'Cartography and the Craft of English Prose, 1605-1670'

我的论文认为，17世纪散文的历史及其发展可以与当代地图学的历史及其对许多作者的浓厚兴趣一起进行富有成效的重述。成功重新制定的批评，如莫里斯克罗尔，R.F.琼斯、斯坦利·费什、琼·韦伯和伊恩·罗宾逊等人的早期现代散文史表明，作家们为建立一种独特的白话文写作模式而进行了一场渐进的斗争，努力使散文同时具有“英语”、学术性和当代性。通过参加隐喻语言的细节，书籍和地图所有权，以及少数作者的教育背景，我展示了早期现代制图的语言和材料如何提供了一些思考问题的方式，通过散文的组成。 我的论文的大致轮廓遵循四位作者的工作：弗朗西斯培根，罗伯特伯顿，托马斯富勒和玛格丽特卡文迪什。这些作者中的每一位都是一章的重点，概述了他们参与制图学不同领域的独特情况。我开始与培根，显示他的隐喻映射如何倾向于一个目标，共同的比喻语言和制图：产生enargeia，或生动，逼真的质量的图像，旁边energeia，或“搅拌到头脑”，激发读者进一步的思考或行动。在培根的教育背景中，这些成对的功能被归因于映射和隐喻，在他后来的作品中，它们的双重力量提供了一种手段，培根可以通过这种手段来展示他的读者参与他的“伟大的启发”，因为他“策划”了科学进步的未来。因此，我试图反驳的想法，散文映射的连接是“只是”隐喻，通过显示，隐喻实际上是一个核心方面，许多作者的概念散文的现实世界的影响。我花了我的博士学位的第一年写这一章，并在此过程中积累了一套相关的材料，以实现论文的介绍。 我的第二章将罗伯特·伯顿的家庭与地图学的联系以及他广泛收集的地图与他将《忧郁的解剖》的形式与各种地理概念进行类比的倾向联系起来。在《解剖学》之前的作品中，强调了伯顿对“普遍”世界地图的阅读，以及他们对接近世界的新斯多葛主义、分类方法的强调。我认为，伯顿的生活和图书馆的记录显示出更本地化，颗粒，和世俗的口味在制图，这可以相应地改变我们的阅读伯顿的地理图像。这种对伯顿地图品味的更新观点允许对伯顿文本的更现代的概念与评论家如斯蒂芬妮·希瑞兰（Stephanie Shirilan）一致，他表明新斯多葛主义的超然实际上是伯顿哲学和作曲风格中相对次要的元素。这一章是基于我的硕士论文，一篇关于伯顿地图书的文章即将在文艺复兴研究中发表。我的最后两章，预计在我的第二和第三年写，是关于托马斯富勒和玛格丽特卡文迪什。我展示了富勒如何使用圣经地图项目后革命的“温和”，显示实际的，物理领土的圣地作为一个滋补品的抽象比喻的“新耶路撒冷”，以及如何这种特点“温和”是一个共享的产品富勒的散文风格和地图生产。然后，我展示了卡文迪什如何使用的“地球仪”的形象作为一个明显的主观，多标量，多价设备的文学发挥，在直接反驳的配对禁令，以准确的映射和“平原风格”主张的皇家学会。在所有这些章节中，我强调，制图作为一种“工艺”对这些作者具有相关性：作为一种超越简单的地理代表性和比例问题的物质和代理复杂过程的集合

My thesis contends that the history of seventeenth-century prose and its development can be productively retold alongside the history of contemporary cartography and the rich interest which it held for many authors. Successively reformulated by critics such as Morris Croll, R.F. Jones, Stanley Fish, Joan Webber, and Ian Robinson, the history of early modern prose has shown a progressive struggle by authors to establish a distinct mode of writing in the vernacular, in an effort to make prose simultaneously 'English', learned, and contemporary. By attending to the specifics of the metaphorical language, book and map-ownership, and educational backgrounds of a handful of authors, I show how the language and material of early modern cartography offered a number of ways of thinking through the problems which the composition of prose presented. The broad contour of my thesis follows the work of four authors: Francis Bacon, Robert Burton, Thomas Fuller, and Margaret Cavendish. Each of these authors is the focus of a single chapter, outlining the unique circumstances of their engagement with the diverse field of cartography. I begin with Bacon, showing how his metaphors of mapping tended towards a goal shared by figurative language and cartography: to produce enargeia, or a vivid, lifelike quality of imagery, alongside energeia, or a 'stir to the mind' which provoked the reader to further thought or action. These paired functions were attributed to both mapping and metaphor in Bacon's educational background, and in the context of his later work their doubled force offered a means by which Bacon could exhort his readership to engage with his 'Great Instauration', as he 'plotted' the future of scientific progress. As such, I attempt to refute the idea that the connection of prose to mapping is 'just' metaphorical, by showing that metaphor was in fact a central aspect to many authors' conception of prose's real-world impact. I have spent the first year of my DPhil writing this chapter, and in the process have accrued a connected set of materials towards the thesis's introduction. My second chapter aligns Robert Burton's family connections to cartography and his extensive collection of maps with his tendency to analogise the form of The Anatomy of Melancholy with various geographical concepts. Previous work on The Anatomy has stressed Burton's reading of 'universal' world maps, and their emphasis of a neo-Stoic, catascopic method of approaching the world. I argue that the records of Burton's life and library show a more localised, granular, and worldly taste in cartography, which can accordingly change our readings of Burton's geographical imagery. This updated view of Burton's taste in maps allows a more current conception of Burton's text in line with critics such as Stephanie Shirilan, who has shown that neo-Stoic detachment is in fact a relatively minor element in Burton's philosophical and compositional style. This chapter is based on my MSt thesis, and an article on Burton's map-books is forthcoming in Renaissance Studies. My final two chapters, projected to be written in my second and third years, are on Thomas Fuller and Margaret Cavendish. I show how Fuller used biblical maps to project a post-Revolutionary 'moderation', showing the actual, physical territory of the Holy Land as a tonic to abstract figurations of the 'New Jerusalem', and how this characteristic 'moderation' was a shared product of Fuller's prose-style and map-production. I then show how Cavendish used the image of the 'globe' as a distinctly subjective, multi-scalar, and polyvalent device for literary play, in direct refutation of the paired injunctions to accurate mapping and 'plain style' advocated by the Royal Society. In all of these chapters, I stress that cartography held relevance for these authors as a 'craft': as a collection of materially and agentially complex processes which moved beyond questions of simple geographic representation and ratio