Journal articles: 'Postcolonial ecocriticism'

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Miller, John. "Postcolonial Ecocriticism and Victorian Studies." Literature Compass 9, no. 7 (July 2012): 476–88. http://dx.doi.org/10.1111/j.1741-4113.2012.00891.x.

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FitzGerald, Lisa. "Border Country: Postcolonial Ecocriticism in Ireland." Ecozon@: European Journal of Literature, Culture and Environment 11, no. 2 (October 2, 2020): 59–65. http://dx.doi.org/10.37536/ecozona.2020.11.2.3504.

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The spatial turn in Ireland has emerged from a focus on postcolonial discourse, a historical model that critiques the inequalities inherent in Irish modernity. A focus on place as a means of establishing identity, particularly within the context of colonial and imperialist narratives, led to a dynamic discourse on literary representations of the environment in Irish studies depicting fraught relationships between land and scarcity. And yet, there was resistance to engaging with ecocriticism on a systematic level, as Eóin Flannery observes, “the field of Irish cultural studies has yet to exploit fully the critical and analytical resources of ecological criticism” (2012: 6). Previously, the discourse of space and place has been in the service of Irish cultural studies: how has our relationship with place made Ireland what it is today? One of the interesting aspects of the intervention of ecocriticism in the field of Irish studies is how much of ecocriticism is still in the trawl of the cultural implications for the environment. This article will examine the emergence of Irish studies and ecocritical discourse in recent years and explore the dynamic between post-colonialism and environmental criticism with respect to the Irish canon.

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Manggong, Lestari. "POSTCOLONIAL ECOCRITICISM IN HUNGER BY ELISE BLACKWELL." International Journal of Humanity Studies (IJHS) 3, no. 2 (February 13, 2020): 137–49. http://dx.doi.org/10.24071/ijhs.v3i2.2184.

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Hunger, a novella by a contemporary American novelist, Elise Blackwell, centres in the story of a Russian botanist, Nikolai Vavilov, during the Leningrad siege in 1941. Vavilov protects his collection of seeds at the Research Institute of Plant Industry in Leningrad against all odds, to be preserved for research for future use. In the recounting moments during the siege, the narrative provides parallelism between Leningrad and the ancient city of Babylon. In postcolonial writing, this can be perceived as a form of nostalgic projection of the past (Walder, 2011). Such a parallelism triggers a postcolonial narrative analysis on the pairing of the two as affinity, focusing on the significance of the comparison between the two cities (between the apocalyptic present and the glorious past). The contribution of this parallelism will be discussed to understand the novella as a narrative mode of ecocriticism, with regards to the idea of prioritizing seeds over human lives, which also acts as the steering issue stirring the plot. By mainly referring to Garrard (2004) and Huggan and Tiffin (2010) on ecocriticism and postcolonial ecocriticism, this essay in general aims to investigate how the novella contributes new perspectives on the intertwining between postcolonial studies and ecocriticism.

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Indriyanto, Kristiawan. "HAWAII�S ECOLOGICAL IMPERIALISM: POSTCOLONIAL ECOCRITICISM READING ON KIANA DAVENPORT�S SHARK DIALOGUES." International Journal of Humanity Studies (IJHS) 2, no. 2 (March 21, 2019): 123–33. http://dx.doi.org/10.24071/ijhs.v2i2.1724.

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Recent studies of postcolonialism have explored the interconnection between postcolonial and environmental/eco-criticism. Studies from Huggan (2004), Nixon (2005), Cilano and DeLoughrey (2007) counter the underlying assumption that these criticisms stand in opposition toward each other by pointing out the overlapping areas of interest between postcolonial and ecocriticism and the complementary aspect of these two criticisms (Buell, 2011). Postcolonial ecocriticism, as theorized by Huggan and Tiffin (2010) and DeLoughrey and Handley (2011) asserts the intertwined correlation between environmental degradation and the marginalization of the minority/indigenous ethic groups which inhabit a particular place. The underlying capitalist and mechanistic ideologies in which nature is perceived only of their intrinsic values and usefulness toward (Western) humans illustrates total disregard to the original owner of the colonized land, the indigenous people. This perspective is underlined by Serpil Oppermanns (2007) concept of ecological imperialism to underline the anthropocentric perspective that legitimate Western domination toward the colonies natural resources. Although discussion of postcolonial ecocriticism has encompassed diverse regions such as Caribbean, Africa and Asia, scant attention has been given toward Pacific archipelago especially Hawaii. Through reading on Kiana Davenports Shark Dialogues (1994), this paper explores how American colonialism results in ecological imperialism in this island chain. It is hoped that this analysis can contribute toward enriching the discussion on postcolonial ecocriticism.DOI: 10.24071/ijhs.2019.020202

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Cilano, C., and E. DeLoughrey. "Against Authenticity: Global Knowledges and Postcolonial Ecocriticism." Interdisciplinary Studies in Literature and Environment 14, no. 1 (January 1, 2007): 71–87. http://dx.doi.org/10.1093/isle/14.1.71.

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Rahman, Shazia. "The Environment of South Asia: Beyond Postcolonial Ecocriticism." South Asian Review 42, no. 4 (October 2, 2021): 317–23. http://dx.doi.org/10.1080/02759527.2021.1982613.

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Huggan, Graham. "Postcolonial ecocriticism and the limits of Green Romanticism." Journal of Postcolonial Writing 45, no. 1 (March 2009): 3–14. http://dx.doi.org/10.1080/17449850802636465.

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Mason, Travis V., Lisa Szabo-Jones, and Elzette Steenkamp. "Introduction to Postcolonial Ecocriticism Among Settler-Colonial Nations." ariel: A Review of International English Literature 44, no. 4 (2013): 1–11. http://dx.doi.org/10.1353/ari.2013.0037.

