Theologian Harvey Cox, echoing Simmel, has pointed out that in an urban environment the attempt to "involve" oneself fully with everyone can lead only to self-destruction and emotional emptiness. Urban man, he writes, "must have more or less impersonal relationships with most of the people with whom he comes in contact precisely in order to choose certain friendships to nourish and cultivate.Which of the following statements best sums up the main idea of the passage?a)One should focus on establishing healthy and nourishing relationships with those around himself.b)One must be distant and unfriendly towards everyone around himself.c)It is impossible to please everyone.d)Close friendship is responsible for the destruction of self-identity.e)One should have a few close friends, and be detached from others.Correct answer is option 'E'. Can you explain this answer?

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Which of the following statements best sums up the main idea of the passage?

a)
One should focus on establishing healthy and nourishing relationships with those around himself.
b)
One must be distant and unfriendly towards everyone around himself.
c)
It is impossible to please everyone.
d)
Close friendship is responsible for the destruction of self-identity.
e)
One should have a few close friends, and be detached from others.

Correct answer is option 'E'. Can you explain this answer?

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Theologian Harvey Cox, echoing Simmel, has pointed out that in an urb...

Option 1 is eliminated, as it directly contradicts the idea of the passage. Option 2 is eliminated as the passage does not imply this; it is too extreme and one-sided. Option 3 is eliminated, as the passage gives no information from which to make this inference. Option 4 is eliminated as the passage gives insufficient information from which to make this inference. Option 5 is the right answer, as it best sums up the main idea of the passage.

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Group QuestionThe passage given below is followed by a set of questions. Choose the most appropriate answer to each question.Ecocritics ask questions such as - What is the role of the landscape in this work? Are the underlying values of the text ecologically sound? What is nature writing? Indeed, what is meant by the word ‘nature’? Should the examination of place be a distinctive category, much like class, gender and race? What is our perception of wilderness, and how has this perception varied throughout history? Are current environmental issues accurately represented or even mentioned in our popular culture and in modern literature? Can the principles of ecology be applied to poetry? Does gender affect the way one perceives and writes about nature? What can other disciplines - such as history, philosophy, ethics, and psychology - contribute?William Rueckert may have been the first person to use the term ecocriticism. In 1978, Rueckert published an essay titled “Literature and Ecology: An Experiment in Ecocriticism.” His intent was to focus on “the application of ecology and ecological concepts to the study of literature.” Ecologically minded individuals and scholars have been publishing progressive works of ecotheory and criticism since the explosion of environmentalism in the late 1960s and 1970s. However, because there was no organized movement to study the “greener” side of literature, these important works were scattered and categorized under a litany of different subject headings: pastoralism, human ecology, regionalism, American Studies, and so on. British Marxist critic Raymond Williams, for example, wrote a seminal critique of pastoral literature, The Country and the City’ (1973), which spawned two decades of leftist suspicion of the ideological evasions of the genre - its habit of making the work of rural labour disappear, for example - even though Williams himself observed that the losses lamented in pastoral might be genuine ones, and went on to profess a decidedly green socialism.Another early ecocritical text, Joseph Meeker’s The Comedy of Survival’ (1974), proposed a version of an argument that was later to dominate ecocriticism and environmental philosophy: that environmental crisis is caused primarily by a cultural tradition in the West of separation of culture from nature, and elevation of the latter to moral predominance. Such ‘anthropocentrism’ is identified in the tragic conception of a hero whose moral struggles are more important than mere biological survival, whereas the science of animal ethology, Meeker avers, shows that a comic mode of muddling through and making love not war has superior ecological value. In later, second wave ecocriticism, Meekers adoption of an ecophilosophical position with apparent scientific sanction as a measure of literary value tended to prevail over Williamss ideological-historical critique of the shifts in a literary genres representation of nature.As Cheryll Glotfelty noted in The Ecocriticism Reader, “One indication of the disunity of the early efforts is that these critics rarely cited one another’s work; they didn’t know that it existed ... Each was a single voice howling in the wilderness.” Nevertheless, the reasons why ecocriticism - unlike feminist and Marxist criticisms - failed to crystallise into a coherent movement in the late 1970s, and indeed only did so in the USA in the 1990s, would be an interesting question for historical research.In the mid-eighties, scholars began to work collectively to establish ecocritism as a genre, primarily through the work of the Western Literature Association in which the revaluation of nature writing as a non-fictional literary genre could function as: a fillip to the regional literature in which it had prominence; a counterbalance to the mania for cultural constructionism in the literary academy; and a moral imperative in the face of mounting environmental destruction.By comparison with other political forms of criticism, there has been relatively little dispute about the moral and philosophical aims of ecocriticism, although its scope has broadened rapidly from nature writing, Romantic poetry and canonical literature to take in film, TV, theatre, animal stories, architectures, scientific narratives and an extraordinary range of literary texts. At the same time, ecocriticism has pilfered methodologies and theoretically-informed approaches liberally from other fields of