从田园到后田园的英国自然书写（英文）

From Pastoral to Post-pastoral in British Nature Writing

20世纪六十至八十年代英国自然书写为何出现了环境转向?充满怀旧情感的乡村田园主义被深切的环境意识所取代,其中涉及土地管理新困境和以H.V.莫顿为代表的乡村书写到以J.A.贝克的《游隼》(1967)为代表的乡村问题阐释与乡村生活赞扬的主题转变。英国作家的自然书写与美国作家蕾切尔·卡逊《寂静的春天》同步发生,形式多种多样,阐发了对工业化农业和环境保护问题的思考。理查德·马比的后田园著作《共同点》(1980)即是对这一转向的诠释,既包含最新的科学信息又具有生态环保的意图。该书倡导民众与自然接触的审美、精神与娱乐功能;同时警告民众:传统景观实践正面临被破坏的危险。

How did British nature writing come to take an environmentalist turn between 1960 and 19807 Nostalgic rural pastoralism was replaced by environmentally informed engagements with newly conceived dilemmas of land management, transforming writing about the countryside, such as that by H. V. Morton, to more problematic reflections and celebrations in, for example, J. A. Baker＇s The Peregrine （1967）. Parallel to Rachel Carson＇s Silent Spring in the US, there was a distinctively British reaction to industrial agriculture and the need for environmental protections that was reflected in all forms of nature writing. Richard Mabey＇s post-pastoral book The Common Ground （1980） exemplified this shift in being informed by the latest science and having a conservationist purpose, whilst celebrating a public need for contact with nature that was recognised as aesthetic, spiritual, recreational, but also in danger of destroying traditional practices in landscapes that it valued.