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Nsah, Kenneth Toah. ""No Forest, No Water. No Forest, No Animals": An Ecocritical Reading of Ekpe Inyang’s The Hill Barbers // "Sin bosque, no hay agua. Sin bosque, no hay animales": Una lectura ecocrítica de The Hill Barbers de Ekpe Inyang." Ecozon@: European Journal of Literature, Culture and Environment 9, no. 1 (April 28, 2018): 94–110. http://dx.doi.org/10.37536/ecozona.2018.9.1.1581.

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This article examines Ekpe Inyang’s play entitled The Hill Barbers (2010) using postcolonial ecocriticism. Combining postcolonial theory and ecocriticism - in order to foreground the author’s postcolonial Cameroonian/African society, the article investigates some of the numerous ecology-related issues raised in the play, among which deforestation, exploitation, capitalism, agency for nature, and the apocalyptic trope. It emerges, from both the play and article, that humans are destroying nature and are consequently suffering from this very destruction. Among the many effects of environmental destruction felt by the Mbungoe human community of the play are acute shortages of drinking water and dwindling animal species on their hills and mountains. One of the major findings of this article is the author’s ability to reconcile hitherto opposing ideologies and practices, such as Judeo-Christianity and African religions and Western science and African traditions, in seeking ways of redressing the increasing ecological problems faced within Cameroonian/African communities and elsewhere around the globe, advocating sustainable behaviour and respect for nature. The paper joins ongoing research attempts to apply ecocriticism in reading literature from postcolonial African societies. Resumen Este artículo examina la obra teatral de Ekpe Inyang titulada The Hill Barbers (2010) a través de la perspectiva de la ecocrítica postcolonial. Combinando teoría postcolonial y ecocrítica, el artículo analiza algunas de las numerosas cuestiones relacionadas con la ecología que se plantean en la obra, cuestiones como la deforestación, la explotación, el capitalismo, la preservación de la naturaleza y el tropo apocalíptico. De la obra y del artículo se desprende que los seres humanos están destruyendo la naturaleza y, por consiguiente, sufren los efectos de esta misma destrucción. Entre las muchas consecuencias de la destrucción ambiental sufridas por la comunidad Mbungoe en la pieza teatral están la escasez aguda de agua potable y la disminución de las especies animales en sus colinas y montañas. Uno de los principales hallazgos de este artículo es la capacidad del autor para conciliar ideologías y prácticas hasta entonces opuestas, como el judeocristianismo, las religiones africanas, la ciencia occidental y las tradiciones africanas, apara dar solución a los crecientes problemas ecológicos a los que se enfrentan tanto las comunidades camerunesas/africanas como otras en diversas partes del mundo. De esta manera, se aboga por un comportamiento sostenible y por el respeto hacia la naturaleza. El artículo supone una contribución a los intentos actuales de hacer una lectura de la literatura producida en las sociedades postcoloniales africanas a través del prisma de la ecocrítica.

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Iheka, Cajetan. "Dispossession, Postcolonial Ecocriticism, and Doris Lessing’sThe Grass is Singing." ISLE: Interdisciplinary Studies in Literature and Environment 25, no. 4 (2018): 664–80. http://dx.doi.org/10.1093/isle/isy070.

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Hartnett, Rachel. "Climate Imperialism: Ecocriticism, Postcolonialism, and Global Climate Change." eTropic: electronic journal of studies in the Tropics 20, no. 2 (September 10, 2021): 138–55. http://dx.doi.org/10.25120/etropic.20.2.2021.3809.

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Global climate change threatens to kill or displace hundreds of thousands of people and will irrevocably change the lifestyles of practically everyone on the planet. However, the effect of imperialism and colonialism on climate change is a topic that has not received adequate scrutiny. Empire has been a significant factor in the rise of fossil fuels. The complicated connections between conservation and empire often make it difficult to reconcile the two disparate fields of ecocriticism and postcolonial studies. This paper will discuss how empire and imperialism have contributed to, and continue to shape, the ever-looming threat of global climate crisis, especially as it manifests in the tropics. Global climate change reinforces disparate economic, social, and racial conditions that were started, fostered, and thrived throughout the long history of colonization, inscribing climate change as a new, slow form of imperialism that is retracing the pathways that colonialism and globalism have already formed. Ultimately, it may only be by considering climate change through a postcolonial lens and utilizing indigenous resistance that the damage of this new form of climate imperialism can be undone.

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Tcheuyap, Alexie. "Filming Mother Nature’s slow death: Representational pitfalls in African ecodocumentaries." International Journal of Francophone Studies 23, no. 3 (December 1, 2020): 223–41. http://dx.doi.org/10.1386/ijfs_00019_1.

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This article uses ecocriticism and postcolonial theories to investigate the documentary topographies and politics of African ecosystem. Anger in the Wind (Weira), Breaking the Silence: Cleaning the Liquid Waste (Niyel) and The Day of the Great Blaze (Kadry Kodo) illustrate how African documentarians shape their narratives to interrogate some pressing environmental challenges. This article looks at the ways in which the advent of global capitalism has transformed African ecosystems into sites for violent and irreversible destruction and exploitation, leaving postcolonial subjects in situations of deplorable precarity.

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Mason, Travis V. "Graham Huggan and Helen Tiffin, Postcolonial Ecocriticism: Literature, Animals, Environment." Commonwealth Essays and Studies 34, no. 2 (April 1, 2012): 105–6. http://dx.doi.org/10.4000/ces.5990.

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Poddar, Namrata. "Postcolonial ecocriticism, island tourism and a geopoetics of the beach." International Journal of Francophone Studies 16, no. 1 (October 1, 2013): 51–71. http://dx.doi.org/10.1386/ijfs.16.1-2.51_1.

