By John Parham
This e-book, the 1st to contemplate Gerard Manley Hopkins as an ecological author, explores the measurement that social ecology deals to an ecocriticism hitherto ruled through romantic nature writing. The case for a 'green Hopkins' is made via a paradigm of 'Victorian Ecology' that expands the scope of latest stories in Victorian literature and technological know-how. Parham argues that Hopkins built a two-fold knowing of ecology - as a systematic philosophy developed round ecosystems thought; and as a corresponding idea of society organised round the sustainable use of power - in addition to a corresponding poetic perform. In an intensive new analyzing of the poems, he means that Hopkins translated an cutting edge nature poetry, during which rhythm conveyed a nature characterized through dialectical power trade, right into a social 'ecopoetry' that embodied the environmental influence of Victorian 'risk' society on its human inhabitants. positioned inside of a 'Victorian ecological mind's eye' that fused romanticism and pragmatism, the publication perspectives Hopkins' paintings as indicating the worth of reconciling a deep ecological statement of the intrinsic price of (nonhuman) nature with social ecology's extra pragmatic makes an attempt to critique and re-conceptualise human existence.
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Additional resources for Green Man Hopkins: Poetry and the Victorian Ecological Imagination. (Nature, Culture and Literature)
Towards a Humanist Ecocriticism 31 This foregrounding of a sense of place as central to ecological literature has been supported by an attempt to delineate what Bate refers to as the “historical continuity of a tradition of environmental consciousness” (1991: 9). Bate and Buell have installed, respectively, Wordsworthian Romanticism and its American derivative, nineteenth-century transcendental nature writing, as pivotal to that tradition, a move followed by several critics – Karl Kroeber, Laurence Coupe, James C.
Beginning with a critique of western culture, Abram argues that we are “deaf” and “blind” to other species and to “the animate landscapes they inhabit” (1996: 27-8). To shut ourselves off from these other voices, to continue by our lifestyles to condemn these other sensibilities to the oblivion of extinction, is to rob our senses of their integrity, and to rob our minds of their coherence. We are human only in contact, and conviviality, with what is not human. (22) Seeking, then, to rediscover a lost relationship, Abram turns to phenomenological philosophy.
Identifying three central strands – Wordsworthian Romanticism; twentieth-century criticism; contemporary environmental literature – Bate summarises that tradition as follows: Romanticism declares allegiance to what Wordsworth in the preface to Lyrical Ballads called ‘the beautiful and permanent forms of nature’. It proposes that when we commune with those forms we live with a peculiar intensity, and conversely that our lives are diminished when technology and industrialization alienate us from those forms.