Algae ecologies: multiple scales, temporalities and modes of address in contemporary Anthropocene poetry.

我的批评性和创造性的论文将研究诗歌形式和藻类之间的关系，以调查一个包含多种规模、时间性和称呼方式的生态如何帮助重新思考人类世的诗歌(法里尔2019；布里斯托2015；索尼克2017；格里菲斯2017)。藻类(浮游植物的形式)既生活在淡水环境中，也生活在海洋环境中，其微观规模掩盖了它们与地球健康和气候变化的更广泛联系。它们对235万年前地球大气层的氧化负有责任(Blaustein 2016)，它们今天吸收的二氧化碳比森林还多，并为世界氧气的生产做出了贡献(Schirrmeister 2015)。研究藻类生态学需要改变在人文科学中传统上将人类视为万物的标志和衡量标准的方式(Braidotti 2013)。为了回应人类主体的这种偏向，我的研究受到法里尔(2019)断言的推动，他断言“人类世对抒情诗的主张施加了压力，要求其由单一的、因此稳定的(如果是流动的)视角来管理。”我的论文聚焦于乔里·格雷厄姆(Jorie Graham)(2008)、简·哈德菲尔德(Jen Hadfield)(2014)和莎拉·海马斯(Sarah Hymas)(2020)的作品，借鉴了生态批评(Solnick 2017；Farrier 2019；Clark2015)和女权主义技术科学(Haraway 2003；Barad 2007；Braidotti 2013)，通过以诗意的形式挑战中心旁观者的极限来扩展抒情地址(Blating 2007；Perloff 1990)。重要的是，我的论文将包括分析伊丽莎白·简·伯内特(2017)和娜塔莉·迪亚兹(2020)的作品，以及他们如何将女权主义反殖民观点引入水生态主题。我的方法回应了索尔尼克(2017)的主张，即“人类世需要诗歌和人文科学找到新的方式来思考陌生的时空尺度，关于我们如何处理科学的隐喻和话语”。我将以批判性的、创造性的和概念性的方式，通过与科学家的实地考察，将跨学科的观点融入我的研究中，参与海洋生物学和淡水生态学的研究。除此之外，还将进行一项以实践为基础的调查，研究藻类是如何在科学中可视化的。将文学分析和创造性写作与数字摄影的视觉艺术方法相结合，论文将提供对微观成像和视觉数据的创造性关键参与(Dvorak&Parikka 2021；Cubitt 2014；Zylinska 2017)。

My critical and creative thesis will research the relationship between poetic form and algae to investigatehow an ecology that embraces multiple scales, temporalities and modes of address can help rethinkpoetry in the Anthropocene (Farrier 2019; Bristow 2015; Solnick 2017; Griffiths 2017). Algae (forms ofphytoplankton) live in both freshwater and marine environments, their microscopic scale belies theirbroader connection to planetary health and climate change. Responsible for the oxygenation of theEarth's atmosphere 2.35million years ago (Blaustein 2016), they absorb more CO2 today than forestsand contribute to the production of the world's oxygen (Schirrmeister 2015). Researching algae ecologiesnecessitates a shift in how the human is traditionally conceived in the humanities as the mark andmeasure of all things (Braidotti 2013).In response to this decentering of the human subject, my research is motivated by Farrier's (2019)assertion that 'the Anthropocene puts pressure on claims of lyric poetry to be governed by a singular andtherefore stable (if mobile) perspective'. Focusing on the work of Jorie Graham (2008), Jen Hadfield(2014) and Sarah Hymas (2020), my thesis draws on ecocriticism (Solnick 2017; Farrier 2019; Clark2015) and feminist technoscience (Haraway 2003; Barad 2007; Braidotti 2013) to expand lyric address(Blasing 2007; Perloff 1990) by pushing the limits of the central beholder in poetic form. Importantly, mythesis will include analysis of Elizabeth Jane Burnett (2017) and Natalie Diaz's (2020) work and how theybring feminist anti-colonial perspectives to the subject of water ecologies.My approach responds to Solnick's (2017) claim that the 'Anthropocene requires poetry and thehumanities to find new ways of thinking about unfamiliar spatial and temporal scales, about how weapproach the metaphors and discourses of the sciences'. I will critically, creatively and conceptuallyengage with marine biology and freshwater ecology through fieldwork with scientists incorporatinginterdisciplinary perspectives into my research. Integral to this will be a practice-based investigation intohow algae are visualised within science. Combining literary analysis and creative writing with visual artmethods of digital photography, the thesis will provide a creative-critical engagement with microscopicimaging and visual data (Dvorak & Parikka 2021; Cubitt 2014; Zylinska 2017).