Nature in a Box: Ecocriticism, Goethe's Ironic Werther, and Unbalanced Nature
DOI:
https://doi.org/10.37536/ECOZONA.2011.2.2.428Abstract
Ecocriticism emphasizes how our bodily and ecological boundaries are just as porous, inter-penetrable, and open as are our cultural and linguistic realms. As individual bodies and communities, we are fully immersed in our material environment and participating in constant exchanges of matter and energy. In this essay, I nevertheless advocate for a cautious approach to the ecocritical question of contested boundaries. After all, some boundaries and membranes are necessary to maintain living organisms. Regarding Timothy Morton’s assertion that we are “radically open,” I note the need for stable and healthy membranes to sustain life, such as our porous yet enclosed intestines. I propose a multi-pronged perspective using the literary model of Goethe’s famously sentimental Werther, who longs to merge with nature and become an insect, in juxtaposition with his deeply ironic Triumph of Sentimentality, which satirizes the Werther-like figure, Prince Oronaro, who wants to keep nature safely in a box. From the relationship of these two texts emerges an “ironic Werther,” a model for ecocriticism. Werther’s and Morton’s “openness” are juxtaposed with Oronaro’s boxes, allowing for an open/closed perspective that resonates with “unbalanced nature” more broadly. Ecologically speaking, all boundaries fade in the long-term, cosmic view; yet short-term boundaries allow a steady-state existence far from equilibrium, that is, they allow life to exist. Nature’s long term unbalance brings change and evolution, even as short-term bodies live, reproduce, die, and continue the process. This essay rejects the notion of harmonious nature and proposes instead a dynamic, multi-pronged view both ironic and serious, both literary and scientific, both open and closed; above all, it suggests that thinking “nature in a box” might remind us that we, too, are nature and need some limits as we hubristically alter our world.
La ecocrítica hace énfasis en cómo nuestros límites corporales y ecológicos son tan porosos, inter-penetrables y abiertos como lo son nuestras esferas culturales y lingüísticas. Como cuerpos individuales y comunidades, estamos plenamente inmersos en nuestro medio ambiente material participando en constantes intercambios de materia y energía. Sin embargo, este ensayo tiene como objetivo proponer un enfoque mas cauteloso a la cuestión ecocrítica de los límites en disputa. Porque después de todo, algunos límites y membranas son necesarios para mantener a los organismos vivos. ?Con respecto a la afirmación de Timothy Morton de que estamos "radicalmente abiertos", señalo la necesidad que hay de membranas estables y saludables para mantener la vida, tal como es el caso de nuestros propios intestinos que son a la vez porosos y cerrados. Yo propongo una perspectiva con múltiples facetas, usando el modelo literario de Werther, el famoso sentimental de Goethe, quien anhela fusionarse con la naturaleza y convertirse en un insecto, en yuxtaposición con su profundamente irónico Triunfo del Sentimentalismo, que hace una sátira de la figura del Príncipe Oronaro, (personaje con características similares a las de Werther) quien quiere mantener a la naturaleza asegurada dentro de una caja. De la relación de estos dos textos surge un "Werther irónico", que sirve de modelo para la ecocrítica. La apertura de Werther y de Morton se encuentra yuxtapuesta con las cajas de Oronaro, permitiendo una perspectiva abierta/cerrada que resuena mas ampliamente con la "naturaleza desequilibrada."?En términos ecológicos, todos los límites se desvanecen a largo plazo, en el panorama cósmico; sin embargo, los límites a corto plazo permiten una existencia estable lejos del equilibrio, eso quiere decir que estos límites permiten la existencia de la vida. El desequilibro a largo plazo de la naturaleza permite el cambio y la evolución, incluso mientras los cuerpos de corto plazo viven, se reproducen, mueren y continúan el proceso. Este ensayo rechaza la noción de una naturaleza armónica y propone en cambio, una perspectiva dinámica, multifacética, que es a la vez irónica y seria; literaria y científica; abierta y cerrada. Pero sobre todo, sugiere la noción de que la "naturaleza en una caja" debería recordarnos que nosotros también somos naturaleza y necesitamos algunos límites mientras arrogantemente alteramos nuestro mundo.
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