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Chaos and the microcosm: Literary ecology in the nineteenth-century.

机译：混沌与缩影：十九世纪的文学生态学。

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摘要

This dissertation investigates literary responses to environmental change in nineteenth-century England. Two tropes, chaos in narrative and the microcosm in lyric poetry, suggest how literary works may have been precursors of ecological science. I argue that literary epistemology in the long nineteenth-century developed precocious theories of the way nature operates based on contingent narrative and microcosm systems. These ideas were adopted as empirical strategies once scientific ecology emerged in the twentieth-century, and both tropes are prominent in twenty-first century ecological science. Ecology appeared late among scientific disciplines partly because it relies on cooperation between reduction and holism: climate change theory, for example, uses microcosm models to develop narratives of environmental contingency. Five chapters consider these two tropes from historical, literary, and scientific perspectives. The first chapter is a historical introduction to nineteenth-century science that traces the development of environmental awareness from industrial pollution and early studies of nature in microcosm, especially in the work of Charles Darwin and Stephen Forbes. Chapter two investigates four narratives of environmental chaos spanning the long nineteenth-century: Gilbert White, Mary Shelley, Richard Jefferies and H.G. Wells emplot the radical new notion of a post-apocalypse environment in narratives that rely on chaotic discontinuity, rather than the coherent gradualism that marked evolutionary theories of the time. Chapter three examines microcosmic imagery in the work of several important poets, including William and Dorothy Wordsworth, John Clare, Percy Shelley, and Matthew Arnold. I argue that the imagination and close observation of nineteenth-century poets helped the nascent sciences conceive of ways to simplify nature without dismembering its complex structures. Chapter four, devoted to the ecological thinking of John Keats, traces his abandonment of teleological narrative in Hyperion in preference for the microcosmic Odes. Finally, chapter five reconciles the two tropes with an excursion into modern ecosystem science, paying particular attention to our contemporary strategies for investigating climate change. This chapter serves as a summation of the dissertation by complicating the dichotomy between chaotic narrative and model-microcosm, and it brings the study into concerns of the present day.
机译：本文研究了十九世纪英国文学对环境变化的反应。叙事的混乱和抒情诗的缩影这两种对立的比喻表明，文学作品可能是生态科学的先驱。我认为，十九世纪以来的文学认识论在偶然的叙事和缩影系统的基础上发展了自然运作方式的早熟理论。一旦科学生态学在二十世纪出现，这些思想就被用作经验策略，并且这两种观点在二十一世纪的生态科学中都十分突出。生态学在科学学科中的出现较晚，部分原因是其依赖于减少与整体主义之间的合作：例如，气候变化理论使用微观模型来发展环境应急性的叙述。五个章节从历史，文学和科学的角度考虑了这两个对立。第一章是对19世纪科学的历史介绍，该历史追溯了工业污染和微观环境中自然界的早期研究（尤其是查尔斯·达尔文和斯蒂芬·福布斯的著作）对环境意识的发展。第二章研究了整个19世纪的四种环境混乱叙事：吉尔伯特·怀特，玛丽·雪莱，理查德·杰弗里斯和HG威尔斯在基于混乱的不连续性而不是连贯的渐进主义的叙事中提出了后启示录环境的激进新概念。标志着当时的进化论。第三章考察了威廉姆和多萝西·华兹华斯，约翰·克莱尔，珀西·雪莱和马修·阿诺德等几位重要诗人作品中的微观形象。我认为，对19世纪诗人的想象力和密切观察帮助新生科学提出了简化自然而不破坏其复杂结构的方法。第四章致力于约翰·济慈的生态思想，追溯了他在《海波龙》中的目的论叙事的放弃，而不是微观的《颂歌》。最后，第五章通过对现代生态系统科学的考察来调和这两种对立，特别注意了我们研究气候变化的当代策略。本章通过将混沌叙事与模型缩影之间的二分法复杂化来对论文进行总结，并将其纳入当今的研究范围。

著录项

  • 作者

    Scott, Heidi Cathryn Molly.;

  • 作者单位

    University of Maryland, College Park.;

  • 授予单位 University of Maryland, College Park.;
  • 学科 Biology Ecology.;History of Science.;Literature English.
  • 学位 Ph.D.
  • 年度 2009
  • 页码 290 p.
  • 总页数 290
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类 生态学（生物生态学）;自然科学史;
  • 关键词

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