生态批评与莎士比亚：至2016

摘要/Abstract

摘要： 生态批评是较新的研究领域，拓展迅速，但又不乏争议。其理论构建颇有论争，而文学研究的传统领域并不总是能完全接纳。因此，把生态批评理论引入莎士比亚研究（其本身已是一个小产业）值得从文本和理论角度认真讨论。本文主要涵盖生态批评介绍、生态批评的理论与实践（包括其问题与前景）以及莎士比亚与生态批评三大方面。生态批评理论越是与其他行动主义理论融汇则对其本身越好。莎士比亚及其对某种反自然伦理（我称之为“生态恐惧”）的呈现可作为生态批评理论与其他理论交融的基础，而这正是本文要义。生态恐惧并不是莎士比亚所代表的唯一的伦理范式，本文在任何层面也没有给出这种暗示。同样，生态批评与生态恐惧范式没有、而且也不能提供所有的答案，但此二者对我们寻找答案都助益良多。

关键词: 生态批评理论, 绿色莎士比亚, 生态恐惧, 行动主义理论

Abstract: Ecocriticism is a fairly new area of investigation that has rapidly and sometimes controversially expanded. Theorizing ecocriticism has at times been met with debate, and traditional areas of literary studies have not always been entirely receptive. Thus, the expansion of ecocritical theory into Shakespearean studies (now a thriving micro industry all its own) warrants serious discussion, both from contextual and theoretical positions. This article will cover three main sections: 1] an introduction to the general field of ecocriticism; 2] the theory and the practice of ecocriticism (including the problems and the promises); and 3] Shakespeare and ecocriticism. The more that ecocriticism theorizes itself in confluence with other activist theories, the better off it will be. Using Shakespeare and his representations of a certain breed of anti-nature ethics (which I term "ecophobia") can produce the basis for such an ecocriticism that theorizes in confluence, and it is the goal of this article to do so. Ecophobia is certainly not the only ethical paradigm Shakespeare represents, and this article does not on any level want to imply that it is. Ecocriticism and the paradigm of ecophobia, similarly, do not and cannot give us all of the answers; but each can help us enormously in moving toward them.

Key words: ecocritical theory, green Shakespeare, ecophobia, activist theory

西蒙·埃斯托克. 生态批评与莎士比亚：至2016[J]. 文艺理论研究, 2017, 37(1): 105-124.

Simon C. Estok. Ecocriticism and Shakespeare, until 2016[J]. Theoretical Studies in Literature and Art, 2017, 37(1): 105-124.

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(1)The charge of hypocrisy may easily be leveled at anyone(myself included)who pumps 2,300 kilograms of CO_2 into the atmosphere for a conference 5,000 kilometers away(giving a return of 10,000 kilometers).The charge of hypocrisy may similarly be leveled at any ecocritic who continues to eat meat knowing that the meat industry alone is responsible for 17%of greenhouse gases(gases which are the single most salient threat to our continued comfort).
(2)See also the 2014 Special Column on“Activist Ecocritical Studies”in the Forum for World Literature Studies.My“Activist Ecocriticism”introduces this Special Column.
(3)Falstaff becomes the epitome of infection,and in his dislocation from the centers of power,it is a telling comment on the play's conception of the natural world that by the end of the play he is,as Jeanne Addison Roberts so poignantly notes,“incurably tainted with gross animality”(89).What makes the insight of Roberts here so astute is that it links Falstaff,incurability,and animality.The ideological premise of 2 HenryⅣis that the environment itselfis irreducibly and incurably apox ontheface of allthings civilizedand athing,therefore,to befeared.Thefurther FalstaffmovesfromHal's affections,the more he becomes a thing ofthe“wild.”
(4)It is surprising how little attention this important topic has received.Gabriel Egan has a sentence on“the Little Ice Age”in Green Shakespeare,but it is only with Robert Markley—who also notes that questions about early modern weather have been“all but unnoticed by most modern commentators”(131)—that we find the first extended discussion of the topic.
(5)Historian Brian Fagan discusses the effects of cooling in the waters where the English sought fish,arguing(among other things)that ifthere were better historical records,“the changing distribution of cod in the far north would be a remarkable barometer of rising and falling sea temperatures”(Fagan 71).

生态批评与莎士比亚：至2016

Ecocriticism and Shakespeare, until 2016

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