中文摘要
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From Edward Lear's professional travel journals and oil paintings to his whimsical Nonsense text and doodles, this study attempts to trace the multifaceted sea imagery across his spectacular oeuvre. The sea, with its fluidity and partitioning nature, is a core element in Lear's Nonsense that has been left relatively untouched. Such phenomenon is perhaps the result of the mass "hydrophasia" syndrome (forgetting the sea), observed by Margaret Cohen (2010) in literary criticism. To rectify the situation, Cohen advocates that the "spatial scales valued from a maritime focus need to be included among the imaginary geographies found in literature" (658). For oceanic scholars like William Boelhower (2007), the sea is "a field of strategic possibilities in which the Oceanic order holds all together in a common but highly fluid space" (93). By charting the prominent verbal and visual "fluid space" across varying degrees of abstraction and disassociation, this study explores how Lear's "imaginary geographies" not only reveal animating principles in his Nonsense realm, but also portend to prevalent concerns in current geographical research.
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