Reading the environment : narrative constructions of ecological subjectivities in Australian children's literature

Ways in which humans engage with the environment have always provided a rich source of material for writers and illustrators of Australian children's literature. Currently, readers are confronted with a multiplicity of complex, competing and/or complementing networks of ideas, theories and emotions that provide narratives about human engagement with the environment at a particular historical moment. This study, entitled Reading the Environment: Narrative Constructions of Ecological Subjectivities in Australian Children's Literature, examines how a representative sample of Australian texts (19 picture books and 4 novels for children and young adults published between 1995 and 2006) constructs fictional ecological subjects in the texts, and offers readers ecological subject positions inscribed with contemporary environmental ideologies. The conceptual framework developed in this study identifies three ideologically grounded positions that humans may assume when engaging with the environment. None of these positions clearly exists independently of any other, nor are they internally homogeneous. Nevertheless they can be categorised as: (i) human dominion over the environment with little regard for environmental degradation (unrestrained anthropocentrism); (ii) human consideration for the environment driven by understandings that humans need the environment to survive (restrained anthropocentrism); and (iii) human deference towards the environment guided by understandings that humans are no more important than the environment (ecocentrism). iv The transdisciplinary methodological approach to textual analysis used in this thesis draws on ecocriticism, narrative theories, visual semiotics, ecofeminism and postcolonialism to discuss the difficulties and contradictions in the construction of the positions offered. Each chapter of textual analysis focuses on the construction of subjectivities in relation to one of the positions identified in the conceptual framework. Chapter 5 is concerned with how texts highlight the negative consequences of human dominion over the environment, or, in the words of this study, living with ecocatastrophe. Chapter 6 examines representations of restrained anthropocentrism in its contemporary form, that is, sustainability. Chapter 7 examines representations of ecocentrism, a radical position with inherent difficulties of representation. According to the analysis undertaken, the focus texts convey the subtleties and complexities of human engagement with the environment and advocate ways of viewing and responding to contemporary unease about the environment. The study concludes that these ways of viewing and responding conform to and/or challenge dominant socio-cultural and political-economic opinions regarding the environment. This study, the first extended work of its kind, makes an original contribution to ecocritical study of Australian children's literature. By undertaking a comprehensive analysis of how texts for children represent human engagement with the environment at a time when important environmental concerns pose significant threats to human existence, I hope to contribute new knowledge to an area of children's literature research that to date has been significantly under-represented.

Contemporary children's literature and film : engaging with theory

Bringing together the voices of leading and emerging scholars, this book provides critical approaches for reading children's literature and film. It argues for the significance of theory for reading texts written and produced for young people and integrates a wide range of critical perspectives, including schema theory, theories of space and place, cultural globalization, feminism, ecocriticism, adaptation theory, postcolonialism, and posthumanism.

Constructing the shitting citizen : the promise of scatological art as environmental and social activism

Art activism uses visual and performance art to promote social and environmental agendas. In this paper, I explore attempts to raise awareness of sanitation issues at the global, local and personal level using scatological art. I focus on the successes of the open-air public art exhibition set up in the Brisbane (Queensland, Australia) central business district to celebrate World Toilet Day in 2008. The art in this exhibition featured included one hundred toilets decorated to raise awareness of global sanitation issues and the distribution of promotional materials featuring scatological images including postcards and stickers. Given the subject matter and intent, the toilet art and promotional materials presented at the One Hundred Toilet exhibition can be seen as an example of scatological art employed for the purposes of social and environmental activism. Through the One Hundred Toilet exhibition, I consider the political aims and activist potential of using scatological art to progress social and environmental agendas and consider how this kind of ‘shit on show’ approach can contribute to the construction of the shitting citizen; one who is simultaneously responsible for and responsive to managing the waste that they produce and recognising and responding to broader sanitation issues.

The Visitor

A poem of 25 lines that examines the postcolonial aspect of living in a small country town. The poem feeds into research of place and identity. It explores how poetry can highlight the conflicts of a changing sense of place and identity. This poem specifically contributes to research on Australia as a postcolonial space. It also fits in with ideas of ecocriticism and how a sense of place and space are constantly changing. It uses a ecocritical lens.

The mirror manoeuvre : telling the same story twice

The emerging field of ecopsychology is marked by two theoretical concerns which can be seen as mirror images of each other. One is the concern with what humans need, psychologically, from the non-human natural world (e.g. Wolsko & Lindberg 2013). The other is what nature needs from us (e.g. Swim 2013). Ecocriticism has been exploring these questions for at least two decades, but ecocritical theory examines ways of reading texts rather than ways of writing them (Bate 2000; Buell 2001; Garrard 2012). Undertaking theoretically-informed “creative manoeuvres”, and reflecting and reporting on the results, is one way for practice-led researchers in the field of creative writing to progress the knowledge claims of our discipline. This paper describes an ecowriting practice experiment based on the premise that specific techniques of narrative fiction writing can deepen reader engagement with ecopsychology’s twin concerns, and help motivate ecological action. Exploring this premise is time-critical given the current environmental crisis (Rust & Totton 2012), and emerging evidence that contemporary modes of representing the non-human natural world fail to elicit activist responses (Crompton & Kasser 2009; Joffe 2008). In the practice experiment reported here, a unique reading experience has been constructed such that the reader encounters from two different perspectives, through two different novels, a single story of humans benefiting from non-destructive interactions with non-human nature. This paper argues that the two novels create a complex and intense relationship between reader and story which generates specific psychological effects, and ultimately demands an activist response.

