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Making us Modern: Australian Writing in Modernity

Bibliographic Data

ID5854677
AuthorsAlison Ravenscroft (0000-0002-5221-409X)
Year2003
Volume18
Issue42
Pages229-231
Publication date2003-11-01
Peer ReviewedYes
Open AccessNo
TypeARTICLE
VenueAustralian Feminist Studies (JOURNAL)
Journal identifiersISSN: 1321-7568 • E-ISSN: 1465-3303
PublisherInforma UK Limited (PUBLISHER • GB)
DOI10.1080/0816464032000151711
OpenAlexW2551231031
LanguageEN

Making us Modern’ brings together articles concerned with the scene of Australian writing and the relevance of ‘modernity/ies’ and ‘modernism/s’ for contemporary writing and reading practices. What is the ‘modern’, who are its subjects, and how has the modern made us—as ‘postmodern’, perhaps? And, who is this ‘us’, anyway? Attempts to theorise modernity and its aesthetics have often taken the white Western male as their subject. Intervening in these theories, however, are the efforts of feminist critics, among others, who seek to install those troubled terms ‘gender’ and ‘race’ at the centre of their considerations of modernity, modernism, and reading and writing subjects. The articles in ‘Making us Modern’ contribute to these debates. Twentieth-century Australian modernities have been seen as holding together a mix of trauma and pleasure, constraint and release, sometimes represented in literary texts in seemingly impossible relation. For Esther Faye, writing on the short stories of Australian-Jewish writer Rosa Safransky, the subjective experiences of post-war Australian modernity are characterised by the traumatic dislocation of human subjects in time and space. In Safransky's stories of family and domesticity is seen the trauma experienced by gendered and racialised subjects in the particular context of the Shoah and its aftermath. Although, as she says, ‘the canonical status of the Shoah as the paradigmatic modernist event is increasingly contested’, through a Lacanian reading of Safransky's texts, Esther Faye shows the ways that the Holocaust's radical disruption of time and its dislocation of the Jewish subject in history echoes in its logic the wider deracination of the subject in modernity. It testifies ‘to the traumatic structure of subjectivity itself’, and it testifies, too, to the particular kind of ‘pleasure’ that is constituted in inextricable relation to trauma. In this way, as Esther Faye argues, being Jewish after Auschwitz is a question for all of us

Aesthetics · Art · Art history · Biography · Context (archaeology · Life writing · Literature · Modernism (music · Modernity · Pleasure · Postmodernism · Reading (process · Sociology · Subject (documents · The Holocaust · Theme (computing · Australian History and Society · Postcolonial and Cultural Literary Studies · Psychology · Themes in Literature Analysis · Gender Studies · History · Philosophy

Citation velocityhistorical
Highly citedNo

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