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

这个项目结合了生态批评和声音研究的视角，在一个核心的文学焦点内，将关注二十世纪末和二十一世纪初英国诗歌中的环境声音景观的呈现，特别是泰德·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描绘为一种具体化的、参与性的环境体验，以及一种记录了非人类差异性的不可翻译的相遇。与此同时，该项目将询问诗歌语言可能记录特定时代和地点的声音特征的方式。除了作曲家雷蒙德·穆雷·谢弗的音景概念外，我还将把约翰·凯奇和波林·奥利维罗斯等音乐理论家的想法应用到我选择的文本中，以探索倾听非人类如何能够为诗歌形式和创作提出创新的方法，并可以指出一种高度的同理心，抵消了人类对自然的开发。

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'.