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Qicai, ZHANG. "Ecological Crises in A House for Mr. Biswas from the Perspective of Postcolonial Ecocriticism." Asia-Pacific Journal of Humanities and Social Sciences 2, no. 3 (September 30, 2022): 013–19. http://dx.doi.org/10.53789/j.1653-0465.2022.0203.003.p.

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This paper analyzes Naipaul’s A House for Mr. Biswas from the perspective of postcolonial ecocriticism and points out the manifestations of and reasons for the destruction of the ecosystem in Trinidad. Both nature and humans in Trinidad are suffering which can be mainly attributed to the colonial presence of such colonist countries as America and Britain.

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Mthatiwa, Syned. "AFRICA’S NATURAL HERITAGE AND ECOLOGICAL VISION IN THE WORK OF BART WOLFFE." Imbizo 5, no. 1 (June 23, 2017): 34–51. http://dx.doi.org/10.25159/2078-9785/2828.

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In this paper I use postcolonial ecocriticism to show that, although Bart Wolffe laments environmental injustice in his writing, he embraces a contradictory ecological vision and fails to expose and tackle the entangled nature of oppression. Wolffe says almost nothing about injustices amongst humans in the postcolonial context within which his work was written. He fails to acknowledge that injustices amongst humans lead to injustice against nature. He also depicts an imperialist outlook that either sees Africa as a blank space ready for occupation or sees Africans as a blemish on apristine and unspoiled landscape untouched by westernisation and industrialisation.

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Wanjala, Alex Nelungo. "(East) African postcolonial ecocriticism: Revisiting Okot p’ Bitek’s Song of Prisoner." Tydskrif vir Letterkunde 58, no. 1 (May 25, 2021): 139–57. http://dx.doi.org/10.17159/tl.v58i1.8301.

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This article celebrates Okot p’Bitek’s contribution to East African literature in general and the song school of East Africa in particular, by revisiting one of his less-known works, Song of Prisoner on the fiftieth anniversary of its publication. I subject the text to a close reading in order to demonstrate how p’Bitek uses imagery that is drawn from East Africa’s natural environment in a way that evokes issues that are an assault on the prevailing social and political order in East Africa at the time, in a nuanced manner. With the benefit of hindsight, the paper establishes that p’Bitek’s attempt to preserve his natural environment (that of East Africa) through writing it into his poetry, was a precursor for texts that would later be examined within the framework of the contemporary critical theory of postcolonial ecocriticism, and that using the text, one can narrow the scope further in a manner that takes into account the specificities of (East) African environmental literature. In so doing, the paper establishes that p’Bitek indeed highlights social realities through his poetry, in order to launch his attack on the existing neo-colonial capitalistic order prevailing at the historical moment of his writing, thus confirming that he displays a social vision that strives for decolonisation without the exploitative aftermath encapsulating modernity. The paper thus demonstrates how this poem is still relevant as a study to the student of East African literature reading it in the 21st century.

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NICHOLS, MOLLY. "Postcolonial Ecocriticism: Literature, Animals, Environment by Graham Huggan and Helen Tiffin." Critical Quarterly 53, no. 1 (April 2011): 100–105. http://dx.doi.org/10.1111/j.1467-8705.2011.01981.x.

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Bracke, Astrid. "EnvironMentality: ecocriticism and the event of postcolonial fiction, by Roman Bartosch." Green Letters 18, no. 2 (May 4, 2014): 197–98. http://dx.doi.org/10.1080/14688417.2014.909117.

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Mabie, Joshua. "The field is ripe: Christian literary scholarship, postcolonial ecocriticism, and environmentalism." Christianity & Literature 65, no. 3 (May 11, 2016): 279–97. http://dx.doi.org/10.1177/0148333115585488.

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Isiguzo, Chikwurah Destiny. "Postcolonial Ecocriticism and the African Response to Human Experience and the Environment." Localities 7 (November 30, 2017): 43–74. http://dx.doi.org/10.15299/local.2017.11.7.43.

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Kelly, Ríona. "Exploring Narratives of Global Justice and Sustainability: The Rise of Postcolonial Ecocriticism." MFS Modern Fiction Studies 59, no. 1 (2013): 175–81. http://dx.doi.org/10.1353/mfs.2013.0020.

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Inyabri, Idom T. "The Poetics of Place and Belonging in Joe Ushie’s Poetry." Matatu 52, no. 2 (October 20, 2022): 294–312. http://dx.doi.org/10.1163/18757421-05202006.

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Abstract Joe Ushie’s poetry is highly expressive of a poet persona’s place consciousness. In this paper I interrogate selected poems that articulate a sense of place and belonging in his four collections of poems: Popular Stand and Other Poems (1992), Lambs at the Shrine (1995), Hill Songs (2000), and A Reign of Locust (2004). Utilising the theoretical provisions of postcolonial ecocriticism, I see his imagery as a creative strategy to express his belongingness, foreground a marginalised cultural space, and draw attention to the vagaries of a once idyllic environment in the throes of vain postcolonial politics, commercial greed, and poverty. Thus, while remaining close to the poet’s indigenous imagination, I conclude that Ushie’s aesthetics of place and belonging is anchored firmly in the environmentalist ethics of pursuit for a healthy environment.

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Peters, Ursula. "Die Rückkehr der ›Gesellschaft‹ in die Kulturwissenschaft." Scientia Poetica 22, no. 1 (December 1, 2018): 1–52. http://dx.doi.org/10.1515/scipo-2018-001.

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Abstract Coinciding with the cultural turn in the humanities, a critical discussion in literary studies has begun in recent years that relates to the problems of rejecting social questions and an associated turning away from social history. Against the backdrop of this debate, my research report offers an overview of the conceptual possibilities and methodological problems in a ›return of society‹ within medieval philology. This is based on three established research areas of socio-historical literary studies: postcolonial literary criticism, literary ecocriticism and literary economics.

