BOTANIC MODERNISMS: PRIVATE GARDEN SPACES IN MODERNIST AMERICAN POETRY.

这个项目探索了植物空间和美国现代主义之间的关系，重点是私人花园。通过对五位美国现代主义诗人(H.D.、华莱士·史蒂文斯、艾米·洛威尔、埃德娜·圣文森特·米莱、米娜·洛伊)的语境分析和作品考察，它将挑战主导的批评范式，即将现代主义视为工业和城市现代性的产物，将其重新定位为“地球作为一个星球的意识……包括人类和非人类”(弗里德曼)。通过将关键空间-科学的、城市的、东方的、古代的花园和花园作为艺术-我将调查花园是如何被用来探索美国现代主义诗歌中的性和女性气质、想象力、民族主义和现代性的。这个项目旨在解决以下问题：-为什么花园是现代主义者的中心生态空间？-花卉象征主义的实施如何反映20世纪初的焦虑？-花园空间如何作为解构的工具实施？-现代主义者如何采用诗歌形式来捕捉植物的本质？-生态批评的方法如何挑战美国现代主义诗歌的先前城市读物。本论文将利用生态批评的最新发展，同时进行广泛的历史语境研究，开发一个跨学科的框架。这篇论文将考察现代主义者对“自然”一词的理解，质疑他们对自然的描述的主题、历史或意识形态功能。我考察的这段时期见证了园林空间从公共商品到孤独艺术的发展。美国社区绿地是社区富裕的象征，从最早的种植园到镀金时代，公园和花园的设计都是为了复制英国资产阶级的公园和花园，这在亨德森和公司的《花园一切手册》中得到了展示。后来，在第一次世界大战中，社区花园成为爱国主义的象征，在大萧条期间，纽约市有5500个社区救济花园，以对抗饥饿和贫困(华纳)。然而，美国花园俱乐部的发展，强调园艺是创造性的和情感上的滋养，是从社区“厨房花园”转向深奥的、孤独的想象植物空间的运动的象征。本文认为，美国现代主义对私人、孤独的花园的投资是对资本主义、暴力和他律的回应，将其视为个人想象的避难所。第一章将探讨H.D.诗歌中的花园空间、女性气质和性之间的关系，特别是她的诗集《海洋花园》(1916年)。第二章讨论了花园在华莱士·史蒂文斯的诗歌中作为艺术的作用，特别是在华莱士·史蒂文斯的诗歌《和谐》(1923)中，将鲜花作为想象力的象征，探讨了植物学是如何与人格变迁和个人主义的现代主义思想密不可分的。第三章探讨了艾米·洛厄尔作品中的东方花园，特别是《剑刃》和《罂粟籽》(1914)。关于日本园林的流行出版物，如杜凯恩的《日本的花》(1908年)和洛厄尔的兄弟的《远东的灵魂》(1888年)，展示了东方园林是如何在个人自主和精神和平的原则指导下进行的。第四章考察了埃德娜·圣文森特·米莱的作品，特别是4月2日(1921年)，以及她的城市绿地如何展示了在快速演变的纽约市景观中人与非人之间不断变化的关系。第五章考察了米娜·洛伊的《盎格鲁-蒙古人》和《玫瑰与月亮》(1923)中的古代园林，展示了她对现代意识危机(即未来主义格言)、讽刺花花公子、唯美主义、传统的求爱和婚姻仪式以及父权偏见的理解。

This project explores the relationship between botanical spaces, focusing on the private garden, and American modernism. By contextualising and examining the works of five American modernist poets (H.D., Wallace Stevens, Amy Lowell, Edna St Vincent Millay, Mina Loy) it will challenge the dominant critical paradigm which treats modernism as a product of industrial and urban modernity, reorienting it toward "a consciousness of the earth as a planet... encompassing both the human and non-human" (Friedman). By considering key spaces - the scientific, urban, oriental, ancient garden and the garden as art - I will investigate how gardens are used to explore sexuality and femininity, the imagination, nationalism, and modernity in American modernist poetry. This project aims to address the following questions:-Why was the garden a central ecological space for modernists?-How does the implementation of floral symbolism reflect early twentieth century anxieties?-How is the garden space implemented as a tool of deconstruction?-How do modernists adapt poetic form to capture the nature of the botanical?-How can an eco-critical approach challenge previous urban readings of American modernist poetry.This thesis will develop an interdisciplinary framework, drawing on recent developments in eco-criticism, while undertaking extensive historical contextualisation. The thesis will examine modernists' understanding of the term "nature", questioning the thematic, historical or ideological functions of their depictions of nature. The period I am examining witnessed the development of the garden space from communal commodity to solitary art. Communal American green spaces were a symbol of community affluence, from the earliest plantations to the Gilded Age when parks and gardens were designed to replicate those of the British bourgeoisie, showcased in Henderson and Co's Manual of Everything for the Garden. Later, the community garden became a symbol of patriotism in the case of World War I "victory gardens" and 5,500 community relief gardens in New York City to combat hunger and poverty during the great depression (Warner). Yet, the development of the Garden Club of America, with its emphasis on gardening as creative and emotionally nurturing, was symbolic of the movement away from the community "kitchen garden" to the esoteric, solitary botanical space of the imagination. This thesis argues that American modernism invested in the private, solitary garden as a reaction to capitalism, violence and heteronomy, seeing it as a sanctuary of the personal imagination.Chapter 1 will investigate the relationship between garden spaces, femininity and sexuality in the poetry of H.D., particularly her collection Sea Garden (1916). Chapter 2 considers the role of the garden as art in Wallace Stevens's poetry, particularly Harmonium (1923), which presents flowers as symbols of the imagination, exploring how the botanic was inextricably linked to modernist ideas of personality flux and individualism. Chapter 3 explores the oriental garden in Amy Lowell's work, particularly Sword Blades and Poppy Seed (1914). Popular publications on Japanese gardens, such as Du Cane's Flowers of Japan (1908) and Lowell's brother's The Soul of the Far East (1888) demonstrate how oriental gardening was guided by the principles of individual autonomy and spiritual peace. Chapter 4 examines Edna St. Vincent Millay's work, specifically Second April (1921), and how her urban green spaces showcase the changing relationship between human and non-human in the rapidly evolving landscape of New York City. Chapter 5 examines ancient gardens in Mina Loy's Anglo-Mongrels and the Rose and Lunar Baedeker (1923), demonstrating her understandings of the modern "crisis in consciousness" ("Aphorisms on Futurism"), satirising dandies, aesthetes, traditional courtship and marriage rituals and patriarchal prejudice.