Managing 'Wildness' : Creative Writing and Landscape Restoration

管理“荒野”：创意写作和景观恢复

• 批准号: 2594444
• 金额: --
• 依托单位: Northumbria University
• 依托单位国家: 英国
• 项目类别: Studentship
• 财政年份: 2021
• 资助国家: 英国
• 起止时间: 2021 至 无数据
• 项目状态: 未结题
• 来源: https://gtr.ukri.org/projects?ref=studentship-2594444
• 关键词: Managing; Wildness; Creative; Writing; Landscape

As the work will fit into the previous and future research of the Northumbria UniversityDepartment of Humanities, the two main research questions which have been set by thelarger framework will be adhered to:1) How can a creative writer and/or artist develop understanding of the humancontext of a landscape restoration project?2) How can a creative writer and/or artist advance and enrich the notion of 'wildness'in relation to landscapes?To these main questions, I will add certain additional critical sub questions raised by thechosen form and media type:1) How can a graphic novel show what it means to be a modern human confronted with aharsh and inhospitable landscape? How does the process of crafting a story change whenthe process requires long treks and harsh or unstable outdoor conditions? Is it possible toeffectively capture the difference in the experience of time when travelling to such aremote place in this different format?2) How can the relatively new medium of the Graphic Novel engage and simulate arelationship with the landscape under construction - what are its unique traits to build onour human understanding of wildness compared to other media such as a novel ordocumentary? Can this visual medium depict the psychological intricacies and emotionalexperience such a project inspires? E.g.: The human experience to cope with the loss ofbiodiversity, especially of those species which have a significant positive or negativecultural significance (cfr. the Williams Cleugh Pine, the mistle thrush)

由于这项工作将符合诺森比亚大学人文系以前和未来的研究，更大的框架设定的两个主要研究问题将被遵循：1)创造性的作家和/或艺术家如何发展对景观恢复项目的人文背景的理解？2)创造性的作家和/或艺术家如何推进和丰富与景观有关的“荒野”概念？对于这些主要问题，我将增加一些由选择的形式和媒体类型提出的额外的批判性子问题：1)一本图画小说如何展示面对恶劣和不适宜居住的风景的现代人意味着什么？当制作一个故事的过程需要长途跋涉和恶劣或不稳定的户外条件时，这个过程会发生什么变化？在以不同的形式旅行到如此遥远的地方时，是否有可能有效地捕捉到时间体验的差异？2)相对较新的图形小说媒介如何参与并模拟与正在建设的风景的关系-与小说和纪录片等其他媒介相比，它有哪些独特的特征来建立我们对荒野的理解？这种视觉媒介能描绘出这样一个项目所激发的心理错综复杂和情感体验吗？例如：人类应对生物多样性丧失的经验，特别是那些具有重大积极或消极文化意义的物种(CFR)。威廉斯·克利夫·松树，老鼠画眉)