voicing that which is not obvious, and that which is not easy—a catalyst for transformation. Hecate, Swamp, Verandah, AntiTHESIS, In Stead, Intellectual Refuge, and Gold Dust have published her short stories.

Alex Dunkin

HDR Student, University of South Australia
Alex is a researcher, journalist and writer. He is the author of novels Homebody and Coming Out Catholic. Alex is a doctoral candidate in language and linguistics working under the supervision of Dr Vincenza Tudini and Dr Ioana Petrescu. His research interests include contemporary Italian literature, exploring contemporary forms of cultural satire and audience reception of these works, and the re-creation and analysis of pulp and grotesque... Read More →
avatar for Gabrielle Everall

Gabrielle Everall

HDR Student, Melbourne University
Currently doing a Graduate diploma in Creative Writing at Melbourne Uni. Completed PhD in creative writing at The University of Western Australia. While doing the PhD she wrote her second book of poetry, Les Belles Lettres. Her first book of poetry is called Dona Juanita and the love of boys. She has been published in numerous anthologies including The Penguin Anthology of Australian Poetry, The Turnrow Anthology of Contemporary Poetry and... Read More →
avatar for Susannah Oddi

Susannah Oddi

Central Queensland University
Susannah Oddi is undertaking a PhD in creative writing at CQ University, Australia. Research interests include serial and epistolary writing, digital creative practice, and Victorian and contemporary Gothic media. Current research examines digital serial writing frameworks in comparison to Victorian serial techniques. Susannah holds a Master of Letters in Creative Writing, CQU, and a Bachelor of Information Science in Librarianship and... Read More →

Tuesday November 29, 2016 9:00am - 10:00am
2A12 Building 2, UC

Attendees (5)