Sarai Mannolini-Winwood | Curtin University (original) (raw)
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Papers by Sarai Mannolini-Winwood
Text, Apr 30, 2024
Autoethnographic processes are valuable for creative practitioners and researchers as they allow ... more Autoethnographic processes are valuable for creative practitioners and researchers as they allow for an intensive analysis not only of the practice-led approach being undertaken, but of the practitioner's own personal and cultural impact on the artefact developed. I, as a white woman of migrant heritage, have undertaken a reflexive autoethnographic process during a review of Indigenous literature of the Walyalup/Fremantle area of Western Australia. This process required a deep, personal autoethnographic review of my own sociocultural context and biases, which resulted in key "epiphanies" (Ellis et al., 2011, p. 276) that have informed the ongoing approach to my geocritical research and creative writing practices. The process of autoethnographic notetaking aided in the identification of epiphanies around the importance of language, the emotional response as a researcher, and the limitations of locational boundaries and available sources around the privileging of hegemonic perspectives. This article explores how an autoethnographic reflexive process strengthens place-based research, specifically in interactions with Indigenous texts as a non-Indigenous researcher. Biographical note: Sarai Mannolini-Winwood (she/her) is a literature enthusiast and writer who works as a sessional academic. She is currently working on a Creative Writing PhD at Deakin University. She is an advocate for the importance of exploring popular culture literature as a lens to view the social and cultural perspectives of modern life.
Creatio Fantastica, 2018
i wykładowczyni z zachodniej Australii; gorliwa czytelniczka działająca na rzecz badań nad kultur... more i wykładowczyni z zachodniej Australii; gorliwa czytelniczka działająca na rzecz badań nad kulturą popularną jako istotnego narzędzia do odkrywania społeczno-kulturowych perspektyw życia współczesnego; o fantastyce miejskiej opublikowała ostatnio artykuł Fear, Anxiety and Dread: Examining the Influence of Antecedent Genres on Urban Fantasy's Thematic Concerns na łamach "Dissection.
Fantasy literature in the 1980s underwent a revisionist change, which resulted in the emergence o... more Fantasy literature in the 1980s underwent a revisionist change, which resulted in the emergence of a number of subgenres that challenged the dominant Tolkien model of fantasy writing. One such subgenre, which continues in popularity today, is urban fantasy (UF). UF is distinguished by real-world urban settings unsettled by the presence of the supernatural and the non-rational. The exemplary writers in this genre are Emma Bull (War for the Oaks, 1987), China Mieville (King Rat, 1998) as well as Laurell K. Hamilton (in her prolific series: Anita Blake, Vampire Hunter), Patricia Briggs (Mercy Thompson Series) and Suzanne McLeod (Spellcrackers.com Series), among others. The classification of UF has predominantly been commercial or industry-based, with little critical or theoretical evaluation undertaken to define or establish its parameters. Within a limited frame of reference this thesis aims to fulfil a twofold purpose: first, to explore the evolution of UF from its roots in fantasy, urban realism and other antecedent genres so as to better establish its inherited characteristics; and, second, to offer a classificatory framework that identifies the distinctive elements of UF's thematic concerns and protagonists. An exploration of UF highlights that it is a unique subgenre that comments on our inherent fears and anxieties of contemporary urban life. Furthermore, UF draws attention to culture's disturbing fascination with the brutal, monstrous, facets of human life and, as a femalecentric subgenre, challenges us to rethink our received perceptions of the female hero.
Fantasy literature in the 1980s underwent a revisionist change, which resulted in the emergence o... more Fantasy literature in the 1980s underwent a revisionist change, which resulted in the emergence of a number of subgenres that challenged the dominant Tolkien model of fantasy writing. One such subgenre, which continues in popularity today, is urban fantasy. Urban fantasy is distinguished by real-world urban settings unsettled by the presence of the supernatural and the non-rational. The classification of the subgenre has predominantly been commercial or industry-based, with little critical or theoretical evaluation undertaken to define or establish its parameters. Within a limited frame of reference the article <em>Theorizing the Emergent Subgenre of Urban Fantasy </em>aims at offering a classificatory framework that identifies the distinctive elements of urban fantasy to further the generic understanding of unique fantasy subgenres.
