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Download Green Writing: Romanticism and Ecology by James McKusick PDF

By James McKusick

This ebook describes the emergence of ecological realizing one of the English Romantic poets, arguing that this new holistic paradigm provided a conceptual and ideological foundation for American environmentalism. Coleridge, Wordsworth, Blake, John Clare, and Mary Shelley all contributed to the basic principles and center values of the trendy environmental flow; their important impression used to be brazenly said via Emerson, Thoreau, John Muir, and Mary Austin. by way of revealing hitherto unsuspected hyperlinks among English and American nature writers, this booklet elucidates the Romantic origins of yank environmentalism.

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Green Writing: Romanticism and Ecology

This ebook describes the emergence of ecological knowing one of the English Romantic poets, arguing that this new holistic paradigm provided a conceptual and ideological foundation for American environmentalism. Coleridge, Wordsworth, Blake, John Clare, and Mary Shelley all contributed to the elemental principles and center values of the trendy environmental move; their important effect was once brazenly stated via Emerson, Thoreau, John Muir, and Mary Austin.

Extra resources for Green Writing: Romanticism and Ecology

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21 The pastoral eclogues of Theocritus and Virgil are likewise grounded in a concrete understanding of the negative consequences of the social and technological complexity of life in an urban setting. Both Theocritus and Virgil regarded the formation of the imperial city-state as a recent and pernicious phenomenon; Virgil in particular writes his pastorals out of aversion to the tyranny of Augustus. The pastoral mode was to provide one of the most enduring and influential modes of expression for environmental awareness, representing the life of simple shepherds as a desirable alternative to the stress and frivolous consumption of city dwellers.

An ecological reading of these writers will enable certain aspects of their conception of poetic form and their actual poetic practice to be understood more adequately than previous critical perspectives have allowed. In particular, the synergistic relationship between an individual organism and its habitat, which was first coming to be understood in its full complexity by late-eighteenth-century science, offers a fresh and suggestive model for analyzing the role of organicism in Romantic poetry and aesthetics.

3 This organic metaphor is apparent in his poetry as early as 1795, when it provides a conceptual foundation for the speculative pantheism of “The Eolian Harp”: And what if all of animated nature Be but organic Harps diversely fram’d, That tremble into thought, as o’er them sweeps Plastic and vast, one intellectual breeze, At once the Soul of each, and God of all? (lines 44-48) The term “organic” is used here with scientific precision; this passage asserts that all living creatures, no matter how “diversely fram’d,” must possess an internal process of self-regulation.

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