Emptying lakes,filling up seas: hydroelectric dams and the ambivalences of development in late Soviet Central Asia

ABSTRACT

In the late Soviet Union, large-scale projects such as the Toktogul Dam in the Kyrgyz Soviet Republic were promoted as emblems of the Soviet model of development in Asia. While Central Asian politicians and intellectuals usually tuned in to the enthusiasm, the construction also revealed different opinions about the precise direction and goals of Soviet development. Large-scale investments became focal points of political and intellectual debates; they not only helped bind the periphery closer to the Soviet centre, but also revealed the different economic, political and cultural priorities of the regional, republican and union-wide actors. The construction of dams and reservoirs eventually triggered conflicts between the republics and laid the foundation for an anti-colonial critique of the late Soviet state.     

生态意识的文学表述：苇岸论

散文家苇岸的极具生态性的自然观与人生观在其<大地上的事情>中得到了集中的体现.他能够以其宽厚博爱的胸怀去感受自然、接纳众生,并站在自然的立场上批判现代化进程中的弊病,因而具有深厚的生态哲学思想.他的写作是艺术性与生态性相结合的绿色文学的楷模,在生态批评的视角下,他的散文应该能够跨入经典的行列.     

Coetzee’s stones: Dusklands and the nonhuman witness

Bringing together theoretical writing on objects, testimony, and trauma to develop the category of the “nonhuman witness,” this essay considers the narrative, ethical, and ecological work performed by peripheral objects in J. M. Coetzee’s Dusklands (1974). Coetzee’s insistent object catalogues acquire narrative agency and provide material for a counter-narrative parody of first-personal reports of violence in Dusklands. Such collections of nonhuman witnesses further disclose the longer temporality of ecological violence that extends beyond the text’s represented and imagined casualties. Linking the paired novellas of Dusklands, which concern 1970s America and 1760s South Africa, the essay finds in Coetzee’s strange early work a durable ethical contribution to South African literature precisely for its attention to nonhuman claimants and environments.     

An interview with Eben Venter: Trencherman and environmentalism in South Africa

This interview explores the role of environmentalism – specifically as it relates to meat and agriculture – in the literature of South African writer Eben Venter. As discussed in the interview, Venter’s novel Trencherman, through its envisioning of a post-apocalyptic South Africa, serves as an especially productive text for examining the interplay of colonialism and ecological violence.     

“A garden had been left to grow wild there”: considering nature in Ivan Vladislavić’s Johannesburg

Johannesburg has frequently been subjected to critical examinations that conceive the city as a metropolis dominated by late capitalist excess and gold mining hyperbole. Along these particular lines, much of the literary scholarship that considers Vladislavi?’s city texts have focussed on his conception of the built environment that critiques its exploitative extractive history and its simulacral tendencies. However, sustained critical attention of his treatment of nature in the urban space has largely been neglected or underplayed. The natural Highveld environment, for Vladislavi?, occupies a fraught and liminal space in the city, pushed to the margins of a brutalizing modernity. Nature in Johannesburg, he opines, is a construction, an imposition and inheritance that belies the city’s colonial and European settler history. However, there are moments in which, when human attention is turned away, nature in its untended and generative capacity works to unmake the structural obduracy of the settled city. This manifests in episodes that embrace the quiet potency of wild gardens that disrupt the urban status quo.     

The Spinster in the Garden: Joy and Transcendence in Elizabeth von Arnim’s Father and Fräulein Schmidt and Mr Anstruther

Abstract

This article proposes an original reading of Father (1931) and Fräulein Schmidt and Mr Anstruther (1907), two texts by Elizabeth von Arnim that centre on a young single woman. It will examine how female autonomy is spatially imagined in the form of a garden and poses significant challenges to the patriarchal societies presented in the texts. Many scholars have detailed the recurring motif of the garden in Elizabeth and Her German Garden (1898) and The Solitary Summer (1899). The two texts this article addresses were published later than those that have been discussed in relation to the garden, and signal a move away from the married female towards an examination of the independent or single female. Significantly, they disrupt the traditional ‘marriage plot’ novel by tracing two single women’s movement into the garden as a retreat from the societies in which they live. In both texts, von Arnim presents a distinctively beautiful, transcendent garden experience for her female protagonists that contrasts with the oppressive expectations placed on them by urban society. These texts turn on dichotomies—city/country, built/organic environments, repression/freedom—to expose the central characters’ repression and their attempts to gain some degree of independence. Each central character experiences joy as a result of her interaction with the organic environment and the power the protagonist exercises over this space.     

生态文学批评述评

生态文学批评是崛起于20世纪90年代英美文学界的批评浪潮,它把文学批评放在地球生物圈这个广阔的语境下,结合切实的生态问题和文学文本,探讨人与自然的关系问题。生态批评的主要任务是：通过文学批评重新审视文化,进行文化反思、文化批判,揭露和批判导致环境恶化和生态危机的思想根源——人类中心主义,唤醒人类的生态保护意识,从而建立人与自然和谐相处、物种平等、生态平衡的社会。