This thesis examines Darren Aronofsky's 2014 film Noah as a pattern for metafictionalizing narratives into thinking stories as we confront the uncertainty and challenges of the Anthropocene. While Ecocriticism has sought for the development and promotion of nature writing and environmentally oriented poetry and fiction- "new stories" that will shape a stronger environmental ethic"”it has placed too much responsibility for the environmental imagination on what we read rather than on the more important question of how we read. My argument addresses the readerly responsibilities that, if met, have the power to transform old stories and old habits of mind into environmentally relevant attitudes and behaviors. The search for new stories, in other words, although important, has tended to understate the responsibility of the reader to make stories new and to read them as cosmologies that pertain to our contemporary situation. What is needed are new ways to read and engage with stories, new reading methods to metaphorize narratives themselves, making them metafictional even when they are not. Now, in an age of climate change and environmental degradation, it is time for us to think about stories in relation to our role as protagonists in the story of the earth, imagining new possibilities and actively accepting our role of writing our story anew. I hope to demonstrate that this type of aggressive reading of even popular culture (often regarded as mainstream, or "œthoughtless" stories) can mine the necessary insights to reexamine humanity's relationship with the earth and its inhabitants.

abstract: This thesis examines perceptions of climate change in literature through the lens of the environmental humanities, an interdisciplinary field that brings history, ecocriticism, and anthropology together to consider the environmental past, present and future. The project began in Iceland, during the Svartárkot Culture-Nature Program called “Human Ecology and Culture at Lake Mývatn 1700-2000: Dimensions of Environmental and Cultural Change”. Over the course of 10 days, director of the program, Viðar Hreinsson, an acclaimed literary and Icelandic Saga scholar, brought in researchers from different fields of study in Iceland to give students a holistically academic approach to their own environmental research. In this thesis, texts under consideration include the Icelandic Sagas, My Antonia by Willa Cather, Tropic of Orange by Karen Tei Yamashita, and The Water Knife by Paolo Bacigalupi. The thesis is supported by secondary works written by environmental humanists, including Andrew Ross, Steve Hartman, Ignacio Sanchez Cohen, and Joni Adamson, who specialize in archeological research on heritage sites in Iceland and/or study global weather patterns, prairie ecologies in the American Midwest, the history of water in the Southwest, and climate fiction. Chapter One, focusing on the Icelandic Sagas and My Antonia, argues that literature from different centuries, different cultures, and different parts of the world offers evidence that humans have been driving environmental degradation at the regional and planetary scales since at least the 1500s, especially as they have engaged in aggressive forms of settlement and colonization. Chapter Two, focused on Tropic of Orange, this argues that global environmental change leads to extreme weather and drought that is increasing climate migration from the Global South to the Global North. Chapter Three, focused on The Water Knife, argues that climate fiction gives readers the opportunity to think about and better prepare for a viable and sustainable future rather than wait for inevitable apocalypse. By exploring literature that depicts and represents climate change through time, environmental humanists have innovated new methods of analysis for teaching and thinking about what humans must understand about their impacts on ecosystems so that we can better prepare for the future. / Dissertation/Thesis / Masters Thesis English 2019

