‘Dark ecology’ is the term recently coined by critic Timothy Morton to describe our profoundly interconnected coexistence in a world poised on the brink of environmental catastrophe.
Morton's vision of ‘nature’ as morbid, enmeshed modes of being has more in common, he tells us, ‘with the undead than with life’,
and his thinking might provide a new sense of the gothic as a genre full of dark environmental resonance.
The Powers of Were-Goats in Tommaso Landolfi‘s La pietra lunare (The Moonstone)
Jewell links the were-animals in Tommaso Landolfis novel La pietra lunare to population ecology in the 1930s. Landolfi imagines and narrates a were-population explosion in the specific historical context of the changes fascism brought to rural life when it favored a grain-based economy. When state policy attempts to manage grazing populations and the culture of transhumance, the uncontrolled growth of fast-breeding, broad-ranging, mountain-going were-goats in the novel puts the validity of fascist agricultural policy into question. When in secret at the full moon they couple monstrously and multiply, were-animals thoroughly challenge the effectiveness of discourses of controlled population management.
This volume explores how current ideas about ecocriticism can be applied to Gothic narratives in order to help draw out their often dystopian ecological visions. The book argues that, from chilling Victorian panoramas to films such as Frankenstein or The Thing, the Arctic looms large as a blank screen on which fantasies of Gothic entrapment may be projected. It explores selected tales of Algernon Blackwood showing some ways in which Blackwood blurs the distinctions between the human world and a wider natural and spiritual ecology. The book examines the seventeenth-century New England Puritan influence on later Gothic representations of the natural world in North America. It provides an overview of recent studies on the American Gothic which highlight the notion of the wilderness as an ideological lens through which early settlers viewed the strange landscape they found themselves in. The book argues that, from its origins, women's Gothic fiction has undermined fictions of the human and the nonhuman, the natural and the unnatural by creating worlds in which the everyday is collapsed with the nightmarish. The book is the first to explore the Gothic through theories of ecocriticism. The structure of the volume broadly follows national trends, beginning with a British tradition, and moving through a Canadian context. It also follows through a specifically American model of the ecoGothic, before concluding with Deckard's discussion of a possible global context which could overcome national variations.
Objects of affection recovers the emotional attraction of the medieval book through an extended engagement with a single fifteenth-century literary collection known as Oxford, Bodleian Library Manuscript Ashmole 61. Exploring how the inhabitants of the book’s pages – human and non-human, tangible and intangible – collaborate with its readers then and now, this book addresses the manuscript’s material appeal in the ways it binds itself to different cultural, historical, and material environments. This new materialist manuscript study traces the affective literacy training that the book, produced by a single scribe, provided to a late medieval English household. Its diverse inhabitants are incorporated into the ecology of the book itself as it fashions spiritually generous and socially mindful household members – in the material world they generate and that guides their living, and in the social and spiritual desires that shape their influences in that world.
necessary, part of their social world, but it is construed, by humans, as a moral ecology, and the human judgements of the morality of that ecology construct the nature of wolves.
In order to understand more fully how the werewolf emerged it is necessary to turn to wolves themselves and their behaviours in particular environments and landscapes. However, there is an immediate set of issues with the phrase ‘wolves themselves’. When and how can wolves ever be themselves? This has two key elements: that which wolves do amongst themselves to maintain and
side of systems-based ecology with its emphasis on associations of species that are adapted to the conditions of soil and climate. Ecology of a single species is covered in the branch of ecology known as ‘population ecology’. Where systems ecology is largely descriptive, population ecology is quantitative, and can be used to develop predictive models. Examples of population ecology of sheep are discussed in this book. Ecology is, however, a rich discipline with many alternative approaches. For sheep, this will include the community ecology of the microbiota that
Ecocriticism in the eighteenth century Gothic novel
Ecology began as a scientific study
some time around the 1860s, when German zoologist Ernst Haeckel coined
the term oecology in response to the theories of Charles Darwin.
The science of ecology as we know it today began with a group of
American botanists in the 1890s. 1 Literature, though, indicates that the roots of
ecology were taking hold even earlier, reaching back into the eighteenth
Global ecoGothic and the world-ecology in Rana Dasgupta’s Tokyo Cancelled
production in which peripheral environments suffer heightened resource
extraction and environmental degradation in an age of accelerating
climate crisis, developing a methodology attentive to the systemic
nature of combined and uneven development across the world-ecology is an
urgent task for environmental literary studies. Adorno and Horkheimer
argue that the Enlightenment’s production of a duality between
imaginative worlds with it, in an ongoing creative act that incorporates not only the words on the page as we translate them into our mental landscape but also the physical ecology of the book: in the particular features of its heft, scale, layout, and structure; in the smells and sounds of its turning pages; in its distinct fonts, illustrations, marks of previous readership, and other sensual cues to its unique world. Literary studies has long explored this imaginative textual space and its affective impacts; only more recently have the material site of the text and its
positions, such as deep and social ecology, and also offered
heuristic formal strategies for overcoming the problem of agency and
compelling an activist response from the reader, combining
self-consciously ecological composition with Brechtian alienation
effects. This was achieved through the transformation of the
conditions of US mainstream comics production, and particularly