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Heise, Ursula K. "Globality, Difference, and the International Turn in Ecocriticism." PMLA/Publications of the Modern Language Association of America 128, no. 3 (May 2013): 636–43. http://dx.doi.org/10.1632/pmla.2013.128.3.636.

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Comparative literature has always pursued literary studies in a transnational framework. But for much of its history it has been a “modest intellectual enterprise, fundamentally limited to Western Europe, and mostly revolving around the river Rhine (German philologists working on French literature). Not much more,” as Franco Moretti pithily sums it up (54). The rise of postcolonial theory in the wake of Edward Said's and Gayatri Spivak's influential work vastly expanded comparatist horizons, as did the attention to minority literatures that spread outward from the study of American literature and culture in the 1990s. In 1993 Charles Bernheimer's report to the American Comparative Literature Association, “Comparative Literature at the Turn of the Century,” criticized the elitist and exclusionary tenor of earlier reports on the state of the discipline by Harry Levin (1965) and Tom Greene (1975). Instead, it emphasized “tendencies in literary studies, toward a multicultural, global, and interdisciplinary curriculum” and called for an expansion from comparative literature's traditional focus on a mostly western European and North American canon of works to a truly global conception of Goethean Weltliteratur, for inclusion of previously marginalized minority literatures from around the world, and for connections to media studies, other humanities disciplines, and the social sciences (47).

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Hlongwane, Gugu. "Review essay on African Ecomedia and Teaching Postcolonial Environmental Literature." Cambridge Journal of Postcolonial Literary Inquiry 9, no. 3 (September 2022): 435–38. http://dx.doi.org/10.1017/pli.2022.21.

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Cajetan Iheka’s African Ecomedia: Network Forms, Planetary Politics (2021) and his edited collection, Teaching Postcolonial Environmental Literature and Media (2022), importantly privilege—indeed celebrate—non-Western epistemologies at the very forefront of ecocriticism. In the former book, Africa is not “lagging” behind but is modeling sustainability for the future. This is a resourceful continent even in the face of “nonrenewable infrastructures dotting the continent’s environment” (11). Iheka offers a meticulous historical contextualization of Africa’s present economic demise while beautifully answering the question, “Why can’t we be seen?” (African Ecomedia 105). Kisilu Musya, a famer in Julia Dahr’s climate change film Thank You For the Rain (2017), makes this query, which cannot be ignored in a book rich in both its theoretical frameworks and interventions in fields such as African and media studies as well as the energy and environmental humanities. Teaching Postcolonial Environmental Literature and Media advances Iheka’s agenda to make the invisible visible. Ultimately, the various ecomedia employed in Iheka’s works suggest an Anthropocene implicated in global degradation. As users of smartphones and paper, we are the problem as well as the solution to more ethical, postcolonial ecologies.

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MANE, Youssoupha. "Postcolonial Ecocriticism in the Narratives Strategies of Ngugi Wa Thiong’o’s Wizard of the Crow." International Journal of Literature and Art 3 (2015): 5. http://dx.doi.org/10.14355/ijla.2015.03.002.

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Maxwell, Anne. "Postcolonial criticism, ecocriticism and climate change: A tale of Melbourne under water in 2035." Journal of Postcolonial Writing 45, no. 1 (March 2009): 15–26. http://dx.doi.org/10.1080/17449850802636499.

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James, Erin. "Review of Roman Bartosch, EnvironMentality: Ecocriticism and the Event of Postcolonial Fiction." Environmental Values 24, no. 6 (December 1, 2015): 825–27. http://dx.doi.org/10.3197/096327115x14420732702770.

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Curry, Alice. "Traitorousness, Invisibility and Animism: An Ecocritical Reading of Nnedi Okorafor's West African Novels for Children." International Research in Children's Literature 7, no. 1 (July 2014): 37–47. http://dx.doi.org/10.3366/ircl.2014.0112.

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The porous boundaries between the earthly and spiritual in many traditional cultures have prompted Cameroonian writer Jacques Fame Ndongo to suggest the appropriateness of an African ‘cosmocriticism’ in place of the more western ‘ecocriticism’. Godfrey B. Tangwa similarly proffers the term ‘eco-bio-communitarianism’ to describe a traditionally African mode of being-in-the-world in which ‘human beings tend to be more cosmically humble and therefore not only more respectful of other people but also more cautious in their attitude to plants, animals, and inanimate things, and to the various invisible forces of the world’. The foundational importance of these ‘invisible forces’ to much West African writing destabilises western understandings of human subjectivity by calling attention to the artificiality of the stable dichotomies between self and other, human and nonhuman on which successive instantiations of Enlightenment humanism have been built. Using Val Plumwood's ecofeminist notion of ‘traitorousness’ to explore the subversive potential of US-Nigerian author Nnedi Okorafor's ‘organic fantasy’, I argue that this type of conceptual dismantling has significant implications for ecocriticism, as it is practised in both postcolonial and western contexts.

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Echterling, Clare. "Postcolonial Ecocriticism, Classic Children’s Literature, and the Imperial-Environmental Imagination in The Chronicles of Narnia." Journal of the Midwest Modern Language Association 49, no. 1 (2016): 93–117. http://dx.doi.org/10.1353/mml.2016.0016.

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Daigle, Bethany F. "“It is the Grass that Suffers”: Postcolonial Ecocriticism and M. G. Vassanji'sThe Book of Secrets." South Asian Review 37, no. 1 (June 2016): 197–214. http://dx.doi.org/10.1080/02759527.2016.11933053.

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Traoré, Moussa. "An Ecocritical Reading of Selected African Poems." KENTE - Cape Coast Journal of Literature and the Arts 1, no. 1 (December 19, 2019): 74–89. http://dx.doi.org/10.47963/jla.v1i1.87.

