Keratose pilaire

Dans Ecology without Nature, Timothy Morton avance lide que les concepts
cologistes traditionnels, ainsi que les critiques cologiques fondes sur ces derniers,
ne permettent pas de rpondre de manire satisfaisante aux problmes
environnementaux actuels. La Nature est le premier de ces concepts problmatiques,
car il perptue lide dun environnement holistique, spar du corps humain et de
lexprience humaine. Au mieux, ce concept masque certaines ralits cologiques ;
mais bien plus souvent, comme le dit Morton : Putting something called Nature on a
pedestal and admiring it from afar does for the environment what patriarchy does for
the figure of Woman (Mettre une chose appele Nature sur un pidestal et ladmirer
de loin fait pour lenvironnement ce que le patriarcat fait pour la figure de la Femme)
(5). Pragmatiste et thoricien la fois, Morton admet que la nature a encore le pouvoir
rhtorique de susciter un changement bnfique dans les politiques environnementales,
mais il craint que ce changement ne se solde par des solutions court terme et ne suffise
pas promouvoir un avenir cologiquement sain. Aujourdhui, la Nature conserve
lattrait spcifique que lui ont confr les artistes et les philosophes romantiques, qui
ont employ les concepts de la nature sauvage et de la pastorale comme alternatives
un monde de plus en plus mcanis et pollu. Ne au XIXme sicle, cette tendance a
suffisamment danciennet pour dfendre avec force encore lide que la nature doit
tre protge. Cependant, une telle conception environnementale ne permet gure
davancer une nouvelle pense progressive. Morton sattache lanalyse des auteurs
romantiques anglais, Blake, Coleridge et Wordsworth en particulier, mais il ne limite
pas son tude la littrature romantique. Soulignant les liens entre le romantisme et la
nature comme bien de consommation, il explore galement des formes dart
contemporaines : littraires, musicales et visuelles. Cest dans lanalyse de ce quil
appelle ecomimesis que Morton identifie le plus clairement le problme de la nature. Il
y a comimtisme lorsque lcriture (quil sagisse de la prose ou de la critique) vise
recrer lenvironnement dans lequel lauteur(e) crit. Souvent indiqu par des tournures
telles que Au moment o jcris ces lignes , ce mode comimtique sefforce de
mimer le monde, mais, paradoxalement, il perptue lacte dcrire plus quil nvoque
et ne rend pleinement prsent un environnement naturel rel. Dans la premire section
de Ecology without Nature, Morton dresse une typologie des aspects textuels relevant
du mode comimtique, dfinissant ce quil appelle ambient poetics (une potique de
lambiant). Cette approche matrialiste du texte donne voir la faon subtile dont
lcriture tente de naturaliser les environnements, les rendre ambiants et
authentiques, tout en occultant lesthtique qui les produit. Morton dcrit les six aspects
de cette potique. La plupart souligne la faon dont le contenu dun texte interagit avec
ce qui lui donne forme. Par exemple, laspect du timbre (timbral) (39) rend compte de
la faon dont le son ou le texte accentue son aspect physique plutt que sa signification
symbolique ; laspect dit olien (Aeolian) (41), quant lui, a trait la faon dont le texte
sefforce de faire entendre un son qui semble provenir de nulle part. Aprs avoir tabli
les caractristiques de la potique de lambiant (ambient poetics), Morton se livre une
exploration historique visant montrer le lien entre le sentiment romantique et
lmergence de la nature comme objet de consommation. A ce consumrisme
expressment vert , il rattache le concept du syndrome de la belle me (beautiful
soul syndrome), driv du schne Seele de Hegel. Dans ce syndrome, le sujet pur
maintient une distance entre le monde et soi. Cette rserve renforce la puret de
lindividu et souligne limpuret de la Terre (pollue) : la premire dpend de la
perptuation de la seconde. Ironiquement, ou insidieusement, plus lcomimtique tente
de nous convaincre de la prsence du monde naturel, plus elle nous en loigne.
