Snapshots of the California desert, sketches of the British Columbia rainforest : an ecofeminist reading of Mary Austin's and Emily Carr's short prose

Title: Snapshots of the California desert, sketches of the British Columbia rainforest : an ecofeminist reading of Mary Austin's and Emily Carr's short prose
Source document: The Central European journal of Canadian studies. 2005, vol. 5, iss. [1], pp. [91]-99
Extent
[91]-99
  • ISSN
    1213-7715 (print)
    2336-4556 (online)
Type: Article
Language
License: Not specified license
 

Notice: These citations are automatically created and might not follow citation rules properly.

Abstract(s)
Viewed from an ecofeminist perspective, three connecting points can be identified in Austin's and Carr's short prose. Firstly, both authors employ a first-person female narrator who directly addresses the reader, recording what she has experienced and inscribing the remote western regions with female presence. Secondly, this partially autobiographical narrator functions as a field guide, describing with scientific accuracy and in photographic detail the multilayered natural rhythms of the place. Thirdly, the narrator interacts with the local inhabitants, chronicling their multifaceted stories. These parallels point at the authors' shared resolve to promote conservation of non-industrialized lands, to participate in the preservation of North American native arts, and to advance the transformation of gender relations. Moreover, by stressing the geographical as well as cultural diversity of their regions, the authors redefine the boundaries of their respective national literatures and national identities.
Du point de vue de la perspective écoféministe, trois points de liaison peuvent être identifiés dans les proses courtes d'Austin et de Carr. Premièrement, les deux auteurs utilisent une femme-narrateur écrivant à la premiére personne qui s'adresse directement au lecteur, enregistrant ce qu'elle a vécu et inscrivant au sein des régions lointaines de l'Ouest une presence féminine. Deuxièmement, ce narrateur partiellement autobiographique assume le rôle d'un guide de champ qui, avec une exactitude scientifique et sur un détail photographique, décrit les rythmes de la nature locale. Troisièmement, le narrateur communique avec les habitants locaux, en faisant la chronique de leurs histoires à multiples facettes. Ces parallèles montrent la résolution partagée de prôner la conservation des contrées non industrialisées, de participer à la preservation des arts indigènes de l'Amérique du Nord et d'avancer la transformation des relations du genre. De plus, en mettant en relief la diversité géographique et culturelle de leurs régions, les auteurs redéfinissent les frontières de leurs littératures nationales respectives et de leurs identités nationales.
References
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