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Christina Rossetti’s Environmental Consciousness takes a cognitive ecocritical approach to Rossetti’s writing as it developed throughout her career. This study provides a unique understanding of Rossetti’s identity as an artist through a cognitive model while also engaging significantly with her spiritual relationship to the nonhuman world. Rossetti was a deliberate and conscious creator who used her writing for therapeutic purposes to create, contemplate, maintain, verify, and, revise her identity. Her understanding of her autobiographical self and her place in the world often comes through observations and poetic treatments of the nonhuman. Rossetti, her speakers, and her characters seek spiritual knowledge in the natural world and share this knowledge with an audience. In nature, Rossetti finds evidence for and guidance from a loving God who offers salvation. Her work places a high value on nature from a Christian perspective that puts conservation over renunciation. She frequently uses strategies that have now been identified by Christian environmentalist such as retrieval, ecojustice, stewardship, and ecological spirituality. With new readings of popular works like "Goblin Market" and "A Birthday," along with treatments of largely neglected works like Verses (1847) and Rossetti’s devotional writings, Christina Rossetti’s Environmental Consciousness offers an understanding of Rossetti’s processes and purposes as a writer and displays new potential for her work in the face of twenty-first-century environmental issues.
Christina Rossetti (1830-94) is regarded as one of the greatest Christian poets to write in English. While Rossetti has firmly secured her place in the canon, her religious poetry was for a long time either overlooked or considered evidence of a melancholic disposition burdened by faith. Recent scholarship has redressed reductive readings of Christian theology as repressive by rethinking it as a form of compassionate politics. This shift has enabled new readings of Rossetti's work, not simply as a body of significant nineteenth-century devotional literature, but also as a marker of religion's relevance to modern concerns through its reflections on science and materialism, as well as spirituality and mysticism. Emma Mason offers a compelling study of Christina Rossetti, arguing that her poetry, diaries, letters, and devotional commentaries are engaged with both contemporary theological debate and an emergent ecological agenda. In chapters on the Catholic Revival, Pre-Raphaelite Brotherhood, contemporary debates on plant and animal being, and the relationship between grace and apocalypse, Mason reads Rossetti's theology as an argument for spiritual materialism and ecological transformation. She ultimately suggests that Rossetti's life and work captures the experience of faith as one of loving intimacy with the minutiae of creation, a divine body in which all things, material and immaterial, human and nonhuman, divine and embodied, are interconnected.
In an unprecedented comparison of two of the most important female authors of the nineteenth century, Azelina Flint foregrounds the influence of the religious communities that shaped Louisa May Alcott’s and Christina Rossetti’s visions of female creativity. In the early stages of the authors’ careers, their artistic developments were associated with their patrilineal connections to two artistic movements that shaped the course of American and British history: the Transcendentalists and Pre-Raphaelites. Flint uncovers the authors’ rejections of the individualistic outlooks of these movements, demonstrating that Alcott and Rossetti affiliated themselves with their mothers and sisters’ religious faith. Applying the methodological framework of women’s mysticism, Flint reveals that Alcott’s and Rossetti’s religious beliefs were shaped by the devotional practices and life-writing texts of their matrilineal communities. Here, the authors’ iconic portrayals of female artists are examined in light of the examples of their mothers and sisters for the first time. Flint recovers a number of unpublished life-writings, including commonplace albums and juvenile newspapers, introducing readers to early versions of the authors’ iconic works. These recovered texts indicate that Alcott and Rossetti portrayed the female artist as a mouthpiece for a wider community of women committed to social justice and divine communion. By drawing attention to the parallels in the authors’ familial affiliations and religious beliefs, Flint recuperates a tradition of nineteenth-century women’s mysticism that departs from the individualistic models of male literary traditions to locate female empowerment in gynocentric relationships dedicated to achieving a shared revelation of God.
Christina Rossetti (1830-94) is regarded as one of the greatest Christian poets to write in English. While Rossetti has firmly secured her place in the canon, her religious poetry was for a long time either overlooked or considered evidence of a melancholic disposition burdened by faith. Recent scholarship has redressed reductive readings of Christian theology as repressive by rethinking it as a form of compassionate politics. This shift has enabled new readings of Rossetti's work, not simply as a body of significant nineteenth-century devotional literature, but also as a marker of religion's relevance to modern concerns through its reflections on science and materialism, as well as spirituality and mysticism. Emma Mason offers a compelling study of Christina Rossetti, arguing that her poetry, diaries, letters, and devotional commentaries are engaged with both contemporary theological debate and an emergent ecological agenda. In chapters on the Catholic Revival, Pre-Raphaelite Brotherhood, contemporary debates on plant and animal being, and the relationship between grace and apocalypse, Mason reads Rossetti's theology as an argument for spiritual materialism and ecological transformation. She ultimately suggests that Rossetti's life and work captures the experience of faith as one of loving intimacy with the minutiae of creation, a divine body in which all things, material and immaterial, human and nonhuman, divine and embodied, are interconnected.
Gendered Ecologies considers the value of interrelationships that exist among human, nonhuman species, and inanimate objects, featuring observations by women writers as recorded in texts. The edition presents a case for transnational women writers, participating in the discourse of natural philosophy from the late eighteenth through the early twentieth centuries.
