ABSTRACT

When the first astronauts landed on the moon, they left unfading bootprints on its surface, testifying to our human violation of its aesthetic and symbolic autonomy. Starting from the premise that this lunar invasion has forever scarred the moon, making it a carrier of loss and an embodiment of grief, my article seeks to examine how Gail Jones, in her own fiction, aestheticizes the starry night sky in order to bring together the astronauts’ human disfiguration of the moon’s face with the human figuration by writers and artists of this very defacement. Through art’s redemptive function in the face of loss and destruction, I argue, Jones has found a way to reinstate a sense of the moon’s autonomy. In particular, this article will focus on how her short story “The Man in the Moon” addresses the possibility of creating alternative cosmologies through art. Both her essay “Without Stars”, which discusses Blanchot’s The Writing of the Disaster to investigate the metaphysics of suffering and the poetics of grief, and her essay “Five Meditations on a Moonlit Night”, which looks at nature writing to examine the aesthetics of grief and the ethics of the gift, will form the backdrop of this exploration.

摘要

当第一批宇航员降落在月球上时，他们在月球表面留下了不褪色的靴印，证明了我们人类对它的美学和象征自主权的侵犯。从月球入侵永远伤害月球，使其成为损失的载体和悲伤的化身的前提开始，我的文章旨在研究盖尔·琼斯（Gail Jones）在她自己的小说中如何美化繁星点点的夜空，以便将它们融合在一起宇航员对月球脸的人性化与作家和艺术家对这种污损的人像化。我认为，琼斯通过面对损失和破坏的艺术救赎功能，找到了一种恢复月球自治感的方法。特别是，本文将重点讨论她的短篇小说“月球上的男人”如何处理通过艺术创造替代宇宙学的可能性。她的两篇文章“没有星星”都讨论了布兰科特的《灾难的写作》探讨了苦难的形而上学和悲伤的诗学，而她的论文《月夜的五个沉思》则着眼于自然写作，以考察悲伤的美学和礼物的伦理。探索的背景。