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Wevers 1: Dreamhunter and modernity

March 25, 2011

Black Oxen - Knox

So, I’m slowly researching Dreamhunter. Here’s what’s being said:

Dreamhunter is about a place which both is and is not Golden Bay; in The Place, the anticipated future and the buried past-in-the-future collide. Within these foldings are pointed reflections of modernity. In the Edwardian seaside world inhabited by Rose and Laura, the commodity culture of dreams originates from a landscape hidden in space, and its infrastructure, in turn, is linked to that which is hidden in time: forced, convict labour. The landscapes of Dreamhunter conform to what Zygmunt Bauman has described as a ‘heavy’ or ‘solid’ modernity – railways, prisons, factories, everything marked by the controlling and oppressive hand of the state.”[1]

NB It may be worth pursuing how Wevers clarifies her theoretical base:

Theorists of modemity fall broadly into two groups: social theorists, like Anthony Giddens or Max Weber, and philosophical theorists such as Fredric Jameson, Jurgen Habermas, Theodor Adorno, Walter Benjamin, Zygmunt Bauman and Hal Foster (among others) whose focus is on modernity’s cultural forms, modemism and postmodemism.” p190 (my emphasis)


[1] P188 (my emphasis) Lydia Wevers (2007) “Fold in the map: figuring modernity in Gail Jones’s Dreams of Speaking and Elizabeth Knox’s Dreamhunter.” Australian Literary Studies (23:2) 2007, 187-98.

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