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The Powers of Were-Goats in Tommaso Landolfi‘s La pietra lunare (The Moonstone)
Keala Jewell

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.

Gothic Studies
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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.

Wolf behaviour becoming wolfish nature
Marcus Sedgwick

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

in In the company of wolves
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Sofia Wijkmark

-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. 1 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

in Nordic Gothic
Ecocriticism in the eighteenth century Gothic novel
Lisa Kröger

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

in Ecogothic
Global ecoGothic and the world-ecology in Rana Dasgupta’s Tokyo Cancelled
Sharae Deckard

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

in Ecogothic
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Alan Moore’s Swamp Thing and radical ecology
Maggie Gray

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

in Alan Moore and the Gothic Tradition
Superficial paganism and false ecology in The Wicker Man
William Hughes

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

in Ecogothic
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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 ). 8 Furthermore, Pietari Kääpä's 2014 book on ecology and contemporary Nordic cinema includes a chapter on contemporary Norwegian, Finnish and Icelandic horror films. 9

in Nordic Gothic
Adrian Tait

) 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 . 1993

in EcoGothic gardens in the long nineteenth century