Ecocriticism, Environmental Justice, and the Rights of Nature (original) (raw)
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The Politics of Rights of Nature
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This project would not have been possible without the support of our institutions-Coastal Carolina University (Pam) and the University of Oregon (Craig)-and the generous colleagues who read drafts, commented, and provided time for our writing. We thank the Rockefeller Brothers Fund for its generous financial support of our survey project. The Oregon Humanities Center and the College of Arts and Sciences at the University of Oregon provided support for indexing, for which we are
""This review includes the Estok-Robisch controversy, a critique of environmental justice criticism, the first collection of ecocritical art history, the MFS, MELUS and JoE specials, and books by Felstiner, Fromm, Johnson and Hulme. Please refer to the published version for citations: Chapter 3 : Ecocriticism Greg Garrard The Year's Work in Critical and Cultural Theory 2011 doi: 10.1093/ywcct/mbr003""
Art and Environmentalist Practice
Column in _Capitalism, Nature, Socialism_ Those at the art/science/environment juncture face head-on the challenge of our century, attempting daily to be artists, activists, dialecticians, and scientific practitioners simultaneously. Their fellow travelers are already on board: art critics, robot designers, amateur scientists, professional hackers, and post-disciplinary anarchists. The voices of red-green political ecologists belong in this engagement. The issues raised at this productive nexus call out for a reading that is simultaneously historical and red, ecological and feminist, critical and resistant, dialectical and materialist.
An Essay on Ecocriticism in the Century of Restoring the Earth
JAST: Journal of American Studies of Turkey, 2009
The larger system is the biosphere, and the subsystem is the economy. The economy is geared for growth…whereas the parent system doesn't grow. It remains the same size. So as the economy grows…it encroaches upon the biosphere, and this is the fundamental cost… Herman Daly I went to the land of sagebrush, towering pine trees, and clear blue skies, in 2010, to spend my sabbatical year in the English Department at the University of Nevada, Reno, which has the major graduate program in the U.S. devoted to Literature and Environment. 1 In the future, when I look back to this year, I will remember it as a meaningful time that gave me a unique opportunity to explore the dedicated literary activities of American ecocritics in saving the planet from ongoing environmental injustices. I will also remember it as the time when the Deepwater Horizon oil rig exploded and blighted the Earth, devastating the Gulf of Mexico. Paradoxes akin to my own experience are frequently recast in American environmental writing: on the one hand, an attitude of dominion over the land, and on the other, the strong attitude of the committed writers and the
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A Keener Perception: Ecocritical Studies in American Art History
Studies in Art Education: A Journal of Issues and Research in Art Education, 2012
Keener Perception (2009) has sought to highlight research in American art history with an ecocritical perspective, the ethical integration of visual analysis, cultural interpretation, and environmental history. Editors Alan Braddock and Christoph Irmscher have questioned how art historians and scholars who care about climate change can respond through scholarly inquiry in a way that fosters solutions through the transformation of environmental perception and historical understanding. They have offered this book as a re-imagination of environmental relations and possibilities for our planet, through its highlighting of environmental contexts of past cultural artifacts, bringing attention to neglected evidence of past ecological sensibility, casting canonical works and figures in a new light regarding environmental concerns, and emphasizing the particular ways in which human creativity unfolds within different environments. They have asserted that ecocritical art history challenges anthropocentrism while fostering a greater awareness of environmental relationships, the predicament of nonhumans, and limits of human dominion. I recommend this book as a model and content resource to inspire both art teachers and curriculum developers to reimagine how we teach about historical and contemporary