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This paper discusses some ecocritical ideas in selected poems by Kofi Awoonor, Kofi Anyidoho and the Negritude poets David Diop and Birago Diop. Drawing on postcolonial ecocriticism theory the paper focuses on ecocritical symbolisms and their ramifications in order to show how African poets attend to the environment, community and modernity’s many flaws. The consideration of the Negritude poems in this study stems from the fact that Negritude Literature in general and the selected poems in particular have been examined mainly within the context of Black African identity and the antiracist effort in general. The paper demonstrates that ecological motifs or symbols are deployed by some African poets to express life, survival, and nostalgia.

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Andzel-O'Shanahan, Edyta. "Mythical Dimension of Human-environmental Relations in Modern Latin-American Prose Fiction." Ameryka Łacińska. Kwartalnik analityczno-informacyjny, no. 101 (2018): 35–49. http://dx.doi.org/10.36551/20811152.2018.101.03.

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Various modes of interaction between humans and the natural world are among the most important topics in modern Latin-American literature. The narrative discourse of the region debates the Old World myths and ideals projected onto the Latin-American reality. It also incorporates indigenous mythical concepts which contribute towards the creation of a new and original literary vision of the natural world. Growing interest in ecocriticism and its importance in postcolonial studies highlight the validity of new approaches to non-Western cultures and literatures and the necessity of reinterpretation of cultural practice within environmentally conscious theoretical framework. Far from being exhaustive, the present study suggests some new and ecologically sensitive interpretative patterns which centre on the relationship between myth, nature and narrative.

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Lacuna, Isa. "Atmosfera Rizaliana: Metonymic Journeys of Storm Tropes in José Rizal’s Writing on the Philippines." eTropic: electronic journal of studies in the Tropics 20, no. 2 (September 10, 2021): 180–208. http://dx.doi.org/10.25120/etropic.20.2.2021.3806.

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Stormy weather appears in recurrent instances across the literary and political oeuvre of José Rizal, a nineteenth-century figure who is one of the most significant and well-known personages in Philippine history. This paper analyzes the manner by which he describes storms in a few of his personal and political works, and observes that there is a deployment of metonymic logic that undergirds not only the texts, but a variety of other movements across the nineteenth-century cultural, technological, and political landscape. The metonymic logic of storm tropes are, in this sense, not only a productive literary modality in understanding weather representations during the Philippine fin de siècle, but also become illustrative of political and historical developments during the period. Based on this overarching logic, the paper articulates the possibility of understanding global climate and climate change as a series of interconnected and associated postcolonial and ecocritical experiences that are able to figure the world at large through an alternative expansion. This paper also investigates previous critiques that categorize the Rizaliana’s weather as romantic, and interrogates the assumptions that are deployed in such categorizations – and what they might mean for Philippine postcolonial ecocriticism and its climate imaginaries.

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서길완. "Effects of the Environmental Exploitation of Postcolonial Nations and a Possible View to Explore Alternatives: Reading Jamaica Kincaid’s A Small Place as “Postcolonial Ecocriticism”." New Korean Journal of English Lnaguage & Literature 61, no. 2 (May 2019): 57–76. http://dx.doi.org/10.25151/nkje.2019.61.2.004.

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Gordon, Walter. "“Take A Good Look At It”: Seeing Postcolonial Medianatures with Karen Tei Yamashita." MediaTropes 7, no. 2 (February 7, 2020): 175–98. http://dx.doi.org/10.33137/mt.v7i2.33676.

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Plastic remains one of the most ubiquitous forms that oil takes as a mediating force in our everyday life. This article tracks the way in which this function of plastic has been obfuscated, particularly within the discursive space of academia, by way of a close reading of Karen Tei Yamashita’s 1990 novel Through the Arc of the Rain Forest. After contextualizing the author’s vision of a neoliberal media culture through a brief history of the recent disciplinary convergences of media studies, ecocriticism, and postcolonialism, I argue that Yamashita’s novel functions as a proleptic, literary articulation of the kinds of insights made possible by the combination of the three. Through its particular attention to the lifecycle of media—the transformation of plastic from raw material into technical object and then into trash—I argue that the novel offers a theory of plastic as media that usefully emphasizes its relation to the natural world as much as it does its connection to technology and culture.Image Credit: From the cover of Karen Tei Yamashita's book, Through the Arc of the Rain Forest, Coffee House Press (2017), https://coffeehousepress.org/products/through-the-arc-of-the-rain-forest.

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Donghwan Lee. "The Loss of Context and Its Reconstruction: The Location of Postcolonial Ecocriticism in Jhumpa Lahiri’s _The Lowland_." Literature and Environment 17, no. 2 (June 2018): 169–214. http://dx.doi.org/10.36063/asle.2018.17.2.005.

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Maufort, Jessica. "“Man-as-Environment”: Spatialising Racial and Natural Otherness in Caryl Phillips’s A Distant Shore and In the Falling Snow // “Man-as-Environment”: Espacializar la alteridad racial y natural en dos novelas de Caryl Phillips." Ecozon@: European Journal of Literature, Culture and Environment 5, no. 1 (April 1, 2014): 155–74. http://dx.doi.org/10.37536/ecozona.2014.5.1.592.