The child pose : the role of the nonhuman natural world in recovery from psychological trauma

This thesis by creative work explores relationships among human beings, the nonhuman natural world and language. It addresses the central research question: 'How can a novel embody a narrative of recovery from psychological trauma in which recovery is primarily a function of the character's subjective interaction with nature?' The novel, 'The Child Pose', tells the story of a woman's recovery from psychological trauma. The thesis draws on the psychoanalytic theory of Jacques Lacan, who saw the human subject as fundamentally split and alienated, and therefore inherently vulnerable to being destabilised by trauma. Situating the narrative of recovery within the emerging fields of ecocriticism and ecopsychology, the research constructs psychological recovery through interaction with nature as a transformation of subjectivity: the creation of a new, more stable and connected kind of subject, which Jordan (2012) has called 'the ecological subject'.

Lumometsän syli : Anni Swanin satusymbolismi 1896-1923

Lumometsän syli, Anni Swanin satusymbolismi 1896-1923 on suomenkielisen satukirjallisuuden poetiikkaa ja 1900-luvun alun modernia naiseutta selvittävä feministiseen tutkimustraditioon liittyvä tutkimus. Sen kohteena ovat lasten- ja nuortenkirjailija Anni Swanin (1875-1958) satukokoelmat vuosilta 1901-1923 ja Uusi Suometar -lehden sadunomaiset novellit vuosilta 1896-1904. Tutkimus tuo uutta tietoa lastenkirjallisuuden osalta 1900-luvun alun modernin ihmisen problematiikasta. Se sisältää naissubjektin kehityskaaren ja sisäisen kasvun kohti naistaiteilijuutta. Yksityiskohtaisen tarkastelun kohteina ovat sadut Veli ja sisar (1917), Ihmekukka (1905), Marjaanan helmikruunu (1912), Aaltojen salaisuus (1901), Jääkukka (1905), Tyttö ja kuolema (1917), Merenkuningatar ja hänen poikansa (1905), Lumolinna (1905) ja Tarina Kultasirkasta (1901). Tutkimuksessa tarkastellaan Swanin satujen poeettista kieltä ja naiseuden tematiikkaa ranskalaisen postmodernin ajan feministisen viitekehyksen valossa. Siinä keskeisiä ovat Julia Kristevan psykoanalyyttispohjaiset näkemykset ja Hélène Cixous´n sekä Luce Irigarayn ajatukset feminiinisestä kirjoituksesta. Sadut kontekstualisoidaan ajankohdan symbolistiseen taidevirtaukseen ja Suomen taiteen kultakauteen. Satuja tulkitaan naiskirjailijan lajina ja erityisenä naisen metaforisen ilmaisun muotona. Satujen feministinen lukutapa purkaa perinteisiä lukemiskonventioita ja merkitsee satutekstin lukemista "toisin". Se avaa varhaista modernia naiseutta ja sille ominaista naisen ilmaisukielen erityisyyttä sekä mykkää ei-kielellistä, melankolian ilmaisua. Tutkimus tuo esiin uudenlaisen naiskirjailijan aistimusvoimaisen kielen. Swanin satusymbolismi on luonnon kauneuden synesteettista ja aistimusvoimaista kerrontaa, jolle on luonteenomaista aistiestetiikka, metaforisuus, metonymisyys ja metamorfoosit. Swan vahvistaa osaltaan naisen sankaruutta, omaa ilmaisukieltä ja ääntä. Tuloksena paljastuu satuperinteeseen verrattuna uudenlaisia tyttöyden, äitiyden, naistaiteilijuuden ja perheen malleja ja niiden representaatioita. Satumallit osoittautuvat aikanaan moderneiksi tyttösankareiksi, osin ambivalenteiksi uudenlaista naiseutta ja suhteessa oloa heijastaviksi ja ovat siten varhaisia feministisen sadun tunnusmerkkejä. Tutkimus selvittää, miten Swan rakentaa omaperäisen satusymboliikan. Satumetsä on luonnonkauniin suomalaismetsän symbolinen mielenmaisema ja samanaikaisesti sadun myyttis-symbolinen topos. Swanin luontokäsitys sisältää luonnonsuojelun ja varhaisen ekokriittisen näkemyksen. Tutkimus osoittaa Swanin satujen kytkeytyvän 1900-luvun alun modernismiin ja Suomen taiteen kultakauteen. Swan on suomenkielisen symbolistisen taidesadun kehittäjä ja feministisen sadun aloittaja.

