Material Ecocriticism offers new ways to analyze language and reality, human and nonhuman life, mind and matter, without falling into well-worn paths of thinking. Bringing ecocriticism closer to the material turn, the contributions to this landmark volume focus on material forces and substances, the agency of things, processes, narratives and stories, and making meaning out of the world. This broad-ranging reflection on contemporary human experience and expression provokes new understandings of the planet to which we are intimately connected.

As an academic movement, ecocriticism first appeared on the scene of literary and cultural studies in the later twentieth century. Since then, it has become one of the fastest-growing areas of study and interdisciplinary research in the humanities. Once defined as ‘the study of the relationship between literature and the physical environment’, ecocriticism is a form of literary and cultural criticism that pays special attention to environmental issues and ecological relations in texts and discourses. It studies the way (...) in which diverse historical traditions have rendered the myriad interrelationships between human societies and their respective surroundings. (shrink)

Narrative has proven itself a continuous as well as adaptable means for environmentally oriented expression. Its role goes beyond the mediation of pre-existing knowledge imported into the realm of storytelling from other domains; rather, influential models of the natural world tend to circulate as storyworlds. This special issue of SubStance proceeds from the premise that narratives are not only a sequence of signs encoding a story but also “invisible, elusive representations that exist only in the mind”. Narrative forms generate and (...) transfer environmental knowledge; moreover, any specifically narrative concerns are important contributing factors to the models of agency, change... (shrink)

The Anthropocene is neither the only, nor an entirely satisfactory, model for a twenty-first century ecocriticism. My paper tests the Anthropocene from within Anglophone theory that seeks to recuperate what has been historically marginalized: the feminine, the body, the nonhuman and the unconscious. It is possible to evade the heroic masculinist overtones of the Anthropocene by dis-membering him. Using two apparently discrete modes of fracturing—the psychoanalysis of C. G. Jung and the transdisciplinarity of Basarab Nicolescu—, I suggest a dismembered (...) body of knowing that leaves room for the other as that which cannot be rationally controlled. Dionysus in his bisexual dismemberment can help us re-member a different kind of relation to our planetary home. (shrink)

This is the third technical paper in a five part series on "ecocriticism" as it relates to the author's work on fear and fearlessness.... focused engagement with Desh Subba's philosophy of fearism in the last three years, and with his attempting to link Subba's notion of "fearism" and the "fearist perspective" with ecocriticism....

Together, their work signals a new direction in the field and offers refreshingly original insights into a broad spectrum of texts.

While nature is often claimed to be a space of harmonized balance or an antidote to the chaos of the modern world, we need a more grounded assessment of nature as endlessly changing and much less predictable than we like to assume. In this essay, I explore Karen Traviss’ provocative exploration of unbalanced nature and unbounded bodies in her wess’har series with the guidance of two ecocritics who reject the concept of balanced nature, Dana Phillips and Ursula Heise. Additionally, I (...) turn to the environmental philosopher Val Plumwood for insights regarding Traviss’ spurious yet rather standard vision of an unlimited technological panacea. Traviss’ series portrays how the boundaries and limits that we perceive as solid are often much less so than we believe, yet she also reveals—inadvertently, it seems—how easily we blindly ignore other, more solid limits. (shrink)

Mary Shelley in her writings relies on the romanticised notions of nature: in addition to its beauties, the sublime quality is highlighted in its overwhelming greatness. In her ecological fiction, The Last Man (1826), the dystopian view of man results in the presentation of the declining civilization and the catastrophic destruction of infested mankind. In the novel, all of the characters are associated with forces of culture and history. On the one hand, Mary Shelley, focussing on different human bonds, warns (...) against the sickening discord and dissonance, the lack of harmony in the world, while, on the other hand, she calls for the respect of nature and natural order. The prophetic caring female characters ‘foresee’ the events but cannot help the beloved men to control their building and destroying powers. Mary Shelley expresses her unmanly view of nature and the author’s utopian hope seems to lie in ‘unhuman’ nature. While the epidemic, having been unleashed by the pests of patriarchal society and being accelerated by global warming, sweeps away humanity, Mother Nature flourishes and gains back her original ‘dwelling place’. (shrink)

