The developing knowledge of life sciences is at the crux of Margaret Atwood's Oryx and Crake as she examines human promise gone awry in a near-future dystopia. This thesis examines aspects of posthumanism, ecocriticism, and feminism in the novel's scientific, cultural, and environmental projections. Through the trope of extinction, Atwood's text foregrounds the effects of human exceptionalism and instrumentalism in relation to the natural world, and engenders an analysis of human identity through its biological and cultural aspects. Extinction thus serves as a metaphor for both human development and human excesses, redefining the idea of human within the context of vulnerable species. Oryx and Crake reveals humanity's organic connections with non-human others through interspecies gene-splicing and the ensuing hybridity. In this perspective, Atwood's text provides a dialogue on humankind's alienation from the natural world and synchronic connections to the animal other, and poses timely questions for twenty-first century consumerism, globalism, and humanist approaches to nature. The loss of balance provoked by the apocalyptic situation in Oryx and Crake challenges commonplace attitudes toward beneficial progress. This imbalance signals the need for a new narrative: A consilient reimagining of humanity's role on earth as an integrated organism rather than an intellectual singularity.

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This dissertation examines the literary archives of three Ontario cities – Windsor, Hamilton, and Toronto – to discover and enfold urban nature in our everyday lives. Beginning with a refusal to accept the popular notion that there is no nature in the city or that the city is separate from the natural world, I seek to engage with writers in these three cities to find representations of and engagements with the natural world in an urban setting. In the light of a growing environmental crisis marked by fossil fuel shortages, climate change, biodiversity decline, and habitat loss, this project is an attempt to craft a meaningful response from an ecocritical perspective. Central to this response are two key contentions: one, that the natural world is in the city, but we need to find ways to recognize it there; and, two, that the most efficacious and ethical way to respond to environmental crisis is to make this urban nature a part of our everyday lives by fostering attachments to it and protecting it, or, to put it differently, enfolding it into our human lives. Using literature, my project shows how the natural world is present in three Ontario cities and how writers like Di Brandt, John Terpstra, Phyllis Brett Young, and others are already including urban nature in their work. This work also addresses significant gaps in Canadian literary discourse which has tended to focus on wilderness or rural spaces and in ecocritical discourse which has also tended to eschew urban locations. This project adopts an interdisciplinary perspective to read a wide range of texts including fiction, poetry, creative non-fiction, educational material, scientific publications, and others in order to encourage readers and citizens of Windsor, Hamilton, and Toronto to discover and enfold the urban nature present in those cities. / Dissertation / Doctor of Philosophy (PhD)

This work intervenes in the complex relationship between the large-scale management and exploitation of water in the United States and its impact on the bioregional literary imagination in the Tennessee Valley between 1933-1963. It shows through site-based environmental criticism and literary analysis that the “dam” becomes a material and symbolic place of convergence where one can examine the relationship between humans and their biospheres. As interdisciplinary rhetorical, literary, historical, archival and cultural analysis, this work engages writers such as David E. Lilienthal, William Bradford Huie, Robert Penn Warren, and Madison Jones in order to reveal the inherently conflicted realities of environmental conservation, individual identity, and displaced regional imaginations in American literature. / English

There remains in Hawthorne criticism today, despite critical rediscovery of his texts in terms of the public sphere, an echo of denunciation that he did not do the cultural work that his contemporaries did, that he "distrusted" and "punished" women, and that his work is irrelevant to today's young readers. He has been largely neglected, as well, by contemporary environmental critics who have found nature in his texts to be insufficiently mimetic. This ecocritical reading of Hawthorne in conjunction with that of Catharine Maria Sedgwick and Sarah Orne Jewett resolves these critical problems in that he is established as a nature writer, narratively rendering nature observation (sketches) and an environmental agenda (tales and novels) of expiation for maternal wilderness penetration. The all-important work of Hawthorne might then be called ecological, making him highly relevant in today's world. He is relevant in terms of women, as well, as nature unfolds in gendered terms in his works, and he, along with Sedgwick, positions the human female at scenes of primal violence at the heart of New England colonization, which set in motion the devastation of the American wilderness. Hawthorne's female is a corrective presence to which males remain blind. Jewett envisions a post-white-masculine-hegemonic world of female ascendancy, based on female symbiosis with nature, the fruition of Hawthorne and Sedgwick's preferencing of the female. Environmental criticism examines the human-nature relationships and ecological subtexts in literary texts and encompasses a critique of American culture, a gendered understanding of the landscape, an application of geographical discussion of place and of concepts from ecology and conservation biology. It employs a multi-disciplinary perspective and calls for the addition of "worldnature" or "environmentality" to the categories of cultural criticism. This ecocritical approach combines the historical philosophical, deconstructive, and psychoanalytic perspective of Patocka, Lacan, Derrida, and Staten with ecofeminism, integrating matters of geology, ecology, art, nature writing, and quantum mechanical physics. / English

