Ecocriticism and the Modern Artist’s notice of nature

doi:10.5325/willcarlwillrevi.32.1-2.0116

淡江大學機構典藏 > 外國語文學院 > 英文學系暨研究所 > 期刊論文 > Item 987654321/125205

Please use this identifier to cite or link to this item: https://tkuir.lib.tku.edu.tw/dspace/handle/987654321/125205

Title:	Ecocriticism and the Modern Artist’s notice of nature
Authors:	Ralph, Iris
Keywords:	William Carlos Williams;Paterson;Cubism;Dada;Clement Greenberg;ecocriticism
Date:	2015-12
Issue Date:	2024-03-08 12:06:20 (UTC+8)
Abstract:	By assessing the relationship between William Carlos Williams scholarship and the visual arts my article focuses on how Williams’s aesthetics, influenced by Cubism’s fusion of object with surrounding space, challenged human-centered perspectives. I compare traditions of appropriative art such as Dada that reconditioned, re-used, and redeemed “found” material that had been regarded as waste to perspectives on art, nature, and subjectivity that can be defined as post-human or at least not human-centered. Building on Clement Greenberg’s focus on the materiality of representation—pigments, language itself—I argue that modernists such as Williams drew their medium closer to physical environments and thus away from structuring the picture plane according to Renaissance/Humanist one-point perspective. My article reflects on the ecocritical implications of such work as Williams’s Paterson, and his loyalty to a city characterized historically by abandonment and pollution. A bond, I argue, that was forged partly by Williams’s Dadaist openness to conventionally unaesthetic and “irredeemable” subjects and objects, things that the industrial world used up, transformed into plate glass and automobile, or discarded as slag heap. The poem’s empathy with the Passaic’s “down-at-the-heel,” neglected, spurned, and ordinary beings also extends beyond humans.
Relation:	William Carlos Williams Review 32(1-2),　p.116-134
DOI:	10.5325/willcarlwillrevi.32.1-2.0116
Appears in Collections:	[英文學系暨研究所] 期刊論文

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