literary, social and scientificstudy.Glotfeltys working definition in The Ecocriticism Reader is that "ecocriticism is the study of the relationship between literature and the physical environment" (xviii), and one of the implicit goals of the approach is to recoup professional dignity for what Glotfelty calls the "undervalued genre of nature writing" (xxxi). Lawrence Buell defines “‘ecocriticism’ ... as [a] study of the relationship between literature and the environment conducted in a spirit of commitment to environmentalist praxis” (430, n.20).More recently, in an article that extends ecocriticism to Shakespearean studies, Estok argues that ecocriticism is more than “simply the study of Nature or natural things in literature; rather, it is any theory that is committed to effecting change by analyzing the function - thematic, artistic, social, historical, ideological, theoretical, or otherwise - of the natural environment, or aspects of it, represented in documents (literary or other) that contribute to material practices in material worlds”. Ecocritics ask questions such as - What is the role of the landscape in this work? Are the underlying values of the text ecologically sound? What is naturewriting? Indeed, what is meant by the word ‘nature’? Should the examination of place be a distinctive category, much like class, gender and race? What is our perception of wilderness, and how has this perception varied throughout history? Are current environmental issues accurately represented or even mentioned in our popular culture and in modern literature? Can the principles of ecology be applied to poetry? Does gender affect the way one perceives and writes about nature? What can other disciplines - such as history, philosophy, ethics, and psychology - contribute?William Rueckert may have been the first person to use the term ecocriticism. In 1978, Rueckert published an essay titled “Literature and Ecology: An Experiment in Ecocriticism.” His intent was to focus on “the application of ecology and ecological concepts to the study of literature.” Ecologically minded individuals and scholars have been publishing progressive works of ecotheory and criticism since the explosion of environmentalism in the late 1960s and 1970s. However, because there was no organized movement to study the “greener” side of literature, these important works were scattered and categorized under a litany of different subject headings: pastoralism, human ecology, regionalism, AmericanStudies, and so on. British Marxist critic Raymond Williams, for example, wrote a seminal critique of pastoral literature, The Country and the City (1973), which spawned two decades of leftist suspicion of the ideological evasions of the genre - its habit of making the work of rural labour disappear, for example - even though Williams himself observed that the losses lamented in pastoral might be genuine ones, and went on to profess a decidedly green socialism.Another early ecocritical text, Joseph Meekers The Comedy of Survival (1974), proposed a version of an argument that was later to dominate ecocriticism and environmental philosophy: that environmental crisis is caused primarily by a cultural tradition in the West of separation of culture from nature, and elevation of the latter to moral predominance. Such anthropocentrism is identified in the tragic conception of a hero whose moral struggles are more important than mere biological survival, whereas the science of animal ethology, Meeker avers, shows that a comic mode of muddling through and making love not war has superior ecological value. In later, second wave ecocriticism, Meekers adoption of an ecophilosophical position with apparent scientific sanction as a measure of literary value tended to prevail over Williamss ideological-historical critique of the shifts in a literary genres representation of nature.As Cheryll Glotfelty noted in The Ecocriticism Reader, “One indication of the disunity of the early efforts is that these critics rarely cited one another’s work; they didn’t know that it existed... Each was a single voice howling in the wilderness.” Nevertheless, the reasons why ecocriticism - unlike feminist and Marxist criticisms - failed to crystallise into a coherent movement in the late 1970s, and indeed only did so in the USA in the 1990s, would be an interesting question for historical research.In the mid-eighties, scholars began to work collectively to establish ecocritism as a genre, primarily through the work of the Western Literature Association in which the revaluation of nature writing as a non-fictional literary genre could function as: a fillip to the regional literature in which it had prominence; a counterbalance to the mania for cultural constructionism in the literary academy; and a moral imperative in the face of mounting environmental destruction.By comparison with other political forms of criticism, there has been relatively little dispute about the moral and philosophical aims of ecocriticism, although its scope has broadened rapidly from nature writing, Romantic poetry and canonical literature to take in film, TV, theatre, animal stories, architectures, scientific narratives and an extraordinary range of literary texts. At the same time, ecocriticism has pilfered methodologies and theoretically-informed approaches liberally from other fields of literary, social and scientific study.Glotfeltys working definition in The Ecocriticism Reader is that "ecocriticism is the study of the relationship between literature and the physical environment" (xviii), and one of the implicit goals of the approach is to recoup professional dignity for what Glotfelty calls the "undervalued genre of nature writing" (xxxi). Lawrence Buell defines “‘ecocriticism’ ... as [a] study of the relationship between literature and the environment conducted in a spirit of commitment to environmentalist praxis” (430, n.20).More recently, in an article that extends ecocriticism to Shakespearean studies, Estok argues that ecocriticism is more than “simply the study of Nature or natural things in literature; rather, it is any theory that is committed to effecting change by analyzing the function - thematic, artistic, social, historical, ideological, theoretical, or otherwise - of the natural environment, or aspects of it, represented in documents (literary or other) that contribute to material practices in material worlds”.Q. Which of the following definitions of ecocriticism is not true?

