Abstract

Expanding on his work in ecopoetics begun in Ce qui a lieu (Marseille, Wildproject, 2015) and culminating in his study Littérature et Écologie (Paris, José Corti, 2021), Pierre Schoentjes undertakes a comparative reading of Marie Gevers’ “L’Étang” (first published in 1950) and of Emmanuelle Pagano’s La Trilogie des rives (2019, Prix du roman d’écologie 2018 for the second volume, Sauf riverains). This reading focuses on the motif of water, and through this motif on the disappearance of places threatened by development. After an overview of the priorities of ecopoetics—complementary but distinct from those of ecocriticism—the article anchors its analysis in the work of John Callicott, a thinker who, following Aldo Leopold, developed a “land aesthetic” that calls for us to attend to non-spectacular landscapes. It is to this category that the ponds and pools described by these writers belong. By analyzing how the work of writing raises questions about belonging and property, this article shows how these texts resonate with each other and problematize environmental issues. This reading thus offers an outline of how ecopoetics can escape presentism and contribute to defining an alternative literary history.

摘要

皮埃尔·舍恩杰斯（Pierre Schoentjes）扩大了他在Ce qui lieu（马赛，Wildproject，2015年）开始的经济学研究工作，并在他的《LittératureetÉcologie》（巴黎，JoséCorti，2021年）研究中达到顶峰，对玛丽·盖弗斯的《 L'Étang》进行了比较阅读”（首次出版于1950年）和艾曼纽·帕加诺（Emmanuelle Pagano）的《三部曲》（La Trilogie des rives）（2019年，罗马摄影大奖2018年，第二卷，索夫·里维拉）。这种读物侧重于水的主题，并通过这种主题论证了受发展威胁的地方的消失。在概述了生态经济学的优先事项（互补但又不同于生态批评的优先事项）之后，本文将其分析锚定在约翰·卡里科特的著作中，该思想家跟随奥尔多·利奥波德，提出了“土地美学”，要求我们参加非壮观的风景。这些作家所描述的池塘和水池属于这一类。通过分析写作工作如何引发关于财产和财产的问题，本文显示了这些文本如何相互产生共鸣，并使环境问题成问题。因此，该读物概述了经济学如何逃避现实主义，并有助于界定另类的文学史。