<p>The Organic Citizen investigates an underlying environmentalist sensibility that links texts and discourses from varied realms and disciplines - Indian reform, environmental policy, social reform, ecology, sociology and legislation. I contend that, taken together, these works narrate an ecological vision of national affiliation: a concept of the nation as an ecological, natural zone of interdependence and its citizens (or non-citizen inhabitants) as members of this environmentally-conceptualized nation. This shared narrative of natural collectivity gives rise to what I call an "organic citizen" - the literary-political figure of an individual imagined to be a natural member of an ecological national body. I show that this concept of eco-citizenship both informs and is informed by contemporaneous concepts of indigeneity (what it means to be native) and by the actual political positioning of the American Indian in the U.S. citizenry throughout the century.</p><p>In five chapters, I argue that environmentalism is a site in which subjectivity is shaped, initially establishing modes of assimilative collectivity at the turn of the last century and later providing a realm in which the terms of subject affiliation may be analyzed and revised. I show how environmentalist discourse is profoundly connected to democratic practice and membership and how it formulates models of citizen collectivity. I contend that this discourse encompasses significantly more than a narrowly defined set of conservationist concerns for ecological entities, and can be used as a site of activism. Certain forms of stories - narratives that question these terms of national affiliation- expose the nuances of environmentalist thought. This type of storytelling offers a means through which environmentalist thought can become a realm of citizen engagement or activist possibility, opening access to and agency within a participatory democracy. An examination of this eco-narrative, I suggest, provides useful insights into how land use and rhetoric give definition to the way U.S. citizenship is socially imagined, legally adjudicated, and independently or communally practiced in a democratic system.</p><p>The first chapter examines the simultaneous emergence of wilderness narratives with the science of ecology and discourses concerned about national and geographical assimilation of communities and individuals of ethnic difference. I draw upon the writings of social reformers, particularly Jane Addams, ecologists Henry Chandler Cowles and Frederick Clements, and environmentalists John Muir and Gifford Pinchot. Together, I argue they demonstrate how immigrant and impoverished subjects living in urban zones were rhetorically imagined and physically and metaphorically associated with natural entities. I contend that this literal naturalization makes immigrant presence less threatening to a national collective by converting these bodies and places into natural resources to be consumed for nationalist purposes. This version of citizenship imagines collectivity as a form of organicism, a process by which foreign subjects and non-citizens can be incorporated into a citizenry as natural resources while not necessarily legally constituted as citizens of the nation.</p><p>While the rhetoric surrounding land use began to take new political, constitutional and sociocultural form in the first wave of a formal environmental movement, there simultaneously was a dramatic jurisprudential shift in Indian status in the U.S. This chapter explores how the formulation of an "organic citizen" at the turn of the century draws upon circulating concepts of indigeneity. I bring together Indian reform policy, specifically the Dawes Allotment Act, environmental policy, particularly the Antiquities Act, and fictional writings by Mary Austin and George Bird Grinnell. These narratives demonstrate the consistency with which American Indians were imagined as organically connected to natural lands. I argue that the result is a concept of indigenous organicism that is predicated upon the Indian being publicly, although uncomfortably, imagined as a natural constituent of a citizenry and Indian land as a natural part of a national body. Chapter Three examines the fictional and political writings of Zitkala-Sa and Charles Eastman to consider how they use stories and their public roles to analyze the legal and discursive connections between an environmentalist sensibility and concepts of indigeneity. I contend that Eastman and Zitkala-Sa begin to use a language of rights and democracy within this eco-discourse as a way to insert the native as a rights-bearing citizen in the U.S. nation, putting forth a race analysis that ultimately disrupts the idea of ecological assimilation prevalent at the time. Reading their work alongside key environmental policies, like the Organic Act of 1916, Indian reforms, like the Citizenship Act of 1924, and Willa Cather's novel The Professor's House highlights the persistence of a concept of natural indigeneity that continued to be narrated even after American Indians are given legal citizenship. </p><p>Eastman's and Zitkala-Sa's use of the environmentalist/native link as a means for race critique falls out of environmentalist thought and practice in a critical moment of transition in the environmental movement. Their use of storytelling and sense of political right, however, lays the foundation for the type of environmental narrative that emerges with the second stage of the environmental movement. My fourth chapter shifts to this moment, focusing on Aldo Leopold's A Sand County Almanac (1949) and Rachel Carson's Silent Spring (1962). I argue that both authors use an environmental narrative, particularly storytelling, as a means to imagine citizen engagement in a participatory democracy. However, while Leopold and Carson incorporate a language of political rights, they do not carefully factor into their versions of national/ecological belonging and action the ways in which race and class identities affect the social, political, and legal standing of various subjects within the eco-nation. </p><p>My final chapter explores how a race and class critique in environmentalist thought and politics returns in the last quarter of the twentieth century. I draw from significant legislation and Supreme Court opinions that explicitly defined the political rights of ecological objects and species, such as Sierra Club v. Morton, the Endangered Species Act, and a series of legal battles that emerged around the construction of the Tellico Dam, particularly the Cherokees' resistance to its development. These documents and cases deliberate over the political standing and rights of natural, non-human entities, but they circumnavigate engagement with questions of political standing for geographically and socially marginalized human citizens in the U.S., although this issue is implicitly present and strategically drawn upon in their arguments. This lost component takes shape and political articulation in the following emergence of the environmental justice movement. The politics of voice - "speaking for oneself" - that emerges particularly out of indigenous environmental justice movements highlights the use of storytelling as an activist practice. In their careful novelization of environmental activism, Linda Hogan's Solar Storms (1995) and Ruth Ozeki's All Over Creation (2003) not only pinpoint the interconnections, but also the injustices that arise out of the way human and ecological subjectivities are legally and culturally constructed. I argue that both authors use the literary form to model how stories and the act of storytelling allow for the articulation of and/or resistance to certain terms of national affiliation. Both Hogan's and Ozeki's novels bring forth an expanded sense of environmentalism, showing that storytelling can redefine our roles as U.S. citizens and position ourselves as active agents in democratic discourse, policy-making and change. </p><p>We are living in another pivotal moment of environmentalist thought as new attention is given to the way environmental conditions are deteriorating and as popular culture begins to take interest in these issues. It is crucial that Literary Studies rigorously engage with these issues to examine the kinds of narratives being generated. While Ecocriticism and Native American Studies have remained somewhat marginalized from the core of Literary Studies, this project (particularly in this moment) argues that these types of criticism and theory have an imperative role to play in illuminating narratives of identity, nation, and citizenship.</p> / Dissertation