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Ecocritics ask questions such as - What is the role of the landscape in this work? Are the underlying values of the text ecologically sound? What is nature writing? Indeed, what is meant by the word ‘nature’? Should the examination of place be a distinctive category, much like class, gender and race? What is our perception of wilderness, and how has this perception varied throughout history? Are current environmental issues accurately represented or even mentioned in our popular culture and in modern literature? Can the principles of ecology be applied to poetry? Does gender affect the way one perceives and writes about nature? What can other disciplines - such as history, philosophy, ethics, and psychology - contribute?William Rueckert may have been the first person to use the term ecocriticism. In 1978, Rueckert published an essay titled “Literature and Ecology: An Experiment in Ecocriticism.” His intent was to focus on “the application of ecology and ecological concepts to the study of literature.” Ecologically minded individuals and scholars have been publishing progressive works of eco theory and criticism since the explosion of environmentalism in the late 1960s and 1970s. However, because there was no organized movement to study the “greener” side of literature, these important works were scattered and categorized under a litany of different subject headings: pastoralism, human ecology, regionalism, American Studies, and so on. British Marxist critic Raymond Williams, for example, wrote a seminal critique of pastoral literature, The Country and the City’ (1973), which spawned two decades of leftist suspicion of the ideological evasions of the genre - its habit of making the work of rural labour disappear, for example - even though Williams himself observed that the losses lamented in pastoral might be genuine ones, and went on to profess a decidedly green socialism. Another early ecocritical text, Joseph Meeker’s The Comedy of Survival’ (1974), proposed a version of an argument that was later to dominate ecocriticism and environmental philosophy: that environmental crisis is caused primarily by a cultural tradition in the West of separation of culture from nature, and elevation of the latter to moral predominance. Such ‘anthropocentrism’ is identified in the tragic conception of a hero whose moral struggles are more important than mere biological survival, whereas the science of animal ethology, Meeker avers, shows that a 'comic mode' of muddling through and making love not war has superior ecological value. In later, 'second wave' ecocriticism, Meeker's adoption of an eco philosophical position with apparent scientific sanction as a measure of literary value tended to prevail over Williams's ideological-historical critique of the shifts in a literary genre's representation of nature.As Cheryll Glotfelty noted in The Ecocriticism Reader, “One indication of the disunity of the early efforts is that these critics rarely cited one another’s work; they didn’t know that it existed ... Each was a single voice howling in the wilderness.” Nevertheless, the reasons why ecocriticism - unlike feminist and Marxist criticisms - failed to crystallise into a coherent movement in the late 1970s, and indeed only did so in the USA in the 1990s, would be an interesting question for historical research.In the mid-eighties, scholars began to work collectively to establish ecocriticism as a genre, primarily through the work of the Western Literature Association in which the revaluation of nature writing as a non-fictional literary genre could function as: a fillip to the regional literature in which it had prominence; a counterbalance to the mania for 'cultural constructionism' in the literary academy; and a moral imperative in the face of mounting environmental destruction.By comparison with other 'political' forms of criticism, there has been relatively little dispute about the moral and philosophical aims of ecocriticism, although its scope has broadened rapidly from nature writing, Romantic poetry and canonical literature to take in film, TV, theatre, animal stories, architectures, scientific narratives and an extraordinary range of literary texts. At the same time, ecocriticism has pilfered methodologies and theoretically-informed approaches liberally from other fields of literary, social and scientific study.Glotfelty's working definition in The Ecocriticism Reader is that "ecocriticism is the study of the relationship between literature and the physical environment" (xviii), and one of the implicit goals of the approach is to recoup professional dignity for what Glotfelty calls the "undervalued genre of nature writing" (xxxi). Lawrence Buell defines “‘ecocriticism’ ... as [a] study of the relationship between literature and the environment conducted in a spirit of commitment to environmentalist praxis” (430, n.20)More recently, in an article that extends ecocriticism to Shakespearean studies, Estok argues that ecocriticism is more than “simply the study of Nature or natural things in literature; rather, it is any theory that is committed to effecting change by analyzing the function - thematic, artistic, social, historical, ideological, theoretical, or otherwise - of the natural environment, or aspects of it, represented in documents (literary or other) that contribute to material practices in material worlds”. Ecocritics