Ecocriticism is a theory that studies the relationship between humans and non-humans critically. The perception becomes the need of the hour as it stresses the interconnectedness between humans and Nature in the era of environmental sabotage. As Barbara Ward says, ‘We have forgotten how to be good guests, how to walk lightly on the earth as its other creatures do’ rather, humans pollute and erode the Natural elements. The interdependency between the environment and humans should be understood to lead (...) to a better quality of life. Ecocriticism amidst the global crisis strives to reattach humans to their natural world. This article, stressing the significance of entwined movements like ecofeminism, eco-theology, ecosophy, and so on, shows realistic evidence to bring out the emergency to discuss, understand and practice the idea of Ecocriticism out in the practical world. (shrink)

The article relates to “empirical ecocriticism” and has attracted the attention of many academics, political circles, and social groups for the global living environment. Schneider and Mayerson explore the topic of “climate fiction,” a literary genre focusing on climate related themes that has grown in popularity over the last decade. It is generally believed that this genre can create positive ecological-political impacts by providing climate information to the readers and helping them recognize the urgency of climate change.

Michel Serres's relation to ecocriticism is complex. On the one hand, he is a pioneer in the area, anticipating the current fashion for ecological thought by over a decade. On the other hand, 'ecology' and 'eco-criticism' are singularly infelicitous terms to describe Serres's thinking if they are taken to indicate that attention should be paid to particular 'environmental' concerns. For Serres, such local, circumscribed ideas as 'ecology' or 'eco-philosophy' are one of the causes of our ecological crisis, and no (...) progress can be made while such narrow concerns govern our thinking. This chapter intervenes in the ongoing discussion about the relation of Serres to ecology by drawing on some of Serres's more recent texts on pollution and dwelling, and this fresh material leads us to modulate existing treatments of Serres and ecology. I insist on the inextricability of two senses of ecology in Serres's approach: a broader meaning that refers to the interconnectedness and inextricability of all entities (natural and cultural, material and ideal), and a narrower sense that evokes classically 'environmental' concerns. Serres's recent work leads us to challenge some of the vectors and assumptions of the debate by radicalising the continuity between 'natural' and 'cultural' phenomena, questioning some of the commonplaces that structure almost all ecological thinking, and arguing that the entire paradigm of ecology as 'conservation' and 'protection' is bankrupt and self-undermining. After outlining the shape of Serres's 'general ecology' and its opposition to ecology as conservation, this chapter asks what sorts of practices and values a Serresian general ecology can engender when it considers birdsong, advertising, industrial pollution and money to be manifestations of the same drive for appropriation through pollution. A response is given in terms of three key Serresian motifs: the world as fetish, parasitic symbiosis, and global cosmocracy. (shrink)

This text, a product of an investigation supported by the Universidad de La Salle entitled “Ecocrítica y Literatura: Aproximación a María y La Vorágine”, is a reflection upon the method (or metamethod) of ecocriticism, that is, literary criticism from ecological values, which uses the work of the aforementioned investigation as an example and object of analysis. The problem is examined from the perspective of a reconciliation between the humanities and the biological sciences. Finally, some pedagogical advantages of ecocriticism (...) are outlined. (shrink)

This paper takes Deleuze's idea ‘to green’ as a qualitative predicate which becomes a rhizomatic event where Jesper Hoffmeyer's ‘plant being’ contemplates through waves and rhythms, hence affects and percepts. The article then brings forward an intertwined group of Chinese ideograms which are designed with plant-radicals, making up an ecosystem towards the establishment of a new Chinese ecocriticism under the banner of biosemiotics. Such an effort will, hopefully, widen the scope and dimension of the new field of environmental humanities, (...) with an emphasis on the scenario of affective attuning to the agency of vegetal life. The main purpose is to put Deleuze and Guattari's form-event assemblage within the stratification of regimes of signs in A Thousand Plateaus, in order to establish a ‘natureculture’ continuity not only between science and art, but also between a Western rethinking of language/culture and a Chinese ecosystem/ecocriticism. (shrink)

