L’introduction de la marginalité et de la contre-culture dans le roman contemporain révèle une certaine crise dans la conception même du statut de la littérature à la fin du XXe siècle et à l’aube du XXIe siècle. On proclame souvent la mort de la littérature et du roman, mais aussi la crise de la fiction, de la narration, du sujet. On remarque ainsi des interférences croissantes dans la littérature contemporaine entre les « mauvais genres » et les genres nobles, entre la Littérature et la « sous-littérature ». Cette idée de fin ne va-t-elle pas de pair également avec la croyance aiguë que le monde court à sa perte et que les fondements « modernes » sont morts également ? De nombreuses œuvres contemporaines explorent la violence extrême, le sadisme et la cruauté afin de montrer de façon désenchantée une humanité emplie d’animalité. Mais cette surenchère de violence et cette survalorisation de la marginalité ne sont-elles pas l’expression d’un désenchantement sans précédent ou a contrario d’une écriture résistante, qui use de son langage acide pour refuser ce nouvel état du monde et de l’art ? Cette écriture, qui enthousiasme la critique journalistique, renouvelle-t-elle profondément la littérature ? Est-elle véritablement novatrice et subversive ou n’est-elle qu’une sous-littérature qui exploite les expérimentations des auteurs modernes ? La critique savante semble partagée quant à sa fonction critique et quant à sa littérarité, mais la violence et l’inscription volontaire des auteurs dans le « Tiers-monde linguistique » montre que la littérature n’a plus les mêmes visées et la même place dans le champ littéraire. En effet, quelle est la fonction de la littérature dans un contexte de mondialisation et de médiacratie ? Ces œuvres ne reflètent-elles pas une évolution profonde du champ littéraire et une remise en question des critères esthétiques traditionnels ? / The introduction of marginality and of the counterculture in the contemporary novel reveals a literature crisis at the end of the twentieth century and at the beginning of the millennium. The death of literature is often claimed as the fiction, narrative or identity crisis. There are increasing interferences between the highbrow Literature and “bad-literature”. Is this idea of End on a par with the extreme belief in the End of the World of Western and in the Death of the modernist thesis? Many contemporary novels explore extreme violence, sadism and cruelty to expose, with disappointment, a brutal and animal humanity. But are not these violence excess and overdeveloped marginality the expression of a radical disappointment or a strong writing that use acid language to refuse this new face of the world and of art? This writing, that elate journalistic critic, does it really change literature? Is it really new and subversive or is it popular literature that follows up the modernists experiments? The highbrow critic seems sceptic concerning its literarity; but the inscription in the “linguistic third-world” reveals the changes of the aims of literature. In fact, what is the function of literature in globalisation and mediacraty? Don’t these novels reveal a deep evolution of literature and a critic of the traditional artistic criterions?

<p>This dissertation explores how the contemporary Anglophone novel asks its readers to imagine and respond to disposable life as it emerges in our present-day biopolitical landscape. As the project frames it, disposable life is not just life that is disposed of; it is life whose disposal is routine and unremarkable, even socially and legally sanctioned for such purposes as human consumption, scientific knowledge-production, and economic and political gain. In the novels considered, disposability is tied to excess--to the "too many" who cannot be counted, much less individuated on a case-by-case basis. </p><p>This project argues that the contemporary novel forces a global readership to confront the mechanisms of devaluing life that are part of everyday existence. And while the factory-farmed animal serves as the example of disposable life par excellence, this project frames disposability as a form of normalized violence that has the power to operate across species lines to affect the human as well. Accordingly, each chapter examines the contemporary condition of disposability via a different figure of disposable life: the nonhuman (the animal in J. M. Coetzee's The Lives of Animals and Disgrace), the replicated human (the clone in David Mitchell's Cloud Atlas and Kazuo Ishiguro's Never Let Me Go), the woman (in Margaret Atwood's MaddAddam trilogy), and the postcolonial subject (the victim of industrial disaster in Indra Sinha's Animal's People and political violence in Michael Ondaatje's Anil's Ghost). Chapter by chapter, the dissertation demonstrates how the contemporary novel both exposes the logic and operations of disposability, and, by mobilizing literary techniques like intertextual play and uncanny narration, offers up a set of distinctively literary solutions to it. </p><p>The dissertation argues that the contemporary novel disrupts the workings of disposability by teaching its audience to read differently--whether, for instance, by destabilizing the reader's sense of mastery over the text or by effecting paradigm shifts in the ethical frameworks the reader brings to bear on the encounter with the literary work. Taken together, the novels discussed in this dissertation move their readership away from a sympathetic imagination based on the potential substitutability of the self for the other and toward a form of readerly engagement that insists on preserving the other's irreducible difference. Ultimately, this project argues, these modes of reading bring those so-called disposable lives, which are abjected by dominant social, economic, and political frameworks, squarely back into the realm of ethical consideration.</p> / Dissertation

