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

在生态批评和后人文主义理论的交叉点上，我的博士学位将分析21世纪人类世的实验诗歌。人类世是2000年创造的一个术语，指的是当前的地质时代，由人为生态变化主导。这篇论文将评估当代诗歌对科学、技术和生态现象的正式影响，特别是人类世。本文将提出“共生学”一词，以指定对人类世诗歌实验的错综复杂和纠缠性质的分析。在整个过程中，我将研究j·h·普林、乔里·格雷厄姆、朱莉安娜·斯帕尔、彼得·拉金、克里斯蒂安·博克等人的“共生”作品，并采用蒂莫西·莫顿、唐娜·哈拉威、布鲁诺·拉图尔、安娜·青、迈克尔·马德尔和伊莎贝尔·斯坦格斯等人的哲学和批评作品。我还将借鉴几本批判性选集——《非人类转向》（2015）、《在受损星球上生活的艺术》（2017）和《维尔生态学》（2017）——来定位关键的影响、美学和理论立场。论文的第一章将分析白兰在《Triodes》（2000）和《Squeezed White Noise》（2020）之间的文本，包括他的《Stars， Tigers, and Shape of Words》（1992）中的批评文章，最近的演讲和评论，即将出版的《J. H.白兰的完整评论散文》，以及剑桥大学图书馆存档的《J. H.白兰论文》。我将在《为了未来：纪念j·h·普林的诗歌和散文》（2016）和《话语的问题：j·h·普林的诗歌》（2009）中回应和评论随笔。我的目标是论证白兰晚期抒情诗的特点是文本形式的“生态”，它通过使用非文学或“浪费”话语和混合词汇领域扰乱了等级制度或交流。在论文的第二部分，构建格雷厄姆从Never（2002）到Fast（2017）的作品，我将论证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“位移”。我的目标是与Spahr进行比较，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）和《彼时彼处》（2011）中评估了斯帕尔作品的生态方面。我的目的是展示格雷厄姆和斯帕尔如何提供不同的主体间抒情诗，这些抒情诗被剥削的非人类生活世界所困扰。在第三部分，我分析了拉金最近的诗歌。在我发表的关于拉金的文章中，我专注于从地形种子稀缺（2000年）到禁欲地面之前的树木（2019年）的生产。根据拉图尔的“网络”理论和马德尔关于植物的哲学著作，我分析了拉金对森林和树木的“生态系统”和纠缠的表现。我展示了拉金亲密而复杂的共生理论，探讨了人类和非人类环境之间的伦理关系。最后一章考察了人类世实验诗歌的新兴概念方向。我在《异种文本》（The Xenotext, 2015）中批判性地评价了博克对“假肢”语言和“生物艺术”的实验，解释了他在诗歌和生物技术之间的实验，并将他的作品与亚当·狄金森（Adam Dickinson）和伊芙琳·赖利（Evelyn Reilly）等诗人的作品进行了比较。最后，我将“共生诗学”作为人类世诗歌的关键框架，建立理论总结。本文旨在提供迄今为止对后人文主义和生态诗学最广泛的分析研究。法里尔的《人类世诗学》（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《生态诗学重组》（2018）只考察了北美诗歌，避开了后人类批评诗学，支持传统的生态批评阅读。索尔尼克的《诗歌与人类世》（2017）将白兰与马洪和休斯的正式保守作品放在一起。

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.