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Balance between human and nature
Short note on ecocriticism
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The term ecocriticism was first used by William Rueckert in his essay titled Literature and Ecology: An Experiment in Ecocriticism in 1978. Here he focuses on the application of ecology and ecological concepts to the study of literature. Yet the term remained obscure until the publication of two seminal works, both published in the mid-1990s namely: The Ecocriticism Reader, edited by Cheryll Glotfelty and Harold Formm, and Lawrence Buell’s The Environment Imagination. Cheryll defines ecocriticism as “the study of the relationship between literature and the physical environment. Just as feminist criticism examines language and literature from gender-conscious perspective, and Marxist criticism brings as awareness of modes of production and economic class to its reading of texts, ecocriticism takes an earth-cantered approach to literary studies.” Thus it studies literature and environment from an interdisciplinary point of view.
It takes as its subject the interconnections between nature and culture, specifically the cultural artefacts of language and literature. As a critical stance, it has one foot in literature and the other on earth; as a theoretical discourse, it negotiates between the human and the nonhuman. Ecocritics investigate such things as the underlying ecological values, what, precisely, is meant by the word nature, and whether the examination of "place" should be a distinctive category, much like class, gender or race. Ecocritics examine human perception of wilderness, and how it has changed throughout history and whether or not current environmental issues are accurately represented or even mentioned in popular culture and modern literature. Glotfelty then goes on to specify some of the questions ecocritics ask, rang...
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...s the Authorities for disturbing Nature’s balance by cutting forests and killing wild animals in order to build big cities. These days we speak of living with Nature and the need to maintain a natural balance almost as though these were ideas. The truth is that in bygone days humans did know how to utilize the wealth of the earth without destroying the earth itself. Nothing illustrates this fact better than this letter. It is unfortunate that the lesson has still not been learnt yet. Chief’s letter can be read as a plea of an environmentalist and we can have hope for a better future.
Works Cited
Contemporary English: An Anthology for Udergraduates-1, Oxford University Press, New Delhi 2011,pp 109
Garrad Greg, Ecocriticism, Routledge, New York, 2004
Goltfelty Cheryll, The Ecocriticism Reader: Landmarks in Literary Ecology, Georgia University Press, USA, xix, 1995
Cronon, William “The Trouble with Wilderness; or, Getting Back to the Wrong Nature” ed., Uncommon Ground: Rethinking the Human Place in Nature, New York: W. W. Norton & Co., 1995, 69-90
In the book Fahrenheit 451 by Ray Bradbury, there are many themes, symbols, and motifs that are found throughout the novel. For my journal response, I have chosen to discuss nature as a prevalent symbol in the book. The main character, Montag, lives in a society where technology is overwhelmingly popular, and nature is regarded as an unpredictable variable that should be avoided. Technology is used to repress the citizens, but the oppression is disguised as entertainment, like the TV parlour. On the opposite end of the spectrum, nature is viewed as boring and dull, but it is a way to escape the brainwashing that technology brings. People who enjoy nature are deemed insane and are forced to go into therapy. Clarisse says “My psychiatrist wants to know why I go out and hike around in the forests and watch the birds and collect butterflies,” (Bradbury 23) which shows she is a threat to the control that the government has put upon the people by enjoying nature.
In nature, someone can hear the sounds of a creek flowing and birds chirping and insects buzzing; in civilization, someone can hear engines roaring, people chattering, and buildings being built. In nature, one feels happiness and contentment; in civilization, one feels guilt and misery and sorrow. These simplicities of nature are what appeals to William Cullen Bryant in the poem ‘Inscription for the Entrance to a Wood’. The poem tells the reader that nature is a happier place than civilization and that nature gives one the answers to their existence and problems of life that civilization created. Civilization is ugly and corrupt while nature is beauty and tranquility.
The book is often cited as an environmental classic - of which there can be little doubt - but it is also said by some to have largely triggered the modern environmental movement. Its warning about the dangers of
Throughout the Romanticism period, human’s connection with nature was explored as writers strove to find the benefits that humans receive through such interactions. Without such relationships, these authors found that certain aspects of life were missing or completely different. For example, certain authors found death a very frightening idea, but through the incorporation of man’s relationship with the natural world, readers find the immense utility that nature can potentially provide. Whether it’d be as solace, in the case of death, or as a place where one can find oneself in their own truest form, nature will nevertheless be a place where they themselves were derived from. Nature is where all humans originated,
Finch, Robert, and John Elder. "Bill McKibben: From the End of Nature." The Norton Book of Nature Writing. New York: W.W. Norton, 1990. 1120-130. Print.
As we look back on intellectual movements throughout history, it can be seen that the perceptions of nature changed drastically. The Enlightenment and Romantic movements are not separate from this observation; in fact they are prime examples, seeing as that in both eras nature is a major theme and exploration point for the people of the time. This interest in nature, however, is where the majority of similarities end between the two movements. In order to fully understand the differences in ideals between the two movements, we must focus on the disciplines they study most, the themes created when they are studied, and the way humanity is compared to nature.
