Explored the concept of 'Australian New Zealand Modernism', which was proposed by Australian scholars Prudence Blake and Stephen Mooch in 2011, and believed that Australian New Zealand Modernism is a unique variant of international modernism, reflecting the colonial modernity of Oceania. This viewpoint echoes Eric Hallett's "dual perspective" modernist view, emphasizing the influence of non Western culture on mainstream modernism. Meanwhile, Australian New Zealand modernism is also seen as part of the decolonization process, closely related to the indigenous cultures of Australia and New Zealand. Scholars have revealed the interdisciplinary and cross regional characteristics of modernist literature, art, and architecture in Australia and New Zealand through their research. In addition, the fluidity of Australian and New Zealand modernist literature was analyzed, as well as how writers' creations can showcase female subjectivity and cross regional modernist consciousness.

1、 The Writing of 'On the Road'

Australian and New Zealand modernist writers enhance their artistic expression by experiencing modernity through travel and exploring the world. This' on the road 'writing style gives their works a cross regional and cross-cultural creative tension. Australian female writer Ethel Anderson and New Zealand female writer Robin Hyde have integrated mobile cultural consciousness into their works through their own "on the road" experiences, providing examples for modernist literary creation in Australia and New Zealand. Anderson's "Indian Story" challenges traditional colonial writing by blurring the boundaries between white colonizers and local Indian residents through Impressionist painting techniques, expressing expectations for cross-cultural communication. Hyde's "Angry Dragon" constructs an imaginative world that transcends geographical limitations through cross-cultural experiences, using land as the primary medium to connect different cultures. The "on the road" experience of the two female writers deepened their modernist creative consciousness, reflected their creative expression of female subjectivity, and conducted modernist creative experiments in a flowing cultural space.

2、 Cross disciplinary narrative

De Longi et al. proposed in "The Literary Landscape: From Modernism to Postcolonialism" the complex relationship between modernist experience and individuals and geographic space. Bill Ashcroft believes that postcolonial geographic space is closely related to the psychological and cultural identity of colonizers. Narrative space is a place where characters interact with the environment, and Herman and Barr define narrative space from the perspectives of character life and perception points, respectively. Australian and New Zealand modernist writers explore the psychological and cultural identity of colonial people through the connection between internal and external narrative domains, as well as the possibility of transcending traditional social discourse. The works of Eleanor Dack and Janet Frem view characters and their environment as a narrative whole through the flow of memories and consciousness, emphasizing the connection between internal and external environments. Dake's "Christopher's Overture" showcases the internalized space of narrative process through Nagil's memories, spanning different time and space, and forms a dual perspective through the painting "Linda's Portrait" to explore the reality of female subjectivity being constrained by social discourse. Frem's "The Owl Cries" and "The Shadow in the Water" depict the state of psychotherapy, demonstrating the establishment of female subjectivity through non-linear narrative and the connection between internal and external environments. These works span both internal and external narrative domains, constructing a fluid narrative space that emphasizes the influence of social, historical, and cultural environments on inner activities, expressing hope for breaking through the limitations of local historical and cultural traditions.

3、 Cross domain 'dialogue'

The emergence of Australian and New Zealand modernist literature is closely related to social factors, and its literary field differs from that of European and American modernism. The early modernist works of New Zealand writer Katherine Mansfield and Australian writer Christina Steed, such as "In a German Apartment" and "The Salzburg Story," are set against the backdrop of Germanic culture and reflect the social context of the two World Wars. These works explore the identity of writers and the independence of female subjects from the perspective of Southern Hemisphere women in complex social and historical contexts. Bourdieu's concepts of "cultural field" and "literary field" explain the connection between literary creation and social reality and development process, as well as the attitude and capital of writers in the literary field. Mansfield's works focus on the mobility of character identities in cross regional cultural spaces and explore the possibility of dialogue between different power domains. Steed's works examine social and historical issues in the Northern Hemisphere through the interaction of history and culture. The two writers demonstrated a balance between self-discipline and heteronomy in their creations, and their literary standards were preserved in their works, showcasing the creative path of Australian New Zealand modernist women's literature.

4、 Conclusion

Janet Fram uses comic scenes in "The Owl Cries" to satirize Southern Hemisphere people planting cabbage backwards to save on shipping costs, symbolizing innovation in Australian and New Zealand literature. Paul Giles proposed the concept of "inverted modernism" in his book "Looking Back: The Antitemporality of Modernist Culture", which he believed could connect modernism in Australia and New Zealand with other regions. The creation of Australian and New Zealand female writers shows that Australian and New Zealand modernist literature has cross regional characteristics, focusing on experiences that cross regional boundaries, showcasing the writer's creative experiences, constructing literary fields, and contrasting with European and American modernism.