Ce mémoire s'attarde à la notion d'hyperréalisme en littérature contemporaine et à son incarnation spécifique dans trois romans de Suzanne Jacob : L'Obéissance (1991), Rouge mère et fils (2001) et Fugueuses (2005). Le recours à la théorie et à l'histoire de la peinture est essentiel puisque l'hyperréalisme est d'abord endossé par l'art pictural. De plus, la peinture, la photographie, le cinéma, la musique, la télévision, la sculpture, l'architecture et la littérature sont autant de médiations fortement présentes dans le roman hyperréaliste. Cette présence multiple des médias est essentielle au caractère hyperréaliste d'une œuvre ; la tentative d'intégrer le réel passe par un détour représentationnel. Les manifestations stylistiques et narratives de l'hyperréalisme sont associées à l'intégration de formes empruntées à d'autres arts ou médias comme la fugue et le fait divers. Les effets de l'hyperréalisme sur la narration se manifestent également par un éclatement des focalisations, en témoignent la fragmentation narrative ainsi que l'importance accordée au détail. Enfin, l'hyperréalisme joue sur une tension constante entre continuité et rupture. Les conséquences sont à envisager dans une sorte d'appréhension du réel, tant par le personnage que par le roman, qui doivent composer avec une multiplicité de représentations. / This Master's thesis studies the concept of hyperrealism in the context of contemporary literature. It focuses more specifically on the ways it is expressed in three novels written by Suzanne Jacob : L'Obéissance (1991), Rouge mère et fils (2001) and Fugueuses (2005). An overview of the history and theoretical aspects of pictural art is essential to understand hyperrealism for the latter is intertwined with this art form. When taking a closer look at the hyperrealistic novel, one will notice the abundance of media references (i.e. pictural art, photography, cinema, music, television, sculpture, architecture and literature). This occurrence of multiple medias and the depiction of the real through mediated representations are essential components of hyperrealistic works. Style and narrative are intimately related to these medias and art forms. The Hyperrealist novel hence will feature complex and particular narrative structures characterized by juxtaposed focalizations, narrative fragments and importance given to fine detail. Finally, the hyperrealist novel employs continuity and fragmentation. It features characters and author composing with these complex representations wich will eventually lead them to demonstrate skepticism and doubt when apprehending the real.

As literaturas angolana e moçambicana que ascenderam, em grande medida, como marco da resistência intelectual na luta anticolonialista, têm sido ainda hoje solo fértil para representações das condições reais de existência no contexto africano. No discurso ficcional, os confrontos entre essa existência e os projetos de uma comunidade utopicamente imaginada trazem para os enredos os avanços, recuos ou estagnação de um quadro social marcado pelos velhos e novos pactos do capitalismo globalizado. Esta pesquisa tem por objetivo analisar comparativamente as formas de representação literária dos agentes desse capitalismo: as elites em Angola e Moçambique em sua articulação com a dominação internacional. Nosso objeto de estudo forma-se por obras publicadas tendo já decorridas as primeiras duas décadas de independência política (conquistada em 1975) e seus enredos destacam especialmente a representação dos grupos dirigentes das novas nações: Maio, mês de Maria (1997), de Boaventura Cardoso; Predadores (2005), de Pepetela; O sétimo juramento (2000), de Paulina Chiziane, e O último voo do flamingo (2000), de Mia Couto. Em nossa leitura, as marcas do mito fáustico, um elemento da intertextualidade que esses romances apresentam entre si e com obras de outros sistemas literários emergiram como uma produtiva presença para a compreensão desses países e suas literaturas num contexto mais amplo. A fim de verificar o modo como a elite intelectual, neste caso, representada pelos escritores no papel de atores sociais, tem reagido à formação das elites político-econômicas, desde o estertor do colonialismo até o fim dos conflitos sociais, valemo-nos também de uma seleção de textos críticos de intervenção de autores dos dois países. / The Angolan and Mozambican