Introduction

Gaard, Greta; Estok, Simon C.; Oppermann, Serpil

doi:10.4324/9780203520840-1

Cited by 3 publications

(3 citation statements)

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“…As Gaard notes in Ecofeminism Revisited (2011), since the publication of Ecofeminism (1993), feminist critics in environmental humanities have variously reframed their scholarship as "global feminist environmental justice", "material feminisms", "queer ecology", or "feminist environmentalism", in part to reflect intersectional developments in postcolonial, animal, queer, feminist, and gender studies (Gaard et al 2013: 2-3). Gaard, Estok, and Oppermann's International Perspectives in Feminist Ecocriticism (2013) places feminist ecocritique into global and posthuman contexts, demonstrating its ongoing relevance in an age of ecological crisis (Gaard et al 2013). Notable, however, is the absence of Eastern and Central European representation in this volume.…”

Section: Key Ecocritical and Ecofeminist Conceptsmentioning

confidence: 97%

“…Applying political and activist perspectives like Gaard's to texts, literary ecocritics expose phallocentric biases while recovering marginalized voices. The relationship between aesthetically-and ideolog-ically-motivated eco-critique, as between theory and praxis, particularly theory's capacity to change material practices, continues to be debated by feminists and ecocritics alike (e.g., Estok's essay in Gaard et al 2013).…”

Section: Key Ecocritical and Ecofeminist Conceptsmentioning

confidence: 99%

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Mavka as Willow. An Ecofeminist Analysis of Lesja Ukrajinka’s Forest Song

Andrianova

2022

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Lesja Ukrajinka’s Lisova pisnja (1911) can be read as an eco-parable about Mavka, the forest nymph who transforms into a willow tree in danger of being felled. This paper provides a pioneering ecofeminist analysis of Lisova pisnja; it revises traditional approaches to the depiction of nature in the drama by combining them with an awareness of anthropogenic environmental degradation (the deforestation of the Volyn’ Polissja where it is set) and androcentrism, which is largely responsible for this degradation. After a brief review of key concepts in ecocriticism and ecofeminism, along with an overview of the state of eco-scholarship in Ukrainian studies and the scholarship on Lesja Ukrajinka within Ukrainian literary criticism, the paper analyzes the interrelated depiction of gender and nature, revealing Ukrajinka’s environmentalism and feminism and, at the same time, the ways in which she represents the world of the forest as mimicking and perniciously reinforcing human gender hierarchies.

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Section: Key Ecocritical and Ecofeminist Conceptsmentioning

confidence: 97%

Section: Key Ecocritical and Ecofeminist Conceptsmentioning

confidence: 99%

Mavka as Willow. An Ecofeminist Analysis of Lesja Ukrajinka’s Forest Song

Andrianova

2022

StSl

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“…For some recent examples, see Gaard et al . (2013), McSweeney (2013), Murphy (2018), Soles (2014) and Wright (2015).…”

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confidence: 99%

‘Shrieking soldiers … wiping clean the earth’: hearing apocalyptic environmentalism in the music of Botanist

Lucas¹

2019

Pop. Mus.

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This article presents a case study of ecocritical black metal, delving into the apocalypticism of the California-based black metal band Botanist, who conjures a world in which plants have violently destroyed human civilisation. It first contextualises Botanist amidst the broader current of environmentalism in extreme metal as well as within wider cultural explorations of plants as subjective beings capable of violence. The article then examines how Botanist taps into the logic of apocalyptic environmentalism, as the music presents the essential narrative of apocalyptic bioterrorism: humanity, with wanton hubris, has sown the seeds of its own destruction, and earned whatever horrors befall it on the way to elimination. With its bleak outlook and strident sound world, Botanist's music threatens to destabilise listeners’ assumptions about their place in the world and offers an example of what apocalyptic ecological urgency in music could sound like.

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A Posthuman Quest for Establishing Self-Image through Nature in Virginia Woolf’s The Waves

Kümbet

2022

HUMANITAS - Uluslararası Sosyal Bilimler Dergisi

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Virginia Woolf, son derece deneysel olan modernist romanı Dalgalar (1931) (The Waves)'da, insan deneyiminin psikolojik derinliğini ve dokusunu, bir dizi parçalanmış ve kopuk görüntüler, iç monologlar ve kendi kendine konuşma tekniği (soliloquy) yoluyla tasvir ederek, kayıp, hayal kırıklığı ve kırılmışlık hissini vurgulamaktadır. Dalgalar (1931) romanı boyunca, karakterler kendilerini ifade etmeye çabalarlar ve insan ve insan olmayan yaşam formları ile etkileşimler içine ve çevre ile birlikte var olma yoluyla bir öz-imge inşası için posthüman bir arayışa girerler. Bu makale, Woolf'un doğa ile kültür, benlik ve çevre, insan ve insan olmayan yapılar arasındaki arayüz anlayışına yeni bir bakış açısı sunmak için materyal bir posthüm anist yaklaşımla Dalgalar'ı (1931) incelemektedir. Bu yaklaşım karakterlerin doğayla bütünleşme ve bir olmaya özlem duymak ve canlı ve cansız varlıkların maddeselliğini keşfetmek ve paramparça imajlarını ve modern yaşam tarzlarını yeniden tanımlamalarına yardımcı bir araç olarak görülmektedir.

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Introduction

Cited by 3 publications

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Mavka as Willow. An Ecofeminist Analysis of Lesja Ukrajinka’s Forest Song

Mavka as Willow. An Ecofeminist Analysis of Lesja Ukrajinka’s Forest Song

‘Shrieking soldiers … wiping clean the earth’: hearing apocalyptic environmentalism in the music of Botanist

A Posthuman Quest for Establishing Self-Image through Nature in Virginia Woolf’s The Waves

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