Allmark-Kent 22
finned, never mind the leafed or barked” (277). This
idea is reminiscent of
Simons’ assertion, stated above, that the “imaginative and speculative acts of
literature” coming “closest to the animal experience in itself” deserve recognition
(7). I believe that what both Copeland and Simons describe is essentially the
‘fantasy of knowing’
the animal, an animal-endorsing form of representation that
uses literature as a conduit for empathy and education. And indeed, Love
promotes a similar such use of literature. He observes that the nature-endorsers
gain credibility where the nature-
sceptics do not by “being drawn to real
problems and in advocating and working towards analyses and solutions” (8).
Whether these problems are insurmountable or not, as
“literary citizens” it
makes sense “to write, read, teach—even in recognition of the mediated
contextuality at work
—with more attention to the biological
and ecological
context than has been previously evident in dominant nature-
sceptical thinking”
(8). This position of practicality leads him toward:
ecological, naturalist, scientifically grounded arguments that recognize
human connection with nature and the rest of organic life and
acknowledge the biological sciences as not just another cultural
construction. Rather, they are the necessary basis for a joining of
literature with what has proven itself to be our best human means for
discovering how the world works. (7)
Thus, we can begin to seen the potential for “literary citizens” to join the
allegiance between the natural sciences and advocacy for
the protection of
nature. Indeed, rather promisingly, Copeland also promotes such
interdisciplinarity. She comments that the arguments of scientists,
environmentalists, and advocates may prove more useful than “the insights of
canonical literary critics whose homo- or anthro-pocentric universe seems to
find little value in art that unlocks the door to the realm of the nonhuman” (277).
A similar tone of practicality can be found in Huggan and Tiffin’s
Postcolonial Ecocriticism
(2010). Their notion of “postcolonial ecocriticism”
Allmark-Kent 23
performs “an
advocacy
function both in relation to the real world(s) it inhabits
and to the imaginary spaces it opens up for contemplation of how the real world
might be transformed” (13, emphasis original). Significantly, they also
emphasize the role of the
imagination
here; arguing that social and
environmental advocacy can “turn imaginative literature into a catalyst for social
action and exploratory literary analysis into a full-fledged form of engaged
cultural critique” (12). Huggan and Tiffin also extend their postcolonial
ecocriticism to the animal in the form of ‘zoocriticism.’ Although it is
encompassed within their primary focus of ecocriticism, they do specify that
“zoocriticism—as we might term its practice in literary studies—is concerned
with animal
representation
but also with animal
rights
” (17-8, emphasis original).
From the perspective of Huggan and Tiffin’s postcolonial ecocriticism, the
practical use of zoocentric literature as a catalyst for
engagement is likely to be
an aspect of thi
s concern. Thus, I borrow ‘zoocriticism’ to designate animal-
endorsing, advocacy-orientated literary analysis. Although the scope of this
thesis necessitates the omission of postcolonial analysis from practical
zoocriticism for now, Huggan and Tiffin’s work demonstrates what a valuable
contribution it could make to a more fully-fledged iteration of my model. It should
also be noted that the zoocentric commitment of this framework
prohibits the
interpretation of nonhuman protagonists as metaphors or allegories. As a
reflection of the zoocentric aims of the genre, I will endeavour to read all animal
characters
as animals
.
Dostları ilə paylaş: