Symbiopoetics: Posthumanism and Ecology in 21st-Century Anthropocene Poetry

借鉴生态批评和后人类主义理论的交叉点，我的博士将分析21世纪的实验诗歌在人类世-一个在2000年创造的术语，指定当前的地质时代，由人为的生态变化为主。论文将评估人类世特有的科学、技术和生态现象对当代诗歌的正式影响。论文将提出“共生诗学”一词来分析人类世诗歌实验的重叠和纠缠的性质。在整个过程中，我将研究J。Prynne，Jorie Graham，Juliana Spahr，Peter Larkin，Christian Bok，and others，employing inter阿利亚philosophical and critical writings by Timothy Morton，Donna Haraway，Bruno Latour，安娜青，Michael Marder，and Isabelle Stengers.论文第一章将分析白兰在《三重奏》（2000）和《挤压白色噪音》（2020）之间的文本，包括他在《星星》中的批评性作品，以及他在《三重奏》中的批评性作品。老虎，和文字的形状（1992年），最近的讲座和评论，即将完成的批评散文的J。Prynne，and 'The J.H.普林论文“存档在剑桥大学图书馆。我将对《为了未来：纪念约翰·霍普金斯的诗歌和散文》一书中的文章做出回应和评论。2016年出版《A Matter of Utterance：The Poetry of J.H.》。Prynne（2009年）。本文旨在论证，白兰晚期抒情诗的特征是文本形式的“生态学”，它通过使用非文学或“废物”话语和混合词汇场来扰乱等级或交流。在论文的第二部分，构建格雷厄姆从Never（2002）到Fast（2017）的输出，我认为，她早期的生态主体间性逐渐适应了一个受损星球上生命的“流离失所”。我的目标是建立与Spahr的比较，同样关注全球变暖和生物多样性丧失的社会政治和集体影响。我在《转型》（2007年）和《那时就有了》（2011年）中评估了斯帕尔工作的生态方面。第三部分，分析拉金的近期诗歌。发展我发表的关于拉金的文章，我专注于从地形种子稀缺（2000）到禁欲前的树木（2019）。借鉴拉图尔的“网络”理论和马尔德的植物哲学著作，我分析拉金的“生态系统”和纠缠的代表性森林和树木。我展示了拉金的亲密和复杂的共生诗学，探讨人类和非人类环境之间的伦理关系。最后一章探讨了人类世实验诗歌的新兴概念方向。我批判性地评估了博克在《异文》（2015）中对“假体”语言和“生物艺术”的实验，阐述了他在诗歌和生物技术之间的实验，并将他的作品与亚当·迪金森和伊夫林·赖利等诗人进行了比较。最后，我建立了“共生诗学”的理论总结，作为人类世诗歌的批评框架。本论文旨在提供迄今为止对后人类主义和生态诗学最广泛的分析性考察。Farrier的《人类世诗学》（Anthropocene Poetics，2019）收集了一系列理论立场，但没有分析诗歌文本的形式和美学维度。凯勒的《重新整理生态诗学》（2018年）只考察了北美诗歌，避开了后人类批评诗学，转而采用传统的生态批评阅读。Solnick的《Poetry and the Anthropocene》（2017）将Prynne与Mahon和Hughes的保守派作品放在一起。

Drawing on intersections of ecocritical and posthumanist theory, my DPhil will analyse 21st-century experimental poetry in the Anthropocene - a term coined in 2000, designating the current geological epoch, dominated by anthropogenic ecological change. The thesis will assess formal ramifications for contemporary poetry of scientific, technological, and ecological phenomena particular to the Anthropocene.The thesis will propose the term 'symbiopoetics' to designate analysis of the imbricated and entangled nature of poetic experiment in the Anthropocene. Throughout, I'll investigate 'symbiopoetic' works by J. H. Prynne, Jorie Graham, Juliana Spahr, Peter Larkin, Christian Bok, and others, employing inter alia philosophical and critical writings by Timothy Morton, Donna Haraway, Bruno Latour, Anna Tsing, Michael Marder, and Isabelle Stengers. I shall also draw upon several critical anthologies - The Nonhuman Turn (2015), Arts of Living on a Damaged Planet (2017), and Veer Ecology (2017) - to situate key affects, aesthetics, and theoretical positions.The dissertation's first chapter will analyse Prynne's texts between Triodes (2000) and Squeezed White Noise (2020), including critical writings in his Stars, Tigers, and the Shape of Words (1992), recent lectures and commentaries, the forthcoming Complete Critical Prose of J. H. Prynne, and 'The J. H. Prynne Papers' archived at the Cambridge University Library. I'll respond to and critique essays in For the Future: Poems and Essays in Honour of J. H. Prynne (2016), and A Matter of Utterance: The Poetry of J. H. Prynne (2009). I aim to argue that Prynne's late lyricism is characterised by 'ecologies' of textual form, which disturb hierarchies or communication through use of non-literary or 'waste' discourses and hybrid lexical fields.In the thesis' second section, framing Graham's output from Never (2002) to Fast (2017), I'll argue that her earlier ecological intersubjectivity becomes progressively adapted to 'displacements' of life on a damaged planet. I aim to set up comparison with Spahr, similarly concerned with socio-political and collective implications of global heating and biodiversity loss. I assess ecological aspects of Spahr's work in The Transformation (2007) and Well Then There Now (2011). I aim to show how Graham and Spahr offer different intersubjective lyrical poetries haunted by exploited nonhuman life-worlds.In the third section, I analyse Larkin's recent poetry. Developing my published essay on Larkin, I focus on productions from Terrain Seed Scarcity (2000) to Trees Before Abstinent Ground (2019). Drawing upon Latour's 'network' theories and Marder's philosophical writings on plants, I analyse Larkin's 'ecosystemic' and entangled representation of forests and trees. I demonstrate Larkin's intimate and intricate symbiopoetics that explores ethical relations between human and non-human environments.A final chapter examines emerging conceptual directions for experimental poetry in the Anthropocene. I critically assess Bok's experiments with 'prosthetic' languages and 'bioart' in The Xenotext (2015), explicating his experiments between poetry and biotechnology, and compare his work to poets such as Adam Dickinson and Evelyn Reilly. I conclude by establishing theoretical summations of 'symbiopoetics' as a critical framework for poetry in the Anthropocene. The thesis aims to provide the most analytically extensive examination of posthumanism and ecopoetics to date. Farrier's Anthropocene Poetics (2019) collects a range of theoretical positions, but does not analyse the formal and aesthetic dimensions of poetic texts. Keller's Recomposing Ecopoetics (2018) examines only North American poetry, eschewing posthuman critical poetics in favour of traditional ecocritical readings. Solnick's Poetry and the Anthropocene (2017) places Prynne alongside formally conservative work by Mahon and Hughes.