The impact of French Theory upon the past 30 years of contemporary art practice in Australia is multi-faceted. The term ‘French Theory’, identified by Kristeva as an Anglophone, or more precisely American, invention, has come to denote a school of thought without which it is impossible to imagine post-modernism. Its key figures include Foucault, Derrida, Deleuze, Irigaray, Baudrillard and Lyotard, who provided diverse critical frameworks through which to disrupt the hierarchies and grand narratives of modern and pre-modern discourse. However, alongside the general impact of these critical ideas upon the nature of the artworks that arose during this period, there is a specific Australian history relating to the local development, translation and circulation of French radical thought that challenges perceptions of the country as an antipodean site of pure reception. Australia's historic relationship to Europe, as an Imperial outpost, means that the active role that Australians played in the interpretation and articulation of French Theory in the Anglophone world has often been overlooked. Despite this, two Australian contemporary artists, both living and practising in Europe, have recently engaged with the specific contributions that Australians have made to the international discourse surrounding French Theory, and post-modernism more broadly. The aim of this paper is to analyse the specific contributions of Alex Martinis Roe and Shaun Gladwell to the reinterpretation of French Theory and its associated texts, exploring their impact upon the Australian cultural context, both historically and currently. Examined through the optic of Derrida's hauntology, the paper explores ways in which Martinis Roe's and Gladwell's works respond to the spectral call of these texts in the context of contemporary Australian artistic practice. In doing so, the paper opens up broader questions regarding inter-generational artistic and intellectual legacy, and the status of theory as both artefact and idea. The paper will proceed in three parts: Firstly, it will consider the legacy of what is termed ‘French Theory’ in Australian culture, challenging perceptions of it as an imported collection of theoretical and critical frameworks that informed

中文翻译：

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法国理论的幽灵：Alex Martinis Roe 和 Shaun Gladwell 作品中的澳大利亚翻译

法国理论对澳大利亚过去 30 年当代艺术实践的影响是多方面的。“法国理论”一词，被克里斯蒂娃认定为英语国家，或者更准确地说是美国人的发明，已经开始表示一种思想流派，没有它就无法想象后现代主义。其关键人物包括福柯、德里达、德勒兹、伊里加雷、鲍德里亚和利奥塔，他们提供了多种批判框架，通过这些框架来破坏现代和前现代话语的等级制度和宏大叙事。然而，除了这些批判性思想对这一时期出现的艺术品性质的普遍影响之外，还有与当地发展相关的特定澳大利亚历史，法国激进思想的翻译和传播挑战了将该国视为纯粹接受的对立面的看法。作为帝国前哨，澳大利亚与欧洲的历史关系意味着澳大利亚人在英语世界中解释和阐述法国理论方面发挥的积极作用经常被忽视。尽管如此，两位在欧洲生活和实践的澳大利亚当代艺术家最近参与了澳大利亚人对围绕法国理论和更广泛的后现代主义的国际话语所做的具体贡献。本文的目的是分析 Alex Martinis Roe 和 Shaun Gladwell 对重新诠释法国理论及其相关文本的具体贡献，探索它们对澳大利亚文化背景的影响，包括历史和当前。通过对德里达的鬼魅学的审视，本文探讨了马提尼斯·罗和格拉德威尔的作品如何在当代澳大利亚艺术实践的背景下回应这些文本的光谱呼唤。在这样做的过程中，本文提出了更广泛的问题，涉及代际艺术和知识遗产，以及理论作为人工制品和思想的地位。该论文将分为三个部分：首先，它将考虑澳大利亚文化中所谓的“法国理论”的遗产，挑战将其视为理论和批判框架的进口集合的看法 该论文探讨了 Martinis Roe 和 Gladwell 的作品如何在当代澳大利亚艺术实践的背景下回应这些文本的光谱呼唤。在这样做的过程中，本文提出了更广泛的问题，涉及代际艺术和知识遗产，以及理论作为人工制品和思想的地位。该论文将分为三个部分：首先，它将考虑澳大利亚文化中所谓的“法国理论”的遗产，挑战将其视为理论和批判框架的进口集合的看法 该论文探讨了 Martinis Roe 和 Gladwell 的作品如何在当代澳大利亚艺术实践的背景下回应这些文本的光谱呼唤。在这样做的过程中，本文提出了更广泛的问题，涉及代际艺术和知识遗产，以及理论作为人工制品和思想的地位。该论文将分为三个部分：首先，它将考虑澳大利亚文化中所谓的“法国理论”的遗产，挑战将其视为理论和批判框架的进口集合的看法 以及理论作为人工制品和想法的地位。该论文将分为三个部分：首先，它将考虑澳大利亚文化中所谓的“法国理论”的遗产，挑战将其视为理论和批判框架的进口集合的看法 以及理论作为人工制品和想法的地位。该论文将分为三个部分：首先，它将考虑澳大利亚文化中所谓的“法国理论”的遗产，挑战将其视为理论和批判框架的进口集合的看法