This dissertation studies literary modernism’s philosophies of nature. It examines how historical attitudes about natural environments and climates are codified in literary texts, what values attach to them, and how relationships between humanity and nature are figured in modernist fiction. Attending less to nature itself than to concepts, ideologies, and aesthetic theories about nature, it argues that British modernism and ecology articulate shared concerns with the vitality of the earth, the shaping force of climate, and the need for new ways of understanding the natural world. Many of British modernism’s most familiar texts, by E.M. Forster, James Joyce, Virginia Woolf, and H.G. Wells, reveal a sustained preoccupation with significant concepts in environmental and intellectual history, including competition between vitalist, holist, and mechanistic philosophies and science, global industrialization by the British Empire, and the emergence of ecology as a revolutionary means of ordering the physical world. “Modernism, Ecology, and the Anthropocene” uncovers these preoccupations to illustrate how consistently literary works leverage environmental ideologies and how pervasively literature shapes cultural and even scientific attitudes toward the natural world. Through the geological concept of the Anthropocene, it brings literary history into interdisciplinary conversations that have recently emerged from the Earth sciences and are now increasingly common in the humanities, social sciences, and in wider public debates about climate change. The dissertation’s first chapter, “Connecting Earth to Empire: E. M. Forster’s Changing Climate,” argues that E.M. Forster’s fiction apprehends the global implications of local climate change at a crucial time in environmental and literary history. By relating Forster’s Howards End and A Passage to India to his 1909 story, “The Machine Stops,” it attends to the speculative aspects of Forster’s work and presents Forster as a keen observer who foresaw not only the passing of rural England and the arrival of a new urban way of life, but environmental change on a global scale. Its second chapter, “The Call of Life: James Joyce’s Vitalist Aesthetics,” explores the connotations “life” gathers in Joyce’s early fiction and proposes a new reading of his aesthetics that emphasizes its ecological implications by pairing Joyce with his contemporary “modern” vitalism and current new materialisms. The third chapter, “Make it Whole: The Ecosystems of Virginia Woolf and A.G. Tansley,” revises critical conceptions of Woolf as an ecological writer and environmental histories of early ecology by showing how Woolf’s philosophy of nature and Tansley’s ecosystem concept run parallel and represent a shared intellectual project: advocating theories of form and of perception that navigate the tension between holist and mechanistic conceptions of nature and mind. A final chapter, “Landlord of the Planet: H. G. Wells, Human Extinction, and Anthropocene Narratives,” establishes Wells as an early environmental humanist whose ecological outlook evolved with his perception of the rapidly increasing pace of climate change and its threat to the human species. By digging into a rarely-read scientific textbook he co-authored, The Science of Life, this chapter analyzes how the natural world is managed in three Wellsian utopias and traces the development of his writing in concert with ecology. / English

Okwire’shon:’a, or trees of the forest, guide the methodology and epistemology of my doctoral research. The Rotinonhsonni creation history tells us that all life is made from the clay of the earth (Mother Earth or First Woman), and therefore everything in Creation shares an origin in and a connection to the earth. Thus, Rotinonhsonni thoughtways understand trees to be part of an interconnected network of land-based knowledge that spans from time immemorial to the present. As extensions of First Woman, trees are literally my relations, my ancestors. While onkwehonwe (original peoples) have long been able to tap into the knowledge of the land (and many still do), colonialism has significantly disrupted our landed and place-based relationships and consequently our ability to read the land. This, in turn, disrupts the ability of onkwehonwe to live within the principles of Kayanerekowa. My dissertation explores, through juxtapositions of Rotinonhsonni oral histories, contemporary Indigenous literature, and a series of trees, the possibility of (re)learning to read and communicate with the land. Using a trans-Indigenous methodology, my project examines three branches of land-centered philosophy within Indigenous literature: enacting creation stories; spirit agency; and internalized ecological holism. By reading different Indigenous texts across from Rotinonhsonni epic teachings, my trans-Indigenous methodology affirms Indigenous alliances with the environment and with each other, their long-standing presence on and stewardship of the land, and the value and validity of knowledge that is ancestral, adaptive, and alive. I argue that by carrying forward land-centered knowledge contemporary Indigenous literature stimulates an awareness of the land and nonhuman societies as cognizant and in communication with us. Renewing relations and modes of relationality to the land in this way re-energizes Kayanerekowa, and has the potential to strengthen Indigenous efforts for self-determination, knowledge resurgence, land reclamation, and nation-to-nation alliances. / Thesis / Doctor of Philosophy (PhD) / This project demonstrates a cyclical process of reading between a small selection of contemporary Indigenous literatures, Indigenous oral histories and cosmologies, and a series of trees indigenous to Turtle Island. Tree-readings are attempted through three methods: aesthetic (metaphoric) interpretation; analysis through Indigenous oral histories; and, listening to the thoughts of the trees themselves. Each tree’s teachings are then bundled together as a framework for reading a work of Indigenous narrative art that demonstrates similar principles and emphases. The overall aim of this work is to model how landed processes of coming to know develop an awareness of the land and all nonhuman societies as alive, thinking, and possessing agency. In a Rotinonhsonni (Six Nations) context, this renewal of landed consciousness strengthens the principles of righteousness, reason, and power, which sustain the Kayanerekowa (Great Law of Peace).

