Dancing with disaster: environmental histories, narratives, and ethics for perilous times, by Kate Rigby, Charlottesville and London, University of Virginia Press, 2015, x + 225 pp., $22.50 (paperback), ISBN 978-0-8139-3690-1
Dancing with disaster: environmental histories, narratives, and ethics for perilous times, by Kate Rigby, Charlottesville and London, University of Virginia Press, 2015, x + 225 pp., $22.50 (paperback), ISBN 978-0-8139-3690-1
复制标题
与灾难共舞：危险时期的环境历史、叙述和伦理，凯特·里格比 (Kate Rigby)，夏洛茨维尔和伦敦，弗吉尼亚大学出版社，2015 年，x 225 页，22.50 美元（平装本），ISBN 978-0-8139-3690-1
DOI：
--
复制
发表时间：
2016
期刊：
影响因子：
--
通讯作者：
L. Squire
中科院分区：
文献类型：
--
作者：
L. Squire
讨论，使弗里德里希的孤独的观察者似乎可以成为她的研究的主旋律。让我简单地举出她讨论过的两个例子：亚历山大·冯·洪堡在他伟大的南美之旅（1799-1804年）之际所写的自然散文《自然的观点》（1808），经常以孤独的人类为主题，旨在把握热带自然的规模，同时体验感官的混乱。这种情况经常发生在洪堡的叙述者面对海市蜃楼等视觉奇观时，这些景象困扰着他的感官，挑战着他解释风景的能力。150多年后，克劳斯·金斯基在沃纳·赫尔佐格的电影《阿吉雷》（Aguirre）、《上帝之怒》（1972）和《菲茨卡拉尔多》（1982）中饰演冒险家和西班牙征服者，他同样被南美热带地区巨大的山脊和过度的生长所震惊。虽然金斯基多次被看到站在自然界的高处，但最终，他扮演的角色未能理解这些景观。赫尔佐格的图像再现了广阔的风景，但否认他们有意义的框架。威尔克探讨了这些艺术作品中的景观被赋予代理权的过程。也许最有说服力的是她如何反对后殖民批评洪堡和赫尔佐格的热带美洲狮。威尔克没有揭示欧洲主体对外国景观的解释主权，而是指出人类与环境的互动是如何作为一个开放的、令人敬畏的过程上演的，在这个过程中，人类主体开始质疑他们穿透景观的能力，文本或电影传达了一种自然世界作为一个独立存在的领域的感觉。简而言之，德国独特的环境想象的概念源于这样一种观念，即德国自然文学中充满了“不再是对一个有意义的平面的隐喻”的自然形象，引导“从肯定的机构形式的风景展示字符-归因于自然场景的科学著作的探险家和宏伟的景观-在现代电影摄影中完全清空”（208）。分析部分的某些部分的大范围稍微以牺牲深度为代价而发展，但总的来说，它允许威尔克展示崇高的动态跨越时间和媒体的持久影响。虽然威尔克的书反映了生态批评的潜力，驻留在动态的视觉感知，它本身也是一种审美体验。配备了一个非常合适的拼贴风格的风景封面，并具有许多彩色插图的图片和图像，她提到整个，这是一个美丽的除了布里尔的自然，文化和文学系列。
discusses so that Friedrich’s solitary watcher can seem like a leitmotif of her study. Let me briefly single out two of the examples she discusses: Alexander von Humboldt’s nature essays, Views of Nature (1808), written on the occasion of his great South American journey (1799–1804), frequently feature solitary human subjects that aim to grasp the magnitude of tropical nature and experience a confusion of the senses at the same time. This often happens when Humboldt’s narrator is confronted with visual spectacles such as mirages, which trouble his senses and challenge the ability to interpret a landscape. More than 150 years later, Klaus Kinski, starring as adventurer and Spanish conquistador in Werner Herzog’s films Aguirre, Wrath of God (1972) and Fitzcarraldo (1982), is similarly stunned by gigantic mountain ridges and excessive growth in the South American tropics. Although Kinski is repeatedly seen standing at elevated points in nature, in the end, the character he plays fails to make sense of these landscapes. Herzog’s images reproduce vast landscape sceneries, yet deny a meaningful framing of them. Wilke explores the process through which agency is attributed to landscapes in these artworks. Perhaps most convincing is how she argues against postcolonial criticism of Humboldt’s and Herzog’s tropical panoramas. Instead of revealing the interpretational sovereignty of European subjects over foreign landscapes, Wilke points out how human interaction with the environment is staged as an open-ended, awe-inspiring process in the course of which human subjects start to question their capacity to penetrate a landscape, and the texts or films convey a sense of the natural world as a sphere that exists in its own right. The concept of a peculiar German environmental imagination, in a nutshell, is derived from the notion that German nature literature abounds in nature images ‘that no longer refer as metaphors to a meaningful plane’, leading ‘from an affirmation of agency in form of the scenic display character – attributed to nature scenes in the scientific writings of the explorers and the grand landscapes – to its complete emptying out in modern cinematography’ (208). The great scope in some parts of the analysis section evolves slightly at the expense of depth, but generally it allows Wilke to demonstrate the enduring impact of the dynamics of the sublime across time and media. While Wilke’s book reflects on the ecocritical potential that resides in dynamics of visual perception, it is also an aesthetic experience in itself. Equipped with a very suitable collage-style landscape cover and featuring many multicoloured illustrations of pictures and images that she mentions throughout, it is a beautiful addition to Brill’s Nature, Culture and Literature series.