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'Dry Gardens': Books and Plants in Hans Sloane's

“干燥花园”：汉斯·斯隆的书籍和植物

基本信息

批准号：
1979489
负责人：
金额：
--
依托单位：
Queen Mary University of London
依托单位国家：
英国
项目类别：
Studentship
财政年份：
2017
资助国家：
英国
起止时间：
2017 至无数据
项目状态：
已结题

来源：
https://gtr.ukri.org/projects?ref=studentship-1979489
关键词：
Dry Gardens Books Plants Hans

项目摘要

As touched upon by Marjorie Swann (Curiosities and Texts: The Culture of Collecting in Early Modern England) plants provide us with a microcosm of both the general process of collecting and the specific problems facing a literary re-evaluation of Sloane's collection. In order to be preserved and presented, they must be dried and thereby transformed. The form in which they are seen, therefore, is representative rather than direct; the viewer must do some work to extrapolate back to the living plant. In much the same way, Sloane's super-collection must be approached backwards by literary scholars, as we try to work out what might have been. Furthermore, the preservation of these plant specimens in book format (the 'horti sicci'), reinforces the physical 'midway ground' between books and objects that Leah Knight (Of Books and Botany (2009); Reading Green in Early Modern England (2014)) has drawn upon in her discussion of the material early modern book composed of 'leaves' and bound with wood. On a textual level, too, Juliet Fleming has repeatedly come back to the idea of the printed 'flower', a decoration which straddles the roles of text and object.Yet this connection is also a metaphorical one. The early modern tendency to draw upon the language of plants when describing the collation of literature is still evident today - especially the etymological trace of 'anthology' as a collection of flowers, or 'poesies' - a language that gained particular traction throughout the sixteenth century with the practice of the commonplace book, which I suggest acts as a text-prototype of the museum collection. This register has proved so strong that it has pervaded critical writing: in The Renaissance Extended Mind (2015), Miranda Anderson writes that commonplacing provided a way to interrogate the place of the human through 'the tangible timber of textual matter'. Taken together botany, writing, and collecting are repeatedly presented as a framework through which to explore the role of the book.This is the framework through which I approach Sloane's library: through a lens of natural biology, in order to see what results mapping the traces of plant-collection onto book-collection can reveal. Using the idea of anthologising as both a metaphorical theory and physical reality for Sloane as collector, the attention paid to how he thought about plants will provide a way of understanding how different aspects of the collection influenced each other, with wider implications for our understanding of how collection functions as

马乔里·斯旺（Marjorie Swann）在《好奇心与文本：现代早期英格兰的收藏文化》（Curiosities and Texts：The Culture of Collecting in Early Modern England）一书中提到，植物为我们提供了一个缩影，既反映了收集的一般过程，也反映了对斯隆收藏进行文学重新评估所面临的具体问题。为了保存和展示，它们必须干燥，从而改变。因此，它们被看到的形式是代表性的，而不是直接的;观众必须做一些工作来推断活的植物。同样的道理，文学学者也必须回溯斯隆的超级收藏，因为我们试图弄清楚它本来可能是什么。此外，这些植物标本保存在书的格式（“horti sicci”），加强了物理“中间地面”之间的书籍和对象，利亚骑士（书籍和植物学（2009年）;阅读绿色在早期现代英格兰（2014年））已经借鉴了她的讨论材料早期现代书籍组成的“叶子”和木材。在文本层面上，朱丽叶·弗莱明也一再回到印刷的“花”的概念，一种跨越文本和客体角色的装饰，然而这种联系也是一种隐喻。在描述文献整理时，早期现代倾向于借鉴植物语言的趋势在今天仍然很明显--特别是“选集”作为花卉或“诗歌”的集合的词源学痕迹--这种语言在整个16世纪随着普通书籍的实践而获得了特别的牵引力，我认为这是博物馆收藏的文本原型。事实证明，这种语域如此强大，以至于它已经渗透到了批评性写作中：在《文艺复兴时期的扩展思维》（The Renaissance Extended Mind，2015）中，米兰达安德森写道，共置提供了一种通过“文本物质的有形木材”来询问人类位置的方法。植物学、写作和收集被反复地作为一个框架来探讨书的作用，这就是我接近斯隆图书馆的框架：通过自然生物学的透镜，为了看看将植物收集的痕迹映射到书籍收集上可以揭示什么结果。使用选集的想法作为一个隐喻的理论和物理现实斯隆作为收藏家，注意他如何思考植物将提供一种理解如何收集的不同方面相互影响的方式，为我们理解收集如何发挥作用提供了更广泛的影响。