literatures, which rose largely as a landmark of intellectual resistance in the anticolonial struggle, have been still a fertile ground for representations of the real conditions of existence in the African context. In the fictional discourse the confrontation between this existence and the projects of a community idealistically imagined during the anticolonial struggle brings to the plots the advances, setbacks or stagnation of a social situation marked by the old and new covenants of globalized capitalism. This research aims to analyze comparatively the forms of literary representation of these capitalism\' agents: the elites in Angola and Mozambique in their articulation with international domination. Our object of study is formed by a set of novels published after the first two decades of political independence (conquered in 1975), and their plots highlight especially the representation of the leadership groups of the new nations: Maio, mês de Maria (1997), by Boaventura Cardoso; Predadores (2005), by Pepetela; O sétimo juramento (2000), by Paulina Chiziane, and O último voo do flamingo (2000), by Mia Couto. In our analysis, the marks of the faustian myth, an element of intertextuality in these novels among themselves, and in relation to others literary systems, had emerged as a productive presence for the understanding of these countries, and their literatures in a more comprehensive context. In order to verify how the intellectual elite, in this case represented by writers playing the role of social actors, has responded to the formation of political-economic elites since the decay of colonialism to the end of the post-1975 social conflicts, we have also searched some critical interventional texts, which were expressed by authors of these two countries.

Esta dissertação faz uma análise formal do romance brasileiro contemporâneo O grifo de Abdera (2015) para pensar a desestabilização desta forma através da incorporação de uma história em quadrinhos e da utilização da cultura de massa. Por meio do close reading, a obra é estudada através de três níveis de leitura, correspondentes aos três personagens principais do livro sendo eles o protagonista Oliver Mulato, o narrador Mauro Tule Cornelli e o próprio autor encenado, Lourenço Mutarelli uma vez que estes se entrelaçam e se confundem através do enfraquecimento da hierarquia entre real e ficção. Os artifícios literários que o livro propõe, porém, não impedem o trabalho sobre a forma, especialmente no que concerne o narrador, o ponto de vista, o tradicional tema do duplo e a reflexão acerca da incomunicabilidade do romance. A noção de precedência da imagem sobre o real observável nas imagens poéticas, imagens extraídas da cultura e imagens do consumo no livro faz com que a possibilidade de representações do mundo material seja posta em dúvida e passe a dar lugar a uma construção coletiva, que perde lastro no real e é permeada da repetição de lugares-comuns e de clichês (BAUDRILLARD, 1991; JAMESON, 1995b). Uma vez manejadas, essas categorias colocam em questão a própria noção de criação autoral para um autor que, vindo do cenário dos quadrinhos, tem uma filiação literária alternativa e parece buscar a própria inserção no meio através de um tom provocativo e, por vezes, agressivo com relação ao ambiente acadêmico e a tradição literária. A oscilação entre o querer e o não querer participar deste meio afirma, enfim, Lourenço Mutarelli como um escritor de uma veia lateral da literatura contemporânea. / In this dissertation a formal analysis of the contemporary Brazilian novel O grifo de Abdera (2015) is done, so as to think the destabilization of the aforementioned form, through the incorporation of comics and the usage of mass culture. By means of close reading, the work is studied in three levels of reading, which correlate to the three main characters the protagonist Oliver Mulato, the narrator Mauro Tule Cornelli and the author himself, but staged, Lourenço Mutarelli insofar as they intertwine and become muddled through the weakening of the hierarchy between reality and fiction. The literary devices the novel proposes, however, do not hinder the work on form, specially in regards to the narrator, the point of view, the tradicional theme of the double and the reflection on incommunicability of the novel. The notion of the image\'s precedence over the observable reality in poetic images, images from culture and images from consumption in the novel puts the possibility of material world representation in check and gives way to a collective construction, which loses its link with reality and is filled with repetition of commonplaces and clichés (BAUDILLARD, 1991; JAMESON, 1995b). Once dealt with, these categories question the notion of authorship itself for an author whose comic book background gives him an alternative literary affliliation, and he seems to search for his own insertion through a mocking and, sometimes, aggresive tone towards academia and literary tradition. This oscillation between wanting and not wanting to belong to this field claims, therefore, Lourenço Mutarelli as a writer in a side vein of contemporary literature.