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Examining Caryl Phillips’s later fiction (A Distant Shore and In the Falling Snow) through the characters’ lived experience of their environment, this article seeks to pave the way toward a mutually enriching dialogue between postcolonial studies and urban ecocriticism. Phillips’s British novels show how Western racist/colonial underpinnings that persist in a postcolonial context are manifest in the phenomenon of spatialisation of race. The latter devises separate spaces of Otherness, imbued with savage connotations, where the undesirable Other is ostracised. The enriching concept of “man-in-environment” is thus reconfigured so that the postcolonial subject’s identity is defined by such bias-constructed dwelling-places. Consequently, the Other’s sense of place is a highly alienated one. The decayed suburban nature and the frightening/impersonal city of London are also “othered” entities with which the protagonists cannot interrelate. My “man-as-environment” concept envisions man and place as two subjected Others plagued by spatialisation of Otherness. The latter actually debunks the illusion of a postcolonial British Arcadia, as the immigrants’ plight is that of an antipastoral disenchantment with England. The impossibility of being a “man-in-place” in a postcolonial context precisely calls for a truly reconciling postpastoral relationship between humans and place, a relationship thus informed by the absolute need for environmental and social justice combined. Resumen Analizando las últimas novelas de Caryl Phillips (A Distant Shore y In the Falling Snow) a través de la experiencia del (medio)ambiente que viven los personajes, este artículo persigue enriquecer el diálogo entre los estudios postcoloniales y la ecocrítica urbana. Las ficciones británicas de Phillips desvelan cómo las bases racistas/coloniales occidentales que persisten en un contexto poscolonial se hacen evidentes en el fenómeno de la espacialización racial. Éste elabora espacios aparte de alteridad, impregnados de salvajes connotaciones, donde el indeseable “Otro” es excluido. El enriquecedor concepto de “man-in-environment” es reconfigurado de manera que la identidad del sujeto poscolonial acaba definiéndose por tan sesgados lugares de residencia. En consecuencia, el sentido del espacio del “Otro” está muy alienado. La decadente naturaleza suburbana y la aterradora e impersonal ciudad de Londres son también entidades ajenas con las cuales los protagonistas no pueden interactuar. Mi concepto de “man-as-environment” concibe al hombre y al lugar como dos “Otros” sometidos, acosados por la espacialización de la alteridad. Esto último desacredita la ilusión de una Arcadia poscolonial británica, en tanto que los aprietos de los emigrantes es tal que se crea un desencanto antipastoril con Inglaterra. La imposibilidad de ser un “man-in-place” en un contexto poscolonial demanda precisamente una auténtica y reconciliadora relación postpastoril entre hombres y lugares, es decir, una relación caracterizada por la absoluta necesidad de aunar justicia social y medioambiental.

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Gergan, Mabel, Sara Smith, and Pavithra Vasudevan. "Earth beyond repair: Race and apocalypse in collective imagination." Environment and Planning D: Society and Space 38, no. 1 (February 7, 2018): 91–110. http://dx.doi.org/10.1177/0263775818756079.

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Scholars have argued that geologic proposals for the Anthropocene are entangled with collective imaginaries and geopolitical anxieties. In this article, we analyze three prominent tropes of American apocalyptic films (the “Great Deluge,” the “Nuclear Catacalysm,” and “the Population Bomb”) and map them onto existing geological proposals for the Anthropocene. In staging this encounter, we illustrate how impending ecological disasters in American popular imagination temporally displace the apocalypse into the present or the future. These imaginings of apocalypse evade specific culpability when they imagine a universal human frailty, enacting a darkly ironic reversal of historical and ongoing apocalyptic realities. Drawing on insights from ecocriticism, political geography, postcolonial, decolonial and critical race studies, we argue that the global crisis heralded by the Anthropocene reveals deep-seated fears of racialized others taking over the planet and the decline of white civilization, and we suggest alternative openings for other futures.

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Nyman, Jopi. "Roman Bartosch. EnvironMentality: Ecocriticism and the Event of Postcolonial Fiction. Amsterdam & New York: Rodopi, 2013, 315 pp." Orbis Litterarum 69, no. 4 (July 18, 2014): 353. http://dx.doi.org/10.1111/oli.12059.

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Majeed, Munazza, Uzma Imtiaz, and Akifa Imtiaz. "Reterritorialization in A Small Place by Jamaica Kincaid: A Postcolonial Eco-Critical Study." SAGE Open 11, no. 1 (January 2021): 215824402199741. http://dx.doi.org/10.1177/2158244021997419.

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This article intends to understand how the postcolonial ecocritical writers attempt to reterritorialize their land, its history, and its culture by underscoring the hazards of tourism. In the wake of capitalism, tourism has increased environmental racism and environmental injustice encountered by people of marginalized communities. For this study, we have analyzed a creative nonfiction work A Small Place by Jamaica Kincaid in the light of postcolonial ecocritical theory presented by Donelle N. Dreese. This literary theory deals with the exploitation of land, its resources, its environment, and its people in the context of ecocriticism and postcolonialism. Dreese’s subdivision of the concept of reterritorialization into mythic, psychic, and environmental reterritorialization has been applied on A Small Place. The article explores how Kincaid has reterritorialized her ancestral homeland Antigua by recording the oppressive colonial past of the land that has been ravaged under imperial rule by exploitation of the natural resources (plantations) and subjugation of the human resources (slavery). She has observed that under the influence of capitalism, her homeland is currently facing a new form of colonization in the name of tourism industry that is actually promoting new ways of foreign occupation of the land, enslavement of the local people, and environmental racism. The article concludes by drawing attention toward tourism, which can turn into neo-colonization under the clutches of capitalism and corrupt leadership. We attempt to underscore that there is a dire need of continuous process of planning and management by the local authorities to minimize the problems faced by the natives and to make tourism industry environment friendly.

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Hammer, Yvonne. "Conflicting Ideologies in Three Magical Realist Children’s Novels by Isabel Allende." Papers: Explorations into Children's Literature 18, no. 2 (December 1, 2008): 41–47. http://dx.doi.org/10.21153/pecl2008vol18no2art1167.

