Beyond Walking: British Psychogeography and the Art of Everyday Life, 1960s to Present

“心理地理学”目前是一个有争议的术语。广播四台称它很酷，激进的书店把它放在整个版块上，它在大学模块以及流行和学术文章中占据突出位置。尽管绝大多数人可能会暗示威尔·赛尔夫和伊恩·辛克莱的老男孩俱乐部漫无边际地创作当代非虚构类作品，但蒂娜·理查森认为，研究心理地理学没有规则，任何人都可以做到这一点(理查森，2015：1)。相比之下，心理地理学最初在20世纪50年代末由情景国际(SI)在巴黎定义为“研究地理环境(无论是否有意识地组织)对个人情绪和行为的具体影响”(Debord，2006：39)，心理地理学最初是一种高度具体的前卫美学和政治实践--今天，它已被后现代文化挪用和庸俗化。我的项目既追溯了这一过程，又恢复了一个更激进的传统，即坚持英国心理地理学到C21世纪，超越了辛克莱自我‘行走-写作’的范例。各学科联合起来挑战英国心理地理学目前无动于衷的地位，但很少有研究考察其在20世纪60年代后的表现，将其视为一项植根于对日常生活的紧急质询的丰富的现代主义文学项目(库珀，2017：9)(Sheringham，2006：158-174)。使用文学历史主义方法论，并利用过去半个世纪批评理论的空间、光谱、神经学和魔力转向，我重新审视了心理地理学在解释和改变日常生活结构方面的激进潜力。在现实主义兴趣复苏和心理地理学艺术进入新的公共空间的时刻，这一点很重要。我的项目将在更广泛的日常话语中展示20世纪20年代末/21世纪英国受地理心理影响的前卫/主流政治审美生产，而不是对创造性非虚构类作品的有限关注，这引发了我的探究。

Psychogeography' is currently a contentious term. Radio 4 calls it 'cool', radical bookshops devote it whole sections, it features prominently in university modules as well as popular and scholarly articles. Although overwhelmingly likely to connote Will Self and Iain Sinclair's old-boy's-club rambling contemporary creative non-fiction, Tina Richardson argues 'there are no rules to doing psychogeography' and 'anyone can do it' (Richardson, 2015: 1). By contrast, originally defined by the Situationist International (SI) in late-1950s Paris as 'the study of the specific effects of the geographical environment (whether consciously organised or not) on the emotions and behaviour of individuals' (Debord, 2006: 39), psychogeography began as a highly specific avant-garde aesthetic and political practice - today, it has been appropriated and banalised by postmodern culture. My project both traces this process and recovers a more radical tradition persisting in British psychogeography into the c21st, beyond the Sinclair-Self 'walking-writing' paradigm. Disciplines unite to challenge British psychogeography's presently-anodyne status, but few studies examine its post-1960s manifestations as a rich 'late modernist literary project' (Cooper, 2017: 9) rooted in urgent interrogation of 'everyday life' (Sheringham, 2006: 158-174). Using literary-historicist methodologies - and drawing on critical theory's spatial, spectral, neurological, magical turns over the last half-century - I reattend to psychogeography's radical potential to interpret and transform structures of everyday life. This is important at a moment when Situationist interest resurges and psychogeographical arts enter new public spaces. My project will demonstrate wide-ranging avant-garde/mainstream psychogeographically-influenced political aesthetic production in late-c20th/21st Britain within wider discourse on the everyday, beyond the limited attention to creative non-fiction initiating my inquiry.