Thinking Environments of Their Own: (Re)Reading the Page-Spaces Created by Experimental Women Writers From 1990-Present Day

她们自己的思考环境：（重新）阅读 1990 年至今实验女性作家创造的页面空间

• 批准号: 2242123
• 金额: --
• 依托单位: University College London
• 依托单位国家: 英国
• 项目类别: Studentship
• 财政年份: 2019
• 资助国家: 英国
• 起止时间: 2019 至 无数据
• 项目状态: 已结题
• 来源: https://gtr.ukri.org/projects?ref=studentship-2242123
• 关键词: Thinking; Environments; Their; Own; Re

'A book should have enough air and space so whoever enters can breathe'-Rachel Blau DuPlessis. This thesis argues that contemporary experimental women writers create visually nuanced page-spaces that redefine the role of reading in a computational and digitised world and question its relationship with feminist politics. This project demonstrates how DuPlessis, Lyn Hejinian, Lisa Robertson, Maggie Nelson, and Sara Ahmed design visual, linguistic and interactive structures that give readers a space to experiment with modes of intellectual, affective or aesthetic engagement. Like Ahmed's feminist toolkit, their texts provide activities or 'points of interaction' (Emerson, 2014) for readers: they are interfaces, guiding readerly responses and presenting customisable structures. I argue these authors produce thinking environments that diagrammatically influence reader response and appear to choreograph thoughts (Manning, 2009) via a heavy reliance on footnotes, lists and incomplete figures that promote collaboration between reader and writer as feminist praxis. This research extends existing work on the interrelations between digital culture, contemporary literature and feminism (Hayles, 2005; Odin, 2010) by focussing on non-fiction rather than its often-considered fictional counterparts. It makes an original contribution to discussions of interfaces by exploring how literary equivalents are providing readers with spaces to learn skills that can then be used in political settings. My chosen authors are interested in the proposition that texts (online and off) can encourage certain social behaviours or practices that can be taken up "IRL" for feminist ends. Applying pressure to the notion that 'political-aesthetic-feminist writing' is a space for 'practical thinking-in-writing' (DuPlessis, 2006), I argue their page-spaces are practice-grounds for readers to explore the role of their actions within larger social structures and networks. With an emphasis on authorial mirroring of communications made via social media, I argue they challenge the need for feminist spaces in ways reflecting the changing technological and textual materialities at their disposal (Gitelman, 2014; Drucker, 2014; Kirschenbaum, 2016). Chapter 1, DuPlessis' Pensive Spaces, explores The Pink Guitar (1990) and Blue Studios (2006) to establish the critical parameters of 'thinking environments' by presenting examples from DuPlessis' feminist essays that encourage readerly engagement. Engaging the challenge of capturing thought, Ch.2-Hejinian's Timely Thoughts-analyses The Language of Inquiry (2000) and explores annotation methods. Ch.3, Robertson's Visual Thinking, investigates Nilling (2012) alongside Susanna Berger's discussion of visual thinking (Berger, 2017) to explore Robertson's pages as textual diagrams of spatialised knowledge requiring readers to move between text-body and footnote; paper and web pages. Ch.4, Nelson's Community, engages the marginal citations in The Argonauts (2015) which populate otherwise empty spaces to argue Nelson provides the infrastructure for an alternative relationship between readers and cited figures. Employing Ahmed's critique of feminism as homework, Ch.5 compares the reading experience of Living a Feminist Life (2017) with Ahmed's blog, feministkilljoy.com.

“一本书应该有足够的空气和空间，这样无论谁进入都可以呼吸”-雷切尔·布劳·杜普莱西斯。本文认为，当代实验女性作家创造了视觉上细致入微的页面空间，重新定义了阅读在计算和数字化世界中的作用，并质疑其与女权主义政治的关系。这个项目展示了DuPlessis、林恩和吉尼安、丽莎罗伯逊、玛吉纳尔逊和萨拉艾哈迈德如何设计视觉、语言和互动结构，为读者提供一个空间来实验智力、情感或美学参与的模式。就像艾哈迈德的女权主义工具包一样，他们的文本为读者提供了活动或“互动点”（爱默生，2014）：它们是界面，引导读者的反应并呈现可定制的结构。我认为，这些作者产生的思维环境，以图解方式影响读者的反应，并通过严重依赖脚注，列表和不完整的数字来编排思想（曼宁，2009），促进读者和作家之间的合作，作为女权主义实践。这项研究扩展了现有的数字文化，当代文学和女权主义之间的相互关系的工作（海尔斯，2005年;奥丁，2010年），专注于非小说，而不是经常被认为是虚构的同行。它通过探索文学等价物如何为读者提供空间来学习可以在政治环境中使用的技能，从而为界面的讨论做出了原创性贡献。我选择的作者感兴趣的命题是，文本（在线和离线）可以鼓励某些社会行为或做法，可以采取“IRL”为女权主义者的目的。施加压力的概念，“政治美学女性主义写作”是一个空间的“实用思维的写作”（杜普莱西斯，2006年），我认为他们的页面空间是实践的基础，为读者探索他们的行动在更大的社会结构和网络的作用。通过强调作者通过社交媒体进行的交流，我认为他们挑战了女权主义空间的需要，反映了他们所掌握的不断变化的技术和文本材料（Gitelman，2014; Drucker，2014; Kirschenbaum，2016）。第一章，杜普莱西斯的沉思空间，探讨了粉红色吉他（1990年）和蓝色工作室（2006年），建立“思考环境”的关键参数，从杜普莱西斯的女权主义散文，鼓励读者参与的例子。何继年的《及时的反思》第二章以捕捉思想为挑战，对《探究的语言》（2000）进行了分析，并探讨了诠释方法。第3章，罗伯逊的视觉思维，研究了Nilling（2012）以及Susanna Berger对视觉思维的讨论（Berger，2017），以探索罗伯逊的页面作为空间化知识的文本图表，要求读者在文本主体和脚注之间移动;纸张和网页。第4章，纳尔逊的社区，从事边缘引文的阿尔戈英雄（2015年），填充否则空的空间，认为纳尔逊提供了基础设施，读者和引用的数字之间的替代关系。第五章将艾哈迈德对女权主义的批评作为家庭作业，将《过女权主义生活》（2017年）的阅读体验与艾哈迈德的博客feministjoy.com进行了比较。