ask questions such as - What is the role of the landscape in this work? Are the underlying values of the text ecologically sound? What is nature writing? Indeed, what is meant by the word ‘nature’? Should the examination of place be a distinctive category, much like class, gender and race? What is our perception of wilderness, and how has this perception varied throughout history? Are current environmental issues accurately represented or even mentioned in our popular culture and in modern literature? Can the principles of ecology be applied to poetry? Does gender affect the way one perceives and writes about nature? What can other disciplines - such as history, philosophy, ethics, and psychology - contribute?William Rueckert may have been the first person to use the term ecocriticism. In 1978, Rueckert published an essay titled “Literature and Ecology: An Experiment in Ecocriticism.” His intent was to focus on “the application of ecology and ecological concepts to the study of literature.” Ecologically minded individuals and scholars have been publishing progressive works of eco theory and criticism since the explosion of environmentalism in the late 1960s and 1970s. However, because there was no organized movement to study the “greener” side of literature, these important works were scattered and categorized under a litany of different subject headings: pastoralism, human ecology, regionalism, American Studies, and so on. British Marxist critic Raymond Williams, for example, wrote a seminal critique of pastoral literature, The Country and the City' (1973), which spawned two decades of leftist suspicion of the ideological evasions of the genre - its habit of making the work of rural labour disappear, for example - even though Williams himself observed that the losses lamented in pastoral might be genuine ones, and went on to profess a decidedly green socialism.Another early ecocritical text, Joseph Meeker's The Comedy of Survival' (1974), proposed a version of an argument that was later to dominate ecocriticism and environmental philosophy: that environmental crisis is caused primarily by a cultural tradition in the West of separation of culture from nature, and elevation of the latter to moral predominance. Such 'anthropocentrism' is identified in the tragic conception of a hero whose moral struggles are more important than mere biological survival, whereas the science of animal ethology, Meeker avers, shows that a 'comic mode' of muddling through and making love not war has superior ecological value. In later, 'second wave' ecocriticism, Meeker's adoption of an ecophilosophical position with apparent scientific sanction as a measure of literary value tended to prevail over Williams's ideological-historical critique of the shifts in a literary genre's representation of nature.As Cheryll Glotfelty noted in The Ecocriticism Reader, “One indication of the disunity of the early efforts is that these critics rarely cited one another’s work; they didn’t know that it existed... Each was a single voice howling in the wilderness.” Nevertheless, the reasons why ecocriticism - unlike feminist and Marxist criticisms - failed to crystallise into a coherent movement in the late 1970s, and indeed only did so in the USA in the 1990s, would be an interesting question for historical research. In the mid-eighties, scholars began to work collectively to establish ecocritism as a genre, primarily through the work of the Western Literature Association in which the revaluation of nature writing as a non-fictional literary genre could function as: a fillip to the regional literature in which it had prominence; a counterbalance to the mania for 'cultural constructionism' in the literary academy; and a moral imperative in the face of mounting environmental destruction.By comparison with other 'political' forms of criticism, there has been relatively little dispute about the moral and philosophical aims of ecocriticism, although its scope has broadened rapidly from nature writing, Romantic poetry and canonical literature to take in film, TV, theatre, animal stories, architectures, scientific narratives and an extraordinary range of literary texts. At the same time, ecocriticism has pilfered methodologies and theoretically-informed approaches liberally from other fields of literary, social and scientific study.Glotfelty's working definition in The Ecocriticism Reader is that "ecocriticism is the study of the relationship between literature and the physical environment" (xviii), and one of the implicit goals of the approach is to recoup professional dignity for what Glotfelty calls the "undervalued genre of nature writing" (xxxi). Lawrence Buell defines “‘ecocriticism’ ... as [a] study of the relationship between literature and the environment conducted in a spirit of commitment to environmentalist praxis” (430, n.20). More recently, in an article that extends ecocriticism to Shakespearean studies, Estok argues that ecocriticism is more than “simply the study of Nature or natural things in literature; rather, it is any theory that is committed to effecting change by analyzing the function - thematic, artistic, social, historical, ideological, theoretical, or otherwise - of the natural environment, or aspects of it, represented in documents (literary or other) that contribute to material practices in material worlds”.What does the word ‘anthropocentrism’ refer to in this passage?

