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issue-12-cover02
Issue 12
Winter 2010
Interior Worlds
Hidden Stories

Issue 12

Interior Worlds

Hidden Stories

Hide, Hiding, Hidden: Narrative as Concealment and Revelation

R.A. Goodrich
Deakin University
To hide oneself or an object or even to hide thoughts or feelings; to be hidden from apprehension (in both its meanings); and to be hiding or in hiding—all alternate between a state of affairs and a process. "Hidden stories" conjure all these senses.

Seeing is not always believing: The enigma of double gazing

Teresa Cannon
This essay examines the novel, Abraham’s Pictures by Peter Davis, as a narrative presented in text and photographs. The examination occurs within the context of the theories of Barthes and others whose work forms the premise for the novel.

‘And Then the Devil Will Take Me Away’: Adaptation, Evolution, and The Brothers Grimm’s Suppression of Taboo Motifs in ‘The Girl without Hands’

Melissa Ashley
University of Queensland
With a literary history that dates back to 793AD and more than a thousand recorded variants, ‘The Girl without Hands’ is one of the most widely circulated folk and fairy tales. Recent comparative analysis of typical and idiosyncratic textual events has revealed a forgotten narrative thread.

The writerly skin: The potential of the limit in representing Anglo-Burmese mixed-race subjectivity

Michelle Aung Thin
The University of Adelaide
In writing that represents 'the other,' what is often hidden - or unacknowledged - are the boundaries that limit the construction of difference itself. These boundaries inform aspects of writing and reading from what constitutes an 'authentic' as opposed to 'inauthentic other.

“… what lies behind a brownstone front”

Dr Stephen Goddard
Deakin University
After entering the nondescript door to her building, ordinary Oliver Reed follows Irena Dubrovna as she ascends the ornate stairs that lead to her front door.

Women in Solitude in Edward Albee’s Finding the Sun

Hadeel M. A bdel-Hameed & Raya O. Al-Naqshabandy
University of Baghdad, Baghdad, Iraq
This long one-act play dramatizes four pairs of characters arriving at the beach for a day of basking in the life-giving sun.

Seeing as believing – or is it?

Dr Rob Haysom
Deakin University
The pantheon of Australian art history celebrates particular artists and their visual output. These designated artists become the celebrated and orthodox names, who are seen as defining specific cultural and historical moments.

A Poetics of Intellectual Library Space: A Hidden Story of Natural Growth

Ewen Jarvis
Deakin University
Libraries are structures built for the storage, preservation and provision of stories, and as a story is an intellectual structure, one can conceive of libraries as spaces in which intellectual structures are brought together to form a kind of superstructure.

The Charms of the Renegade: Valerie Solanas’ SCUM Manifesto

Ivar Kvistad
Deakin University
After her attempted murder of Andy Warhol in 1968, Valerie Solanas was hailed as a heroine by certain sectors of the feminist movement. When Solanas was sentenced, her feminist lawyer described her as ‘one of the most important spokeswomen of the feminist movement.

Hidden and/or Forgotten Stories

Svend Erik Larsen
Aarhus University
The German Gestält psychologist, proto-phenomenologist and linguist, Karl Bühler coined the phrase ‘abstractive relevance’ to define human perception (and that of non-human organisms as well).

Digging up the Dead: Unearthing hidden stories about the deceased

Katherine Lyall-Watson
University of Queensland
Representing someone biographically changes depending on the medium. While non-fiction demands accuracy and verification of facts, theatre seems to encourage storytelling and fantastical representations.

The Torture Chambers of Pleasure & All the Saints of Hell: On Clive Barker’s Hellraiser

Leon Marvell
Deakin University
The title of this paper contains two pairs of apparent contradictions: pleasure tied to pain, sinners turned into saints—but these are contradictions only if these dyadic terms are taken too literally.

David Bomberg: ‘possibly a great artist’

Les Morgan
RMIT University
This paper will focus on the diasporic British painter David Bomberg (1890-1957) whose work I was introduced to art school in the mid-1970s by the British/Jewish expressionist painter Arnold Van Praag.

Renegade Whos Aesthetics: The Recipe for an Uncooked Story

Pavlina Radia
Nipissing University, Canada
As an archetypal coping mechanism, the story is a composite of renegade "whos" that forever escape us—that dwell in the conceptual hell of exile.

Hidden Differences: New meanings in adaptations of literature to the screen

George Raitt
Deakin University
Approaches to screen adaptation which either accept or reject 'fidelity' effectively hide from view the interrelations of difference that can be observed between literary and visual works of art.

On the Cusp: Radical Ethics and the Figure of the Boy in Christos Tsiolkas’ Dead Europe and The Slap

Neena Balwan Sachdev
Deakin University
The two novels, Dead Europe and The Slap, are filled with the ‘smells and expressions of the male body (Tsiolkas 2008:1).

Spectres in the City: De Chirico’s Mythologized Streetscapes

Deborah Walker
Deakin University
It is generally accepted that some of the unsettling scenes of the Italian metaphysical painter Giorgio de Chirico, arose from his response to the northern Italian city of Turin, a city he claimed a great affinity with.

‘Coded in a Code of the World’: Minor Literature and the Time-Image Hidden in Janet Frame’s Late Fiction?

Patrick West
Deakin University
This article seeks to demonstrate how Janet Frame’s late fiction can be read as a theoretical engagement with the conceptual investigations of Gilles Deleuze and Félix Guattari, especially the notions of minor literature and the 'time-image'.

This issue of Double Dialogues consists of analyses of literature, film and artworks in which the essayists seek to bring forth the hidden symbolic networks which - once decoded – offer glimpses into the unconscious worlds of artists, poets, novelists, playwrights and theorists.

What we hide and what is hidden from us is concealed: secreted from view. To hide oneself or an object or even to hide thoughts or feelings; or to be hiding or in hiding—all alternate between a state of affairs and a process.

‘Hidden stories’ conjures all these senses, be they stories about the hidden or stories that are hidden or what is hidden in the act of storytelling.

 

Double Dialogues | Refereed Arts Journal | ISSN 1447-9591  
© Double Dialogues 2020 unless otherwise credited