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AFFIX

bisphosphonate

1928 and Nature,ed but is, in each case, framed by a commitment to rural living. To understand why these novels matter to each other and to modernist studies, we need to connect two things that readers have generally separated: nature and modernism. To that end, this chapter investigates a particular relation betwe

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印第安人

,“Pan in America,” Modernism, and Material Nature,he natural world. “Pan in America” offers an apt coda to . because it restates the book’s major themes: nature is important to modernism, nature is a discursive force in modernist social negotiations, and nature’s material presence has been swept under the carpet of consciousness. In the context of

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,“The Land’s Way is Important in This Story”:,pitious for ecocritical appraisals of modernism; each field pulls the other toward reinvention. My task in this opening chapter is to reframe the critical conversation around ecocriticism and then propose a critical apparatus for reading modernism and the environment together.

鑒賞家

,“A Choice of Nightmares”,odern Europe’s unfolding knowledge of nature and its changing knowledge of itself. In this sense . is about the cultural boundaries that separate person from place, and more significantly about repositioning human beings within a new understanding of nature. One place to detect this new understandin

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Cpap155

1928 and Nature,shows modernist novels using rural landscape to imagine a form for national regeneration in the 1920s. Looking at landscape as an environmental discourse in . and ., we find that the literature of late modernism makes land an active force for regenerating a nation, reconstructing personal identity,

anchor

,“Pan in America,” Modernism, and Material Nature,the feet of an active human subject. In its place Lawrence offers readers nature as a complex, material realm where vigorous things interpenetrate human experience, and where “man” is redeemed by “a ceaseless living relation to his surrounding universe” (30). “Pan” stakes out an ontological position

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