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Ecocritics ask questions such as - What is the role of the landscape in this work? Are the underlying values of the text ecologically sound? What is nature writing? Indeed, what is meant by the word ‘nature’? Should the examination of place be a distinctive category, much like class, gender and race? What is our perception of wilderness, and how has this perception varied throughout history? Are current environmental issues accurately represented or even mentioned in our popular culture and in modern literature? Can the principles of ecology be applied to poetry? Does gender affect the way one perceives and writes about nature? What can other disciplines - such as history, philosophy, ethics, and psychology - contribute?William Rueckert may have been the first person to use the term ecocriticism. In 1978, Rueckert published an essay titled “Literature and Ecology: An Experiment in Ecocriticism.” His intent was to focus on “the application of ecology and ecological concepts to the study of literature.” Ecologically minded individuals and scholars have been publishing progressive works of eco theory and criticism since the explosion of environmentalism in the late 1960s and 1970s. However, because there was no organized movement to study the “greener” side of literature, these important works were scattered and categorized under a litany of different subject headings: pastoralism, human ecology, regionalism, American Studies, and so on. British Marxist critic Raymond Williams, for example, wrote a seminal critique of pastoral literature, The Country and the City’ (1973), which spawned two decades of leftist suspicion of the ideological evasions of the genre - its habit of making the work of rural labour disappear, for example - even though Williams himself observed that the losses lamented in pastoral might be genuine ones, and went on to profess a decidedly green socialism. Another early ecocritical text, Joseph Meeker’s The Comedy of Survival’ (1974), proposed a version of an argument that was later to dominate ecocriticism and environmental philosophy: that environmental crisis is caused primarily by a cultural tradition in the West of separation of culture from nature, and elevation of the latter to moral predominance. Such ‘anthropocentrism’ is identified in the tragic conception of a hero whose moral struggles are more important than mere biological survival, whereas the science of animal ethology, Meeker avers, shows that a 'comic mode' of muddling through and making love not war has superior ecological value. In later, 'second wave' ecocriticism, Meeker's adoption of an eco philosophical position with apparent scientific sanction as a measure of literary value tended to prevail over Williams's ideological-historical critique of the shifts in a literary genre's representation of nature.As Cheryll Glotfelty noted in The Ecocriticism Reader, “One indication of the disunity of the early efforts is that these critics rarely cited one another’s work; they didn’t know that it existed ... Each was a single voice howling in the wilderness.” Nevertheless, the reasons why ecocriticism - unlike feminist and Marxist criticisms - failed to crystallise into a coherent movement in the late 1970s, and indeed only did so in the USA in the 1990s, would be an interesting question for historical research.In the mid-eighties, scholars began to work collectively to establish ecocriticism as a genre, primarily through the work of the Western Literature Association in which the revaluation of nature writing as a non-fictional literary genre could function as: a fillip to the regional literature in which it had prominence; a counterbalance to the mania for 'cultural constructionism' in the literary academy; and a moral imperative in the face of mounting environmental destruction.By comparison with other 'political' forms of criticism, there has been relatively little dispute about the moral and philosophical aims of ecocriticism, although its scope has broadened rapidly from nature writing, Romantic poetry and canonical literature to take in film, TV, theatre, animal stories, architectures, scientific narratives and an extraordinary range of literary texts. At the same time, ecocriticism has pilfered methodologies and theoretically-informed approaches liberally from other fields of literary, social and scientific study.Glotfelty's working definition in The Ecocriticism Reader is that "ecocriticism is the study of the relationship between literature and the physical environment" (xviii), and one of the implicit goals of the approach is to recoup professional dignity for what Glotfelty calls the "undervalued genre of nature writing" (xxxi). Lawrence Buell defines “‘ecocriticism’ ... as [a] study of the relationship between literature and the environment conducted in a spirit of commitment to environmentalist praxis” (430, n.20).More recently, in an article that extends ecocriticism to Shakespearean studies, Estok argues that ecocriticism is more than “simply the study of Nature or natural things in literature; rather, it is any theory that is committed to effecting change by analyzing the function - thematic, artistic, social, historical, ideological, theoretical, or otherwise - of the natural environment, or aspects of it, represented in documents (literary or other) that contribute to material practices in material worlds”. Ecocritics