scholarly journals Anthropocentric Nature Lover: Annie Dillard and the Transcendentalist Tradition in American Nature Writing

2007 ◽  
Vol 39 (2) ◽  
pp. 29-40
Author(s):  
Fredrik Chr. Brøgger
Keyword(s):  
Nature Writing ◽  
Annie Dillard

scholarly journals Where the Twin Oceans of Beauty and Horror Meet: An Aesthetic Analysis of Annie Dillard's Pilgrim at Tinker Creek // Donde los océanos gemelos de belleza y horror se encuentran: Un análisis estético de Pilgrim at Tinker Creek de Annie Dillard

2016 ◽  
Vol 7 (2) ◽  
pp. 85-97
Author(s):  
Anastasia Cardone
Keyword(s):  
Aesthetic Experience ◽  
Nature Writing ◽  
Annie Dillard ◽  
Natural Signs ◽  
Letting Go ◽  
The Subject ◽  
Modern Vision ◽  
The Aesthetic ◽  
Concept Of Beauty ◽  
Aesthetic Concepts

      Although Annie Dillard's masterpiece Pilgrim at Tinker Creek (1974) has conventionally been analyzed as a piece of Nature writing embedded in the Thoreauvian tradition, little has been said about the aesthetic concepts that underlie the text and Dillard's entire take on Nature. This research applies the concepts of Baumgarten's “science of sensible knowledge” to the narrator's perceptions in order to demonstrate that Dillard's ultimate message is the acceptance of Nature, even in its seemingly inhuman places. The study begins with the analysis of the structure of the book, which outlines two types of experience of Nature. Thevia positivais related to the aesthetic concept of beauty and to an active participation of the subject in the aesthetic experience of seeing as a verbalization, whereas the via negativais linked to the concept of the sublime and the experience of seeing as a letting go. Furthermore, the analysis employsand develops Linda Smith's valid conclusions (1991) to show how these two paths join in a third mystical and aesthetic path, the via creativa. By leaving the interpretation of natural signs open-ended, Dillard's modern vision enables the author's total acceptance of Nature's freedom, which fosters its beautiful intricacy as well as its horrible fecundity. Thus, Nature's creativity becomes the basis for an aesthetics of Nature's wholeness, which leadshuman beings to embrace the true essence of Nature, freed from anyprejudices.Resumen       A pesar de que Pilgrim at Tinker River (1974), obra maestra de Annie Dillard, ha sido analizada convencionalmente como una pieza de literatura y medio ambiente incrustada en la corriente Thoreauviana y ha sido estudiada extensivamente, poco atención se le ha prestado a los conceptos estéticos que subyacen la obra y que pueden servir para comprender mejor la opinión de Dillard sobre la naturaleza. Por lo tanto, esta investigación aplica los conceptos de “ciencia del conocimiento sensible” de Baumgarten a la percepción del narrador con el fin de demostrar que el mensaje final de Dillard es la aceptación de la naturaleza, incluso en sus lugares aparentemente inhumanos. El estudio comienza con el análisis de la estructura del libro, que describe dos tipos de experiencia de la naturaleza relacionados con caminos místicos que llevan a Dios, dentro de la teología Neoplatónica. La vía positiva está asociada al concepto estético de la belleza y a la participación activa del sujeto en la experiencia estética de ver, la cual es definida como una verbalización. Por otra parte, la vía negativa está vinculada con el concepto de lo sublime y la experiencia de ver como un dejar ir. Además, el análisis emplea y desarrolla las válidas conclusiones de Linda Smith (1991) para mostrar cómo estos dos caminos se unen en un tercer camino místico y estético, la vía creativa. Al dejar la interpretación de signos naturales abierta, la visión moderna de Dillard permite al autor la total aceptación de la libertad de la naturaleza, lo que fomenta su hermosa intrincación, así como su horrible fecundidad. Así, la creatividad de la naturaleza se convierte en la base para la estética de la naturaleza en su totalidad, lo que lleva a los seres humanos a aceptar y respetar la verdadera esencia de la naturaleza, libre de cualquier prejuicio.

scholarly journals Bird sounds in nature writing: Human perspective on animal communication

2009 ◽  
Vol 37 (3/4) ◽  
pp. 580-613 ◽  
Author(s):  
Kadri Tüür
Keyword(s):  
Present Article ◽  
Nature Writing ◽  
Animal Communication ◽  
Bird Song ◽  
Literary Analysis ◽  
Human Language ◽  
Different Types ◽  
Human Interpretation ◽  
Object Of Study

The object of study in the present article is birds, more precisely the sounds of birds as they are represented in Estonian nature writing. The evolutionary and structural parallels of bird song with human language are reviewed. Human interpretation of bird sounds raises the question, whether it is possible to transmit or “translate” signals between the Umwelts of different species. The intentions of the sender of the signal may remain unknown, but the signification process within human Umwelt can still be traced and analysed. By approaching the excerpts of nature writing using semiotic methodology, I attempt to demonstrate how bird sounds can function as different types of signs, as outlined by Thomas A. Sebeok. It is argued that the zoosemiotic treatment of nature writing opens up a number of interesting perspectives that would otherwise remain beyond the scope of traditional literary analysis.

scholarly journals Groundless Metaphors and Living Maps in the Writing of Mary Shelley

2006 ◽  
Author(s):  
Emma McEvoy
Keyword(s):  
Nature Writing ◽  
Mary Shelley ◽  
The Self

Abstract In this article I consider Mary Shelley’s use of figuration, examining its characteristic forms. In three main sections address her use of allegory, what I call the “infection of the metaphorical”, and the groundless metaphor. Shelley’s writing will be looked at in dialogic relation to her predecessors and contemporaries and her peculiar stylistics discussed in terms of her sceptical attitude toward, and undermining of Romantic idealism. There will be specific emphasis on her treatment of favourite Romantic projects - nature, writing the self and the perceiving mind. Shelley will be discussed both as revisionist and saboteuse in her attitude to language.

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