Listening to the nonhuman: natural soundscapes in British poetry, 1960-2005

结合生态批评和声音研究的观点，该项目将关注20世纪末和21世纪初英国诗歌中环境声景的表现，特别关注泰德·休斯、彼得·雷德格罗夫和爱丽丝·奥斯瓦尔德的作品。它将探索这些诗人如何将音景视为一种具体的、参与性的环境体验，以及一种记录非人类的不可翻译的遭遇。同时，该项目将探讨诗歌语言如何记录特定时间和地点的声音特征。除了作曲家Raymond Murray Schafer的音景概念之外，我将把音乐理论家如John Cage和Pauline Oliveros的想法应用到我选择的文本中，以探索倾听非人类如何为诗歌形式和作曲提供创新方法，并指出一种高度的同理心，以抵消人类对“自然”的开发。

Combining perspectives from ecocriticism and sound studies within a core literary focus, this project will attend to the representation of environmental soundscapes in British poetry of the late twentieth and early twenty-first centuries, with a particularfocus on the writings of Ted Hughes, Peter Redgrove and Alice Oswald. It will explore the ways in which these poets figure soundscape both as an embodied, participatory experience of environments, and as an untranslatable encounter that registers nonhumanotherness. At the same time, the project will interrogate the ways in which poetic language might record the sonic characteristics of specific times and places. In addition to the composer Raymond Murray Schafer's notion of soundscape, I will apply the ideas of music theorists such as John Cage and Pauline Oliveros to my chosen texts in order to explore how listening to the nonhuman can suggest innovative approaches to poetic form and composition,and can point to a heightened empathy that counteracts Anthropogenic exploitation of 'nature'.