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.
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
-human and monstrous characters as embodying questions of identity, species and ecology. Of course, for humans, adapting the point of view of the Other, the non-human, is an impossible pursuit. Ecogothic rather has to do with ‘exposing the monstrous human gaze’, as David Del Principe puts it.
Yet fiction can give us a chance to envision what it could be like to see the world from the beetle's perspective, think like a cyborg or feel the thirst for blood like a vampire. The question of species is often on the agenda in
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
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
Superficial paganism and false ecology in The Wicker Man
ecology: both are, in essence, timely rather
than timeless, and anthropocentric rather than expressing human
embodiment within a diffuse and diverse natural continuum. The Wicker
Man is a work far from congruent with environmentalist
aspirations, then or now.
It is a critical commonplace that the central events of
The Wicker Man , the processional axis, as it were, that
Maria Holmgren Troy, Johan Höglund, Yvonne Leffler, and Sofia Wijkmark
studies dealing with the Nordic (or rather Scandinavian) region as a whole are Leffler's essays on Gothic topography in Scandinavian horror fiction (2010; 2013) and female Gothic monsters (2016) and her entry on ‘Scandinavian Gothic’ in The Encyclopedia of the Gothic ( 2012 ).
Furthermore, Pietari Kääpä's 2014 book on ecology and contemporary Nordic cinema includes a chapter on contemporary Norwegian, Finnish and Icelandic horror films.
Benjamin , Walter
. 1999 . ‘ The Work of Art in the Age of Mechanical Reproduction ’, in Illuminations, ed. by Hannah
Arendt , trans. by Harry Zorn ( London : Pimlico ), pp. 211–44
Bennett , Jane
. 2010 . Vibrant Matter: A Political Ecology of Things ( London : Duke University Press )
Bernstein , Stephen