녹갈색 경관의 생태학 : 도시환경에서의 야생지 개념 및 자연문학 장르 재고
Ecology of Greenish Brown Landscape: The Concept of Wilderness in Urban Environment and Nature Writing Genre Reconsidered
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Deep ecological perspectives have predominantly characterized the development of ecocriticism from its incipiency in the early 1990s, and, consequently, ecocriticism has been incapacitated in its analysis of the urban environments. Instead it has given a preference for pristine wilderness as a thematic subject and nature writing of wilderness as a defining genre. Being confronted with ever worsening environmental degradations on our own home grounds and facing the ensuing challenges within and without to the narrowness of such subject matters and genres, ecocriticism has grafted perspectives of social ecology whose central tenets can be described as a set of beliefs that integrates the study of human and natural ecosystems through understanding the interrelationships of culture and nature. This distaff branch of ecocriticism that is grounded on social ecology pays attention to human environments, especially the urban environments. This shift toward social ecocriticism, which has become a prominent tendency in the post-2000 ecocriticism school, has brought about two consequences: a change of concept of nature and wilderness, on the one hand, and a change of the status of nature writing, on the other. Nature is now understood as human landscape and environment rather than pristine wilderness whereas wilderness as neglected, unattended, violence-rampant urban ghettos and the people residing there. With wilderness fetishism waning as a result of the graft of sociological perspectives, ecocriticism's feverish interest in nature writing has been decreased and fiction genre instead has gained much attention by social ecocritical study. Ecocriticism’s sociological perspectives on the urban nature and environments as such, however, entail some problems that should not be left unnoticed. First, by foregrounding pending problems of urban environmental destructions and relevant social inequalities, ecocriticism pays little attention to physical nature and wilderness (in a traditional sense) which can be found in urban environment and our home backyard as well as in pristine wilderness areas. Appreciation of beauty and value of such nature existence is still important for city dwellers in fostering ecological and environmental consciousness. Second, the presupposition of social ecocriticism that nature writing deals with pristine wilderness only, and that thus it is not a proper genre for the subjects of the urban environment matters results in the negligence of paying attention to urban nature writing. Contemporary urban nature writers such as Charles Siebert, Lisa Couturier, Michael Rockland demonstrate that nature, or wilderness can also be found in our urban environments, and that modified and harmed nature of urban environment as well can or should be a proper subject to nature writing genre.
Abstract
Deep ecological perspectives have predominantly characterized the development of ecocriticism from its incipiency in the early 1990s, and, consequently, ecocriticism has been incapacitated in its analysis of the urban environments. Instead it has given a preference for pristine wilderness as a thematic subject and nature writing of wilderness as a defining genre. Being confronted with ever worsening environmental degradations on our own home grounds and facing the ensuing challenges within and without to the narrowness of such subject matters and genres, ecocriticism has grafted perspectives of social ecology whose central tenets can be described as a set of beliefs that integrates the study of human and natural ecosystems through understanding the interrelationships of culture and nature. This distaff branch of ecocriticism that is grounded on social ecology pays attention to human environments, especially the urban environments. This shift toward social ecocriticism, which has become a prominent tendency in the post-2000 ecocriticism school, has brought about two consequences: a change of concept of nature and wilderness, on the one hand, and a change of the status of nature writing, on the other. Nature is now understood as human landscape and environment rather than pristine wilderness whereas wilderness as neglected, unattended, violence-rampant urban ghettos and the people residing there. With wilderness fetishism waning as a result of the graft of sociological perspectives, ecocriticism's feverish interest in nature writing has been decreased and fiction genre instead has gained much attention by social ecocritical study. Ecocriticism’s sociological perspectives on the urban nature and environments as such, however, entail some problems that should not be left unnoticed. First, by foregrounding pending problems of urban environmental destructions and relevant social inequalities, ecocriticism pays little attention to physical nature and wilderness (in a traditional sense) which can be found in urban environment and our home backyard as well as in pristine wilderness areas. Appreciation of beauty and value of such nature existence is still important for city dwellers in fostering ecological and environmental consciousness. Second, the presupposition of social ecocriticism that nature writing deals with pristine wilderness only, and that thus it is not a proper genre for the subjects of the urban environment matters results in the negligence of paying attention to urban nature writing. Contemporary urban nature writers such as Charles Siebert, Lisa Couturier, Michael Rockland demonstrate that nature, or wilderness can also be found in our urban environments, and that modified and harmed nature of urban environment as well can or should be a proper subject to nature writing genre.
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