A working woman's topography: working class female poets' responses to land and labour in England 1730-1789' and 'Gig'

创作部分将是一本诗集，暂时标题为《GIG》：大约40首地形诗。许多诗歌将代表劳动，并清晰地论述劳动。关键部分将是研究工人阶级妇女在18世纪诗歌中对劳动的地形表现。创意部分我的收藏将建立在爱丽丝·奥斯瓦尔德、凯伦·索莉、让·斯普拉克兰和彼得·莱利等文化地理学家诗人的作品基础上。我的灵感来自乔治亚诗人对散文的热情。我将迎接他们的挑战，写下关于优步司机和道路重新铺设的诗歌。我的收藏不仅会吸引理想化的干石头墙人和偷猎者，还会吸引不自在的软件工程师和电话销售高管。我将阐述关于工作的相互矛盾的论述--它如何支持或破坏我们的健康。我感兴趣的是劳动力如何形成一个地方。在卡尔德代尔，18世纪交通基础设施和围栏的遗产仍然显而易见。这是在我们的自然环境中，以及围栏如何改变劳动以及与土地塑造的关系--所有权、责任和景观美学的概念。18世纪不稳定的雇佣劳动的增长呼应了我们的零工经济。连续性和间断性可以在职称中看到，例如Pinder，Vlogger。诗歌将包括：深夜出租车司机；游泳池维修员和水的来源；把Causey石头放进去但自己没有墓碑的工人。这些诗歌将在语气和形式上非常不同；使用戏剧性的独白和发现的诗歌，例如从卡尔德代尔地方收藏。互文性将使收藏变得更加深入。使用创新的布局，我将包括找到的文本，包括现代和历史，与诗歌一起阅读，让它们得到解脱。社区参与是创造性的组成部分。在对公共卫生等劳工话题进行案头研究后，我将采访和工作--跟踪白领和蓝领工人。批评成分英国地理在本世纪上半叶占主导地位，对这些诗歌进行了大量的批评工作。以劳工和农业为“男性”主题的地理学派，似乎是男性占主导地位。自1989年朗斯代尔的《女性诗人选集》以来，兰德里、米尔恩和英格拉西亚等学者坚定地重新定位了女性诗人在这一文学史时期的地位。然而，三十年过去了，他们的诗歌仍然没有得到充分的研究。很少有女诗人有自己的学术版本；而在工人阶级诗人中，只有玛丽·利普尔在2003年得到了这样的关注。正如兰德里所写的：“罗杰·朗斯代尔的开创性文集[……]刚刚回答了‘有没有好的作品？’这个问题，怀疑论者就会问‘它们好吗？’”我的博士学位将以女性和工人阶级文学史领域的先驱们的工作为基础。我是第二波学术浪潮中的一员，他们认为这些以前被排除在外的诗人不是新奇的或异常的，而是文学史上被忽视的一部分，值得批评。两个研究问题是：工人阶级女诗人在本世纪中后期对劳动力和土地待遇的转变做出了什么贡献；特别是她们对男性主导的英国地缘政治的反应？其次，将这些诗人作为一个群体来对待是否揭示了他们对待地形劳动的洞察力？本文的研究目的，不是看一位诗人(S)的完整输出，而是更准确地将一批诗人置于文学史语境中进行定位和解读。

The creative component will be a poetry collection, provisionally titled 'Gig': approximately 40 topographical poems. Many poems will represent labour, and articulate discourses of labour. The critical component will be a study of working-class women's topographical representations of labour in eighteenth-century poetry. Creative ComponentMy collection will build on the works of cultural-geographer poets such as Alice Oswald, Karen Solie, Jean Sprackland and Peter Riley.I am inspired by the Georgic poets' enthusiasm for the prosaic. I will rise to their challenge and write poetry about Uber drivers and road re-surfacing. My collection will engage, not just with idealised dry-stone wallers and poachers, but unsited software engineers and telesales executives. I will articulate contradictory discourses on work - how it can support or destroy our health. I am interested in how labour forms a place. In Calderdale, the legacy of eighteenth-century transport infrastructure and enclosure is still apparent. This is in our physical environment and in how enclosure changed labour and the relationship to land - shaping concepts of ownership, responsibility and landscape aesthetics. Eighteenth-century growth of unsecure wage-labour echoes our gig-economy. Continuity and discontinuity can be seen in job titles, e.g. pinder, vlogger.Poems will include: a late-night taxi driver; a swimming-pool maintenance person and where the water comes from; the workers who put causey-stones in but have no headstones themselves. The poems will be very varied in tone and form; using dramatic monologue and found poetry e.g. from Calderdale Local Collection. The collection will be deepened by intertextuality. Using an innovative layout, I will include found text, both modern and historical, to be read alongside the poems, throwing them into relief.Community engagement is integral to the creative component. After desk-based research into labour discourses, e.g. public health, I shall interview and work-shadow white and blue collar workers. Critical ComponentThe English georgic dominated the first half of the century and much critical work has been done on these poems. The georgic, with 'masculine' themes of labour and agriculture, appears to be male dominated. Since Lonsdale's anthology of women poets in 1989, academics such as Landry, Milne and Ingrassia have firmly re-placed female poets in this period of literary history. Yet, thirty years on, their poetry remains under-studied. Very few women poets have their own scholarly editions; and of the working-class poets, only Mary Leapor has been accorded this attention, in 2003. As Landry writes: "No sooner had the question 'Were there any?' been answered by Roger Lonsdale's ground-breaking anthology[...]when sceptics enquired 'Were they any good?' " My PhD will build on the work of pioneers in the field of women's, and working-class, literary history. I am part of the second wave of scholarship that sees these previously excluded poets, not as novelties or anomalies, but a neglected part of literary history, worthy of critical interest.The two research questions are: what is working-class female poets' contribution to the shifting treatment of labour and land through the mid-late century; particularly, their response to the male-dominated English georgic? Secondly, does treating these poets as a group reveal insights about their treatment of topographical labour? This study aims, not to look at a poet(s) complete output, but to more accurately place and read a group of poets within literary historical context.