As newer interdisciplinary fields gain momentum, long-forgotten works are excavated from the literary canon and reevaluated under the lens of ecocriticism. Traditionally, fictional animal characters were seen as merely symbolic, comical, or trivial. Yet times and attitudes have changed, as evidenced by the growing impetus of animal welfare campaigns, posthumanism, and critical animal studies. Few fictional works dealing with laboratory experiments offer a subjective account of the victims’ agonizing experience. This article will examine Mark Twain’s A Dog’s Tale and (...) Richard Adams’s The Plague Dogs, depicting vivisection from the nonhuman perspective. (shrink)

A collection of essays by Timothy W. Luke discussing social and political issues related to ecology, environmentalism, ecocriticism, global climate change, and the Anthropocene.

This article examines the concept of ‘event’ and the manner in which it has been neglected in both ecocriticism and Hitchcock studies. Using The Birds (1963) to rethink the premises of ecocritics’ discussion of nature, animals, and disasters in cinema and Hitchcock scholars’ emphasis on representation and symbolism, the article argues that it has become imperative to philosophically foreground ‘events’ in light of the numerous contemporary films that revolve around them. Hitchcock’s film is shown to propose a renewed concept (...) of event, a concept that significantly departs from the two most influential conceptualisations of the event in post-1960 continental philosophy: those of Gilles Deleuze and Alain Badiou. Eschewing philosophical theories that equate the event with pure becoming or conceptualisations that characterise events as rupture and break, the film reveals a particular form of bird-event that posits relationality to address becoming and rupture simultaneously. Indeed, what distinguishes Hitchcock’s concept of event, contra Deleuze’s and Badiou’s, is that it emphasises relationality instead of pure continuity or radical rupture in the characterisation of corporeal or embodied individuation. Emphasising relationality helps understand the film’s deployment of a concept of event that departs from the aforementioned theorisations that exclude the human body (and therefore affect) from the event’s experiential import. Closely aligning bodies prior to and after the bird-events, The Birds ultimately discloses the paradox of body and event at the heart of contemporary event theory by way of linking or relating bodies and events, thus tapping into debates over embodiment and affect in cultural and media theory. Centering around modalities of evental experience rather than the controversial and endlessly debatable signification of the bird attacks, the analysis purports that the bird-event configures materiality only to reveal its relational and interstitial volatility. (shrink)

Suenan timbres, by the Colombian poet Luis Vidales, is an urbanely rural work. The fact that flowers, spiders, cats and landscapes are found in these short poems-vignettes –all of which are a reflection of a city in the process of modernization–; confirms how interested was the author in the idea that his poetic project could erode the barrier separating the cultural and natural spheres. Bearing this in mind, the article attempts to show that the intersubjective dialogue between the two spheres (...) is not peaceful, balanced or horizontal. On the contrary, the article, through a philosophical analysis based on the ideas of ecocriticism, seeks to reveal that underlying this dialogue, there is the desire of modern men to dominate, control and subdue nature to the laws and rule of culture. (shrink)

This essay rethinks the meaning of ecopoetics by exploring poems about birds’ song – one of the most canonical themes in all of poetry – and how their poetics may be understood in relation to our growing ornithological knowledge about birds and how, why, and what they sing. While ecocriticism has traditionally thought such questions in terms of the experience – and the representation of the experience – of an auditor who, in her rapt attention, establishes the well-known bird/bard (...) matrix familiar from the poetic tradition, this essay argues for a non-representationalist ecopoetics in which poem and birds’ song share a common infrastructure of iterability. This helps us locate the ecological dimension of poetics rather differently, and it also opens onto the non-representationalist understanding of our experience of “world” in both deconstruction and systems theory, which long ago replaced the concept of “nature” with “environment.”. (shrink)

Dwellings of Enchantment probes literature and cues humans to experience awe, love, and respect for our wonderfully complex, multispecies home. Interweaving new materialist, postcolonial, ecopoetic, ecofeminist,and ecopsychological approaches, it delves into various ontologies, literary modes, and tropes framing our coevolution within the oikos.

