Literature and the Senses-猫眼课题宝

文学与感官

DOI：

10.1093/oso/9780192843777.003.0019

发表时间：

2023

期刊：

影响因子：

通讯作者：

中科院分区：

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作者：

Skoulding Z

340包括但不限于人类的僵尸伪装。失去熟悉的感觉，通常是无意识和背景的前景;我们远离，蒙面和消毒，从呼吸和触摸的共同点。通常被视为理所当然的粮食供应，随着供应链的延伸和断裂而变得不稳定。虽然孔狄亚克描述了个人通过感官获得知识，但大流行病揭示了我们不是雕像，我们的一切都是集体塑造的，并与世界融合在一起。在这一章中，我想思考语言和感官之间的相互作用，在我作为一个诗人的实践中，回顾一个特别的项目，重点是味觉和嗅觉的联系。这不是对流行病的回应;几年前，我一直在写一系列诗歌，以回应法国大革命时期的另一个变化时期。《革命日历》（英语：Revolutionary Calendar）是一部由360首诗组成的系列作品，取材于法国共和历中的植物、动物和农具。我是带着对历史的好奇心开始的，这种好奇心在烹饪和植物学上越来越强烈，因为我寻找那些不断消失的气味和味道，要么消失在过去，要么消失在法语和英语之间的差距中。2020年出版时，这本书似乎具有意想不到的语境意义，它也引导我进入了表演诗歌的新方式。诗歌使时间具有感觉性，使人们注意到马克思所注意到的语言的感性：“思想本身的因素--思想的生动表达的因素--语言--具有感性的性质。”[4]感官的恢复是20世纪革命性现代主义的核心，这是根据马克思的观察：“因此，所有这些感官的完全疏远，即占有的感觉，取代了一切身心感官”。私有制凌驾并削弱了其他感官：在对资本的不懈追求中，感官退化了，只有通过从私有制转向公有制的公地，感官才能得到解放。此外，马克思指出，感官既是社会的，又是建构的：社会人的感觉不同于非社会人的感觉，只有通过人的本质存在的客观展现的丰富性，才是人的主观感受的丰富性（一个音乐的耳朵，一个形式美的眼睛，简而言之，能够满足人类需求的感官，感觉肯定自己是人类的基本力量），要么培养，要么产生。五种感觉的形成是从世界到现在的整个历史的劳动。5

340 ZOË SKOULDING that includes but extends beyond the human. The loss of familiar sensations foregrounded what is usually unconscious and in the background; we were distanced, masked and sanitized, from the commons of breathing and touch. The availability of food, normally taken for granted, became precarious as supply chains stretched and snapped. While Condillac described the acquisition of knowledge through the senses in terms of the individual, the pandemic revealed that we are anything but statues, that everything about us is collectively shaped and mingled with the world. In this chapter I want to think about the interplay between language and the senses in my practice as a poet, looking back on one particular project with a focus on the linked senses of taste and smell. It was not a response to the pandemic; for several years previously, I had been writing a sequence of poems in response to a different period of change at the time of the French Revolution. A Revolutionary Calendar is a sequence of 360 poems based on the plants, animals, and agricultural implements to which each day was dedicated in the French Republican Calendar. I had begun it with a historical curiosity that became increasingly culinary and botanical as I searched out scents and tastes that were constantly on the point of vanishing, either into the past or into the gap between French and English. On its publication in 2020, the book seemed to take on unexpected contextual meanings, and it also led me into new ways of performing poetry. Poetry makes time sensory, drawing attention to the sensuality of language noticed by Marx:‘The element of thought itself–the element of thought’s living expression–language–is of a sensuous nature.’4 The recovery of the senses is at the heart of the revolutionary modernisms of the twentieth century, following Marx’s observation that ‘[i] n the place of all physical and mental senses there has therefore come the sheer estrangement of all these senses, the sense of having’. Private ownership overrides and diminishes the other senses: in the relentless pursuit of capital, the senses are degraded, and can only be emancipated through a shift away from private property to the commons of public ownership. Furthermore, Marx makes the point that the senses are both social and constructed: the senses of the social man differ from those of the non-social man. Only through the objectively unfolded richness of man’s essential being is the richness of subjective human sensibility (a musical ear, an eye for beauty of form–in short, senses capable of human gratification, senses affirming themselves as essential powers of man) either cultivated or brought into being.... The forming of the five senses is a labour of the entire history of the world down to the present. 5

Literature and the Senses

文学与感官

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