To posit Queensland’s modernism may seem like an oxymoron. Queensland is often the butt of the southern states’ jokes. North of its more cultured and intellectual sibling-states (or so popular perception would have it), Queensland is ‘backward’, naı̈ve, behind the times, provincial. According to this mythology, Brisbane is a glorified country town, Queenslanders refuse daylight saving for the sake of their very sensitive cows and curtains, and there is very little ‘culture’ to mention. Queensland, in other words, is subject to regional prejudice. It is prejudice, moreover, that relies on a romantic tradition of Australian literature and culture — Queensland offers the nineteenth-century bush narrative as a contrast to the urban modernity of the southern capital cities. Indeed, as I have noted previously, ‘Queensland, in this reading, is subject to the Orientalist discourse of an Australian national identity in which the so-called civilisation of the south-eastern urban capitals necessitates a dark “other”’ (Gildersleeve 2012: 205). By the same token, Queensland, as Thea Astley and others have had it, has always cultivated a sense of its own ‘difference’. For Patrick Buckridge (1995: 30), this is best understood as ‘a different sense of distance, different architecture, a different apprehension of time, a distinctive preoccupation with personal eccentricity, and . . . a strong sense of cultural antitheses’. Buckridge and Belinda McKay begin their seminal study, By the Book: A Literary History of Queensland by exploring some of these differences and contradictions (2007: 1–4). What the essays in this special issue suggest, however, is that this difference is perhaps something more like Jacques Derrida’s différance, an eternal deferral of meaning in the grand play of Queensland’s shifting identity. The goal of this issue is to trouble existing narratives by engaging with the interdisciplinary and multidisciplinary construction and representation of modernism and modernity as it has appeared in Queensland in order to put Queensland (back) on the modernist map. All of this is critical to our understanding of the emergence of modernism in Australia more generally. In their introduction to Regional Modernisms, Neal Alexander and James Moran (2013: 1) point out that a ‘powerful and well-rehearsed narrative about modernism defines it as essentially metropolitan and internationalist in character, recalling that the majority of high-modernist writers and artists were exiles or émigrés, and that their texts are conspicuously polyglot, heteronomous, and fashioned from diverse cultural materials. They add: ‘Modernism is, by definition, liberated from provincialism and local allegiances, caught up in an ambivalent but creatively productive relationship with the fluctuating currents of modernity and modernization.’ Despite its perceived provincialism, the articles collected in this special issue show that Queensland was a critical site of modernist sentiment and

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社论：昆士兰现代主义

假设昆士兰的现代主义似乎是矛盾的。昆士兰州经常成为南部各州的笑话。昆士兰在其更有文化和智慧的兄弟州北部（或者普遍认为是这样），昆士兰是“落后的”，天真，落后于时代，省级。根据这个神话，布里斯班是一个光荣的乡村小镇，昆士兰人为了他们非常敏感的奶牛和窗帘而拒绝夏令时，而且几乎没有“文化”可言。换言之，昆士兰受地区偏见的影响。此外，偏见依赖于澳大利亚文学和文化的浪漫传统——昆士兰提供了 19 世纪的丛林叙事，与南部首府城市的现代城市形成鲜明对比。事实上，正如我之前所指出的，‘昆士兰，在这篇文章中，受到澳大利亚民族认同的东方主义话语的影响，其中所谓的东南部城市首都文明需要一个黑暗的“他者”（Gildersleeve 2012：205）。同理，昆士兰，正如 Thea Astley 和其他人所拥有的那样，一直在培养自己的“与众不同”感。对于 Patrick Buckridge (1995: 30) 来说，最好将其理解为“不同的距离感、不同的建筑、不同的时间理解、对个人怪癖的独特关注，以及”。. . 强烈的文化对立感”。Buckridge 和 Belinda McKay 通过探索其中的一些差异和矛盾（2007：1-4），开始了他们开创性的研究，《按书：昆士兰文学史》。然而，本期特刊中的文章所暗示的，是这种差异可能更像是雅克·德里达（Jacques Derrida）的差异，在昆士兰身份转变的大戏中，意义的永恒延迟。本期的目标是通过参与昆士兰出现的现代主义和现代性的跨学科和多学科构建和表现来扰乱现有的叙事，以便将昆士兰（回到）现代主义地图上。所有这些对于我们更广泛地理解澳大利亚现代主义的出现至关重要。Neal Alexander 和 James Moran (2013: 1) 在他们对区域现代主义的介绍中指出，“关于现代主义的有力且经过精心排练的叙述将其定义为本质上是大都市和国际主义的特征，回顾大多数高度现代主义的作家和艺术家是流亡者或移民者，他们的文本显然是多语言的、异族的，并且由不同的文化材料制成。他们补充说：“根据定义，现代主义从地方主义和地方忠诚中解放出来，陷入了与现代性和现代化的波动潮流之间矛盾但富有创造性的生产关系中。” 尽管被认为是地方主义，但本期特刊中收集的文章表明，昆士兰是现代主义情绪的重要场所，陷入了与现代性和现代化的波动潮流之间矛盾但富有创造性的关系中。尽管被认为是地方主义，但本期特刊中收集的文章表明，昆士兰是现代主义情绪的重要场所，陷入了与现代性和现代化的波动潮流之间矛盾但富有创造性的关系中。尽管被认为是地方主义，但本期特刊中收集的文章表明，昆士兰是现代主义情绪的重要场所，