This thesis examines the presence of unhu, a process of becoming and remaining human through community ties, in Nervous Conditions and The Book of Not by Tsitsi Dangarembga. Dangarembga interrogates corrupt versions of community by creating positive examples of unhu that alternatively foster community building. Utilizing ecocritical, utopian, and postcolonial methodologies, this thesis postulates that these novels stress the importance of retaining a traditional concept like unhu while also acknowledging the need to adjust it over time to ensure its vitality. Both novels depict the creativity and resilience of unhu amid toxic surroundings.

In Recreating Nature: Ecocritical Readings of Yosemite and Grand Canyon, I examine the intersections of culture and nature in two prominent national parks, and I consider the implications of nature-tourism in the environmental discourse of the U.S. Covering a period from 1848 to the present, my project aims to correct an oversight in scholarship about the park system, in which legacies of colonialism and imperialism--when addressed at all--tend to be historicized and framed as the age-old sins of a presumably reformed national politic. Instead, I examine both historical and present-day developments, emphasizing the profound cultural influence of the places we designate as natural. I define ecocriticism as an inherently interdisciplinary endeavor attuned to the interconnectedness of things. My methodology is to engage texts, images and other expressions of the national parks in a process of extended close reading and comparative analysis. While observing the particular contexts of each case, I attempt to locate these texts amidst the broadest but most essential critical terrain: they each negotiate a dialogical relationship between culture and nature. By setting the stage for examining the human and its relation to the non-human other, the parks have become key sites for displaying the recreation of nature. After my introduction I discuss John Muir's My First Summer in the Sierra, focusing on an episode where Muir risks his life for a view from Yosemite Falls. I also consider Muir's failure to empathize with Native Americans he encountered. In my next chapter I analyze John Wesley Powell's Exploration by focusing on his attempt to assert authority over a region by prioritizing the scientific tone in his writing. Next I synthesize historical and contemporary sources, discussing Mary Colter's Grand Canyon architecture alongside the Grand Canyon Skywalk, a glass-bottom walkway on the Hualapai Indian reservation. In the following chapter I compare the acrophobia-inducing photographs of George Fiske and Emery Kolb. Finally, I discuss transit real and imagined in Grand Canyon and Yosemite, considering the utopian potential of national parks. I close by revisiting questions about our changing environmental discourse and about the future of ecocriticism.

The early twentieth century saw the beginning of modern environmentalism. Intellectuals dreamed up solutions to the world’s problems and hoped for a better future being made possible by advances in science and technology. However, Aldous Huxley produced Brave New World which, as this essay argues, mocks the enthusiasm of his intellectual peers. The dystopian novel depicts a future in which technology dehumanizes the population, and uses a great deal of animal imagery to make this point. This essay analyses the use of animal imagery from an ecocritical perspective arguing that the “pathetic fallacy” is reversed. By examining the use of biotechnology and central planning in the novel, and applying the ecocritical perspective that humanity and nature are part of a whole, this essay argues that society resembles a farm for human animals, which is partly expressed by Huxley’s use of the image of a bee colony. The argument is presented that Huxley satirizes his environmentally concerned peers by depicting a totalitarian state which, though unconcerned with environmental issues, echoes the eco-fascist methods proposed by the author’s friends and family.

