Algae ecologies: multiple scales, temporalities and modes of address in contemporary Anthropocene poetry.

我的批判性和创造性的论文将研究诗歌形式和藻类之间的关系，以研究一个包含多种尺度，时间性和地址模式的生态如何帮助重新思考人类世的诗歌（Farrier 2019;布里斯托2015; Solnick 2017; Griffiths 2017）。藻类（浮游植物的一种）生活在淡水和海洋环境中，它们的微观尺度掩盖了它们与地球健康和气候变化的广泛联系。235万年前，它们负责地球大气层的氧化（Blaustein 2016），今天它们吸收的二氧化碳比森林多，并为世界氧气的生产做出贡献（Schlemmeister 2015）。研究藻类生态学需要改变人类传统上在人文学科中被视为万物的标志和衡量标准的方式（Braidotti 2013）。为了回应人类主体的这种偏离，我的研究受到Farrier（2019）的断言的推动，即“人类世对抒情诗的主张施加了压力，要求其受到单一的，因此稳定的（如果移动的）视角的支配”。本文以Jorie Graham（2008）、Jen Hadfield（2014）和Sarah Hymas（2020）的作品为重点，借鉴了生态批评理论（Solnick 2017; Farrier 2019; Clark 2015）和女权主义技术科学（Haraway 2003; Barad 2007; Braidotti 2013）通过以诗歌形式推动中心旁观者的极限来扩展抒情地址（Blasing 2007; Perloff 1990）。重要的是，我的论文将包括对伊丽莎白·简·伯内特（2017）和娜塔莉·迪亚兹（2020）作品的分析，以及他们如何将女权主义反殖民观点引入水生态学主题。我的方法回应了索尔尼克（2017）的主张，即“人类世需要诗歌和人文学科找到思考陌生空间和时间尺度的新方法，about how we approach处理the metaphors隐喻and discourses话语of the sciences科学'.我将批判性地，创造性地和概念性地参与海洋生物学和淡水生态学，通过与科学家的实地考察，将跨学科的观点融入我的研究。这将是一个基于实践的调查，以了解藻类是如何在科学中可视化的。结合文学分析和创意写作与数字摄影的视觉艺术方法，论文将提供一个创造性的关键参与与显微成像和视觉数据（Dvorak & Parikka 2021; Curiosity 2014; Zylinska 2017）。

My critical and creative thesis will research the relationship between poetic form and algae to investigatehow an ecology that embraces multiple scales, temporalities and modes of address can help rethinkpoetry in the Anthropocene (Farrier 2019; Bristow 2015; Solnick 2017; Griffiths 2017). Algae (forms ofphytoplankton) live in both freshwater and marine environments, their microscopic scale belies theirbroader connection to planetary health and climate change. Responsible for the oxygenation of theEarth's atmosphere 2.35million years ago (Blaustein 2016), they absorb more CO2 today than forestsand contribute to the production of the world's oxygen (Schirrmeister 2015). Researching algae ecologiesnecessitates a shift in how the human is traditionally conceived in the humanities as the mark andmeasure of all things (Braidotti 2013).In response to this decentering of the human subject, my research is motivated by Farrier's (2019)assertion that 'the Anthropocene puts pressure on claims of lyric poetry to be governed by a singular andtherefore stable (if mobile) perspective'. Focusing on the work of Jorie Graham (2008), Jen Hadfield(2014) and Sarah Hymas (2020), my thesis draws on ecocriticism (Solnick 2017; Farrier 2019; Clark2015) and feminist technoscience (Haraway 2003; Barad 2007; Braidotti 2013) to expand lyric address(Blasing 2007; Perloff 1990) by pushing the limits of the central beholder in poetic form. Importantly, mythesis will include analysis of Elizabeth Jane Burnett (2017) and Natalie Diaz's (2020) work and how theybring feminist anti-colonial perspectives to the subject of water ecologies.My approach responds to Solnick's (2017) claim that the 'Anthropocene requires poetry and thehumanities to find new ways of thinking about unfamiliar spatial and temporal scales, about how weapproach the metaphors and discourses of the sciences'. I will critically, creatively and conceptuallyengage with marine biology and freshwater ecology through fieldwork with scientists incorporatinginterdisciplinary perspectives into my research. Integral to this will be a practice-based investigation intohow algae are visualised within science. Combining literary analysis and creative writing with visual artmethods of digital photography, the thesis will provide a creative-critical engagement with microscopicimaging and visual data (Dvorak & Parikka 2021; Cubitt 2014; Zylinska 2017).