ask questions such as - What is the role of the landscape in this work? Are the underlying values of the text ecologically sound? What is nature writing? Indeed, what is meant by the word ‘nature’? Should the examination of place be a distinctive category, much like class, gender and race? What is our perception of wilderness, and how has this perception varied throughout history? Are current environmental issues accurately represented or even mentioned in our popular culture and in modern literature? Can the principles of ecology be applied to poetry? Does gender affect the way one perceives and writes about nature? What can other disciplines - such as history, philosophy, ethics, and psychology - contribute?William Rueckert may have been the first person to use the term ecocriticism. In 1978, Rueckert published an essay titled “Literature and Ecology: An Experiment in Ecocriticism.” His intent was to focus on “the application of ecology and ecological concepts to the study of literature.” Ecologically minded individuals and scholars have been publishing progressive works of eco theory and criticism since the explosion of environmentalism in the late 1960s and 1970s. However, because there was no organized movement to study the “greener” side of literature, these important works were scattered and categorized under a litany of different subject headings: pastoralism, human ecology, regionalism, American Studies, and so on. British Marxist critic Raymond Williams, for example, wrote a seminal critique of pastoral literature, The Country and the City' (1973), which spawned two decades of leftist suspicion of the ideological evasions of the genre - its habit of making the work of rural labour disappear, for example - even though Williams himself observed that the losses lamented in pastoral might be genuine ones, and went on to profess a decidedly green socialism.Another early ecocritical text, Joseph Meeker's The Comedy of Survival' (1974), proposed a version of an argument that was later to dominate ecocriticism and environmental philosophy: that environmental crisis is caused primarily by a cultural tradition in the West of separation of culture from nature, and elevation of the latter to moral predominance. Such 'anthropocentrism' is identified in the tragic conception of a hero whose moral struggles are more important than mere biological survival, whereas the science of animal ethology, Meeker avers, shows that a 'comic mode' of muddling through and making love not war has superior ecological value. In later, 'second wave' ecocriticism, Meeker's adoption of an eco philosophical position with apparent scientific sanction as a measure of literary value tended to prevail over Williams's ideological-historical critique of the shifts in a literary genre's representation of nature.As Cheryll Glotfelty noted in The Ecocriticism Reader, “One indication of the disunity of the early efforts is that these critics rarely cited one another’s work; they didn’t know that it existed... Each was a single voice howling in the wilderness.” Nevertheless, the reasons why ecocriticism - unlike feminist and Marxist criticisms - failed to crystallise into a coherent movement in the late 1970s, and indeed only did so in the USA in the 1990s, would be an interesting question for historical research. In the mid-eighties, scholars began to work collectively to establish ecocritism as a genre, primarily through the work of the Western Literature Association in which the revaluation of nature writing as a non-fictional literary genre could function as: a fillip to the regional literature in which it had prominence; a counterbalance to the mania for 'cultural constructionism' in the literary academy; and a moral imperative in the face of mounting environmental destruction.By comparison with other 'political' forms of criticism, there has been relatively little dispute about the moral and philosophical aims of ecocriticism, although its scope has broadened rapidly from nature writing, Romantic poetry and canonical literature to take in film, TV, theatre, animal stories, architectures, scientific narratives and an extraordinary range of literary texts. At the same time, ecocriticism has pilfered methodologies and theoretically-informed approaches liberally from other fields of literary, social and scientific study.Glotfelty's working definition in The Ecocriticism Reader is that "ecocriticism is the study of the relationship between literature and the physical environment" (xviii), and one of the implicit goals of the approach is to recoup professional dignity for what Glotfelty calls the "undervalued genre of nature writing" (xxxi). Lawrence Buell defines “‘ecocriticism’ ... as [a] study of the relationship between literature and the environment conducted in a spirit of commitment to environmentalist praxis” (430, n.20). More recently, in an article that extends ecocriticism to Shakespearean studies, Estok argues that ecocriticism is more than “simply the study of Nature or natural things in literature; rather, it is any theory that is committed to effecting change by analyzing the function - thematic, artistic, social, historical, ideological, theoretical, or otherwise - of the natural environment, or aspects of it, represented in documents (literary or other) that contribute to material practices in material worlds”.Which of the following cannot be inferred from the passage?