Made available in DSpace on 2016-08-10T11:07:13Z (GMT). No. of bitstreams: 1 ZENIL JOSEFA DA SILVA.pdf: 948741 bytes, checksum: b20c9b5814ff43f7fa40184c052995fc (MD5) Previous issue date: 2014-02-27 / The purpose of this study is to show the presence of polyphony and dialogism as building factor and renovation of narrative techniques used in the novels of Deus de Caim e Madona dos Páramos, by Ricardo Guilherme Dicke. For such, this research seeks to revisit the route taken by the writer to make the sort of emissions and better represent the variations of the voices in the narrative, since the novels under consideration are composed in accordance with the current modes and enhanced narrate. Therefore, we intend to occupy in the presence of various narrators who make the issue through selective omniscience, the interior monologue, the stream of consciousness, the soliloquy, the narrator camera and dramatically. The studies about dialogism, also developed in this research are intended to highlight the dynamic and complex relationships that are established between the texts in order to ratify an idea or subvert it. Furthermore, we will study the different compositional resources used by the author, as parody, paraphrase, styling, citation and allusion. This narrative mode allows Artworks commented here establish links with texts of various areas of knowledge produced in the most varied epochs. To investigate the aspects of polyphony take as theoretical assumptions of the concepts developed by Mikhail Bakhtin and Norman Friedman, and those relating to the dialogic and intertextual movements employ the propositions of Mikhail Bakhtin and Julia Kristeva. There are also mobilized in this research studies by Robert Humphrey, Affonso Romano de Sant Anna, Georges Gusdorf, José Luiz Fiorin and Ligia Chiappini Moraes Leite and others. / O propósito deste trabalho é apontar a presença da polifonia e do dialogismo como fator de construção e de renovação das técnicas narrativas empregadas nos romances Deus de Caim e Madona dos Páramos, de Ricardo Guilherme Dicke. Para tanto, esta pesquisa procura revisitar o percurso feito pelo escritor para realizar a ordenação das emissões e melhor representar as variações das vozes na narrativa, uma vez que os romances em análise são compostos em conformidade com os modos atuais e aprimorados de narrar. Assim sendo, pretendemos nos ocupar da presença de variados narradores que fazem a emissão por meio da onisciência seletiva, do monólogo interior, do fluxo da consciência, do solilóquio, do narrador câmera e do modo dramático. Os estudos sobre dialogismo, também desenvolvidos nesta pesquisa, visam ressaltar as complexas e dinâmicas relações que são estabelecidas entre os textos a fim de ratificar uma ideia ou subvertê-la. Além disso, serão estudados os diferentes recursos compositivos utilizados pelo autor, como a paródia, a paráfrase, a estilização, a citação e a alusão. Esse modo narrativo permite que as obras aqui comentadas estabeleçam vínculos com textos das diversas áreas do conhecimento, produzidos nas mais variadas épocas. Para investigar os aspectos relativos à polifonia tomamos como pressupostos teóricos os conceitos desenvolvidos por Mikhail Bakhtin e Norman Friedman, e para os relativos ao dialogismo e os movimentos intertextuais empregamos as proposições de Mikhail Bakhtin e Julia Kristeva. Também são mobilizados nesta pesquisa os estudos realizados por Robert Humphrey, Affonso Romano de Sant Anna, Georges Gusdorf, José Luiz Fiorin e Ligia Chiappini Moraes Leite, entre outros.

