‘Embowered in a mass of vegetation’: Confinement and Predatory Plants in Fin-de-Siècle Fiction

IF 0.1 0 HUMANITIES, MULTIDISCIPLINARY
Purdue Melissa
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引用次数: 0

Abstract

In our present moment of ecological crises, stories about nature fighting back take on new significance. This article looks back at fin-de-siècle stories about predatory plants that entrap people, examining texts such as Edmond Nolcini's ‘The Guardian of Mystery Island’ (1896), H.G. Wells’ ‘The Flowering of the Strange Orchid’ (1894), and Lucy H. Hooper's ‘Carnivorine’ (1889). These stories focus on killer plants that grab and confine characters with their tentacle-like branches and vines, ultimately suffocating them in their foliage. Like other gothic monsters, these plants reveal societal anxieties (colonialism, women, degeneration, and so on) at moments of transition. Given our twenty-first-century anxieties about environmental destruction, we need to look back at ecophobic moments in earlier literature to understand, as Simon C. Estok argues in ‘Theorizing the EcoGothic’, ‘how monstrosity is central to an environmental imagination that locates the human as the center of all things good and safe’ (34). Ideally, this historical interrogation can help us transition to new and healthier relationships with our environments in the present.
“镶嵌在一片植被中”:芬德小说中的禁闭和掠食性植物
在我们当前生态危机的时刻,关于大自然反击的故事有了新的意义。本文回顾了关于捕食性植物诱捕人类的故事,考察了埃德蒙·诺尔西尼的《神秘岛的守护者》(1896)、H.G.威尔斯的《奇异兰花的开花》(1894)和露西·h·胡珀的《食肉动物》(1889)等文本。这些故事的重点是杀手植物,它们用触手状的树枝和藤蔓抓住并限制角色,最终使他们在叶子中窒息。像其他哥特怪兽一样,这些植物揭示了社会转型期的焦虑(殖民主义、女性、堕落等等)。考虑到我们21世纪对环境破坏的焦虑,我们需要回顾早期文学中的生态恐惧时刻,以理解,正如西蒙·c·埃斯托克在“生态哥特式的理论化”中所说的那样,“怪物是如何成为环境想象的中心,将人类定位为一切美好和安全的中心”(34)。理想情况下,这种对历史的审视可以帮助我们与当前的环境建立新的、更健康的关系。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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CiteScore
0.30
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32
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