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Romantic Ecocriticism: Origins and Legacies is unique due to its
rare assemblage of essays, which has not appeared within an edited
collection before. Romantic Ecocriticism is distinct because the
essays in the collection develop transnational and transhistorical
approaches to the proto-ecological early environmental aspects in
British and American Romanticism. First, the edition's
transnational approach is evident through transatlantic connections
such as, but are not limited to, comparisons among the following
writers: William Wordsworth, William Howitt, and Henry D. Thoreau;
John Clare and Aldo Leopold; Charles Darwin and Ralph W. Emerson.
Second, the transhistorical approach of Romantic Ecocriticism is
evident in connections among the following writers: William
Wordsworth and Emily Bronte; Thomas Malthus and George Gordon
Byron; James Hutton and Percy Shelley; Erasmus Darwin and Charlotte
Smith; Gilbert White and Dorothy Wordsworth among others. Thus,
Romantic Ecocriticism offers a dynamic collection of essays
dedicated to links between scientists and literary figures
interested in natural history.
Romantic Ecocriticism: Origins and Legacies is unique due to its
rare assemblage of essays, which has not appeared within an edited
collection before. Romantic Ecocriticism is distinct because the
essays in the collection develop transnational and transhistorical
approaches to the proto-ecological early environmental aspects in
British and American Romanticism. First, the edition's
transnational approach is evident through transatlantic connections
such as, but are not limited to, comparisons among the following
writers: William Wordsworth, William Howitt, and Henry D. Thoreau;
John Clare and Aldo Leopold; Charles Darwin and Ralph W. Emerson.
Second, the transhistorical approach of Romantic Ecocriticism is
evident in connections among the following writers: William
Wordsworth and Emily Bronte; Thomas Malthus and George Gordon
Byron; James Hutton and Percy Shelley; Erasmus Darwin and Charlotte
Smith; Gilbert White and Dorothy Wordsworth among others. Thus,
Romantic Ecocriticism offers a dynamic collection of essays
dedicated to links between scientists and literary figures
interested in natural history.
A transatlantic phenomenon of the late nineteenth and early
twentieth centuries, the "New Woman" broke away from many of the
constraints of the Victorian era to enjoy a greater freedom of
movement in the social, physical, and intellectual realms. As
Alicia Carroll reveals, the New Woman also played a significant
role in environmental awareness and action.From the Arts and Crafts
period, to before, during, and after the Great War, the iconic
figure of the New Woman accompanied and informed historical women's
responses to the keen environmental issues of their day, including
familiar concerns about air and water quality as well as critiques
of Victorian floral ecologies, extinction narratives, land use,
local food shortages, biodiversity decline, and food importation.
As the Land Question intersected with the Woman Question, women
contributed to a transformative early green culture, extolling the
benefits of going back to the land themselves, as "England should
feed her own people." Carroll traces the convergence of this work
and a self-realization articulated by Mona Caird's 1888 demand for
the "acknowledgement of the obvious right of the woman to possess
herself body and soul." By the early twentieth century, a thriving
community of New Woman authors, gardeners, artists, and land
workers had emerged and created a vibrant discussion. Exploring the
early green culture of Arts and Crafts to women's formation of
rural utopian communities, to the Women's Land Army and herbalists
of the Great War and beyond, New Woman Ecologies shows how women
established both their own autonomy and the viability of an
ecological modernity.
Although George Eliot has long been described as "the novelist of
the Midlands," she often brought the outer reaches of the empire
home in her work. "Dark Smiles: Race and Desire in George Eliot"
studies Eliot's problematic, career-long interest in representing
racial and ethnic Otherness.
Placing Eliot's diverse and wide-ranging treatment of Otherness in
its contemporary context, Alicia Carroll argues that Eliot both
engages and resists traditional racial and ethnic representations
of Otherness. Carroll finds that Eliot, like other women writers of
her time, often appropriates narratives of Otherness to explore
issues silenced in mainstream Victorian culture, particularly the
problem of the desirous woman. But if Otherness in Eliot's century
was usually gendered as woman and constructed as the object of
white male desire, Eliot often seeks to subvert that vision.
Professor Carroll demonstrates Eliot's tendency to "exoticize"
images of girlhood, vocation, and maternity in order to critique
and explore gendered subjectivities. Indeed, the disruptive
presence of a racial or ethnic outsider often fractures Eliot's
narratives of community, creating a powerful critique of home
culture.
The consistent reliance of Eliot's work upon racial and ethnic
Otherness as a mode of cultural critique is explored here for the
first time in its entirety.
A transatlantic phenomenon of the late nineteenth and early
twentieth centuries, the "New Woman" broke away from many of the
constraints of the Victorian era to enjoy a greater freedom of
movement in the social, physical, and intellectual realms. As
Alicia Carroll reveals, the New Woman also played a significant
role in environmental awareness and action.From the Arts and Crafts
period, to before, during, and after the Great War, the iconic
figure of the New Woman accompanied and informed historical women's
responses to the keen environmental issues of their day, including
familiar concerns about air and water quality as well as critiques
of Victorian floral ecologies, extinction narratives, land use,
local food shortages, biodiversity decline, and food importation.
As the Land Question intersected with the Woman Question, women
contributed to a transformative early green culture, extolling the
benefits of going back to the land themselves, as "England should
feed her own people." Carroll traces the convergence of this work
and a self-realization articulated by Mona Caird's 1888 demand for
the "acknowledgement of the obvious right of the woman to possess
herself body and soul." By the early twentieth century, a thriving
community of New Woman authors, gardeners, artists, and land
workers had emerged and created a vibrant discussion. Exploring the
early green culture of Arts and Crafts to women's formation of
rural utopian communities, to the Women's Land Army and herbalists
of the Great War and beyond, New Woman Ecologies shows how women
established both their own autonomy and the viability of an
ecological modernity.
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