Esta dissertação faz uma análise formal do romance brasileiro contemporâneo O grifo de Abdera (2015) para pensar a desestabilização desta forma através da incorporação de uma história em quadrinhos e da utilização da cultura de massa. Por meio do close reading, a obra é estudada através de três níveis de leitura, correspondentes aos três personagens principais do livro sendo eles o protagonista Oliver Mulato, o narrador Mauro Tule Cornelli e o próprio autor encenado, Lourenço Mutarelli uma vez que estes se entrelaçam e se confundem através do enfraquecimento da hierarquia entre real e ficção. Os artifícios literários que o livro propõe, porém, não impedem o trabalho sobre a forma, especialmente no que concerne o narrador, o ponto de vista, o tradicional tema do duplo e a reflexão acerca da incomunicabilidade do romance. A noção de precedência da imagem sobre o real observável nas imagens poéticas, imagens extraídas da cultura e imagens do consumo no livro faz com que a possibilidade de representações do mundo material seja posta em dúvida e passe a dar lugar a uma construção coletiva, que perde lastro no real e é permeada da repetição de lugares-comuns e de clichês (BAUDRILLARD, 1991; JAMESON, 1995b). Uma vez manejadas, essas categorias colocam em questão a própria noção de criação autoral para um autor que, vindo do cenário dos quadrinhos, tem uma filiação literária alternativa e parece buscar a própria inserção no meio através de um tom provocativo e, por vezes, agressivo com relação ao ambiente acadêmico e a tradição literária. A oscilação entre o querer e o não querer participar deste meio afirma, enfim, Lourenço Mutarelli como um escritor de uma veia lateral da literatura contemporânea. / In this dissertation a formal analysis of the contemporary Brazilian novel O grifo de Abdera (2015) is done, so as to think the destabilization of the aforementioned form, through the incorporation of comics and the usage of mass culture. By means of close reading, the work is studied in three levels of reading, which correlate to the three main characters the protagonist Oliver Mulato, the narrator Mauro Tule Cornelli and the author himself, but staged, Lourenço Mutarelli insofar as they intertwine and become muddled through the weakening of the hierarchy between reality and fiction. The literary devices the novel proposes, however, do not hinder the work on form, specially in regards to the narrator, the point of view, the tradicional theme of the double and the reflection on incommunicability of the novel. The notion of the image\'s precedence over the observable reality in poetic images, images from culture and images from consumption in the novel puts the possibility of material world representation in check and gives way to a collective construction, which loses its link with reality and is filled with repetition of commonplaces and clichés (BAUDILLARD, 1991; JAMESON, 1995b). Once dealt with, these categories question the notion of authorship itself for an author whose comic book background gives him an alternative literary affliliation, and he seems to search for his own insertion through a mocking and, sometimes, aggresive tone towards academia and literary tradition. This oscillation between wanting and not wanting to belong to this field claims, therefore, Lourenço Mutarelli as a writer in a side vein of contemporary literature.

Esta tese tem como proposta verificar as diferentes estratégias metaficcionais empregadas por António Lobo Antunes ao longo de sua produção romanesca. Considerando-se que a construção de uma narrativa metaficcional exige dois aspectos importantes o aspecto linguístico e a estrutura narrativa, bem como uma mudança no papel do leitor o presente estudo busca empreender uma leitura da produção romanesca do autor de forma a demonstrar que, se nos romances iniciais a metaficção apresenta-se com a composição da obra sublinhando a sua própria ontologia, expondo a sua construção como entidade específica e até certo ponto autônoma, posteriormente, estende-se ao questionamento das estruturas narrativas e emergência do narrador a assomar na obra como autor, procedimentos esses que implicam mudanças no papel do leitor. Essa possvel leitura , empreendida a partir de três romances: Memória de Elefante (1979), Não entres tão depressa nessa noite escura (2000) e Que cavalos são aqueles que fazem sombra no mar? (2009), títulos esses que dialogar constantemente com as demais obras do autor. Mais do evidenciar o emprego de tais estratégias, buscamos demonstrar como, por meio delas, o autor permite-nos discutir importantes questes da teoria literária, como a concepção de Literatura e Tradição, a confluência dos gêneros literários, bem como o redimensionamento dos papéis assumidos pelo autor e leitor na narrativa contemporânea. O presente estudo visa, também, a demonstrar como, sempre via linguagem, o romance antuniano dialoga com o contexto em que se insere, apontando para um retrato do homem e do mundo contemporâneos. / This thesis proposes to verify the different metafictional strategies used by Anto,,nio Lobo Antunes in his novel production. Considering that the construction of a metafictional narrative demands two important aspects the linguistic aspect and narrative structure, as well as a change in the readers role the present study undertakes a reading of the authors novel production in order to demonstrate that, if in the first novels the metafiction presents itself with the work composition emphasizing its own ontology, exposing its construction as specific entity and to a certain extent independent, afterwards it reaches the questioning of the narrative structure and the emergence of the narrator in the novel as an author, procedures which imply changes in the readers role. This possible reading considers three novels: Memória de Elefante (1979), Não entres tão depressa nessa noite escura (2000) and Que cavalos são aqueles que fazem sombra no mar? (2009), titles which dialog with the other pieces of work of the author. More than showing the use of the strategies, its demonstrated as, through them, the author allows us to discuss important issues of the literary theory, such as the conception of Literature and Tradition, the confluence of literary genres, and the redimensionament of the roles assumed by the author and the reader in the contemporary narrative. The present study also aims to demonstrate how, always through the language, Lobo Antuness novel dialogs with the context in which it is inserted, pointing to a portrait of the contemporary man and world.

