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Hebrew Dystopias

From National Catastrophes to Ecological Disasters

Netta Bar Yosef-Paz

vocabularies of ecocriticism. Most of these novels were originally in English and translated into Hebrew. Channels of American influence on Israeli society and culture, including translation, have been widely studied. In her introduction to a special issue of

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Reviving Lavinia

Aquatic Imagery and Ecocritical Complexity in Titus Andronicus

Claire Hansen

Titus Andronicus is a play known to centre on the conflict between civilisation and wilderness, culture and nature, Rome and the forest, and as such it is ‘standard terrain' for ecocritical approaches. 1 William Shakespeare and George Peele's 2

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‘Off Path, Counter Path’

Contemporary Walking Collaborations in Landscape, Art and Poetry

Harriet Tarlo and Judith Tucker

theories around walking and ecocriticism from the twentieth-century thinker Michel de Certeau onwards. What might we as twenty-firstcentury walkers, artists and researchers wish to reject or take from these sources? We also consider what we might learn from

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Mohammad Shaaban Ahmad Deyab

Numerous critics have studied Jonathan Swift's use of animals as satirical tools in Gulliver's Travels. However, none has devoted sufficient attention to Swift's forerunning “ecocritical“ concern with animal issues in relation to humans. Although the animal theme in Gulliver's Travels does involve satirical intentions, this paper aims at showing that it has more profound implications that manifest Swift's forward-looking ideas regarding the relation between humans and their natural environment, as represented in the human-animal relationship. The ethical stand and moral commitment to the natural world represented by animals, and the care for making the themes of a literary work a means to create connections between man and the natural environment around him, are basic ecocritical values that Swift stresses both explicitly and implicitly throughout the novel.

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Walking with the Goat-God

Gothic Ecology in Algernon Blackwood’s Pan’s Garden: A Volume of Nature Stories

Michelle Poland

ecological expression or principles being raised. This extract is clearly mindful of a classic paradigm of a balanced, ‘bounded’ and mappable nature; a portrayal that would make most contemporary ecocritics inclined to agree with Punter’s well

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Green Fields and Blue Roads

The Melancholy of the Girl Walker in Irish Women’s Fiction

Maureen O’Connor

’ has also become the colour of money in more than one sense. Having been successfully monetised as a marketing strategy, green is no longer necessarily the colour of the outsider. Within ecocriticism, the usefulness of ‘green’ as emblem for its core

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Shakespeare in Yosemite

Applied Theatre in a National Park

Katherine Steele Brokaw and Paul Prescott

informed by eco-critical Shakespeare and eco-theatre practices; explain the particular context of Yosemite National Park and what we are trying to do there; and finally we describe and reflect on our inaugural 2017 show. Methods and theories: applied

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Karl-Werner Brand

Goodbody, Axel. 2007. Nature, Technology and Cultural Change in Twentieth-Century German Literature: The Challenge of Ecocriticism. New York: Palgrave.

Markham, William T. 2008. Environmental Organizations in Modern Germany: Hardy Survivors in the Twentieth Century and Beyond. New York: Berghahn Books.

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The Ends of the Earth

Nature, Narrative, and Identity in Dystopian Film

Rowland Hughes

This article offers an ecocritical reading of four dystopian films, two from the early 1970s and two from the late 1990s: Silent Running, Soylent Green, eXistenZ, and Gattaca. In particular, it interprets these films – which variously predict the probable ramifications of environmental catastrophe and biotechnological progress – in relation to contrasting conceptualizations of 'nature' that might broadly be termed either the 'postmodern' or 'ecological'. It argues that despite the genre's apparent preoccupation with technologically advanced, virtual or urban environments, the concept of 'nature' and 'the natural' remains crucial to dystopian cinema's characteristic critique of authoritarian power structures that restrict individual self-expression, and its interrogation of human individuality and selfhood. Moreover, it suggests that even self- consciously postmodern dystopias are rooted in the experience of embodiment, and point towards a reconceptualized idea of 'the natural' that is shaped by, and often fused with, technology.

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The Blank Spot on the Map

William Least Heat-Moon and Bioregionalism

Shellie Banga

William Least Heat-Moon is a contemporary American writer well known for his first best-seller, Blue Highways (1982), and for his numerous subsequent contributions to road narratives. His second book, however, departs from this model by producing a “deep map” of a single Kansas county. Drawing upon recent ecocriticism, I argue that although Heat-Moon is often classified as a local color journalist, PrairyErth (a deep map) (1991) suggests why he is also an unlikely bioregionalist who unsettles wasteful approaches to governing local ecosystems. With a painterly habit of focusing on absence, Heat-Moon uses negative space and what he calls “skewed vision” to reveal place indirectly. By understanding that these techniques are metonymic, we also understand something about bioregionalism and travel writing in general: these genres not only register absences and symbolic substitutions, but teach us about the intimacy and interdependence of a modern life in which isolation is a fiction.