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Although current environmental debates lay the focus on the Industrial Revolution as a sociopolitical development that has led to the current environmental crisis, many ecocritical projects have avoided historicizing their concepts or have been characterized by approaches that were either pre-historic or post-historic: while the environmental movement has harbored the dream of restoring nature to a state untouched by human hands, there is also the pessimistic vision of a post-apocalyptic world, exhausted by humanity’s consumption of natural resources. Against this background, the decline of nature has become a narrative template quite common among the public environmental discourse and environmental scientists alike. The volume revisits Antiquity as an epoch which witnessed similar environmental problems and came up with its own interpretations and solutions in dealing with them. This decidedly historical perspective is not only supposed to fill in a blank in ecocritical discourse, but also to question, problematize, and inform our contemporary debates with a completely different take on “nature” and humanity’s place in the world. Thereby, a productive dialogue between contemporary ecocritical theories and the classical tradition is established that highlights similarities as well as differences. This volume is the first book to bring ecocriticism and the classical tradition into a comprehensive dialogue. It assembles recognized experts in the field and advanced scholars as well as young and aspiring ecocritics. In order to ensure a dialogic exchange between the contributions, the volume includes four response essays by established ecocritics which embed the sections within a larger theoretical and practical ecocritical framework and discuss the potential of including the pre-modern world into our environmental debates.
What can a study of antiquity contribute to the interdisciplinary paradigm of the environmental humanities? And how does this recent paradigm influence the way we perceive human-'nature' interactions in pre-modernity? By asking these and a number of related questions, this Element aims to show why the ancient tradition still matters in the Anthropocene. Offering new perspectives to think about what directions the ecological turn could take in classical studies, it revisits old material, including ancient Greek religion and mythology, with central concepts of contemporary environmental theory. It also critically engages with forms of classical reception in current debates, arguing that ancient ecological knowledge is a powerful resource for creating alternative world views.
One of the more frequently lodged, serious, and justifiable complaints about ecocritical work is that it is insufficiently theorized. Ecocritical Theory puts such claims decisively to rest by offering readers a comprehensive collection of sophisticated but accessible essays that productively investigate the relationship between European theory and ecocritique. With its international roster of contributors and subjects, it also militates against the parochialism of ecocritics who work within the limited canon of the American West. Bringing together approaches and orientations based on the work of European philosophers and cultural theorists, this volume is designed to open new pathways for ecocritical theory and practice in the twenty-first century.
Ecocriticism has emerged as one of the most fascinating and rapidly growing fields of recent literary and cultural studies. From its regional origins in late-twentieth-century Anglo-American academia, it has become a worldwide phenomenon, which involves a decidedly transdisciplinary and transnational paradigm that promises to return a new sense of relevance to research and teaching in the humanities. A distinctive feature of the present handbook in comparison with other survey volumes is the combination of ecocriticism with cultural ecology, reflecting an emphasis on the cultural transformation of ecological processes and on the crucial role of literature, art, and other forms of cultural creativity for the evolution of societies towards sustainable futures. In state-of-the-art contributions by leading international scholars in the field, this handbook maps some of the most important developments in contemporary ecocritical thought. It introduces key theoretical concepts, issues, and directions of ecocriticism and cultural ecology and demonstrates their relevance for the analysis of texts and other cultural phenomena.
This book examines the application of drawing in the design process of classical architecture, exploring how the tools and techniques of drawing developed for architecture subsequently shaped theories of vision and representations of the universe in science and philosophy. Building on recent scholarship that examines and reconstructs the design process of classical architecture, John R. Senseney focuses on technical drawing in the building trade as a model for the expression of visual order, showing that the techniques of ancient Greek drawing actively determined concepts about the world. He argues that the uniquely Greek innovations of graphic construction determined principles that shaped the massing, special qualities and refinements of buildings and the manner in which order itself was envisioned.
The volume offers a survey of the contribution of German literature and culture to the evolution of ecological thought. As the field of ecocritical theory and practice is rapidly expanding towards transnational and global dimensions, it seems nevertheless necessary to consider the distinct manifestations of ecological thought in various cultures. In this sense, the volume demonstrates in twenty-six essays from different disciplines how German literature, philosophy, art, and science have contributed in unique ways to the emergence of ecological thought on national and transnational scale. The volume maps the most important and characteristic of these developments both on a theoretical and on a textual-analytical level. It is structured in five parts ranging from proto-ecological thought since early modern times (part I) to major theoretical approaches (part II), environmental history (part III), and ecocritical case studies (part IV), to ecological visions in different media and art forms (part V). The four editors have widely published and are actively involved in ecocritical literary and cultural studies. The group of editors consists of two scholars of German literature and cultural studies, Gabriele Duerbeck and Urte Stobbe (both University of Vechta), a scholar in German and comparative literature, Evi Zemanek (University of Freiburg), as well as a scholar of Anglo-American ecoliterature and ecocriticism, Hubert Zapf. All of them are involved in various projects and research networks on ecology and literature. The contributors of the individual chapters likewise are all experts in their respective fields, ranging from German literature, history, environmental studies, art history, music and art. The book is a unique and readily accessible collection of essays that is of relevance not only for a German and continental European but for a worldwide audience.
