Search results

The worldwide environmental crisis has also influenced the field of literary studies. Posthumanism and ecocriticism is a new way of reading in which the anthropocentric approach and the binary oppositions such as human/non-human, wild/tame and natural/cultural are overcome. Posthumanism pays attention to all sorts of non-human life, animals, for sure, but aliens and robots are included too, while ecocriticism is concerned with the role and function of nature in literary texts. The chapter offers an ecocritical approach of Robinson Crusoe (Defoe) and Friday (Tournier). Rereading these novels we see that nature, or the elements, make up an ‘actant’ equal to the human characters and a special interest is created in the mutual conflicts which arise between nature and the human characters.

Robinson Crusoe (Defoe, 1719) is considered by many as an appropriate book to allow pupils to escape from or be shielded from the negative influence of civilization. Like Robinson on his island pupils should learn from experience. Defoe’s work was so popular it inspired a whole series of imitations called ‘Robinsonnades’ and many of them were edited specifically for children. But is Robinson Crusoe a valuable book from an ecological point of view? How does Robinson relate to nature? Does the novel focus on nature or rather on the human hero seeking to control and tame the environment?

In 1967, the French author Michel Tournier reworked the Crusoe myth in Vendredi ou les limbes du Pacifique (Friday or the Pacific Rim), followed by a parallel text for children Vendredi ou la vie sauvage (Friday or the Wild Life, 1971). In both novels Robinson’s black servant, Friday, initiates his colonial master into alternative ways of living, dismantling civilization and restoring nature. That same deconstruction of the idea of Western superiority fits well with the postcolonial philosophy that attacks the logic of domination and its hierarchical dichotomy: white above coloured.

Since the establishment of ecocriticism, the traditional Western dualistic categories of spaces and places have become objects of increasing pluralistic refigurations in light of the challenges posed by current environmental crises. More and more scholars have discussed how rooted dichotomies, including country/city and nature/culture, should be reconsidered for better acknowledging the sense of connectedness occurring between humans and the surrounding nonhuman world. Consequences of this approach in literary and cultural studies have been pivotal: new environmentally oriented hermeneutic practices have developed, which allow for reevaluating phenomena linked to old-fashioned understandings of the natural world. Among them, the pastoral, traditionally conceived as the contrast between the rural and the urban, has been reexamined by ecocritics through new concepts, starting from the “post-pastoral” (Gifford, 1999). By stressing the investigation of the relationship between the human and the environment in pastoral representations, the post-pastoral has become a favorable tool (Gifford, 2006) for enhancing ethical considerations in response to the challenges posed by the Anthropocene.

This transdisciplinary chapter is also inspired by “geocriticism,” which reflects on how literary narratives influence spatial practices in the real, material world. Specifically, this chapter discusses how the neologism “cittagna” – blending the Italian terms città (city) and campagna (country) – which first appeared in Stefano Benni's novel Prendiluna (2017), allows critics to reflect on the development of similar combinatory processes in contemporary urban spaces. When considering this process in parallel with the notion of post-pastoral, “cittagna,” becomes a useful concept for observing how, in current cityscapes, the emergence of new spaces and places negotiates the conventional country/city split, while highlighting the sense of intertwining between the two terms. Hence, attention is placed on how two possible examples of rising “cittagnas” – roof gardens and off-leash dog parks – can be read as evidence of the increasing attentiveness toward issues of human-nonhuman relationality in today's urbanism, which becomes a hope on the horizon for facing current environmental concerns.

Heavy metal music has had a long relationship with environmental and ecological concerns, one that can be traced as far back as Black Sabbath’s ‘Into the Void’ (1971). Academic work has, however, been slow to recognise the entanglements of metal, environment and ecology in either the global or an Australian context. More recently, however, popular music scholars have begun to acknowledge how the sonic anger of black, death and other genres of extreme metal might be an appropriate medium for social and environmental commentary and protest (Lucas, 2015, p. 555). Therefore, according to Wiebe-Taylor (2009), metal’s ‘darker side is not simply about shock tactics and sensory overload…’, because, ‘metal also makes use of its harsh lyrics, sounds and visual imagery to express critical concerns about human behaviour and decision making and anxieties about the future’ (p. 89). Taking an ecocritical approach, this chapter will map and analyse the environmental concerns and ecological anxieties of Australian metal across a range of different bands and metal genres, as they emerge through three ‘dead-end’ discourses-misanthrophism, apocalypticism, Romanticism – which offer little or no hope of survival.

