Green Man Hopkins

Parham, John

doi:10.1163/9789042031074

Cited by 33 publications

(4 citation statements)

References 0 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…10. See Levine,Forms,[6][7][8][9][10][11][12][13][14][15][16][17][18][19][20][21]and Cave,Thinking with Literature,[46][47][48][49][50][51][52][53][54][55][56][57][58][59][60][61][62] Levine cites an early version of Gibson's "Theory of Affordances" (Forms, 152n.15) while acknowledging her touchstone as design theory, where the concept denotes "the potential uses or actions latent in designs" (6). Forms as "abstract and portable organizing principles" are thus modeled more on the objects and materials of design-things capable of "bringing their affordances with them"-than on the embedded media and substances of (perceptual) ecology (Forms,7,8).…”

Section: Notesmentioning

confidence: 99%

“…In the earlier poem, leaves "quenched" sunlight by offering shade while undergoing photosynthesis. 60 In "The Blessed Virgin," a great deal more is at stake as the sky similarly "slake[s]" incoming rays. The sky's moderated intensities of light and color, in other words, parallel its function as a protective layer against radiation and matter from space (a property also detailed in this period).…”

Section: Atmosphere: Affordances In the Roundmentioning

confidence: 99%

See 1 more Smart Citation

Down the Slant towards the Eye: Hopkins and Ecological Perception

Williams¹

2020

Victorian Literature and Culture

View full text Add to dashboard Cite

This essay reads Gerard Manley Hopkins's poetry for its “ecological perception”: a perceptual modality involving the dynamic interaction between human bodies and environmental givens or potentialities. Linking Hopkins's syncretic ideas about perception to the psychologist J. J. Gibson's account of our sensitivity to environmental “affordances,” the essay assesses three scales of ecological perception in Hopkins (arboreal, atmospheric, apocalyptic) and stresses the particular relevance of the intermediate (atmospheric) scale for our experience of environmental crisis. In “The Blessed Virgin compared to the Air we Breathe,” Hopkins recognizes the “teleconnections” bridging global systems and specific sites without remaining rooted to the local or bioregional (arboreal) or rushing to a vantage beyond planetary confines (apocalyptic).

show abstract

Section: Notesmentioning

confidence: 99%

Section: Atmosphere: Affordances In the Roundmentioning

confidence: 99%

Down the Slant towards the Eye: Hopkins and Ecological Perception

Williams¹

2020

Victorian Literature and Culture

View full text Add to dashboard Cite

show abstract

“…The emergent focus on relationality shifted scientific discourse away from assessments of symbiosis toward "the reconciliation of balance and conflict" 23 -and, in its simultaneous attention to the individual and the group, prompted a shift toward what might be called a metaphorics of the web. Imagery of the mesh pervades much of early Victorian writing, across disciplines, from the "web of mutual relation and harmonious agreement" in John Herschel's 1833 account of the astronomical system (popularized in the widely read Vestiges of the Natural History of Creation [1844]) 24 to the natural laws, "much intermixed and entangled .…”

Section: Early Victorian "Ecology"mentioning

confidence: 99%

Animal and Social Ecologies in Anne Brontë'sAgnes Grey

Harner¹

2020

Victorian Literature and Culture

View full text Add to dashboard Cite

In Anne Brontë's Agnes Grey (1847), the eponymous narrator uses a range of ecological metaphors to make sense of her interactions with others. She likens governessing to domestic horticulture and envisions how her task of educating children will be “to train the tender plants, and watch their buds unfolding day by day.” Rather than voice her unfulfilled romantic feelings for Weston or consciously work through her self-doubts about physical appearance, she visualizes them both as insects: she is the “humble glow-worm” who, without a “power of giving light” (i.e., beauty), “the roving fly might pass her . . . a thousand times, and never light beside her” (123). Even the reader, in the opening sentence, assumes the role of active participant: a nucivorous beast hunting for whatever “dry, shriveled kernel” of narrative meaning might be found by “cracking the nut” (5). As character, the budding naturalist “botanize[s] and entomologize[s] along the green banks and budding hedges”; as narrator, she projects herself and those around her into complex ecosystems (95). Her choice of metaphors captures a matrix of exchanges in which species of all kinds interact with one another and their environments in unpredictable ways. Agnes assigns the life cycles of flora and fauna to characters, populating the novel with human and nonhuman animals in ways that draw heavily on early nineteenth-century science even as they also prefigure some of the concerns of contemporary animal studies and ecocriticism.

show abstract

“…A concept deriving from the work of Medieval theologian Duns Scotus, who was a major influence on Hopkins(Parham, 2010).2 For example, in 'The Windhover', having evoked the energy and movement of the falcon, Hopkins goes on: "My heart in hiding / Stirred for a bird", just the kind of physical resonance with the natural world whichAbram (1996Abram ( , 2010 sees as vital to our reconnection with the more-than-human.…”

mentioning

confidence: 99%

“My cries heave, herds-long”: Metaphor, Posthumanism and Gerard Manley Hopkins’ ‘No Worst, There Is None’

Marland¹

2018

recaesin

View full text Add to dashboard Cite

Taking its cue from the dense mesh of imagery in the lines "my cries heave herds-long, huddle in a main, a chief/ Woe, world sorrow; on an age-old anvil wince and sing-/ Then lull, then leave off" (Gerard Manley Hopkins' Terrible Sonnets), this article explores the entanglement and permeability of the human, the animal and the prosthetic in the poem 'No worst there is none', and argues that Hopkins' use of figurative language effects a valuable 'decreation' which enables us to interrogate the human, and prefigures a complex posthumanist understanding of our imbrication in earth's matrix. The article draws upon the emergent framework of ecomaterialism, in which the world is viewed as a "densely intertwined and improvisational tissue of experience" (Abram), and which recognises the agency of all matter, the biosemiotic voice of the more-than-human, moving towards a concept of the metaphorical for our times which demonstrates the potential of metaphor to explore that relational ontology and to develop our apprehension of natura loquens and natura agens.

show abstract

Green Man Hopkins

Cited by 33 publications

References 0 publications

Down the Slant towards the Eye: Hopkins and Ecological Perception

Down the Slant towards the Eye: Hopkins and Ecological Perception

Animal and Social Ecologies in Anne Brontë'sAgnes Grey

“My cries heave, herds-long”: Metaphor, Posthumanism and Gerard Manley Hopkins’ ‘No Worst, There Is None’

Contact Info

Product

Resources

About