Exile is not only an appropriate lens through which to view the ecological, social, and psychological destabilizations of the Anthropocene, but also as a state which can inspire the flexibility and creativity necessary to survive difficult times through ecologically-connected states of being. Examinations of literary alienation and responses to this condition in this project are confined to women’s exoplanetary science fiction which anticipates the experience of physical and emotional separation from planet Earth. In contextualizing experiences of exile from our planet of origin and the expressions of such in women’s science fiction literature, this project interrogates selected cultural movements in human relationships to the environment, separation from the environment, and resistances to that estrangement through the concept of exile. Chapter One considers the Western myth of the lost paradise and the ways in which the Garden of Eden has contributed to Western conceptions of environmental and human perfection and belonging and the persistent idea of working one’s way back to Eden. In contrast to this idea, I present analyses of James Tiptree Jr.’s A Momentary Taste of Being and Molly Gloss’s The Dazzle of Day, both of which illustrate that working toward perfection is an ultimately stagnating and often violent move. Chapter Two, mounting further challenges to the Western paradise and its reverberations through environmental discourse, frames science fiction’s initial acquiescence to narratives of colonization and later feminist rejection of these narratives. Analyzing the connections between colonial structures, the environment, and beings considered nonhuman or less-than-human in Ursula K. Le Guin’s The Word for World is Forest and Joan Slonczewski’s A Door Into Ocean, this chapter describes the psychological and emotional estrangements necessary to survive and resist colonization and its ecological destruction and contextualizes experiences of exile. Chapter Two argues that though exile is often a destructive process, it can form a basis with which to resist entrenched social structures. Finally, Chapter Three examines the ways in which Indigenous science fiction, working in a different historical and cultural context than that of the Western feminist texts discussed in the previous two chapters, emphasizes an experience of and approach to exilic destabilizations which centres on what Gerald Vizenor calls “survivance”—the survival of colonial genocide and resistance to further colonial impositions. While Lee Maracle’s “The Void” and Mari Kurisato’s “Imposter Syndrome” utilize exoplanetary distance from Earth’s ecosystems to illustrate modes of survivance, they also demonstrate the ways in which relations to the land are maintained through interrelational rather than hierarchical subjectivities, and demonstrate the resilience intrinsic to interconnected ecological systems. In sum, the estranged position of women’s exoplanetary science fiction emerges as critical of the hierarchical structures which have resulted in widespread ecological collapse, and imparts the perspective necessary not only to challenge those structures but also to survive their destabilizations. / Dissertation / Doctor of Philosophy (PhD)

This essay examines Jon Krakauer’s novel Into the Wild from an ecocritical perspective. It aims to analyse three representations of nature: its interdependence with culture, its connection with transcendence, and nature as a linguistic or cultural construct in Into the Wild and relate them to ecocriticism today. The analysis uses Peter Barry’s introduction to ecocriticism in Beginning Theory: An introduction to literary and cultural theory as its main theoretical framework, along with theories by famous ecocritics such as Laurence Coupe, Kenneth Burke, and William Rueckert. Christopher McCandless’ journey in Into the Wild highlights how it may no longer be possible to consider nature and culture as two separate entities due to the domestication of nature and humans alike. This analysis further discusses the potential reasons why individuals such as McCandless may feel a need to turn to nature as a solution for the problems they may experience in their lives. This exploration also considers how the attitude towards nature and wilderness has shifted and been reconstructed through time and how this may have helped shape McCandless’ mental image of nature and wilderness, which Krakauer explores in his novel.