Ce mémoire s'attarde à la notion d'hyperréalisme en littérature contemporaine et à son incarnation spécifique dans trois romans de Suzanne Jacob : L'Obéissance (1991), Rouge mère et fils (2001) et Fugueuses (2005). Le recours à la théorie et à l'histoire de la peinture est essentiel puisque l'hyperréalisme est d'abord endossé par l'art pictural. De plus, la peinture, la photographie, le cinéma, la musique, la télévision, la sculpture, l'architecture et la littérature sont autant de médiations fortement présentes dans le roman hyperréaliste. Cette présence multiple des médias est essentielle au caractère hyperréaliste d'une œuvre ; la tentative d'intégrer le réel passe par un détour représentationnel. Les manifestations stylistiques et narratives de l'hyperréalisme sont associées à l'intégration de formes empruntées à d'autres arts ou médias comme la fugue et le fait divers. Les effets de l'hyperréalisme sur la narration se manifestent également par un éclatement des focalisations, en témoignent la fragmentation narrative ainsi que l'importance accordée au détail. Enfin, l'hyperréalisme joue sur une tension constante entre continuité et rupture. Les conséquences sont à envisager dans une sorte d'appréhension du réel, tant par le personnage que par le roman, qui doivent composer avec une multiplicité de représentations. / This Master's thesis studies the concept of hyperrealism in the context of contemporary literature. It focuses more specifically on the ways it is expressed in three novels written by Suzanne Jacob : L'Obéissance (1991), Rouge mère et fils (2001) and Fugueuses (2005). An overview of the history and theoretical aspects of pictural art is essential to understand hyperrealism for the latter is intertwined with this art form. When taking a closer look at the hyperrealistic novel, one will notice the abundance of media references (i.e. pictural art, photography, cinema, music, television, sculpture, architecture and literature). This occurrence of multiple medias and the depiction of the real through mediated representations are essential components of hyperrealistic works. Style and narrative are intimately related to these medias and art forms. The Hyperrealist novel hence will feature complex and particular narrative structures characterized by juxtaposed focalizations, narrative fragments and importance given to fine detail. Finally, the hyperrealist novel employs continuity and fragmentation. It features characters and author composing with these complex representations wich will eventually lead them to demonstrate skepticism and doubt when apprehending the real.

Although nature is a dominant presence both in historical New Zealand literature and in New Zealand's current international image, literary critics observe a tendency on the part of young writers to neglect nature in favour of more human, urban and cultural themes. I write against this perception, basing my argument on the hypothesis that such urban-based literature may in fact be centrally concerned with the natural world and with human-nature relations. In locating nature within the urban fictional environment, I demonstrate a model of analysis that extends literary critical approaches to nature both within New Zealand literature and within the field of ecocriticism, both of which are largely consumed with analysing representations of sublime, non-urban nature. I test this urban ecocritical method of reading in my analysis of Catherine Chidgey's three novels, In a Fishbone Church, Golden Deeds and The Transformation, all of which adhere to the human-centred trend typical of contemporary New Zealand novels. I reveal within Chidgey's fiction a gradual progression away from archetypal representations of the sublime toward a more complex, fractured and rebellious variety of nature that co-exists alongside humans within urban space. Thus, while the characters in her first novel predominantly interact with nature as a sublime, non-urban entity, those in her second and third novels face the daily possibility of encountering "the wild" within domesticated settings that are apparently severed from any connection with the natural world. This kind of urbanised feral nature poses a significant threat to Chidgey's characters, overtly in the form of the powerful natural elements, and covertly through the myriad varieties of transformed nature with which they surround themselves. I read this portrayal of nature as a commentary on contemporary modernity's relationship with the natural environment, and I suggest that this kind of agentive, autonomous nature demands a new theory of environmentalism which will consider nature as an actor alongside humans.