Women and Nature: The Roaring Inside Her
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| + | ''[[Women and Nature: The Roaring Inside Her]]'' (1978) is a book by [[Susan Griffin]]. | ||
| - | ''[[The Death of Nature: Women, Ecology, and the Scientific Revolution]]'' (1980) is a book by [[Carolyn Merchant]]. | + | Blurb: |
| - | ''The Death of Nature'' is Merchant's most well received book. In this book she emphasizes on the importance of gender in the historiography of modern science. Additionally, she focuses her book on "the sexist assumptions that informed sixteenth-and seventeenth-century conceptions of the universe and human physiology." Merchant expresses the importance of gender in early modern writing on nature too, and its use of environmental, social, and literary history to have a context for the history of science. | + | In this famously provocative cornerstone of feminist literature, Susan Griffin explores the identification of women with the earth both as sustenance for humanity and as victim of male rage. Starting from Plato’s fateful division of the world into spirit and matter, her analysis of how patriarchal Western philosophy and religion have used language and science to bolster their power over both women and nature is brilliant and persuasive, coming alive in poetic prose. |
| - | Carolyn Merchant’s ''The Death of Nature: Women, Ecology, and the Scientific Revolution'' leaves a scholarly legacy in the fields of environmental history, philosophy, and feminism. The book is considered groundbreaking due her connection between the feminization of nature and the naturalization of women. Along with this connection, she backs up her claim with historical evidence during the time of enlightenment. Merchant was not the first to present on ecofeminist ideals and theories. [[Françoise d'Eaubonne]] coined the term [[ecofeminism]]e to portray the influence of women and their ability to generate an ecological revolution in her book ''[[Le Feminisme ou la Morte]]''. [[Susan Griffin]]'s book, ''[[Women and Nature: The Roaring Inside Her]]'', also talks about women ecology was written in 1978 before the ''Death of Nature'' was written. ''The Death of Nature'' is influential despite these earlier works because it is the first interpretation of an ecofeminist perspective on history ecology. | + | Griffin draws on an astonishing range of sourcesfrom timbering manuals to medical texts to Scripture and classical literaturein showing how destructive has been the impulse to disembody the human soul, and how the long separated might once more be rejoined. Poet Adrienne Rich calls Woman and Nature “perhaps the most extraordinary nonfiction work to have merged from the matrix of contemporary female consciousnessa fusion of patriarchal science, ecology, female history and feminism, written by a poet who has created a new form for her vision… The book has the impact of a great film or a fresco; yet it is intimately personal, touching to the quick of woman’s experience.” |
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Women and Nature: The Roaring Inside Her (1978) is a book by Susan Griffin.
Blurb:
In this famously provocative cornerstone of feminist literature, Susan Griffin explores the identification of women with the earth both as sustenance for humanity and as victim of male rage. Starting from Plato’s fateful division of the world into spirit and matter, her analysis of how patriarchal Western philosophy and religion have used language and science to bolster their power over both women and nature is brilliant and persuasive, coming alive in poetic prose.
Griffin draws on an astonishing range of sourcesfrom timbering manuals to medical texts to Scripture and classical literaturein showing how destructive has been the impulse to disembody the human soul, and how the long separated might once more be rejoined. Poet Adrienne Rich calls Woman and Nature “perhaps the most extraordinary nonfiction work to have merged from the matrix of contemporary female consciousnessa fusion of patriarchal science, ecology, female history and feminism, written by a poet who has created a new form for her vision… The book has the impact of a great film or a fresco; yet it is intimately personal, touching to the quick of woman’s experience.”
