摘要
在《我们的国家公园》中,约翰·缪尔所营造的西部森林美学中隐含着一部镀金时代的森林资源开采历史。一方面,缪尔通过树木审美来回应镀金时代森林被视作资源的观念,具有现实主义批判意义;另一方面,他的森林保护美学话语融合了树木的生命价值,蕴含其中的整体主义思想与生态议题具有同构性,归结为一点,即缪尔的树木审美上升到生态现实主义层面。本文通过建立“树木—文化”与布伊尔针对环境表征问题所提出的“物质和漫想的双重责任”的相关性,揭示缪尔树木审美背后的现实主义议题。通过分析镀金时代的树木现实主义,有助于理解缪尔荒野保护思想的内里及其对解决当下生态问题的启示意义。
In Our National Parks,a history of exploitation of forest resources in the Gilded Age is implicit in the aesthetics of western forests created by John Muir.On the one hand,Muir responds to the idea of forests as resources in the Gilded Age through the aesthetics of trees,which has a realist critical significance;on the other hand,his aesthetics of forest preservation integrates the value of the life of trees,and the holistic ideas embedded in it are isomorphic with the ecological issues,which means that Muir's aesthetics of trees has risen to the level of ecological realism.With the connection between“arbori-culture”and Buell's“dual accountability to matter and to discursive mentation”for the representation of the environment,this paper unfolds the realistic topics behind Muir's tree aesthetics.By analyzing arbori-realism in the Gilded Age,it helps to understand the inner reasons of Muir's idea of wilderness preservation and its relevance to solving contemporary ecological issues.