The article aims to explore the ways in which scholars from Poland and Ukraine engage with Graham Harman’s philosophical work1. The introductory part briefly describes Harman’s ontology and demonstrates the link connecting Harman with Polish and Ukrainian intellectual environments. Harman’s object-oriented ontology (OOO) states that objects are the fundamental building blocks of reality and cannot be reduced either to what they are made of or to what they do, that is, either to their constituents or to their effects. The connection (...) with Poland and Ukraine goes back to the theory of objects suggested by the Polish philosopher Kazimierz Twardowski, whom Harman names among the predecessors of his ontology and who influenced both Polish and Ukrainian intellectual milieus. The next part of the article examines the history of the reception, identifying its key events and publications. The reception in Poland proves to be much more substantial than in Ukraine. A common tendency is determined: a conflation of Harman’s OOO and speculative realism by mistakenly ascribing the features of the former to the latter (broader concept), which suggests that speculative realism is being received through the lens of Harman’s project. The next part establishes the key discursive points that are used to map Harman’s ideas within the contemporary philosophical landscape. They can be summarised by the terms antianthropocentrism and antireductionism. The final part analyses the strategies for applying Harman’s theory showing that it can become the lens for interpretation and direct our attention to nonhumans and the hidden, inexplicable dimension of things or provide an ontological grounding for semi-literary and literary discourses. The methodology of this application, though, needs further development and clarification. Overall, in Poland, two of Harman’s books and two articles have been translated, and at least two books, one Ph.D. dissertation, and around two dozen articles discuss or apply his ideas. Apart from philosophy, his OOO is used for discussing literature, video games, films, humanities in general, education, management processes, antique studies, and ecocriticism. In Ukraine, one of Harman’s articles has been translated, and around ten articles and one collective monography engage with his philosophical project. Some of the Ukrainian works also apply Harman’s OOO in contexts that are not strictly philosophical, namely, in literary criticism, urban studies, film studies, and humanities in general. This paper can be of use to researchers studying OOO and its reception in different countries. In addition, it can help Ukrainian and Polish scholars who want to discuss or use OOO to familiarize themselves with the previous reception in their countries, thus facilitating domestic philosophical interaction. (shrink)

Since the publication of his mammoth work, _Being and Time_, Martin Heidegger has remained one of the most influential figures in contemporary thought, and is a key influence for modern literary and cultural theory. This guidebook provides an ideal entry-point for readers new to Heidegger, outlining such issues and concepts as: the limits of 'theory' the history of being the origin of the work of art language the literary work poetry and the political Heidegger's involvement with Nazism. Fully updated throughout (...) and featuring a new section on enviromental thought and ecocriticism, this guidebook clearly and concisely introduces Heidegger's crucial work relating to art, language and poetry, and outlines his continuing influence on critical theory. (shrink)

In The Lily in the Field and the Bird of the Air (1849), Kierkegaard presents a succinct critique of Romantic aesthetics, in line with contemporary critiques of ecocriticism and ecophilosophy, e.g. by Timothy Morton. Whereas Romantic poets see nature as a mirror of their inner thoughts and pathos, thereby divinising themselves and their creativity, Kierkegaard emphasises the authority of the Creator and the exteriority of nature. He identifies the consequences of such Romantic self-infatuation on all levels of discourse: aesthetics, (...) ethics, epistemology and ontology, and seeks to formulate an alternative. I argue that the discourses thus represent an alternative philosophy of nature, revealing an immediate joy for the gift of being-there. Being human thus means being dependent on and embedded in nature. This makes Kierkegaard a highly relevant interlocutor for contemporary ecophilosophy and ecocriticism, as revealed by Knausgård’s novel Morgenstjernen (2020). (shrink)

