Abstract

Paradoxically, loss is the only unconditional possession possible in elegy. A deep understanding of this phenomenon is to be found in long prose forms and lyricism of contemporary Australian writers. Turning the history of literature – from the Medieval to the contemporary – into a body of work more relevant to our ecological plight, in Kinsella’s corpus genres are consequences of textual events operating within an organic totality. This totality deconstructs the reference point for elegy: loss as the condition of thought and experience. Sidestepping while matrixially reconfiguring traditional and experimental forms of writing, Kinsella’s engagement with genre exemplifies not only the undoing of the codes that constitute all possible readings of a text; it is an implicit critique of speech acts that tend to “fix” life into static nouns, reflecting our culture’s ideology of appropriation of nature. Within a critical counterpoint to appropriation (namely, possession), Australian writing can be read as both urging readers to remain alert to pastoral precedents yet avoid projecting genre onto texts. To some extent, elegy has been decolonised in Australian pastoral.

摘要

矛盾的是，损失是挽歌中唯一可能的无条件拥有。在当代澳大利亚作家的长篇散文形式和抒情诗中，可以找到对这种现象的深刻理解。Kinsella的语料库类型将文学史-从中世纪到当代-变成了与我们的生态困境更相关的作品，是文本事件在有机整体中运作的结果。这种整体解构了挽歌的参考点：作为思想和经验条件的损失。避开了矩阵式重新配置传统和实验性写作形式的过程，金塞拉对流派的参与不仅说明了构成文本所有可能阅读内容的代码的撤消；它是对言语行为的一种隐式批评，倾向于将生活“固定”为静态名词，反映了我们文化对自然的挪用思想。在批判性占有（即占有）的关键对立中，澳大利亚的写作可以被解读为既敦促读者对田园先例保持警惕，又避免将体裁投射到文本上。在某种程度上，挽歌已经在澳大利亚牧民中被非殖民化了。