The Environment on Stage: Scenery or Shapeshifter? investigates a pertinent voice of theatrical performance within the production and reception of ecotheatre. Theatre ecologies, unavoidably enmeshed in the environment, describe the system of sometimes perverse feedback loops running through theatrical events, productions, performances and installations. This volume applies an ecoaware spectatorial lens to explore live theatre as a living ecosystem in a literal sense. The vibrant chemistry between production and reception, and the spiralling ideas and emotions this generates in some conditions, are unavoidably driven by flows of matter and energy, thus, by the natural environment, even when human perspectives seem to dominate. The Environment on Stage is an intentionally eclectic mix of observation, close reading and qualitative research, undertaken with the aim of exploring ecocritical ideas embedded in ecotheatre from a range of perspectives. Individual chapters identify productions, performances and installations in which the environment is palpably present on stage, as it is in natural disasters such as floods, storms, famine, conflict and climate change. These themes and others are explored in the context of site-specificity, subversive spectators, frugal modes of narrative, the shifting ‘stuff’ of theatre productions, and imaginative substitutions. Ecotheatre is nothing less than vibrant matter that lets the environment speak for itself
Climate Change, Ecological Catastrophe, and the Contemporary Novel responds to the critical need for transdisciplinary research on the relationship between colonialism and catastrophe. It represents the first sustained analysis of the connection between colonial legacy and present-day ecological catastrophe in postcolonial fiction. Analyzing contemporary South Asian and South Pacific novels that grapple with climate change and catastrophe, environmental exploitation and instability, and human-nonhuman relationships in degraded environments, it offers a much-needed corrective to dominant narratives about climate, crisis, and the everyday. Highlighting the contributions of literary fiction from the postcolonial South to the growing field of the environmental humanities, this book reconsiders the novel’s relationship with climate change and the contemporary environmental imaginary. Counter to dominant current theoretical discourses, it demonstrates that the novel form is ideally suited to literary and imaginative engagements with climate change and ecological catastrophe. The six case studies it examines connect contemporary ecological vulnerability to colonial legacies, reveal the critical role animals and the environment play in literary imaginations of post-catastrophe recovery, and together constellate a decolonial perspective on ecological catastrophe in the era of climate change. Drawing on the work of Indigenous authors and scholars who write about and against the Anthropocene, this book displaces conventional ways of thinking about the relationship between the mundane and the catastrophic and promotes greater dialogue between the largely siloed fields of postcolonial, Indigenous, and disaster studies.
Ecofictions, Ecorealities and Slow Violence in Latin America and the Latinx World brings together critical studies of Latin American and Latinx writing, film, visual, and performing arts to offer new perspectives on ecological violence. Building on Rob Nixon’s concept of "slow violence," the contributions to the volume explore processes of environmental destruction that are not immediately visible yet expand in time and space and transcend the limits of our experience. Authors consider these forms of destruction in relation to new material contexts of artistic creation, practices of activism, and cultural production in Latin American and Latinx worlds. Their critical contributions investigate how writers, cultural activists, filmmakers, and visual and performance artists across the region conceptualize, visualize, and document this invisible but far-reaching realm of violence that so tenaciously resists representation. The volume highlights the dense web of material relations in which all is enmeshed, and calls attention to a notion of agency that transcends the anthropocentric, engaging a cognition envisioned as embodied, collective, and relational. Ecofictions, Ecorealities and Slow Violence measures the breadth of creative imaginings and critical strategies from Latin America and Latinx contexts to enrich contemporary ecocritical studies in an era of heightened environmental vulnerability.
Ecoprecarity: Vulnerable Lives in Literature and Culture presents an examination of ecoprecarity - the precarious lives that humans lead in the process and event of ecological disaster, and the increasing precarious state of the environment itself as a result of human interventions - in contemporary literary-cultural texts. It studies the representation of 'invasion narratives' of the human body and the earth by alien life forms, the ecodystopian vision that informs much environmental thought in popular cultures, the states of ontological integrity and genetic belonging in the age of cloning, xenotransplantation and biotechnology's 'capitalisation' of life itself, and the construction of the 'wild' in these texts. It pays attention to the ecological uncanny and the monstrous that haunts ecodystopias and forms of natureculture that emerge in the bioeconomies since the late twentieth century.
Packing Death in Australian Literature: Ecocides and Eco-Sidesaddresses Australian Literature from ecocritical, animal studies, plant studies, indigenous studies, and posthumanist critical perspectives. The book’s main purpose is twofold: to bring more sustained attention to environmental, vegetal, and animal rights issues, past and present, and to do that from within the discipline of literary studies. Literary studies in Australia continue to reflect disinterest or not enough interest in critical engagements with the subjects of Australia’s oldest extant environments and other beings beside humans. Packing Death in Australian Literature: Ecocides and Eco-Sides foregrounds the vegetal and nonhuman animal populations and contours of Australian Literature. Critical studies relied on in Packing Death in Australian Literature: Ecocides and Eco-Sides include books by CA. Cranston and Robert Zeller, Simon C. Estok, Bill Gammage, Timothy Morton, Bruce Pascoe, Val Plumwood, Kate Rigby, John Ryan, Wendy Wheeler, and Cary Wolfe. The selected literary texts include work by Merlinda Bobis, Eric Yoshiaki Dando, Nugi Garimara, Francesca Rendle-Short, Patrick White, and Evie Wyld.