Listening to the nonhuman: natural soundscapes in British poetry, 1960-2005

结合生态批评和声音研究的核心文学焦点的角度来看，这个项目将出席二十世纪末和二十一世纪初的英国诗歌的环境音景的代表性，特别关注特德休斯，彼得雷德格罗夫和爱丽丝奥斯瓦尔德的著作。它将探讨这些诗人如何将音景描绘成一种具体的、参与性的环境体验，以及一种不可翻译的、非人性的遭遇。与此同时，该项目将询问诗歌语言可能记录特定时间和地点的声音特征的方式。除了作曲家Raymond Murray Schafer的音景概念之外，我还将把音乐理论家如John Cage和Pauline Oliveros的思想应用到我所选择的文本中，以探索倾听非人类如何能够为诗歌形式和创作提出创新方法，并能够指出一种高度的同理心，这种同理心可以抵消人类对“自然”的剥削。

Combining perspectives from ecocriticism and sound studies within a core literary focus, this project will attend to the representation of environmental soundscapes in British poetry of the late twentieth and early twenty-first centuries, with a particularfocus on the writings of Ted Hughes, Peter Redgrove and Alice Oswald. It will explore the ways in which these poets figure soundscape both as an embodied, participatory experience of environments, and as an untranslatable encounter that registers nonhumanotherness. At the same time, the project will interrogate the ways in which poetic language might record the sonic characteristics of specific times and places. In addition to the composer Raymond Murray Schafer's notion of soundscape, I will apply the ideas of music theorists such as John Cage and Pauline Oliveros to my chosen texts in order to explore how listening to the nonhuman can suggest innovative approaches to poetic form and composition,and can point to a heightened empathy that counteracts Anthropogenic exploitation of 'nature'.