Fantasy literature in the 1980s underwent a revisionist change, which resulted in the emergence o... more Fantasy literature in the 1980s underwent a revisionist change, which resulted in the emergence of a number of subgenres that challenged the dominant Tolkien model of fantasy writing. One such subgenre, which continues in popularity today, is urban fantasy (UF). UF is distinguished by real-world urban settings unsettled by the presence of the supernatural and the non-rational. The exemplary writers in this genre are Emma Bull (War for the Oaks, 1987), China Mieville (King Rat, 1998) as well as Laurell K. Hamilton (in her prolific series: Anita Blake, Vampire Hunter), Patricia Briggs (Mercy Thompson Series) and Suzanne McLeod (Spellcrackers.com Series), among others. The classification of UF has predominantly been commercial or industry-based, with little critical or theoretical evaluation undertaken to define or establish its parameters. Within a limited frame of reference this thesis aims to fulfil a twofold purpose: first, to explore the evolution of UF from its roots in fantasy, ...
Abstract Urban fantasy (UF) as a sub-genre arose in the 1980s and presented an alternative view o... more Abstract
Urban fantasy (UF) as a sub-genre arose in the 1980s and presented an alternative view of the heroic female protagonist. As UF has developed, a new archetype has emerged – the urban hunter. Defined by its situation in the urban environment this archetype draws on elements of gendered bodies, hybridization, the other and narrative purpose to create a unique character. Present in a myriad of texts, including works by Emma Bull, Laurell K. Hamilton, Kelly Gay and Patricia Briggs, this archetype represents a changing understanding of what it means to be a hero. The urban hunter can be perceived as a complex reflection of an increasingly urbanized world, and of central importance to understanding UF’s resonance with contemporary readers.
Fantasy literature in the 1980s underwent a revisionist change, which resulted in the emergence o... more Fantasy literature in the 1980s underwent a revisionist change, which resulted in the emergence of a number of subgenres that challenged the dominant Tolkien model of fantasy writing. One such subgenre, which continues in popularity today, is urban fantasy (UF). UF is distinguished by real-world urban settings unsettled by the presence of the supernatural and the non-rational. The classification of UF has predominantly been commercial or industry-based, with little critical or theoretical evaluation undertaken to define or establish its parameters. Within a limited frame of reference this paper aims to offer a classificatory framework that identifies the distinctive elements of UF to further the genetic understanding of unique fantasy subgenres.
Theorising the basis of any sub-genre requires an understanding of the etymology of the terms. Ur... more Theorising the basis of any sub-genre requires an understanding of the etymology of the terms. Urban Fantasy is a sub-genre built upon a mixed heritage of low fantasy and urban realism. This paper is an overview examination of the Oxford English Dictionary's definitions of the key terms that form an understanding of the title of Urban Fantasy.
Lewis Carroll was a master of nonsense, which is not to be confused with a being the master of no... more Lewis Carroll was a master of nonsense, which is not to be confused with a being the master of no sense. Unlike Edward Lear’s small, but charmingly, poetry, Carroll’s finely crafted literature and poetry contains underlying issues of logic, semantics, and identity. The theory and function of the names Carroll has chosen to use are also embedded with significant symbolic meaning, however, the intentionality of this occurrence is still hotly debated among critics. In this essay I will put forth a selection of the theories and functions that have been attributed to the names Carroll has chosen to use in ‘The Hunting of the Snark’ and 'Through the Looking Glass'.
This paper offers a wide overview of the various inspirations, sources and roots that have inspir... more This paper offers a wide overview of the various inspirations, sources and roots that have inspired the development of the new subgenre of urban fantasy. Reaching as far back as ancient mythologies coming forward to the great shift in fantasy literature that was Tolkien, the paper aims to suggest the deep roots of urban fantasy literature. With only a cursory connection to seminal and current texts, such as Emma Bull, Charles de Lint and Laurell K. Hamilton, the paper is a document interested in developing a framework for situating the growing subgenre.
Translations by Sarai Mannolini-Winwood
Creatio Fantastica, 2018
Fantasy literature in the 1980s underwent a revisionist change, which resulted in the emergence o... more Fantasy literature in the 1980s underwent a revisionist change, which resulted in the emergence of a number of subgenres that challenged the dominant Tolkien model of fantasy writing. One such subgenre, which continues in popularity today, is urban fantasy. Urban fantasy is distinguished by realworld urban settings unsettled by the presence of the supernatural and the non-rational. The classification of the subgenre has predominantly been commercial or industry-based, with little critical or theoretical evaluation undertaken to define or establish its parameters. Within a limited frame of reference the article "Theorizing the Emergent Subgenre of Urban Fantasy" aims at offering a classificatory framework that identifies the distinctive elements of urban fantasy to further the generic understanding of unique fantasy subgenres.