Pour Morton, les effets dangereux de lcomimtique et du syndrome de la belle me
ne seront pas limins en rejetant ces concepts purement et simplement. Morton invite
plutt la rflexion, la juxtaposition, et la reconnaissance des impasses auxquelles
ont men nos traditions esthtiques. Morton fournit ainsi un argument fort en faveur de
la thorie, mme et surtout dans lurgence de la crise environnementale.
La critique cologique, parce quelle est alimente par ces concepts abstraits de nature,
fait lobjet de la critique de Morton. En particulier, celui-ci prend ses distances avec
lcocritique, un domaine dans lequel beaucoup auraient tt fait de le ranger. Morton
cherche ouvrir (to open up, to broaden) (5) lcocritique afin quelle dpasse
linclination romantique qui cherche un retour un monde antrieur, stable et intact (un
monde aussi idal que faux). Ces actes douverture exigent de la critique cologique
quelle se confronte aux ralits ngatives de lenvironnement, que soit pratiqu ce que
Morton appelle une cologie noire (dark ecology). Une telle approche est
potentiellement enrichissante pour le domaine de lcocritique, mais la faon dont
Morton reprsente lcocritique risque parfois de paratre trop simpliste. Sa critique
laisse transparatre une vision particulire de lcocritique que mettent en vidence des
expressions telles que Romantic ecocriticism (84) ou conservative ecocriticism (161).
Lcocritique est un terrain qui rvle assurment une myriade dapproches
divergentes, avec des chercheurs qui ont tour tour adopt et rejet la thorie. Morton
semble porter trop dattention aux chercheurs de la seconde catgorie. Morton sait
quen recourant aux thories post-structuralistes, il risque de sattirer le dsaveu des
cocritiques de la premire vague , qui valorisent lcriture de la nature (nature
writing) et se mfient des approches trop thoriques. Il anticipe la critique en affirmant
dans lintroduction : I do not believe that there is no such thing as a coral reef (Je
ne dis pas que les rcifs de coraux nexistent pas) (5). Lcocritique amricaine continue
de se dvelopper dans des domaines trs divers : lcologie queer, les trash studies ou
encore lco-gothique, des champs dtudes qui ont peu de rapport avec les rhapsodies
clbratoires du nature writing. Ces champs cadrent sans doute mieux avec le terme
ecocritique (que Morton prfre ecocriticism), dont la pratique implique une patiente
rflexion sur linluctabilit des dichotomies et loscillation entre identit et non-
identit. Bien que les reprsentations de lcocritique par Morton puissent parfois
paratre caricaturales, lauteur aborde de faon convaincante lantagonisme entre les
thories post-structuralistes et lcocritique. Ecology without Nature est lun des
premiers essais critiques vouloir les rconcilier, et Morton russit dans son projet
douverture de lcocritique. Son argumentation peut parfois drouter (Morton est
capable de sauter de la littrature la musique techno ou la neurophysiologie), mais
son travail propose une vision clairante des critiques cologiques, et laccent quil met
sur la forme esthtique est essentiel lavancement de la rflexion critique dans ce
domaine.

In Ecology without Nature, Timothy Morton argues that the concepts Ecologists, as
well as ecological criticism based on them, do not satisfactorily respond to current
environmental problems. "Nature" is the first of these problematic concepts because it
perpetuates the idea of a holistic environment, separated from the human body and from
human experience. At best, this concept masks certain ecological realities; But much
more often, as Morton says: "Putting something called Nature" (Putting something
called Nature on a pedestal and admiring it from Far from doing for the environment
what patriarchy does for the figure of the Woman) (5).
Pragmatist and theorist at the same time, Morton admits that nature still has the
rhetorical power to bring about a beneficial change in environmental policies, but he
fears that this change does not lead to short-term solutions and is not enough to promote
a future Environmentally sound. Today, Nature retains the specific appeal of Romantic
artists and philosophers who have used the concepts of wilderness and pastoral as
alternatives to an increasingly mechanized and polluted world. Born in the nineteenth
century, this tendency has enough antiquity to defend even strongly the idea that nature
must be protected. However, such an environmental design does not allow for a
progressive new thinking. Morton focuses on the analysis of romantic writers
English, Blake, Coleridge and Wordsworth in particular, but he did not limit his study
to romantic literature. Underlining the links between romanticism and nature as a
consumer good, he also explores contemporary art forms: literary, musical and visual.
