This chapter looks at some prehistorical and historical examples of individual stone poems, and examples of stone poems grouped together in landscaped settings. It explores aspects of 'landmark' urban stone poems of Postcolonial Manchester. Alyson Hallett's pavement poem, with its 'outlying' word clusters, in Milsom Street, Bath, is public-art, Council-sponsored urban example. Stone poems have often been placed in groups or clusters within landscaped settings and forming a 'walk' or 'trail'. The chapter presents some examples of stone poems in settings which might not be considered places of outstanding beauty. The first is the monument in Dunraven Street, Tonypandy, in the Welsh Valleys, which commemorates the town's mining past. Sculpted by Howard Bowcott, working in collaboration with Tim Rose of the Bath-based landscape architecture firm Macgregor Smith and Rhondda Cynon Taf Council, it was unveiled in 1999.
Environmental literary criticism, usually contracted to ecocriticism, has advanced considerably since the term was widely adopted in the 1980s and 1990s. This book considers examples of this advance across genres within literary studies and beyond into other creative forms. It explores the ecocritical implications of collaboration across genres in the humanities. The book also explores literary, artistic and performance production through direct collaboration between the creative disciplines and the sciences. It introduces the idea that the human denial of death has in part contributed to our approach to environmental crisis. The book argues that ecocriticism is a developing field, so attention must continue to be directed at reformulating thought in the (also) still unfolding aftermath of high theory. Examples of two poets' shared exploration show one's radical landscape poems side by side with the other's landscape drawings. Ecocritical ideas are integrated with the discussion of how this creative partnership has led to a body of work and the subsequent exhibitions and readings in which it has been taken to the public. One poet claims that to approach any art work ecocritically, it is necessary to bring to it some knowledge of current scientific thought regarding the biosphere. The book then explores poems about stones, on stones and stones which are the poem. The big environmental issues and Homo sapiens's problematic response to them evident in the mundane experience of day-to-day environments are discussed. Finally, the book talks about ecomusicology, past climate patterns, natural heritage interpretation, and photomontage in windfarm development.
This introduction presents an overview of the key concepts discussed in the subsequent chapters of this book. The book follows the belief that ecocriticism has relevance across disciplines. It explores the ecocritical implications of collaboration across genres in the humanities, and literary, artistic and performance production through direct collaboration between the creative disciplines and the sciences. The book considers the possibilities for literary critique to account for the difficulties, focusing on contemporary environmental crisis fiction. It provides an account of a walking and camping tour of Iceland in the company of other artists. The book explains how photomontage has been used during the planning process to address concerns about the aesthetic appearance and community acceptance of turbines and wind farms. It also considers how international treaties have imposed strict environmental controls on what is permissible on the continent, and its unique status as an area where military activity is banned.