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Ecocritics ask questions such as - What is the role of the landscape in this work? Are the underlying values of the text ecologically sound? What is nature writing? Indeed, what is meant by the word ‘nature’? Should the examination of place be a distinctive category, much like class, gender and race? What is our perception of wilderness, and how has this perception varied throughout history? Are current environmental issues accurately represented or even mentioned in our popular culture and in modern literature? Can the principles of ecology be applied to poetry? Does gender affect the way one perceives and writes about nature? What can other disciplines - such as history, philosophy, ethics, and psychology - contribute?William Rueckert may have been the first person to use the term ecocriticism. In 1978, Rueckert published an essay titled “Literature and Ecology: An Experiment in Ecocriticism.” His intent was to focus on “the application of ecology and ecological concepts to the study of literature.” Ecologically minded individuals and scholars have been publishing progressive works of ecotheory and criticism since the explosion of environmentalism in the late 1960s and 1970s. However, because there was no organized movement to study the “greener” side of literature, these important works were scattered and categorized under a litany of different subject headings: pastoralism, human ecology, regionalism, American Studies, and so on. British Marxist critic Raymond Williams, for example, wrote a seminal critique of pastoral literature, The Country and the City’ (1973), which spawned two decades of leftist suspicion of the ideological evasions of the genre - its habit of making the work of rural labour disappear, for example - even though Williams himself observed that the losses lamented in pastoral might be genuine ones, and went on to profess a decidedly green socialism.Another early ecocritical text, Joseph Meeker’s The Comedy of Survival’ (1974), proposed a version of an argument that was later to dominate ecocriticism and environmental philosophy: that environmental crisis is caused primarily by a cultural tradition in the West of separation of culture from nature, and elevation of the latter to moral predominance. Such ‘anthropocentrism’ is identified in the tragic conception of a hero whose moral struggles are more important than mere biological survival, whereas the science of animal ethology, Meeker avers, shows that a comic mode of muddling through and making love not war has superior ecological value. In later, second wave ecocriticism, Meekers adoption of an ecophilosophical position with apparent scientific sanction as a measure of literary value tended to prevail over Williamss ideological-historical critique of the shifts in a literary genres representation of nature.As Cheryll Glotfelty noted in The Ecocriticism Reader, “One indication of the disunity of the early efforts is that these critics rarely cited one another’s work; they didn’t know that it existed ... Each was a single voice howling in the wilderness.” Nevertheless, the reasons why ecocriticism - unlike feminist and Marxist criticisms - failed to crystallise into a coherent movement in the late 1970s, and indeed only did so in the USA in the 1990s, would be an interesting question for historical research.In the mid-eighties, scholars began to work collectively to establish ecocritism as a genre, primarily through the work of the Western Literature Association in which the revaluation of nature writing as a non-fictional literary genre could function as: a fillip to the regional literature in which it had prominence; a counterbalance to the mania for cultural constructionism in the literary academy; and a moral imperative in the face of mounting environmental destruction.By comparison with other political forms of criticism, there has been relatively little dispute about the moral and philosophical aims of ecocriticism, although its scope has broadened rapidly from nature writing, Romantic poetry and canonical literature to take in film, TV, theatre, animal stories, architectures, scientific narratives and an extraordinary range of literary texts. At the same time, ecocriticism has pilfered methodologies and theoretically-informed approaches liberally from other fields of literary, social and scientificstudy.Glotfeltys working definition in The Ecocriticism Reader is that "ecocriticism is the study of the relationship between literature and the physical environment" (xviii), and one of the implicit goals of the approach is to recoup professional dignity for what Glotfelty calls the "undervalued genre of nature writing" (xxxi). Lawrence Buell defines “‘ecocriticism’ ... as [a] study of the relationship between literature and the environment conducted in a spirit of commitment to environmentalist praxis” (430, n.20).More recently, in an article that extends ecocriticism to Shakespearean studies, Estok argues that ecocriticism is more than “simply the study of Nature or natural things in literature; rather, it is any theory that is committed to effecting change by analyzing the function - thematic, artistic, social, historical, ideological, theoretical, or otherwise - of the natural environment, or aspects of it, represented in documents (literary or other) that contribute to material practices in material worlds”. Ecocritics ask questions such as - What is the role of the landscape in this work? Are the underlying values of the text ecologically sound? What is naturewriting? Indeed, what is meant by the word ‘nature’? Should the examination of place be a distinctive category, much like class, gender and race? What is our perception of wilderness, and how has this perception varied throughout history? Are current environmental issues accurately represented or even mentioned in our popular culture and in modern literature? Can the