In this dissertation, I argue that two dominant perspectives on farming in Canada—the technoscientific capitalist perspective on modern industrial farming and the popular vision of hard-won survival on the family farm—both draw on narrative and aesthetic strategies that have deep roots in distinct, but related variations of the georgic tradition, which arrived in Canada in the eighteenth century and continues to shape literary representations and material practices today. Critics of Canadian literature have tended to subsume the georgic under the category of pastoral, but I argue that the georgic is a separate and more useful category for understanding the complex myths and realities of agricultural production in Canada precisely because it is a literary genre that focuses on the labour of farming and because it constitutes a complex and multi-generic discourse which both promotes and enables critique of dominant agricultural practices. I argue that, despite its sublimation beneath the pastoral, the georgic mode has also been an important cultural nexus in Canadian literature and culture, and that it constitutes a set of conventions that have become so commonplace in writing that deals with agricultural labour and its related issues in Canada that they have come to seem both inevitable and natural within the Canadian cultural tradition, even if they have not been explicitly named as georgic. By analyzing a variety of texts such as Oliver Goldmith’s The Rising Village, Isabella Valancy Crawford’s Malcolm’s Katie, Susanna Moodie’s Roughing It in the Bush, Frederick Philip Grove’s Settlers of the Marsh, Martha Ostenso’s Wild Geese, Al Purdy’s In Search of Owen Roblin, Robert Kroetsch’s “The Ledger,” Christian Bok’s Xenotext, Rita Wong’s Forage, and Phil Hall’s Amanuensis, I recontextualize Canadian writing that deals with agrarian work within two distinct but related georgic traditions. As Raymond Williams and others have shown, the georgic’s inclusion of both pastoralizing myths and material realities makes it useful for exploring ecological questions. The georgic is often understood in terms of what Karen O’Brien has called the imperial georgic mode, which involves a technocratic, imperialist, capitalist approach to agriculture, and which helped theorize and justify imperial expansion and the technological domination of nature. But as ecocritics like David Fairer, Margaret Ronda, and Kevin Goodman have argued, the georgic’s concern with the contingency and precariousness of human relationships with nonhuman systems also made it a productive site for imagining alternatives to imperial ways of organizing social and ecological relations. Ronda calls this more ecologically-focused and adaptable georgic the disenchanted georgic, but I call it the precarious georgic because of the way it enables engagement with what Anna Tsing calls precarity. Precarity, as Tsing explains, describes life without the promise of mastery or stability, which is a condition that leaves us in a state of being radically dependent on other beings for survival. “The challenge for thinking with precarity,” she writes, “is to understand the ways projects for making scalability have transformed landscape and society, while seeing also where scalability fails—and where nonscalable ecological and economic relations erupt” (42). By tracing the interplay between imperial and precarious georgic modes in Canadian texts that have mistakenly been read as pastoral—from Moodie’s settler georgic to the queer gothic georgic of Ostenso’s Wild Geese to the provisional and object-oriented georgics of Robert Kroetsch and Phil Hall—I argue that the precarious georgic strain has always engaged in this process of thinking with precarity, and that it holds the potential for providing space to re-imagine our ecological relations.

abstract: How do trees (live and representational) participate in our theatrical and performed encounters with them? If trees are not inherently scenic, as their treatment in language and on stage might reinforce, how can they be retheorized as agents and participants in dramatic encounters? Using Diana Taylor’s theory of scenario to understand embodied encounters, I propose an alternative approach to understanding environmental beings (like trees) called “synercentrism,” which takes as its central tenet the active, if not 100 percent “willed,” participation of both human and non-human beings. I begin by mapping a continuum from objecthood to agenthood to trace the different ways that plants and trees are used, represented, and included in our encounters. The continuum provides a framework that more comprehensively unpacks human-plant relationships. My dissertation addresses the rich variety of representations and embodiments by focusing on three central chapter topics: the history of tree representation and inclusion in dramatic literature and performance; interactions with living trees in gardens, parks, and other dramatic arenas; and individual plays and plants that have a particularly strong grasp on cultural imaginaries. Each chapter is followed by one or more corresponding case studies (the first chapter is followed by case studies on plants in musical theatre; the second on performing plants and collaborative performance events; and the last on the dance drama Memory Rings and the Methuselah tree). I conclude with a discussion of how the framework of synercentrism can aid in the disruption of terministic screens and facilitate reciprocal relationships with trees and other environmental agents. / Dissertation/Thesis / Doctoral Dissertation Theatre 2018

In this dissertation, I draw together an archive of twentieth and twenty-first century North American authors and artists who explore the settler colonial and racist ideologies of the Anthropocene, the proposed name for a contemporary moment in which anthropogenic forces have forever altered the Earth system. I hold that the “the Anthropocene” names a moment in which localized environmental injustices have become planetary. Addressing the representational challenges posed by the epoch requires engaging the underlying cultural assumptions that have long rationalized injustices as necessary to economic prosperity and narrowly conceived versions of national wellbeing. Works of literature and cultural representation can use literary and artistic form to this end. In this dissertation, I identify one such formal strategy, which I term insensible realism. As a form of realism committed to representing the real impacts of discursive and material practices, insensible realism refers to the rejection of rationality and Enlightenment ideals that have been used to justify the White supremacy, settler colonialism and environmental destruction that instantiates the Anthropocene. A realism of the insensible also refers to my archive’s concentration on what cannot be easily sensed: the epoch’s social and environmental interactions that are physically, temporally, geographically and/or socially imperceptible to dominant society. I argue that these works eschew accepted notions of rationality and empiricism in favor of using non-dominant cultural traditions and theories of environmental justice to address the problems the Anthropocene poses. Challenging the dominant logics that have been used to rationalize racist, settler colonial and environmental violence of the Anthropocene creates space for alternative environmental commitments and narratives. Throughout the dissertation, I draw on theories from women of color feminism, environmental justice scholars, settler colonial studies, theories of race, and new materialism. Through a critical environmental justice framework, I argue that the authors and artists that make up my archive develop a literary and artistic approach to environmental justice, using forms of representation to highlight—and challenge—the intersections of racism, settler colonialism and environmental destruction. / 2019-10-17

This paper gives critical attention to the nature versus caution porch conversation in Zora Neale Hurston's Their Eyes Were Watching God, arguing that this is a legitimate addition to the anthropological discussion of nature versus culture. Addressing literary critics as well as scholars of the environmental humanities and of multispecies studies, I argue that Hurston's nature-caution discussion is a helpful epistemology which Hurston employs throughout her novel to suggest a single, unified way of understanding the human and nonhuman.