Text, Apr 30, 2024
Autoethnographic processes are valuable for creative practitioners and researchers as they allow ... more Autoethnographic processes are valuable for creative practitioners and researchers as they allow for an intensive analysis not only of the practice-led approach being undertaken, but of the practitioner's own personal and cultural impact on the artefact developed. I, as a white woman of migrant heritage, have undertaken a reflexive autoethnographic process during a review of Indigenous literature of the Walyalup/Fremantle area of Western Australia. This process required a deep, personal autoethnographic review of my own sociocultural context and biases, which resulted in key "epiphanies" (Ellis et al., 2011, p. 276) that have informed the ongoing approach to my geocritical research and creative writing practices. The process of autoethnographic notetaking aided in the identification of epiphanies around the importance of language, the emotional response as a researcher, and the limitations of locational boundaries and available sources around the privileging of hegemonic perspectives. This article explores how an autoethnographic reflexive process strengthens place-based research, specifically in interactions with Indigenous texts as a non-Indigenous researcher. Biographical note: Sarai Mannolini-Winwood (she/her) is a literature enthusiast and writer who works as a sessional academic. She is currently working on a Creative Writing PhD at Deakin University. She is an advocate for the importance of exploring popular culture literature as a lens to view the social and cultural perspectives of modern life.
Creatio Fantastica, 2018
i wykładowczyni z zachodniej Australii; gorliwa czytelniczka działająca na rzecz badań nad kultur... more i wykładowczyni z zachodniej Australii; gorliwa czytelniczka działająca na rzecz badań nad kulturą popularną jako istotnego narzędzia do odkrywania społeczno-kulturowych perspektyw życia współczesnego; o fantastyce miejskiej opublikowała ostatnio artykuł Fear, Anxiety and Dread: Examining the Influence of Antecedent Genres on Urban Fantasy's Thematic Concerns na łamach "Dissection.
Fantasy literature in the 1980s underwent a revisionist change, which resulted in the emergence o... more Fantasy literature in the 1980s underwent a revisionist change, which resulted in the emergence of a number of subgenres that challenged the dominant Tolkien model of fantasy writing. One such subgenre, which continues in popularity today, is urban fantasy (UF). UF is distinguished by real-world urban settings unsettled by the presence of the supernatural and the non-rational. The exemplary writers in this genre are Emma Bull (War for the Oaks, 1987), China Mieville (King Rat, 1998) as well as Laurell K. Hamilton (in her prolific series: Anita Blake, Vampire Hunter), Patricia Briggs (Mercy Thompson Series) and Suzanne McLeod (Spellcrackers.com Series), among others. The classification of UF has predominantly been commercial or industry-based, with little critical or theoretical evaluation undertaken to define or establish its parameters. Within a limited frame of reference this thesis aims to fulfil a twofold purpose: first, to explore the evolution of UF from its roots in fantasy, urban realism and other antecedent genres so as to better establish its inherited characteristics; and, second, to offer a classificatory framework that identifies the distinctive elements of UF's thematic concerns and protagonists. An exploration of UF highlights that it is a unique subgenre that comments on our inherent fears and anxieties of contemporary urban life. Furthermore, UF draws attention to culture's disturbing fascination with the brutal, monstrous, facets of human life and, as a femalecentric subgenre, challenges us to rethink our received perceptions of the female hero.
Fantasy literature in the 1980s underwent a revisionist change, which resulted in the emergence o... more Fantasy literature in the 1980s underwent a revisionist change, which resulted in the emergence of a number of subgenres that challenged the dominant Tolkien model of fantasy writing. One such subgenre, which continues in popularity today, is urban fantasy. Urban fantasy is distinguished by real-world urban settings unsettled by the presence of the supernatural and the non-rational. The classification of the subgenre has predominantly been commercial or industry-based, with little critical or theoretical evaluation undertaken to define or establish its parameters. Within a limited frame of reference the article <em>Theorizing the Emergent Subgenre of Urban Fantasy </em>aims at offering a classificatory framework that identifies the distinctive elements of urban fantasy to further the generic understanding of unique fantasy subgenres.