It is generally agreed that modern environmentalism begins with ‘A Fable for Tomorrow’, the first chapter in Rachel Carson’s Silent Spring (1962). The fairytale-like opening to the book begins with the words, ‘There was once a town in the heart of America where all life seemed to live in harmony with its surroundings’, painting a classic pastoral picture where she describes civilization far from modern ills coexisting with nature yet away from the perceived danger of the wild. However pastoral peace swiftly gives way to destruction- 'Then a strange blight crept over the area and everything began to change. Some evil spell had settled on the community: mysterious maladies swept the flocks of chickens; the cattle and sheep
“Ideas and practices of nature, including both bodies and landscapes, are located in particular productions of sexuality, and sex is, both historically and in the present, located in particular formations in nature. The critical analysis of these locations and co-productions is what we mean by “queer ecology…” (Mortimer-Sandilands, pg.4)
Hodara, Susan. “A Garden of Prose.” Harvard Magazine Sept.-Oct. 2010: n. pag. Web. 25 Jan. 2011. .
Since the rise of the American environmental romanticism the idea of preservation and conservation have been seen as competing ideologies. Literary scholars such as Thoreau and Muir have all spoke to the defense of our natural lands in a pristine, untouched form. These pro-preservation thinkers believed in the protecting of American lands to not only ensure that future generations will get to experiences these lands, but to protect the heavily rooted early American nationalism in our natural expanses. Muir was one of the most outspoken supports of the preservation ideology, yet his stylistic writing style and rhetoric resulted in conservation being an adopted practice in the early 20th century
It has never been an uncommon thing for one to retreat to nature in an attempt to ‘find one’s self,’ and somewhat cliché these days is the retreat to nature to ‘find God.’ Hundreds of books, essays, seminars, and retreats devote themselves to helping one understand how to find enlightenment and healing through connecting with nature. It is a phenomenon that transcends religious boundaries—everyone, from Buddhists to Christian Mystics to Quakers, seems to think that the key (or, at least, one of the keys) to enlightenment lies in nature. As one may suppose, this is not a new concept. Throughout literary history, there is a distinct trend of authors praising the virtues of nature, singing of the peace that it brings and the enlightening attributes of these places away from the noise and clutter of the cities. Shakespeare tells of finding “tongues in trees, books in the running brooks, [and] sermons in stone”(Shakespeare); William Wordsworth implores us to let nature be our teacher; Goethe claims that there is rest and respite on the mountain top; and George Washington Carver admits that he tries commune with nature everyday. It seems that from Henry David Thoreau right down to contemporary authors, no generation or writing period has been devoid of at least one prolific author who takes to nature in order to find the answers.
Flourishing nature is most beauteous in areas which have not been maimed by the human race. The idea that spiritual and philosophical wellness can be found in nature is supported world-wide. Many different cultures use their eco-rich surroundings to become more spiritually/philosophically endowed. In the short story “A White Heron” by Sarah Orne Jewett there are two fundamental relationships with society and nature that reflect the author’s point of view in support of this idea. The first is a good example of how nature can positively affect the spiritual/philosophical wellness of a person through an appreciative, loving, and tolerant relationship (Sylvia). The second is a destructive, parasitic relationship that is only beneficial to one party (the hunter). Sylvia struggles with her loyalty to her own innocence and respect of nature because of the exciting new possibilities the hunter promises to her. I will elaborate on topics such as the nature of Sylvia’s relationships, the narrator’s point of view, and the writing style in the text to demonstrate an understanding of how the author saw the relationship of society and nature in “A White Heron”.
An ecocriticism is is a lens that looks at the relationship between people and the natural world. Thomas K. Dean gave a better description be stating, “Ecocriticism is a study of culture and cultural products (art works, writings, scientific theories, etc.) that is in some way connected with the human relationship to
Though in theory, ecological feminism has been around for a number of years, it emerged as a political movement in the 1970s. Francoise d’Eaubonne, a French feminist philosopher, coined the term “Ecofeminism” in 1974. Ecofeminism is a feminist approach to environmental ethics. Karen Warren, in her book Ecofeminist Philosophy, claims that feminist theorists question the source of the oppression of women, and seek to eliminate this oppression. Ecofeminists consider the oppression of women, (sexism) the oppression of other humans (racism, classism, ageism, colonialism), and the domination of nature (naturism) to be interconnected. In her book New Woman/New Earth, Rosemary Radford Reuther wrote, “Women must see that there can be no liberation for them and no solution to the ecological crisis within a society whose fundamental model of relationships continues to be one of domination. They must unite the demands of the women’s movement with those of the ecological movement to envision a radical reshaping of the basic socioeconomic relations and the underlying values of this society (204).”