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• W84456645 abstract "The theme for the thirty-ninth of our annual French Literature Conferences was originally inspired by what seemed me be the Frenchspeaking world's delayed engagement with ecocriticism as well as by what also seemed me be ecocritics' initial lack of interest in reaching back and beyond the discipline's roots in nineteenth-century English and American nature writing. The vetted contributions that conference, collected in this volume, demonstrate, on the contrary, a thoughtful and provocative commitment using the tools of ecocriticism both broaden and deepen our understanding of the representation of the environment in French in works spanning a variety of genres and media - novels, short stories, documentary films, philosophical treatises, political cartoons - extending in time from the early modern the post-colonial and in space from France Cameroon the entire planet.They respond, moreover, and in creative ways, my own hopes for ecocriticism, which I, myself, came somewhat tardily when asked by a colleague think about its potential for my own field of inquiry, early modern France. As happens, this coincided with a moment of heightened anxiety about the future not merely of the planet, but, more the point for a journal like FLS, for the humanities. (I write sardonically, of course, but some days, when assessing the view from an American state university office, I am not so certainof that.) Could this relatively new, environmentally conscious approach, ostensibly rooted in a specific socio-historical moment, up French studies, make them accessible and relevant, the larger society, as German comparatisi Ottmar Ette, excerpted in October 2010's apocalyptic issue of PMLA, advocated should be the survival strategy for literary studies in general? True, Ette references specifically neither French nor ecocriticism, but he does call, in particular, for attention a greater Uberlebenswissen, which critic Vera M. Kutzinski renders as for survival. For the humanities survive in our present and future societies, Ette amplifies and Kutzinski translates, both channeling Nietzsche, it is vital that they conceive of themselves as for [Lebenswissenschafteri] (983, emphasis hers). This is in calculated counterpoint the increasing hegemony of the sciences in the modern university. Literary scholars are thus encouraged take the lead by capitalizing on their discipline's critical function develop an open concept of and of knowledge about and for systematically interrogating the uses and disadvantages literary scholarship has for life. Such knowledge must serve life - that is, must be grounded in dialogue and theory rather than in ideology.Ecocriticism is, I suspected then, and the articles collected here demonstrate, all over that. It very much claims be a science for living, a systematic interrogation of the uses and disadvantages of the biosphere, humanity's manipulative relationships it, and the ways those relationships are currently, and have been historically, expressed. It is a sort of hermeneutics of the about and for living in harmony - or discord - with a weary planet. Drawing lifeblood from such iconic green writers as Thoreau, Wordsworth and Whitman and dating its big bang the 1962 publication of Rachel Carson's Silent Spring, ecocriticism essentially addresses, as I have just observed, the relationship between humankind and the environment. Quoting from the 1996 manifesto-like Ecocriticism Reader, whose editors Cheryll Glotfelty and Harold Fromm themselves borrow from the mission statement of ASLE, the Association for the Study of Literature and the Environment, the ecocritical goal is to promote the exchange of ideas and information pertaining literature that considers the relationship between human beings and the natural world and encourage new nature writing, traditional and innovative scholarly approaches environmental literature, and interdisciplinary environmental research (xviii). …" @default.
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• W84456645 date "2012-01-01" @default.
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• W84456645 title "The Environment in French and Francophone Literature and Film: An Introduction" @default.
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