This paper explores the emergence of the arts and environmental charity Common Ground and their association with authors such as John Fowles and Alice Oswald. Drawing on the background of its founding members in environmental activism of the 1970s, it suggests a relationship between the charity’s response to the Thatcherite 1980s and the aesthetic strategies of the postmodern novel. But is also traces this into more recent preoccupations with an ethical attitude to ‘a determining but nevertheless unrepresentable real’ (Boxall). In tracking the resistance of these activists and authors to official government institutions and institutional practices, it does, however, recall an alternative way of thinking about institution as temporal, as the emergence of something new, drawing on the work of Maurice Merleau-Ponty and bringing it into productive dialogue with Raymond Williams’ descriptions of divergences in a ‘structure of feeling’. The claim it makes is that the work of Common Ground and these various artists helped to institute a divergence in a certain structure of feeling at a time of political and historical impasse. Doing so serves to remember the capacity of the ‘institutional’ to be oriented towards the future rather than an ossifying present and to connote possibility where it might otherwise suggest imposition.

中文翻译：

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充满活力的地方主义：Common Ground 的诱惑

本文探讨了艺术和环境慈善机构 Common Ground 的出现及其与约翰·福尔斯 (John Fowles) 和爱丽丝·奥斯瓦尔德 (Alice Oswald) 等作者的联系。借鉴其 1970 年代环境激进主义创始成员的背景，它提出了慈善机构对 1980 年代撒切尔主义的回应与后现代小说的美学策略之间的关系。但也将其追溯到最近对“确定但仍然无法再现的真实”（Boxall）的道德态度的关注。然而，在追踪这些活动家和作者对官方政府机构和制度实践的抵制时，它确实回顾了另一种将制度视为时间的、新事物的出现、借鉴 Maurice Merleau-Ponty 的工作，并将其与 Raymond Williams 对“感觉结构”分歧的描述进行富有成效的对话。它声称，在政治和历史僵局时期，Common Ground 和这些不同艺术家的作品有助于在某种感觉结构中形成分歧。这样做有助于记住“制度”面向未来而不是僵化的现在的能力，并暗示可能暗示强加的可能性。