ORCID Profile
0000-0002-4866-8531
Current Organisation
Macquarie University
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Historical Studies | History: Australian | Culture, Gender, Sexuality
Publisher: Routledge
Date: 11-08-2021
Publisher: Informa UK Limited
Date: 11-2005
Publisher: Informa UK Limited
Date: 02-09-2014
Publisher: Routledge
Date: 19-11-2022
Publisher: Informa UK Limited
Date: 12-2008
Publisher: Informa UK Limited
Date: 26-09-2014
Publisher: Routledge
Date: 15-05-2016
Publisher: Informa UK Limited
Date: 2005
Publisher: Wiley
Date: 07-2000
Publisher: Informa UK Limited
Date: 2011
Publisher: Oxford University Press
Date: 30-07-2018
DOI: 10.1093/ACREFORE/9780190201098.013.415
Abstract: The romance genre is geared financially to a female readership worldwide: a genre written and consumed overwhelmingly by women, and with a male readership of around 14 percent. Since the 21st century, romance novels have generated over $1.3 billion dollars in sales per annum in the United States, where one out of four books sold and one out of two mass-market books sold are romance novels. According to romance publishing behemoth Harlequin Mills & Boon, the company publishes 120 new titles each month, drawing from a stable of 200 authors within the UK and a further 1,300 worldwide. A Mills & Boon volume is sold every four seconds in more than one hundred countries, translated into twenty-six languages. But the romance genre consists of more than Harlequin Mills & Boon novels. According to industry definitions in the United States and Australia, a romance novel consists of “a central love story” and “an emotionally satisfying and optimistic ending” (Romance Writers of America website). As long as these two basic requirements are met, romance novels can have any tone or style (barring a mocking or derisive one) and be set in any time (past, present, or future) or place (in the real world or in a fantasyland). They may include varying degrees of sensuality, from the modest discretion of Christian “inspirationals” to highly explicit descriptions of sexual acts in romantic erotica. They may also overlap with any other genre, such as chick lit, historical, crime, suspense, or thriller. The roots of the romance novel can be traced back to Shakespearean comedies, with the celebratory betrothal of the romantic couple forming the happy ending of such plays as Much Ado About Nothing , A Midsummer Night’s Dream , or As You Like It . In prose fiction, Samuel Richardson’s Pamela (1740), Jane Austen’s Pride and Prejudice (1813), and Charlotte Brontë’s Jane Eyre (1847) are considered literary forebearers. The modern romance was shaped by British publishing firm Mills & Boon, which became a market leader in the genre by the 1930s with a distribution network in all British Commonwealth countries and colonies in the first half of the 20th century. During the 1950s, Mills & Boon novels began to be distributed in North America by Canadian firm Harlequin, and the two companies merged in 1971 to form the romance publishing powerhouse Harlequin Mills & Boon, which had its heyday in the 1970s and 1980s when it became the world’s largest publisher of romances, having 80 percent of the world’s market share of fiction. Over time, the genre changed its representations of gender and attitudes toward women’s work and domestic life. The 1970s and 1980s saw a gradual Americanization of the genre as New York firms muscled in on Harlequin Mills & Boon’s territory, publishing historical romances and ersifying contemporary romances to include American romantic protagonists, settings, and themes. The genre also became increasingly sexualized during this period through its depiction of sexual activity. The turn of the 21st century witnessed an increasing fragmentation of the genre as the rise of independent publishers afforded writers and readers the opportunity to explore niche markets: erotica, African American stories, paranormal romances featuring v ires, phoenixes, and werewolves, among other shapeshifting romantic protagonists, and many others.
Publisher: Informa UK Limited
Date: 06-2011
Publisher: Oxford University PressOxford
Date: 07-01-2011
DOI: 10.1093/ACPROF:OSO/9780199563739.003.0014
Abstract: This chapter examines popular culture of the British Empire in Australia. It identifies the underlying structural reasons for the emphasis on ‘the popular’ in the creative output of the colonies and evaluates the imperial myths and meanings which animated the popular pastimes of the colonists. It suggests that even popular ephemera normally associated with the promotion of a distinctive Australian nationalism were often created against imperial and even determined by it.
Publisher: Informa UK Limited
Date: 2002
Publisher: Informa UK Limited
Date: 06-1996
Publisher: Open Library of the Humanities
Date: 09-07-2023
DOI: 10.16995/JER.9985
Abstract: Creative practitioners inside academia are often tasked with explaining how their embodied practices constitute research. The Peribiophoty project reverses this paradigm to ask: how does academic research constitute embodied practice?& nbsp By considering the personal and intellectual contexts (peri), surrounding academics and their biographies (bio), through audio-visual representation (photy), we investigate how academic thinking is embodied thinking. The notion that “traditional” research only involves the brain is challenged by the audio-visual representations of thoughts and ideas embedded in objects, experience, time, and interactions. Peribiophoty makes its propositions about academic thinking through embodied presence and rhythmic juxtapositions of gesture, things, place, text on screen and voice. It evokes the narrative pasts and selves of the project’s literature, history, and digital games scholars as substantively entangled with their ongoing research programs and demonstrates that their academic research is necessarily an embodied and embedded practice.
Publisher: Routledge
Date: 11-08-2021
Start Date: 05-2002
End Date: 02-2005
Amount: $208,000.00
Funder: Australian Research Council
View Funded Activity