In recent years, a new poetry genre has emerged, currently known as Instapoetry, and its chief practitioners are often young females (Pâquet 2019). Instapoetry has many characteristics influenced by the nature of the Instagram platform on which it is published, such as its brevity and its inclusion of visual effects with the text. However, its resemblance and links to older forms of modernist and post-modernist poetry are undeniable; such as its use of symbolism, expressionism, its move away from tradition, and its sense of activism. The “retrofitting” (Chasar 2020) of modernist poetic themes and formats for a digital medium opens up new possibilities for new ways of thinking. I suggest that this new format which can be seen as restrictive, allows for an opening and for new modes of subjectivity. Instapoetry engages feelings and ideas through an inclusive approach and that is essentially what gives it its potential as an activist and educational facility. Through its penchant for activism, Instapoetry engages in a metamodernist global consciousness shift, which Luke Turner defines as a move away beyond postmodernism and an “emergence of a palpable collective desire for change” (Turner 2015).  Female Instapoets often employ nature motifs in their Instapoetry, however, the nature motif is portrayed as something that connects, contrary to the restrictive sense often applied by patriarchal systems. In order to break away from a simplistic reading of Instapoetry as a poetic genre completely closed in by algorithms and word limits and to show the openings that this poetic genre allows, I suggest a new name “Digital Media Ecofeminist Poetry.” I attempt a qualitative methodology, through close reading of various Instapoems by female Instapoets, to demonstrate their nuanced use of form, language, and visuality and I examine the ways in which the digital medium influences this new form of poetry.