It is in the analysis of what he calls ecomimesis that Morton most clearly identifies the
problem of nature. There is ecomimtisme when writing (be it Prose or criticism) aims
at recreating the environment in which the author writes. Often indicated by such
phrases as "As I write these lines ...", this ecomimetic mode strives to mimic the world,
but, paradoxically, it perpetuates the act of writing more than it evokes and Does not
fully present a real natural environment. In the first section of Ecology without Nature,
Morton draws up a typology of the textual aspects of ecomimetic mode, defining what
he calls ambient poetics. This materialist approach to the text shows the subtle way in
which writing attempts to naturalize environments,To make them "ambient" and
authentic, while hiding the aesthetic that produces them. Morton describes the six
aspects of this poetic. Most emphasize how the content of a text interacts with what
gives it form. For example, the timbral aspect (39) reflects how the sound or text
accentuates its physical appearance rather than its symbolic meaning; The so-called
Aeolian aspect (41),
For its part, relates to the way in which the text attempts to make a sound that seems to
come from nowhere. After establishing the characteristics of the ambient poetics,
Morton engages in a historical exploration to show the link between romantic sentiment
and the emergence of nature as an object of consumption. To this expressly "green"
consumerism, he relates the concept of the "beautiful soul syndrome", derived from
Hegel's Seele scholar. In this syndrome, the pure subject maintains a distance between
the world and itself. This reserve reinforces the purity of the individual and underlines
the impurity of the (polluted) Earth: the first depends on the perpetuation of the second.
Ironically, or insidiously, the more ecomimetics tries to convince us of the presence of
the natural world, the more it moves us away from it. For Morton, the dangerous effects
of ecomimetics and the Beautiful soul "will not be eliminated by rejecting these
concepts purely and simply. Morton invites rather reflection, juxtaposition, and
recognition of the impasses that have led our aesthetic traditions. Morton thus provides
a strong argument in favor of the theory, even - and above all - in the urgency of the
environmental crisis. Ecological criticism, because it is fed by these abstract concepts
of nature, is the object of Morton's criticism. In particular, it distances itself from
ecocritics, an area in which many would soon put it away. Morton seeks to open (5)
ecocritical so that it transcends the romantic inclination that seeks a return to an
antecedent world stable and intact (a world as ideal as false). These acts of openness
demand ecological criticism that it is confronted with the negative realities of the
environment, that is practiced what Morton calls a "dark ecology". Such an approach is
Potentially rewarding for the field of ecocritics, but the way in which Morton represents
ecocritics may sometimes seem too simplistic. His critique reveals a peculiar vision of
ecocritics that is reflected in such expressions as Romantic ecocriticism (84) or
conservative ecocriticism (161). Ecocritics is a field that certainly reveals a myriad of
divergent approaches, with researchers who have in turn adopted and rejected the
theory. Morton seems to wear
Too much attention to researchers in the second category. Morton knows that by
resorting to post-structuralist theories, he risks drawing the disavowal from the "first
wave" ecocritics, who value nature writing and are wary of too theoretical approaches.
He anticipates criticism by asserting in the introduction: "I do not say that the reefs
Corals do not exist) (5). American ecocritics continue to develop in a wide range of
fields: queer ecology, trash studies and eco-gothic, fields of study that have little to do
with the rhapsodies celebratory nature writing. These fields fit better with the ecocritical
term (which Morton prefers to ecocriticism), whose practice implies a patient reflection
on the inevitability of dichotomies and the oscillation between identity and non-
identity. Although Morton's representations of ecocritics may at times appear to be
caricatured, the author cogently addresses the antagonism between Post-structuralist
theories and ecocritics. Ecology without Nature is one of the first critical essays to try
to reconcile them, and Morton succeeds in his project of opening ecocritics. His
argument can sometimes be confusing (Morton is able to jump from literature to techno
music or neurophysiology), but his work offers an enlightening view of ecological
criticism, and his emphasis on aesthetic form is essential to the advancement of critical
reflection in this area.