This article off ers a pioneering ecofeminist study of Viktor Ivchenko’s Lisova pisnia and Yurii Illienko’s Lisova pisnia. Mavka, two Soviet Ukrainian film adaptations of Lesia Ukrainka’s eponymous fairy-drama. It focuses on the interrelated depiction of gender and nature along with the drama’s ideological and material aspects: androcentrism and deforestation. The production of both fi lms coincides with, and arguably refl ects, what Marko Pavlyshyn describes as “the emergence of a conservationist consciousness” in the USSR in the 1960s. The article’s (...) goal is therefore twofold – to bring new ecofeminist insights into Ukrainian fi lm studies and to raise eco-awareness about the Volyn Polissia, which provides the setting for Ukrainka’s drama and its adaptations, and currently faces environmental devastation from illegal amber mining. (shrink)

Embodied Memories, Embedded Healing foregrounds the East Asian cultural beliefs and practices that shape the environmental consciousness of the twenty-first century. In highlighting such influences, this anthology also foregrounds the closely related new and exciting directions in ecocriticism.

This article intervenes in recent formalist and ecocritical debates, drawing on the philosophy of Charles Darwin and Édouard Glissant to develop an ecopoetic theory of relational form. Gathering perspectives from ecocriticism and new materialism, literary criticism and comparative literature, the history and philosophy of science, postcolonial theory, critical race theory, and Black studies, it reads form as an interdisciplinary object that is part of the world, rather than an imposed feature of human language or perception. In this way, it (...) produces a relational theory of form that is not hylomorphic or defined through the relation between form and content but, rather, is defined by the relation between a content and extant and, so, an interaction of relation and repetition. Drawing on the history of ecological science, it further explores how forms combine, how they amplify and interfere with each other, and how they support relations of harm and care. Finally, it uses this ecopoetic theory of form to read the histories of racial violence and migration in Matthew Arnold’s “Dover Beach” (1867) and Helen Oyeyemi’s White Is for Witching (2009). (shrink)

This book rethinks the discussion of sport as a cinematic subject. Arguing for the vitality of the sports film as distinctively 'modern' genre, the book looks at its innovative potential to capture twentieth- and twenty-first-century sport in all its complexity. Written in an accessible style and illustrated throughout, the book integrates work and ideas from film studies with thinking from sports psychology, philosophy, data theory and ecocriticism. In its detailed analyses of a wide-ranging group of films, the book shows (...) how film, from fictional works to biopics to experimental documentaries, can illuminate individual sporting experience, as well as sport's wider place in modern life. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 25.2 (2001) 295-313 [Access article in PDF] The Ecology of Victorian Fiction Joseph Carroll I In the past ten years or so, ecological literary criticism--that is, criticism concentrating on the relationship between literature and the natural environment--has become one of the fastest-growing areas in literary study. Ecocritics now have their own professional association, their own academic journal, and an impressive bibliography of scholarly studies. Ecocritical scholars (...) divide their attention between "nature writing" and ecological themes within all literature. In other words, some scholars write on Thoreau, John Muir, Aldo Leopold, and Annie Dillard; others write on topics such as the representation of nature in romantic poetry, the American West as a symbol, metaphors of landscape, or Dante's Inferno as a polluted ecosystem. Ecocritics have a distinct subject matter, and they share in a certain broad set of attitudes, values, and public policy concerns, but they do not yet have a firmly established framework of commonly accepted theoretical principles. In the absence of any overarching theory, ecocritics have usually sought to incorporate their ecological subject matter within other, already established theoretical schools: feminism, Bakhtin's dialogism, Lacanian psychoanalysis, or English romantic and American transcendentalist, idealist philosophy. Most commonly, ecocritics have affiliated themselves with the standard contemporary blend of Foucauldian ideological criticism--a blend that is vaguely Marxist and Freudian, generally radical, and strongly tinctured with deconstructive irrationalism and textualism. 1Given its specialized themes and topics and its ready affiliation with the standard theoretical blend, ecocriticism might seem little more than a special topic area within the general field of contemporary [End Page 295] literary study. But ecocritics do not see their approach that way. They share in a feeling of being at the forefront of critical response to an urgent practical problem of world-historical magnitude: the prospect of irreversible environmental devastation. They thus have a strong sense of a political mission, and they often feel that the urgency of their environmental concerns should sanction realigning the canon to give much greater prominence to nature writers and to the study of ecological themes. In their view, the natural world claims a special status as the ultimate ground and frame of all existence. It is an object of peculiar veneration and of primary experiential importance.The special conceptual status of ecology as a theme and a topic necessarily raises a question about its theoretical import. If the subject of ecocriticism is the relation of literature and the natural world, and if this relation is more important and more elemental than any other concern, does it not follow that ecocriticism should identify itself as a matrix for all literary study? To put the question operationally, in what way could ecology, as a subject matter and a concept, generate a theory of literature? Since the relation between organisms and natural environments is a necessary precondition of all experience, one could reasonably argue that the special topic of ecocriticism is more elemental than the topics of feminism, Marxism, or any other form of political criticism, and that the basic physical conditions of organic life take conceptual precedence over semiotics and theories of "culture" and "discourse."I shall argue that ecology cannot by itself generate a theory of literature or serve as the basis for a theory of literature, but I shall also argue that responsiveness to the sense of place is an elemental component of the evolved human psyche and that it thus can and should be integrated into a Darwinian literary theory. E. O. Wilson's notion of "biophilia" provides a Darwinian alternative to the ecological transcendentalism of "deep ecology," and the evolutionary epistemology of Konrad Lorenz provides a Darwinian rationale for locating the human psyche within its physical world. In constructing a bridge between the evolutionary epistemology of Lorenz and the idea of place within verbal narrative, I shall make use of a new branch of Darwinian aesthetics, Joseph Anderson's "ecological" version of "cognitive film theory."In order to illustrate the ways in which setting can be integrated into a Darwinian literary criticism, in the latter part of the essay... (shrink)