Fantasy literature in the 1980s underwent a revisionist change, which resulted in the emergence o... more Fantasy literature in the 1980s underwent a revisionist change, which resulted in the emergence of a number of subgenres that challenged the dominant Tolkien model of fantasy writing. One such subgenre, which continues in popularity today, is urban fantasy (UF). UF is distinguished by real-world urban settings unsettled by the presence of the supernatural and the non-rational. The exemplary writers in this genre are Emma Bull (War for the Oaks, 1987), China Mieville (King Rat, 1998) as well as Laurell K. Hamilton (in her prolific series: Anita Blake, Vampire Hunter), Patricia Briggs (Mercy Thompson Series) and Suzanne McLeod (Spellcrackers.com Series), among others. The classification of UF has predominantly been commercial or industry-based, with little critical or theoretical evaluation undertaken to define or establish its parameters. Within a limited frame of reference this thesis aims to fulfil a twofold purpose: first, to explore the evolution of UF from its roots in fantasy, ...
Abstract Urban fantasy (UF) as a sub-genre arose in the 1980s and presented an alternative view o... more Abstract
Urban fantasy (UF) as a sub-genre arose in the 1980s and presented an alternative view of the heroic female protagonist. As UF has developed, a new archetype has emerged – the urban hunter. Defined by its situation in the urban environment this archetype draws on elements of gendered bodies, hybridization, the other and narrative purpose to create a unique character. Present in a myriad of texts, including works by Emma Bull, Laurell K. Hamilton, Kelly Gay and Patricia Briggs, this archetype represents a changing understanding of what it means to be a hero. The urban hunter can be perceived as a complex reflection of an increasingly urbanized world, and of central importance to understanding UF’s resonance with contemporary readers.
Fantasy literature in the 1980s underwent a revisionist change, which resulted in the emergence o... more Fantasy literature in the 1980s underwent a revisionist change, which resulted in the emergence of a number of subgenres that challenged the dominant Tolkien model of fantasy writing. One such subgenre, which continues in popularity today, is urban fantasy (UF). UF is distinguished by real-world urban settings unsettled by the presence of the supernatural and the non-rational. The classification of UF has predominantly been commercial or industry-based, with little critical or theoretical evaluation undertaken to define or establish its parameters. Within a limited frame of reference this paper aims to offer a classificatory framework that identifies the distinctive elements of UF to further the genetic understanding of unique fantasy subgenres.
Theorising the basis of any sub-genre requires an understanding of the etymology of the terms. Ur... more Theorising the basis of any sub-genre requires an understanding of the etymology of the terms. Urban Fantasy is a sub-genre built upon a mixed heritage of low fantasy and urban realism. This paper is an overview examination of the Oxford English Dictionary's definitions of the key terms that form an understanding of the title of Urban Fantasy.
Lewis Carroll was a master of nonsense, which is not to be confused with a being the master of no... more Lewis Carroll was a master of nonsense, which is not to be confused with a being the master of no sense. Unlike Edward Lear’s small, but charmingly, poetry, Carroll’s finely crafted literature and poetry contains underlying issues of logic, semantics, and identity. The theory and function of the names Carroll has chosen to use are also embedded with significant symbolic meaning, however, the intentionality of this occurrence is still hotly debated among critics. In this essay I will put forth a selection of the theories and functions that have been attributed to the names Carroll has chosen to use in ‘The Hunting of the Snark’ and 'Through the Looking Glass'.
This paper offers a wide overview of the various inspirations, sources and roots that have inspir... more This paper offers a wide overview of the various inspirations, sources and roots that have inspired the development of the new subgenre of urban fantasy. Reaching as far back as ancient mythologies coming forward to the great shift in fantasy literature that was Tolkien, the paper aims to suggest the deep roots of urban fantasy literature. With only a cursory connection to seminal and current texts, such as Emma Bull, Charles de Lint and Laurell K. Hamilton, the paper is a document interested in developing a framework for situating the growing subgenre.
Creatio Fantastica, 2018
Fantasy literature in the 1980s underwent a revisionist change, which resulted in the emergence o... more Fantasy literature in the 1980s underwent a revisionist change, which resulted in the emergence of a number of subgenres that challenged the dominant Tolkien model of fantasy writing. One such subgenre, which continues in popularity today, is urban fantasy. Urban fantasy is distinguished by realworld urban settings unsettled by the presence of the supernatural and the non-rational. The classification of the subgenre has predominantly been commercial or industry-based, with little critical or theoretical evaluation undertaken to define or establish its parameters. Within a limited frame of reference the article "Theorizing the Emergent Subgenre of Urban Fantasy" aims at offering a classificatory framework that identifies the distinctive elements of urban fantasy to further the generic understanding of unique fantasy subgenres.