The chapter tries to understand how nuclear tests and the radiation fallouts in their aftermath can lead to cancer. It seeks to explore how our diseased ecological systems have resulted in silencing the birdsong and the spreading of cancer in the Anthropocene with reference to Terry Tempest Williams' (An environmentalist and Utah naturalist) two memoirs – “‘Refuge: An Unnatural History of Family and Place” and “When Women Were Birds: Fifty-Four Variations on Voice.” It would also try to factor in connections between climate change, pandemics like the COVID-19, and the onslaught of other terminal illnesses like cancer, all a result of mankind's anthropocentric hubris and domination of nature.

Mine would be a qualitative approach wherein I will refer to the original two texts mentioned for primary material and other sources for secondary references and analyze them from an ecofeminist perspective.

We need to establish the health of the Environment through reduced usage of nuclear weapons and by developing a language and an environmental praxis that doesn't separate the subject and the object and only then we can usher in biological egalitarianism, and restore the song of the whistling thrush again. We also need to revere our Mother Earth and see to it that she maintains her ecological balance through homeostasis.

This chapter serves as the introduction to the edited collection, calling into focus the diverse ways in which ‘Australia’ is asserted in the spaces, scenes and practices of Australian heavy metal. This chapter responds to earlier quandaries in the sparse research on Australian metal which question if there is anything definitively ‘Australian’ about the characteristics, themes and narratives demonstrated within Australian heavy metal scenes. In response to this challenge, the author uses this chapter to establish critical foundations for addressing how Australianness has been represented ‘Downunderground’ (Phillipov, 2008, p. 215) – historically, musically and geographically, as work in this collection affirms. This introduction foregrounds the concerns of the edited collection at large, which addresses how national identity has been imagined and constructed in ways which can at once celebrate problematic patriarchal nationalist symbolism, yet also call into focus the resistant and subversive ways in which metal scenes have deconstructed, critiqued and renegotiated the parameters of what it means to be ‘Australian’. This chapter asserts that any interrogation of the ‘Australianness’ of Australian metal must problematise the notion of a singularly ‘Australian’ identity in the first instance. Here the author argues that ‘Australian metal’ as a consolidated signifier must be problematised to instead come to an understanding of the multisited ways in which ‘Australianness’ is experienced within scenes. In doing so the author establishes the critical trajectories for the edited collection at large – to track the genealogies of Australian metal as a component in a wider global scene, and consider the plurality of its contemporary manifestations.

This chapter explores the role that birdwatching plays in The Archers. It demonstrates some significant similarities between the way that birdwatching is portrayed in present-day Ambridge, and the way it was presented in both fictional and non-fictional literature of the 1940s. These similarities suggest that birdwatching in Ambridge is an activity that tends to perpetuate traditional class and gender divisions. Particularly in terms of gender, this is a surprising discovery, given the many strong female characters in the show, and suggests that cultural assumptions about gender and birdwatching run deep in UK society today. The chapter warns that a failure to recognise these assumptions not only hampers the progress of women who aspire to be taken seriously as ornithologists, but also risks reinforcing dualistic thinking about humans and nature at a time when the environmental crisis makes it more important than ever to recognise the ecological interconnectedness of human and nonhuman worlds. However, the recent development of Kirsty Miller’s storyline, in which she is rediscovering her earlier love of the natural world, not only offers hope of a shift away from this traditional bias but also opens a space for a more nuanced examination of the importance of birds in human–nature relations.

How can students become transformational leaders if they are left alone to grapple with the emotional toll of climate change, preparing for careers while scientists sound the alarm that business as usual is untenable? Ecoanxiety, solastalgia, and climate grief are the affective undercurrents in sustainability and environmental science classrooms. This case study discusses strategies used to support students' emotional well-being in an introductory sustainability class and a co-curricular climate change support group program at Oregon State University. Psychologists and sustainability educators created space for students and faculty to engage in authentic dialogues confronting the emotional uncertainty of the climate crisis and working together to define their roles building a resilient future.