The Oxford Handbook of Ecocriticism explores a range of critical perspectives used to analyze literature, film, and the visual arts in relation to the natural environment. Since the publication of field-defining works by Lawrence Buell, Jonathan Bate, and Cheryll Glotfelty and Harold Fromm in the 1990s, ecocriticism has become a conventional paradigm for critical analysis alongside queer theory, deconstruction, and postcolonial studies. The field includes numerous approaches, genres, movements, and media, as the essays collected here demonstrate. The contributors come from around the globe and, similarly, the literature and media covered originate from several countries and continents. Taken together, the essays consider how literary and other cultural productions have engaged with the natural environment to investigate climate change, environmental justice, sustainability, the nature of "humanity," and more. Featuring thirty-four original chapters, the volume is organized into three major areas. The first, History, addresses topics such as the Renaissance pastoral, Romantic poetry, the modernist novel, and postmodern transgenic art. The second, Theory, considers how traditional critical theories have expanded to include environmental perspectives. Included in this section are essays on queer theory, science studies, deconstruction, and postcolonialism. Genre, the final major section, explores the specific artforms that have animated the field over the past decade, including nature writing, children's literature, animated films, and digital media. A short section entitled Views from Here concludes the handbook by zeroing in on the various transnational perspectives informing the continued dissemination and globalization of the field.
In the ancient Mediterranean world, the sea was an essential domain for trade, cultural exchange, communication, exploration, and colonisation. In tandem with the lived reality of this maritime space, a parallel experience of the sea emerged in narrative representations from ancient Greece and Rome, of the sea as a cultural imaginary. This imaginary seems often to oscillate between two extremes: the utopian and the catastrophic; such representations can be found in narratives from ancient history, philosophy, society, and literature, as well as in their post-classical receptions. Utopia can be found in some imaginary island paradise far away and across the distant sea; the sea can hold an unknown, mysterious, divine wealth below its surface; and the sea itself as a powerful watery body can hold a liberating potential. The utopian quality of the sea and seafaring can become a powerful metaphor for articulating political notions of the ideal state or for expressing an individual’s sense of hope and subjectivity. Yet the catastrophic sea balances any perfective imaginings: the sea threatens coastal inhabitants with floods, tsunamis, and earthquakes and sailors with storms and the accompanying monsters. From symbolic perspectives, the catastrophic sea represents violence, instability, the savage, and even cosmological chaos. The twelve papers in this volume explore the themes of utopia and catastrophe in the liminal environment of the sea, through the lens of history, philosophy, literature and classical reception. Contributors: Manuel Álvarez-Martí-Aguilar, Vilius Bartninkas, Aaron L. Beek, Ross Clare, Gabriele Cornelli, Isaia Crosson, Ryan Denson, Rhiannon Easterbrook, Emilia Mataix Ferrándiz, Georgia L. Irby, Simona Martorana, Guy Middleton, Hamish Williams.
Ecologically oriented visions of God, the Sacred, the Earth, and human beings. The proposed handbook will serve as the definitive overview of these exciting new developments. Divided into three main sections, the books essays will reflect the three dominant dimensions of the field. Part I will explore
Reconceptualizing the epic genre and opening it up to a world of storytelling, The Epic World makes a timely and bold intervention toward understanding the human propensity to aestheticize and normalize mass deployments of power and violence. The collection broadly considers three kinds of epic literature: conventional celebratory tales of conquest that glorify heroism, especially male heroism; anti-epics or stories of conquest from the perspectives of the dispossessed, the oppressed, the despised, and the murdered; and heroic stories utilized for imperialist or nationalist purposes. The Epic World illustrates global patterns of epic storytelling, such as the durability of stories tied to religious traditions and/or to peoples who have largely "stayed put"; the tendency to reimagine and retell stories in new ways over centuries; and the imbrication of epic storytelling and forms of colonialism and imperialism, especially those perpetuated and glorified by Euro-Americans over the past 500 years, resulting in unspeakable and immeasurable harms to humans, other living beings, and the planet Earth. The Epic World is a go-to volume for anyone interested in epic literature in a global framework. Engaging with powerful stories and ways of knowing beyond those of the predominantly white Global North, this field-shifting volume exposes the false premises of "Western civilization" and "Classics," and brings new questions and perspectives to epic studies.