Animals and Science Fiction is the first edited collection to be published focusing on the intersection of animal studies and science fiction studies. It offers a broad range of theoretical approaches and primary source texts—including novels, short stories, poetry, film and TV, photography, erotica, video games, and urban planning documents—that explore the ways works of science fiction can transform how we see and interact with nonhuman others. With an eye toward more just multispecies futures, it argues that speculative imaginaries can (...) be pivotal in changing attitudes toward and understandings of nonhuman animals in our world today. Chapters appeal to those interested in biopolitics, posthumanism, new materialism, ecocriticism and the environmental humanities, ocean humanities, postcolonial studies, critical race studies, Indigenous studies, global sf studies, film studies, and food studies. Taken together, the collection works to showcase a diverse and growing field of scholarly inquiry into animals and science fiction. (shrink)

Since 1959, when C.P. Snow delivered his seminal lecture The Two Cultures on the lack of understanding between scholars working in the humanities and their colleagues from science departments, the gap between the two groups has been one of the most notorious clichés of contemporary Western culture. The aim of this article is to show that this seemingly insurmountable abyss between sciences and the humanities that was brought to the forefront during the mid-20th century is slowly receding into history. Literature (...) studies today is heavily indebted to modern science. Biology, physics, and ecology are among the most important subjects scholars of literature have to take into account. In order to prove this point I shortly describe literary genres which introduce modern science to the readers: science fiction, cyberpunk, solarpunk, lablit, quantum fiction, and cli-fi. I also refer to the newly-emerged schools of criticism-science fiction studies, ecocriticism and evocriticism-to show how scholars discuss these texts within the framework of the humanities. Additionally, I give a sample discussion of one of the cli-fi’s classics, J.G. Ballard’s The Drowned World and also shortly discuss two science fiction novels concerned with the civilisational conflict between science and humanities: Stanislaw Lem’s His Master’s Voice and Margaret Atwood’s Oryx and Crake. (shrink)

The Truth of Ecology is a wide-ranging appraisal of contemporary environmental thought. It explores such topics as the history of ecology, radical science studies and radical ecology, the need for greater theoretical sophistication in ecocriticism, the dubious legacy of Thoreau, and the contradictions of current nature writing.