Meine Dissertation untersucht die ökologische Landwirtschaft auf indischen Teeplantagen. Basierend auf sechsmonatiger Feldforschung auf drei Plantagen in verschiedenen Teeanbaugebieten (im Dibrugarh-Distrikt von Assam, in der Darjeeling-Region in Westbengalen und in den Nilgiri-Bergen in Tamil Nadu) beschreibe ich, wie die Interaktionen zwischen Menschen, Teepflanzen und anderen nichtmenschlichen Spezies Einfluss auf Arbeits- und Produktionsverhältnisse nehmen. Mit Bezug auf Erin Mannings Denkbild der „minor gestures“ (2013) theoretisiere ich solche Interaktionen als spontane, nicht-intentionale, kollektive Handlungen. Über das analytische Instrument der „kleinen Gesten“ skizziere ich die Akteur-Netzwerke des ökologischen Teeanbaus. Hier zeige ich zum einen die Ungleichheiten bei der Arbeit auf, die durch ökologische Anbautechniken reproduziert werden, zum anderen die verschiedenen Formen menschlichen und nichtmenschlichen Widerstands gegen das Plantagenmanagement. Kernargument der Dissertation ist, dass Bio-Pflanzer (Plantagenbesitzer) und -Berater die „kleinen Gesten“ zwischen Teepflanzen und anderen nichtmenschlichen Arten gezielt einsetzen, um Teepflanzen produktiver wachsen zu lassen. Sie weisen ArbeiterInnen und Aufseher an, Insekten, Pilze, Bodenbakterien, Kühe und Wildpflanzen strategisch in die tägliche Arbeit einzubeziehen und ökologische Zusammenhänge für die Teeproduktion nutzbar zu machen. So soll etwa der Dung von Kühen die Bodenbakterien ernähren, damit diese wiederum die Teepflanzen nähren. Pilze, die vormals als Schädlinge angesehen wurden, sollen den Geschmack von Teeblättern verfeinern. Während andere Studien Plantagen vor allem als „ökologische Vereinfachungen“ beschreiben (Tsing et al 2019: 186), wollen Pflanzer auf Bio-Teeplantagen ökologische Vielfalt nicht grundsätzlich ausschließen, sondern vielmehr gezielt beeinflussen. ArbeiterInnen und Aufseher sollen vielfältige ökologische Beziehungen gezielt kultivieren, um landwirtschaftliche Monokulturen zu optimieren. So soll ein ertragreiches „Miteinander“ (Münster 2017) verschiedener Arten innerhalb der „ökologischen Vereinfachungen“ entstehen. Meine Ethnographie arbeitet zwei zentrale Aspekte dieses Miteinanders heraus: Erstens betone ich, dass die Zusammenarbeit mit nichtmenschlichen Lebewesen mit menschlichen Ungleichheiten einhergehen kann. Das Miteinander verschiedener Arten beruht zumeist auf prekärer Arbeit, wie sie auf indischen Teeplantagen seit der Kolonialzeit vorherrscht. Ökologische Anbautechniken erhöhen den Arbeitsaufwand, da sich ArbeiterInnen und Aufseher zusätzlich zu den Teepflanzen mitunter auch noch um Mikroorganismen kümmern, Dünger herstellen oder das Wetter beobachten müssen. Für die aufwendige Pflege nichtmenschlicher Lebewesen verdienen sie dennoch weniger als den Mindestlohn. Pflanzer und Berater sind in erster Linie darum bemüht, das nichtmenschliche Miteinander zu optimieren; gute Bedingungen für ArbeiterInnen und Aufseher sind meist zweitrangig. Zweitens zeige ich, wie der Widerstand von ArbeiterInnen und Aufseher gegen ihre Arbeitsbedingungen das produktive Miteinander anderer Spezies verändert. Bisweilen protestieren ArbeiterInnen und Aufseher offen gegen ihre prekäre Situation, so auch während des Generalstreiks in Darjeeling im Jahr 2017, in dessen Folge ganze Plantagen brachlagen und verwilderten. Für gewöhnlich jedoch verhandeln ArbeiterInnen und Aufseher ihre Arbeitsbedingungen weniger offensiv, sie leisten „alltäglichen Widerstand“ (Scott 1985). Indem sie zum Beispiel bestimmte Anweisungen zu ökologischen Anbautechniken missachten, beeinflussen ArbeiterInnen und Aufseher auch die „kleinen Gesten“ zwischen Teepflanzen und anderen nichtmenschlichen Arten, was die Erträge der Teepflanzen zurückgehen lassen kann. Alltäglicher Widerstand ist also häufig kontraproduktiv, weil der Arbeitsaufwand dadurch langfristig steigt. Ähnliches gilt auch für den nicht-intentionalen Widerstand, den Teepflanzen und andere Nichtmenschen vermittels „kleiner Gesten“ leisten: Wenn der Monsun die Teepflanzen zu schnell und zu hoch wachsen lässt, oder sich die „invasive“ Lantanapflanze auf den Plantagen ausbreitet, entsteht auch hier zusätzliche Arbeit für ArbeiterInnen und Aufseher. Die Kombination von Plantagenstudien und Studien zu alternativer Landwirtschaft erweitert das Repertoire der Multispecies-Forschung. Beide Landwirtschaftsformen werden, besonders im indischen Kontext, zumeist als Gegenspieler dargestellt; alternative Landwirtschaft gilt als ökologisch und sozial regenerativ, während Teeplantagen Ökosysteme zerstören und koloniale Ausbeutungsverhältnisse reproduzieren. An dieser Schnittstelle zeigt meine Forschung, wie Bio-Teeplantagen alternative Anbautechniken als zentrale Elemente in industrielle Produktionsabläufe einbinden. Somit konsolidiert umweltfreundlichere Teeproduktion das Plantagensystem – und damit auch prekäre Arbeit. Indem ich das Zusammenspiel von Agrarökologie und sozialen Arbeitsfragen untersuche, verdeutliche ich auch das kritische Potenzial der Multispecies-Ethnographie: Gegen das ökologische Miteinander, welches das Plantagemanagement kultivieren will, leisten sowohl ArbeiterInnen und AufseherInnen als auch nichtmenschliche Lebewesen Widerstand.

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This thesis explores the work of Texan painter Alexandre Hogue, and specifically how his 1930s Erosion Series, paintings of wind-ravaged farms during the Dust Bowl, promotes environmental attitudes long before America had a well developed ecological language. It analyzes the Erosion Series in the context of Hogue's personal land ethics and those of his artistic contemporaries, showing that the 1930s series strives to depict the devastation caused by both drought and aggressive farming practices. A comparison of Hogue's work to Regionalist artists like Thomas Hart Benton and Grant Wood reveals that Regionalists' depictions of land during the 1930s created an unrealistic portrayal of American farms with eternal abundance. In contrast, Hogue's series explores man's relationship to land and shows how that relationship is often destructive rather than constructive. In many ways, Hogue's work is much more in line with works by FSA photographers and filmmakers who, similar to Hogue, imaged more realistic depictions of Midwestern farms at the time. Ultimately, this thesis asserts that paintings, and the fine arts in general, are an important step to a more environmentally minded future—a future Alexandre Hogue sought to promote through nine ecologically charged works.