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2748 applewine9/24/2023 ![]() ![]() Another early eco-critic, Richard Kerridge, defined how to be an eco-critical reader, citing the need to “evaluate texts and ideas in terms of their coherence and usefulness to environmental crisis” (56-7).ģ This all seemed fortuitous for Lawrencian studies because it provided a new and fruitful way of looking at his work. Greg Garrard, whose long advocacy of ecocriticism has made him one of the best known figures in that discipline, has set out the objectives of ecocriticism: “the study of the relationship of the human and non-human throughout human cultural history and entailing critical analysis of the term ‘human’ itself” (5). His thinking was taken up by many others and helped to spawn an organisation, the Association for the Study of Literature and the Environment (ASLE), which was formed in 1992. In 1978 William Rueckert’s ground-breaking article heralded the emergence of ecocriticism as a discipline, which offered the hope that literature could provide a beacon for change. ![]() ![]() Although written long before such concerns had a name, Lawrence’s anti-anthropocentric vision in these writings foreshadows ideas expressed, more recently, by those who are working to address the environmental crisis that is increasingly engulfing our world.Ģ Urgent warnings of an impending environmental apocalypse emerged with widespread conviction over half a century ago in the literary world, Rachel Carson sowing the seeds of environmental awareness with her 1962 book Silent Spring. 1 Lawrence’s criticism of Paul Cézanne’s paintings of apples in his late essays, “Art and Morality” (1925) and “Introduction to These Paintings” (1929), provide an important platform for Lawrence’s concerns about, what he saw as the urgent need to create a different relationship between humankind and the world it inhabits ideas that he revisits elsewhere, including in some of his poems in Birds, Beasts and Flowers. ![]()
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