Limit Cinema explores how contemporary global cinema represents the relationship between humans and nature. During the 21st century this relationship has become increasingly fraught due to proliferating social and environmental crises; recent films from Lars von Trier's Melancholia (2011) to Apichatpong Weerasethakul's Uncle Boonmee Who Can Recall His Past Lives (2010) address these problems by reflecting or renegotiating the terms of our engagement with the natural world. In this spirit, this book proposes a new film philosophy for the Anthropocene. It (...) argues that certain contemporary films attempt to transgress the limits of human experience, and that such 'limit cinema' has the potential to help us rethink our relationship with nature. Posing a new and timely alternative to the process philosophies that have become orthodox in the fields of film philosophy and ecocriticism, Limit Cinema revitalizes the philosophy of Georges Bataille and puts forward a new reading of his notion of transgression in the context of our current environmental crisis. To that end, Limit Cinema brings Bataille into conversation with more recent discussions in the humanities that seek less anthropocentric modes of thought, including posthumanism, speculative realism, and other theories associated with the nonhuman turn. The problems at stake are global in scale, and the book therefore engages with cinema from a range of national and cultural contexts. From Ben Wheatley's psychological thrillers to Nettie Wild's eco-documentaries, limit cinema pushes against the boundaries of thought and encourages an ethical engagement with perspectives beyond the human. (shrink)

With rapidly spreading extractive practices on a global scale, the amount of residue generated raises the question of waste management and economic externalities. Are humans, and most crucially the Earth, equipped to welcome such an exponentially increasing quantity of restants? Artworks, as inexhaustible in their readings, are congenial to this idea of irreducible remains. In this paper, I argue Derrida’s treatment of remains might provide a waste-based approach to ecocriticism which, in turns, can be leveraged to articulate an insightful (...) reading of some artworks in times of extractive overconsumption and environmental destabilisation. Lee Bae’s Issu du feu (2000) and House of Moon (2014), Emerson Pontes’s Mil Quase Mortos: Boiúna, and Rochelle Goldberg’s Cannibal Actif (2018) are three contemporary artworks that directly challenge those externalities by explicitly engaging with remains ranging from charcoal, human-made waste and oil. Through a formal analysis of these artworks and a close reading of Derrida’s Feu la cendre, ‘Biodegradables Seven Diary Fragments,’ and the seminars Manger l’autre and Rhétorique du cannibalisme, it appears that eco-deconstruction is perhaps above all a matter of engaging with the structure of remains. (shrink)

Gender and Sexuality in Critical Animal Studies explores nonhuman animals' experiences of gender, physiological sex, and sexuality while in nature and captivity. Each chapter applies disciplines like literary theory, disability studies, queer studies, ecocriticism, and more to investigate media that shape perceptions and treatment of nonhumans.

In this landmark book, Jeffrey Jerome Cohen combines and culminates the two strands of his substantial scholarly work: ecology and Medieval and Early Modern studies. Stone is ambitiously synthetic and syncretic, framed not as critical exegesis but “a thought experiment, attempting to discern in the most mundane of substances a liveliness”. Rather than developing an ecological theory and applying it to particular texts, or practicing an ecocriticism that reads nature “in” texts, Cohen attempts to stage something like a symbiotic (...) textual petric performance: “To tell a story with stone is intensely to inhabit that preposition with, to move from solitary individuations to ecosystems, environments, shared agencies... (shrink)

Publication date: 29 September 2016 Source: Author: Himan Heidari This article aims to analyze Thomas Hardy’s novel, Far from the Madding Crowd, from the perspective of ecocriticism and study where Hardy’s ecological consciousness originates from and how it is represented and interwoven in the characters, setting and plot of the novel. It also focuses on such questions as how Gabriel Oak can be the voice of harmony in nature and what does the portrayal of this character tell us about (...) today’s ecological crises? Ecocriticism, a newly found theoretical framework, explores the ways in which how environment is illustrated in literature and, by so doing, examines and proposes possible solutions concerning our contemporary environmental situation. In an era where a long-established rustic order are giving way to the giants of technology and industrial capitalism, there remains no more appealing vision than that of England’s pastoral and green land. In his Wessex, a part real and a part dream country which is the setting for most of his works, Hardy vividly and skillfully describes his vision and longs for the rustic nature of England. He lays stress to the intrinsic values of nature where men establish a harmonious relationship with their environments. (shrink)