This dissertation builds upon the relatively young fields of visual and environmental rhetoric and analyzes the rhetoric of natural history filmmaking, focusing on the ways in which the genre illustrates the complex relationship between contemporary culture and the environment. Each text demonstrates how the constructs of “nature” and “wilderness” perform necessary cultural work by representing particular ideals that change to meet the public’s shifting needs. Nature performs various roles, serving as a source of knowledge, solace, wonder, mystery, anxiety, truth, identity, and affirmation. The dominance and immediacy of visual culture make the natural history film, along with advertising, one of the most significant sources of meaning regarding the natural world. These films employ familiar syntactic and semantic cues such as sentimental parent/offspring interactions, authoritative narration that limits the ability of the audience to interpret freely, and a musical score that influences the viewer’s emotional response to certain scenes. The net result of these rhetorical practices is a distancing of the viewer from the natural world that destabilizes the attempts of many eco-political programs to emphasize the interconnectedness of ecological systems and their components. The emergent genre of big-budget nature films (BBNFs) is a distinctly modern and extremely popular take on natural history filmmaking that has more in common with summer blockbusters and wildlife theme parks than its predecessors with an unprecedented ability to influence public perception of the natural world. Even as environmental concerns become increasingly dire, the BBNF tends to commodify death and extinction, avoid political engagement, reduce engagement with nature to its most sentimental and violent moments, perpetuate the perceived separation between humans and their environment, and provide a soothing escape to a virtual environment that too often seems unaffected by climate change and habitat destruction. The BBNF has the potential to undermine environmental and conservation efforts. It also exemplifies what some ecocritics have termed “ecopornography,” an exploitative representation that objectifies its subjects, encourages viewers to develop identifications with unrealistic images rather than their real-world analogs, and helps enable unethical behavior toward the environment and nonhuman animals. At stake in this dissertation is a deeper understanding of how natural history filmmaking affects the public’s awareness of (and role in) the environment.

No description available.

<p>"The universe constantly and obediently answers to our conceptions," writes Thoreau: "Let us spend our lives in conceiving then." This dissertation depicts how Thoreau's fellow antebellum antislavery writers discerned the power of concepts to shape "the universe." Wishing for a new universe, one free of slavery, they spent their lives crafting new concepts. "Ground Plans" argues that antebellum antislavery writers confiscated the concept of nature from proslavery forces and fundamentally redefined it. Advocates of slavery routinely rationalized slave society by referencing a particular conception of nature--as static, transhistorical, and hierarchical--claiming that slavery simply mirrored the natural, permanent racial order. This dissertation demonstrates that to combat slavery's claim to naturalness, antislavery writers reconceptualized nature as composed of dynamic species and races, evolving in relation to one another. In four chapters on David Walker, Harriet Jacobs, William Wells Brown, and Gerrit Smith, it shows that this theory of nature enabled these writers to argue for the complete transformation of society to bring it into line with what they characterized as nature's true principles. This dissertation thus restores the concept of nature as a crucial intellectual battleground for abolitionism. Moreover, it shows these politically-charged antebellum debates over nature's meaning to be crucial to the story of natural science, showing that abolitionists speculated on the natural principles that would eventually constitute the founding insights of ecology.</p> / Dissertation

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.

Society’s current experience of nature is ambiguous. Just as nature proves severely affected by human activities and vulnerable, it also appears threatening to us. Although the changes in nature have been perceived for long as an ecological crisis, this experience and the challenges it provides have remained persistently exigent over the last four decades. As a consequence, our epistemological understanding of nature and culture as separate entities has been inherently shaken. My study is located among ecocritical attempts to negotiate these experiences. Immanent critiques of E. O. Wilson’s and Bruno Latour’s epistemologies exemplify how we cannot escape the dualism in society’s relationship to nature by simply declaring nature’s and culture’s unity. Relying on the social philosophy of Max Horkheimer and Theodor W. Adorno, I instead consider the dualism as historically both true and false, and argue that instrumental reason provides a socio-psychological barrier to transcending the way Western society relates to nature. Central to the situation’s perpetuation is the confidence that the object of knowledge can be adequately and steadily identified in knowledge. Based on Adorno’s negative dialectics, I develop a model of cognition that works through the dualism within the knowing subject and in its relation to animals. This model is substantiated in the context of Enlightenment thought. A reconstruction of the development of René Descartes’ (1596–1650) epistemology in relation to his philosophy of nature and the place of animals within it shows the animal as particularly resistant to Descartes’ conceptual identification. In the writings on animal behaviour of Hermann Samuel Reimarus (1694–1768) this resistance further manifests as a self-mediation of animals, which denotes the limits to their conceptual assimilation. Maria Sibylla Merian’s (1647–1717) aesthetically mediated insect studies capture this tension between species commonalities and unique particularities, and represent the single specimens as nonidentical individuals. Through critical engagement with these works, my study develops a cognitive approach to nature that preserves its object as qualitatively mediated between universal and particular properties, and inherently nonidentical. Simultaneously, it recovers the animal as an object of knowledge particularly resistant to identificatory thought. Consolidating these two insights, aesthetic mediation of animals provides an experience that reveals to the subject its limited power over the objects and which is capable of raising the memory of nature within the subject.

Access to abstract restricted until 07/2016. / Eco-typology and the tree of life in Milton's Paradise lost -- The Matthew Bible, eco-typology and the tree of life in Milton's Eden -- The Geneva Bible, eco-typology and the fruit of the living word in Paradise lost -- Speed's 'Genealogies', the King James Bible and the seed of grace in the later books of Paradise lost. / Department of English