'Cartography and the Craft of English Prose, 1605-1670'

我的论文认为，17世纪散文的历史及其发展可以与当代地图学的历史和许多作家对它的浓厚兴趣一起富有成效地重述。早期现代散文史历经莫里斯·克罗尔、R.F.琼斯、斯坦利·菲什、琼·韦伯和伊恩·罗宾逊等评论家的重新阐述，展现了作家们为建立一种独特的白话写作模式而进行的进步斗争，以努力使散文同时具有英语性、学习性和时代性。通过关注一些作者的隐喻语言、书籍和地图所有权以及教育背景的细节，我展示了早期现代地图学的语言和材料如何提供了许多思考散文写作所提出的问题的方法。我的论文的大致轮廓遵循四位作者的工作：弗朗西斯·培根、罗伯特·伯顿、托马斯·富勒和玛格丽特·卡文迪什。每一位作者都是单独一章的焦点，概述了他们参与不同制图学领域的独特情况。我从培根开始，展示了他的地图隐喻是如何走向比喻语言和地图学共同的目标的：与能量一起产生令人兴奋的，或生动、逼真的图像质量，或激发读者进一步思考或行动的“心灵搅动”。这些成对的功能被归因于培根教育背景中的映射和隐喻，在他后来的工作背景下，它们的加倍力量提供了一种手段，培根可以通过这种方式鼓励他的读者参与他的“伟大复兴”，因为他‘规划’了科学进步的未来。因此，我试图驳斥这样一种观点，即散文与地图的联系只是一种隐喻，我认为隐喻实际上是许多作家对散文在现实世界中的影响的概念的核心方面。我在DPhil的第一年里一直在写这一章，在这个过程中，我积累了一套相关的材料来作为论文的导言。我的第二章将罗伯特·伯顿与地图学的家庭联系和他广泛的地图收藏与他将《忧郁解剖学》的形式与各种地理概念进行类比的倾向结合在一起。《解剖学》之前的工作强调了伯顿对世界地图的解读，以及他们强调的新斯多葛主义的、跳跃式的接近世界的方法。我认为，关于伯顿生平和图书馆的记录显示了一种更本土化、更细粒度和更世俗的制图品味，这可能会相应地改变我们对伯顿地理图像的解读。这种关于伯顿在地图上品味的更新观点，使得对伯顿文本的更新概念与斯蒂芬妮·希里兰等批评家的观点一致，后者已经表明，新斯多葛主义的超然实际上是伯顿哲学和作曲风格中相对次要的元素。这一章是基于我的MST论文，一篇关于伯顿地图册的文章即将发表在《文艺复兴研究》杂志上。我的最后两章，预计将在我的第二年和第三年写，是关于托马斯·富勒和玛格丽特·卡文迪什的。我展示了富勒如何使用圣经地图来投射革命后的“温和”，展示了圣地的实际物理领土作为提炼“新耶路撒冷”形象的主音，以及这种特征的“温和”如何是富勒散文风格和地图制作的共同产物。然后，我展示了卡文迪什如何将地球的形象作为一种明显主观的、多标量的、多价的文学游戏手段，直接驳斥了英国皇家学会倡导的准确测绘和‘朴素风格’的配对禁令。在所有这些章节中，我强调，地图学对这些作者来说是一种“手艺”：作为物质上和农业上复杂的过程的集合，超越了简单的地理表示和比例问题

My thesis contends that the history of seventeenth-century prose and its development can be productively retold alongside the history of contemporary cartography and the rich interest which it held for many authors. Successively reformulated by critics such as Morris Croll, R.F. Jones, Stanley Fish, Joan Webber, and Ian Robinson, the history of early modern prose has shown a progressive struggle by authors to establish a distinct mode of writing in the vernacular, in an effort to make prose simultaneously 'English', learned, and contemporary. By attending to the specifics of the metaphorical language, book and map-ownership, and educational backgrounds of a handful of authors, I show how the language and material of early modern cartography offered a number of ways of thinking through the problems which the composition of prose presented. The broad contour of my thesis follows the work of four authors: Francis Bacon, Robert Burton, Thomas Fuller, and Margaret Cavendish. Each of these authors is the focus of a single chapter, outlining the unique circumstances of their engagement with the diverse field of cartography. I begin with Bacon, showing how his metaphors of mapping tended towards a goal shared by figurative language and cartography: to produce enargeia, or a vivid, lifelike quality of imagery, alongside energeia, or a 'stir to the mind' which provoked the reader to further thought or action. These paired functions were attributed to both mapping and metaphor in Bacon's educational background, and in the context of his later work their doubled force offered a means by which Bacon could exhort his readership to engage with his 'Great Instauration', as he 'plotted' the future of scientific progress. As such, I attempt to refute the idea that the connection of prose to mapping is 'just' metaphorical, by showing that metaphor was in fact a central aspect to many authors' conception of prose's real-world impact. I have spent the first year of my DPhil writing this chapter, and in the process have accrued a connected set of materials towards the thesis's introduction. My second chapter aligns Robert Burton's family connections to cartography and his extensive collection of maps with his tendency to analogise the form of The Anatomy of Melancholy with various geographical concepts. Previous work on The Anatomy has stressed Burton's reading of 'universal' world maps, and their emphasis of a neo-Stoic, catascopic method of approaching the world. I argue that the records of Burton's life and library show a more localised, granular, and worldly taste in cartography, which can accordingly change our readings of Burton's geographical imagery. This updated view of Burton's taste in maps allows a more current conception of Burton's text in line with critics such as Stephanie Shirilan, who has shown that neo-Stoic detachment is in fact a relatively minor element in Burton's philosophical and compositional style. This chapter is based on my MSt thesis, and an article on Burton's map-books is forthcoming in Renaissance Studies. My final two chapters, projected to be written in my second and third years, are on Thomas Fuller and Margaret Cavendish. I show how Fuller used biblical maps to project a post-Revolutionary 'moderation', showing the actual, physical territory of the Holy Land as a tonic to abstract figurations of the 'New Jerusalem', and how this characteristic 'moderation' was a shared product of Fuller's prose-style and map-production. I then show how Cavendish used the image of the 'globe' as a distinctly subjective, multi-scalar, and polyvalent device for literary play, in direct refutation of the paired injunctions to accurate mapping and 'plain style' advocated by the Royal Society. In all of these chapters, I stress that cartography held relevance for these authors as a 'craft': as a collection of materially and agentially complex processes which moved beyond questions of simple geographic representation and ratio