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A recent movement to establish ecopoetic frames in children’s literature has led to the exploration of a critical confluence of magical realism with ecocriticism. Because of a common capacity to interrogate dominant Western value systems, magical realist discourse has been linked with ecopoetic frames that promote narrative representations of environmental justice movements. such an alignment is possible because the postcolonial heritage of magical realism, founded by Latin American authors, offers a site of resistance by which the dominant ideologies of colonising nations are interrogated. In fictions which form the basis for ecocriticism authors may create similar narrative spaces of resistance to encode representations of ecological malpractice which are enacted upon indigenous peoples by an invasive non-indigenous presence. This ideological confluence between magical realist strategies and ecocritical frames represents a problematic interface between indigenous and non-indigenous subjectivities because representations of ecological intervention are primarily Western in origin, while magical realism promotes representations of indigenous voice. the problems that arise from this alignment are particularly evident in Allende’s three quest fictions for children in that the two dominant eco-warrior protagonists are non-indigenous and narrative perspective is largely derived from Western subject focalisations. the author’s magical realist frame by which Western cultural positions are interrogated has thus been compromised by the fact that subject focalisations privilege non-indigenous perceptions about the plight of tribal peoples in a manner that limits indigenous voice. even though each eco-warrior quest instigates magical realist strategies – irreducible elements of magic, phenomenological elements, merged frames that anchor magical elements in mimetic detail (Faris, 2004) – the authorial intent to expose exploitation of indigenous peoples is framed by Western ecocritical perspectives. Furthermore, because representations of magical power saturate depictions of eco-warrior agency, the grounding mimetic is disrupted and quest resolutions are imbued by fantasy.

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Traoré, Moussa, and Ruth Bernice Akyen. "African postcolonial fiction and the poetics of eco-cultural decadence: Re-reading Ayi Kwei Armah’s The Beautyful Ones Are Not Yet Born and Sembène Ousmane’s Xala." Legon Journal of the Humanities 32, no. 2 (May 1, 2022): 55–73. http://dx.doi.org/10.4314/ljh.v32i2.3.

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In the depiction of post-independence Africa, the collapse of traditional moral values is a major preoccupation. This concern is often represented in the form of despicable behaviors exhibited by characters, often influenced by Western ideologies, and also in metaphors of decay or decadence. Decadence, from the literary sense of the word, could be interpreted as the moral or cultural rottenness of a community and in the literal usage of the term, it can be understood as an environmental uncleanness. Morally, a society is decayed if its moral principles and philosophies of living are weak while in the physical manifestation of the sense of the term, a decayed environment is associated with filth, pollution and physical rottenness. This paper examines the deployment of decadence as symptomatic of moral collapse and of environmental defacement in Ayi Kwei Armah’s The Beautyful Ones Are Not Yet Born and Sembène Ousmane’s Xala. We read these texts in a theoretical context drawn from insights in postcolonial ecocriticism. While our analysis will concentrate on the ecopolitical force of the narratives, we will also examine the aestheticization of decay as a narrative device – a metaphor that foregrounds humans’ role, either by their complacency or collaboration, in destroying their environment. A critical attention will be paid to how the degradation of the environment results in the degradation of the humans as well. We conclude by pointing out that the representation of physical and moral decadence in postcolonial African literature is one way of indicting humans for degrading the environment in their quest for material acquisition.

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Muñoz Martínez, Ysabel. "Gardening in Polluted Tropics: The Materiality of Waste and Toxicity in Olive Senior’s Caribbean Poetry." eTropic: electronic journal of studies in the Tropics 21, no. 2 (October 7, 2022): 162–79. http://dx.doi.org/10.25120/etropic.21.2.2022.3907.

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While toxic substances continue increasingly, and unevenly, infiltrating the world, the new materialist turn invites us to examine the relationalities emerging between pollution and literature. This essay examines how Olive Senior’s poetry collection Gardening in the Tropics portrays the imposition of waste and toxicity on Caribbean islands and the counter-narratives to toxic politics that emerge from non-hegemonic perspectives. The paper utilizes methodological contributions from the fields of waste studies, postcolonial and material ecocriticism, and addresses the need for more scholarship centering toxicity in cultural studies, especially through the lens of tropical materialisms. Moreover, the research engages with theorizations surrounding the concept of the Wasteocene as a novel interpretative framework. The main findings reveal that the poems “My Father’s Blue Plantation”, “The Immovable Tenant” and “Advice and Devices” identify how extensive pollution is enabled and perpetuated by colonial systems. The poems illustrate the environmental and socio-political tensions prompted by toxicity, its deleterious effects in organisms and landscapes, and embody how guerrilla narratives can confront widespread toxicity.

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Daimari, Esther. "The EcoGothic and Contemporary Sri Lankan English Literature: Reading Ecophobia in Patricia Weerakoon’s Empire’s Children and Roma Tearne’s Mosquito." Southeast Asian Review of English 59, no. 1 (July 25, 2022): 29–50. http://dx.doi.org/10.22452/sare.vol59no1.4.

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This paper explores contemporary Sri Lankan fiction as expressions and experiments in postcolonial EcoGothic writing by highlighting an intense relationship between ecology and place. By examining the novels of three contemporary Sri Lankan writers – Roma Tearne’s Mosquito, Michael Ondaatje’s Anil’s Ghost, and Patricia Weerakoon’s Empire’s Children, the article examines how certain landscape tropes such as the sea, the forest, ruins, caves, and tea plantations are shaped by the writers as gothic spaces to share their ecological concerns. The eerie plantations in Empire’s Children and the fecund forest, groves and the sea in Mosquito, and the caves and mass graves in Anil’s Ghosts allude to traumas related to postcoloniality, war, and military territorialization. Building upon theories of landscape, ecocriticism, and more specifically, the EcoGothic, the article draws upon works by Sharae Deckard and others to suggest how in these novels, the landscape is not just a setting for the stories but palimpsests of multiple histories of violence on both the people and the environment. The article examines how the novel enacts violence and spatial disorientation, closely connected with the gothic genre, suggesting Anglophone contemporary Sri Lankan fiction writers’ recurrent exploration of gothic and ecology in their works.