Ekologiaren babesa haur eta gazte literaturan: Felipe Juaristi - Animalien inauteria (1999)

[EUS] Gure gizarteak industrializazio eta kontsumorako bidea hartu du. Orokorrean hiriko emakume-gizonak bihurtu gara, inguru naturala ahaztuz. Horren aurrean ekologiaren aldeko ekintzak daude. Lan honetan literatura eta natura aztertu egin dira. Felipe Juaristiren Animalien Inauteria (1999) liburuaren azterketa narratologikoa egin da eta ekokritikarekin erlazionatu da, ondoren eskolan izan ditzakeen onurak ondorioztatu ahal izateko.

The backwoods of our backyards : Ontario pioneers and the crisis of ecology /

Early in his landmark ecocritical book The Comedy of Survival, Joseph Meeker develops an intriguing hypothesis about human behaviour. He remarks the species Homo sapiens tend to behave like an invasive or pioneering organism, entering a bio-geographical region and aggressively outcompeting all other species for space and resources. Moreover, he suggests, human cultural traditions, at least in the West, have reinforced such behaviour, continually insisting that the impulses he describes are both necessary and right. While Meeker's work goes on to assess a number of literary works in both the tragic and comic modes, his work never fully explores this hypothesis in the context of human pioneers; that is, there is no ~xploration o( how these themes manifest themselves within our culture and what role they might play in the culture of specific pioneering groups. This project is an attempt at just such an analysis, examining the validity of Meeker's hypothesis through a case study of settler literature in Upper Canada/Ontario between the . years 1800-1867. It explores Meeker's work within three main areas: first, Chapter Two situates his book historically within the field of ecocriticism, showing what came before and the explosion of ecocritical inquiry that followed its release. This chapter also delves into the rift between the natural sciences and humanities, arguing that a move towards deeper interdisciplinarity is r:tecessary for the future. Chapter Three examines the biological and ecological ground on which Meeker rests his hypothesis through exploring evolutionary biology as well as invasive and pioneer species behaviour. Lastly, Chapter Four examines how these ecological principles are manifested in the writings of early Canadian settlers, suggesting that Meeker's hypothesis indeed finds itself on stable footing.

Mémoire de licence Quand un paysage naît, un autre meurt : – Une analyse écocritique du roman Naissance d'un pont

Ce mémoire est constitué par une analyse écocritique du roman Naissance d'un pont, écrit par Maylis de Kerangal. Le but général du mémoire est d'examiner comment ce roman décrit la relation entre l'homme et la nature. Nous examinons surtout les stratégies narratives employées par l'auteure pour transmettre l'image de cette relation et en plus, nous discutons le rôle joué par les différents paysages se retrouvant dans le récit. Finalement, l'analyse comprend aussi une brève réflexion sur la capacité éventuelle du roman d'influencer l'attitude du lecteur envers l'écologie. L'analyse des stratégies narratives se concentre sur le rôle du narrateur, ainsi que sur la présence et la fonction des perspectives éthiques, des noms symboliques et des figures de style. Ces stratégies contribuent à dépeindre une variété d'idées par rapport aux modes de vie de la société humaine, alors que les descriptions des paysages démontrent la relation complexe entre cette société et les paysages naturels et construits respectivement. Naissance d'un pont semble promouvoir une attitude à l'égard de la nature qui est plus humble que celle dominant dans la société moderne. Afin de pouvoir juger la capacité du roman de transmettre ces valeurs au lecteur, il serait pourtant raisonnable de tenir compte de plusieurs facteurs, tels que la complexité du langage et le niveau de crédibilité de l'histoire.

Animating child activism: Environmentalism and class politics in Ghibli’s Princess Mononoke (1997) and Fox’s Fern Gully (1992)

 Informed by ecocriticism, this article conducts a comparative examination of two contemporary animated children’s films, Princess Mononoke (1997) and Fern Gully (1992). While both films advocate for the prevention of deforestation, they are, to varying degrees, antithetical to environmentalism. Both films reject the principles of deep ecology in displacing responsibility for environmental destruction on to ‘supernatural’ forces and exhibit anthropocentric concern for the survival of humans. We argue that these films constitute divergent methodological approaches for environmental consciousness-raising in children’s entertainment. The western world production demonstrates marked conservatism in its depiction of identity politics and ‘cute’ feminization of nature, while Hayao Miyazaki’s film renders nature sublime and invokes complex socio-cultural differences. Against FernGully’s ‘othering’ of working-class and queer characters, we posit that Princess Mononoke is decidedly queer, anti-binary and ideologically bi-partisan and, in accord with the underlying principle of environmental justice, asks child audiences to consider compassion for the poor in association with care for nature.

Por uma nova arrumação do mundo: a obra de Mia Couto em seus pressupostos ecosóficos

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)