By Joni Adamson, Kimberly N. Ruffin
This assortment reclaims public intellectuals and students very important to the foundational paintings in American stories that contributed to rising conceptions of an "ecological citizenship" advocating whatever except nationalism or an "exclusionary ethics of place." Co-editors Adamson and Ruffin recuperate underrecognized box genealogies in American reports (i.e. the paintings of early students whose scope used to be transnational and whose activism considering race, category and gender) and ecocriticism (i.e. the paintings of move leaders, activists and students serious about environmental justice whose paintings predates the Nineties creation of the field). They pressure the need of a confluence of highbrow traditions, or "interdisciplinarities," in assembly the demanding situations provided by way of the "anthropocene," a brand new period during which humans have the ability to considerably endanger the planet or help new ways to transnational, nationwide and ecological citizenship. participants to the gathering study literary, old, and cultural examples from the 19<SUP>th</SUP> century to the 21<SUP>st</SUP>. They discover notions of the common—namely, universal humanity, universal wealth, and customary ground—and the relation of those notions to sometimes conflicting definitions of who (or what) may have entry to "citizenship" and "rights." The ebook engages in scholarly ecological research through the lens of varied human groups—ethnic, racial, gendered, coalitional—that are shaping twenty-first century environmental adventure and imaginative and prescient. learn jointly, the essays integrated in American stories, Ecocriticism, and Citizenship create a "methodological commons" the place environmental justice case reviews and interviews with activists and artists residing in areas as varied because the united states, Canada, Haiti, Puerto Rico, Taiwan and the Navajo country, will be thought of along literary and social technology research that contributes considerably to present debates catalyzed by means of nuclear meltdowns, oil spills, hurricanes, and weather swap, but additionally via hopes for a standard destiny that might make sure the rights of all beings--human and nonhuman-- to exist, hold, and regenerate lifestyles cycles and evolutionary processes
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Additional info for American Studies, Ecocriticism, and Citizenship: Thinking and Acting in the Local and Global Commons (Routledge Interdisciplinary Perspectives on Literature)
More than three-quarters of the dead were African American and Afro-Caribbean. Six hundred and seventy-four black bodies were placed in a mass grave in West Palm Beach; another sixteen hundred were interred in Port Mayaca on high ground to the east of Okeechobee; scores of corpses were lost in the Everglades, and scores more were burned in funeral pyres. As one survivor noted, “After the ﬁ rst few days colored and white were indistinguishable. All had lost their skin” (qtd. in Mykle 199). White bodies turned black through lack of oxygen, and these racially indistinct bodies had, in turn, been covered by whitening dowses of lime (Mykle 189, 211–213; Kleinberg 19–21, 77, 82, 99).
1940), her autobiography Dust Tracks on a Road (1941), her unpublished play (written with Dorothy Waring) Polk County: A Comedy of Negro Life on a Sawmill Camp (1944), and the posthumously published Every Tongue Got to Confess: Negro Folk-tales from the Gulf States (2001). Though forest modiﬁcations had been occurring in the south for millennia, it was not until the 1880s that, as historical geographer Michael Williams has put it, “the acceleration in commercial lumbering came with the sudden and massive transfer of capital, technology, and know-how from the North,” especially from lumber barons in the Great Lakes states who were gradually exhausting their own once-extensive forests (238).
Tea Cake’s “art” of living in that world, up until this point, has involved a cosmically knowing kind of play (158). What is striking about this scene, however, is that Tea Cake’s “art” of gambling has lost its grounding; he has allowed his bio-sentience to be smothered, putatively in deference to the white “bossman” (156). He has abjured his risk-trained epistemology. So that as Tea Cake rolls the dice, God will outdo him when he “roll[s] the dikes” (162); as Tea Cake plays “Florida ﬂip,” God will outdo him by ﬂipping the Florida landscape rightside out again (returning earth to its wet state).
American Studies, Ecocriticism, and Citizenship: Thinking and Acting in the Local and Global Commons (Routledge Interdisciplinary Perspectives on Literature) by Joni Adamson, Kimberly N. Ruffin