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Anasiudu, Okwudiri. "Nnimmo Bassey’s Aesthetic Imagination and Social Meaning in We Thought It Was Oil but It Was Blood." Journal of Language and Literature 22, no. 1 (March 23, 2022): 150–62. http://dx.doi.org/10.24071/joll.v22i1.3783.

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This paper explores Nnimmo Bassey’s poetry collection: We Thought it Was Oil but It Was Blood. It interrogates the aesthetic imagination and language use in the construction of the poem as a text, and the social meaning wrapped in such imagination and language use. This paper draws insight from postcolonial ecocriticism and critical functional linguistics as theoretical frameworks. The methodology this paper adopts is qualitative, descriptive, and critical. The guiding motivation for this research is the dearth of critical study on Bassey’s We Thought it Was Oil but It Was Blood. The research problem and gap this study seeks to bridge is the minimal attention the available scholarship on Bassey's poetry offered to the exploration of aesthetic imagination and social meaning construed through the internal formal structure of the poem, realised through stanzas, and structures and the linguistic configuration such as deixis, metaphorical schemas. The analysis shows that place deixis, pronouns adjective, and metaphors are important linguistic designs Bassey deploys in construing his aesthetic imagination, particularly the social realities of the Niger Delta region such as the contentious issue of environmental justice, ecological despoliation, minority rights, and agitation whenever resource control is mentioned.

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Ahmed, Hamoud Yahya, and Ruzy Suliza Hashim. "Resisting Colonialism through Nature: An Ecopostcolonial Reading of Mahmoud Darwish's Selected Poems." Holy Land Studies 13, no. 1 (May 2014): 89–107. http://dx.doi.org/10.3366/hls.2014.0079.

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Resisting colonialism remains the main theme of the poetry of the Arab Palestinian poet Mahmoud Darwish. This paper explores how Darwish employs nature as a new way for resisting the occupation of his homeland. His poems, throughout his writing life that spans fifty years, can be used to demonstrate how an ecopostcolonial perspective might contribute to an understanding of the poet's resistance through nature to the colonisers in his homeland. The theoretical framework used in this study is derived from both the ecocritical and postcolonial theories of reading literature. It is termed as ecoresistance as a new perspective of analysing resistance in the Arab literary studies, a non-western viewpoint and an original analytical lens for reading Darwish's work. The analysis reveals that Darwish uses the various forms of nature that range from the forms of the pure nature to the forms that have been cultivated. Through the ecopostcolonial perspective of the study, the employment of nature for resistance and the indication of Darwish as an ecopostcolonial poet of the Arab world are played out. The paper further proposes new insights into man's connection to land and is a step towards opening up the field of ecocriticism as a way of reading Arab poetry of resistance.

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TERRY, JENNIFER. "“Breathing the Air of a World So New”: Rewriting the Landscape of America in Toni Morrison's A Mercy." Journal of American Studies 48, no. 1 (April 10, 2013): 127–45. http://dx.doi.org/10.1017/s0021875813000686.

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This article explores Toni Morrison's preoccupation with, and reimagining of, the landscape of the so-called New World. Drawing on scholarship that has investigated dominant discourses about freedom, bounty, and possibility located within the Americas, it identifies various counternarratives in Morrison's fiction, tracing these through the earlier Song of Solomon (1977), Tar Baby (1981), and Beloved (1987), but primarily arguing for their centrality to A Mercy (2008). The mapping of seventeenth-century North America in the author's ninth novel both exposes colonial relations to place and probes African American experiences of the natural world. In particular, A Mercy is found to recalibrate definitions of “wilderness” with a sharpened sensitivity to the position of women and the racially othered within them. The dynamic between the perspectives towards the environment of Anglo-Dutch farmer and trader Jacob Vaark and Native American orphan and servant Lina, is examined, as well as the slave girl Florens's formative encounters in American space. Bringing together diverse narrative views, A Mercy is shown to trouble hegemonic settler and masculinist notions of the New World and, especially through Florens's voicing, shape an alternative engagement with landscape. The article goes some way towards meeting recent calls for attention to the intersections between postcolonial approaches and ecocriticism.

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Dugan, Max. "Miracles and Material Life: Rice, Ore, Traps and Guns in Islamic Malaya (by Teren Sevea)." American Journal of Islam and Society 39, no. 1-2 (August 8, 2022): 183–87. http://dx.doi.org/10.35632/ajis.v39i1-2.3121.

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Miracles and Material Life by Terenjit Sevea feels like the grand opening of an independent bookstore you just happened to pass by. The vaults of an enthusiastic collector are finally opened, and every nook and cranny you investigate promises an exhilarating, unexpected spark. The central focus of Sevea’s microhistory is the Islamic miracle worker (“pawang” or “bomoh”) in late-nineteenth and early-twentieth century Malaya. Building on his creative engagement with Jawi manuscripts, and wide-ranging scholarship on Sufism, Islamic material culture, and Islam in South and Southeast Asia, Sevea demonstrates how these extraordinary figures manifested Islamic tradition and shaped colonial labor practices, and show how the Sufi networks, local forms of life, and labor contingencies in which these Islamic miracle workers were enmeshed animated their Islamic practice and impacted modern Malaya. This monograph will be especially valuable to scholars working on Islam and modernity, Sufism, and Islam in Southeast Asia. For those fields, Sevea fleshes out critically overlooked facets of Islamic tradition. But Sevea’s analysis will also add to fields as wide-ranging as history of science, material religion studies, gender studies, ethnic studies, ecocriticism, and postcolonial studies. Like the forementioned bookstore, a short engagement with Miracles and Material Life will yield immediate finds, but the real gems will come from a careful combing through during pensive afternoons or intense exploration with curious friends.

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Journal articles on the topic 'Postcolonial ecocriticism'

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