Who said manifestos are dead? Some thirty years after the publication of Donna Haraway's illustrious A Cyborg Manifesto, fifty years after Valerie Solanas's angry and delightful SCUM Manifesto, and 170 years after Karl Marx and Friedrich Engels's influential Communist Manifesto, a new manifesto in town in fact bears traces of all these and then some: The Xenofeminist Manifesto. This manifesto, which comes in a gorgeously designed booklet version as well as in a colorful and nostalgic 80s computer-culture website with nerdy (...) hexadecimal page numbers and related Twitter account, is a work from the “xenofeminist” collective Laboria Cuboniks. The name of this collective, whose members are from various parts of the globe, is actually an anagram of “Nicolas Bourbaki,” a largely French collective of mathematicians in the early 1900s who sought to affirm abstraction, rigor, and generalization. Together with a firm foot in cyberfeminism and a strong penchant for the abstract and universal by way of the logic of computing against the arguably flawed universal of “nature,” the manifesto also clearly bears the marks of feminist ecocriticism, new materialism, queer theory, and technological accelerationism. The two books under review bring various activisms and insights together in an original way, and do so clearly with an eye toward reviving the cyberfeminist spirit through, among others, ideas from Shulamith Firestone's Dialectics of Sex. This pairing certainly had me excited, since, as I argue elsewhere, I am, together with Haraway's original cyborg manifesto, firmly of the opinion that feminisms of all kinds should intervene in and contribute even more radically to contemporary techno-culture and philosophy of technology. This is because clearly, new media and genetic technologies are at present some of the most powerful techniques by which we live and probably will live in the near future, and because these technologies are intimately interwoven with Eurocentric masculinism, heterosexism, militarism, and capitalism. (shrink)

This book argues that philosophical pessimism can offer vital impulses for contemporary cultural studies. Pessimist thought offers ways to interrogate notions of temporality, progress and futurity. When the horizon of future expectation is increasingly shaped by the prospect of apocalypse and extinction, an exploration of pessimist thought can help to make sense of an increasingly complex and uncertain world by affirming rather than suppressing the worst. This book argues that a cultural logic of the worst is at work in a (...) substantial section of contemporary philosophical thought and cultural representations. Spectres of pessimism can be found in contemporary ecocritical thought, antinatalist philosophies, political thought, and cultural theory, as well as in literature, film, and popular music. In its unsettling of temporality, this new pessimism shares sensibilities with the field of hauntology. Both deconstruct linear narratives of time that adhere to a stable sequence of past, present and future. Mark Schmitt therefore couples pessimism and hauntology to explore the spectres of pessimism in a range of theories and narratives—from ecocriticism, antinatalism and queer theory to utopianism, from afropessimism to the fiction of Hari Kunzru and Thomas Ligotti to the films of Camille Griffin, Gaspar Noé, Denis Villeneuve and Lars von Trier. (shrink)

Understanding Literary Theory is the essential guide for every reader looking to understand what literary theory is and why it matters. This concise and accessible text introduces today's foremost schools of literary theory, offering historical background and outlining the important ideas of each. The theories are then applied to a variety of classic short stories, demonstrating how the different theoretical approaches can yield diverse interpretations of the same literary works. This volume separates itself from similar texts by providing clear and (...) accurate explanations of theory's most challenging concepts. It examines all of the major schools of criticism, including ecocriticism, ethnic studies, feminism, formalism, Marxism, narratology, new historicism, postcolonialism, postmodernism, post-structuralism, psychoanalysis, queer theory, reader response, and structuralism. Each chapter begins with a straightforward summary that outlines the focus of the theoretical approach, its notable practitioners, its advantages and disadvantages, and a concise definition. The chapters then delve into each theory by explaining the key concepts and the ideas that led to them. This book is indispensable for anyone intimidated by words like deconstruction, differance, heteroglossia or hyperreality. Understanding Literary Theory shows readers the interpretative possibilities that literary theory can provide. It is the ideal introduction for those who want to get the most out of the literature they read. (shrink)