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Megan Mooney Taylor Megan Mooney Taylor i(18130975 works by)
Gender: Female
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Works By

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1 Victoria Kuttainen, Susann Leibich and Sarah Galletly, Eds., The Transported Imagination : Australian Interwar Magazines and the Geographical Imaginaries of Colonial Modernity Megan Mooney Taylor , 2021 single work review
— Appears in: JASAL , vol. 21 no. 1 2021;

— Review of The Transported Imagination : Australian Interwar Magazines and the Geographical Imaginaries of Colonial Modernity Victoria Kuttainen , Susann Liebich , Sarah Galletly , 2018 multi chapter work criticism
'The Transported Imagination: Australian Interwar Magazines and the Geographical Imaginaries of Colonial Modernity is a timely and significant addition to the field of periodical studies in Australia, which has seen an increasing amount of academic focus in recent years. The innovative and instructive uses of Trove, as well as a deepening understanding of the role periodicals played in the development of Australian literary culture and production, has led to the burgeoning of periodical study in both quantitative and qualitative directions. The Transported Imagination builds on the groundbreaking work of such researchers as David Carter, Robert Dixon and Roger Osborne as well as the work on island spatiality of Elizabeth McMahon and engages in a qualitative, focused deep-dive on three interwar periodicals, The BP Magazine, The Home and MAN.' 

 (Publication abstract)

1 Ken Gelder and Rachael Weaver : The Colonial Kangaroo Hunt. Megan Mooney Taylor , 2020 single work review
— Appears in: JASAL , vol. 20 no. 2 2020;

— Review of The Colonial Kangaroo Hunt Ken Gelder , Rachael Weaver , 2020 multi chapter work criticism

'It felt appropriate that I received the review copy of The Colonial Kangaroo Hunt in the mail the day following the 250th anniversary of Captain Cook’s first Australian landing; the quote on the book’s back cover is from Cook’s diary, accompanied by a ghostly image of a kangaroo taken from the front cover painting, and reads:

'One of the Men saw an Animal something less than a greyhound; it was of Mouse Colour, very slender made, and swift of Foot.' (Introduction)

1 New Norman Lindsay Novels : Stitched Together Stories of Friendship and Family Seen for the First Time Megan Mooney Taylor , 2019 single work column
— Appears in: The Conversation , 28 October 2019;

'Norman Lindsay’s novel for children, The Magic Pudding, turned 100 last year and was widely celebrated. But the Lindsay family’s auction of three previously unseen manuscripts could help us gain a greater understanding of his novels for adults.' (Introduction)

1 Considering the Triangular Masculine Controlling Gaze : Gendered Authorial Intent in Norman Lindsay's The Cousin from Fiji and Dust or Polish? Megan Mooney Taylor , 2018 single work criticism
— Appears in: Hecate , vol. 44 no. 1/2 2018; (p. 76-84)

'Over his prolific artistic and authorial career Norman Lindsay published eleven novels for adults. Spanning more than fifty years from the publication of A Curate in Bohemia in 1913 to Rooms and Houses in 1968, the focus of Lindsay's writing was usually small sets of characters in country towns or city rooming houses. The production of heteronormative, binary gender was a focus of Lindsay's work, and his use of the male/female, masculine/feminine binary is present, and explicitly delineated, throughout all his fiction. Of these eleven novels only two have female protagonists; The Cousin from Fiji (1945) and Dust or Polish? (1950). Lindsay's narrative attempts to explore the feminine within these two texts do demonstrate, however, the continued influence of the masculine author and reader through a triangulation of the controlling male gaze.' (Introduction)

1 "Be Men If You Can't Be Artists!" : Masculinity in the Fiction of Norman Lindsay Megan Mooney Taylor , 2018 single work criticism
— Appears in: Antipodes , vol. 32 no. 1/2 2018; (p. 174-184)
'A prevailing myth surrounding the work of Norman Lindsay is the influence of a dominating female figure. Many of his larger works in pen and ink, oil, and watercolor feature this figure, as do many of his etchings. It is through his artwork that he is most well-known, and aside from his drawings of anthropomorphized Australian native animals and political cartoons, his artwork typically features tall, strong, buxom women. While these female figures are often used as metaphorical representations of ideas or nations, they are just as often used as objects of the controlling male gaze. In the context of Lindsay's published fiction, the application and assumption of a controlling male gaze subvert the more conspicuous gender narrative.' (Introduction)
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