principles of ecology be applied to poetry? Does gender affect the way one perceives and writes about nature? What can other disciplines - such as history, philosophy, ethics, and psychology - contribute?William Rueckert may have been the first person to use the term ecocriticism. In 1978, Rueckert published an essay titled “Literature and Ecology: An Experiment in Ecocriticism.” His intent was to focus on “the application of ecology and ecological concepts to the study of literature.” Ecologically minded individuals and scholars have been publishing progressive works of ecotheory and criticism since the explosion of environmentalism in the late 1960s and 1970s. However, because there was no organized movement to study the “greener” side of literature, these important works were scattered and categorized under a litany of different subject headings: pastoralism, human ecology, regionalism, AmericanStudies, and so on. British Marxist critic Raymond Williams, for example, wrote a seminal critique of pastoral literature, The Country and the City (1973), which spawned two decades of leftist suspicion of the ideological evasions of the genre - its habit of making the work of rural labour disappear, for example - even though Williams himself observed that the losses lamented in pastoral might be genuine ones, and went on to profess a decidedly green socialism.Another early ecocritical text, Joseph Meekers The Comedy of Survival (1974), proposed a version of an argument that was later to dominate ecocriticism and environmental philosophy: that environmental crisis is caused primarily by a cultural tradition in the West of separation of culture from nature, and elevation of the latter to moral predominance. Such anthropocentrism is identified in the tragic conception of a hero whose moral struggles are more important than mere biological survival, whereas the science of animal ethology, Meeker avers, shows that a comic mode of muddling through and making love not war has superior ecological value. In later, second wave ecocriticism, Meekers adoption of an ecophilosophical position with apparent scientific sanction as a measure of literary value tended to prevail over Williamss ideological-historical critique of the shifts in a literary genres representation of nature.As Cheryll Glotfelty noted in The Ecocriticism Reader, “One indication of the disunity of the early efforts is that these critics rarely cited one another’s work; they didn’t know that it existed... Each was a single voice howling in the wilderness.” Nevertheless, the reasons why ecocriticism - unlike feminist and Marxist criticisms - failed to crystallise into a coherent movement in the late 1970s, and indeed only did so in the USA in the 1990s, would be an interesting question for historical research.In the mid-eighties, scholars began to work collectively to establish ecocritism as a genre, primarily through the work of the Western Literature Association in which the revaluation of nature writing as a non-fictional literary genre could function as: a fillip to the regional literature in which it had prominence; a counterbalance to the mania for cultural constructionism in the literary academy; and a moral imperative in the face of mounting environmental destruction.By comparison with other political forms of criticism, there has been relatively little dispute about the moral and philosophical aims of ecocriticism, although its scope has broadened rapidly from nature writing, Romantic poetry and canonical literature to take in film, TV, theatre, animal stories, architectures, scientific narratives and an extraordinary range of literary texts. At the same time, ecocriticism has pilfered methodologies and theoretically-informed approaches liberally from other fields of literary, social and scientific study.Glotfeltys working definition in The Ecocriticism Reader is that "ecocriticism is the study of the relationship between literature and the physical environment" (xviii), and one of the implicit goals of the approach is to recoup professional dignity for what Glotfelty calls the "undervalued genre of nature writing" (xxxi). Lawrence Buell defines “‘ecocriticism’ ... as [a] study of the relationship between literature and the environment conducted in a spirit of commitment to environmentalist praxis” (430, n.20).More recently, in an article that extends ecocriticism to Shakespearean studies, Estok argues that ecocriticism is more than “simply the study of Nature or natural things in literature; rather, it is any theory that is committed to effecting change by analyzing the function - thematic, artistic, social, historical, ideological, theoretical, or otherwise - of the natural environment, or aspects of it, represented in documents (literary or other) that contribute to material practices in material worlds”.Q. Which of these assumptions are not central to the function of ecocriticism?

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Ecocritics ask questions such as - What is the role of the landscape in this work? Are the underlying values of the text ecologically sound? What is nature writing? Indeed, what is meant by the word ‘nature’? Should the examination of place be a distinctive category, much like class, gender and race? What is our perception of wilderness, and how has this perception varied throughout history? Are current environmental issues accurately represented or even mentioned in our popular culture and in modern literature? Can the principles of ecology be applied to poetry? Does gender affect the way one perceives and writes about nature? What can other disciplines - such as history, philosophy, ethics, and psychology - contribute?William Rueckert may have been the first person to use the term ecocriticism. In 1978, Rueckert published an essay titled “Literature and Ecology: An Experiment in Ecocriticism.” His intent was to focus on “the application of ecology and ecological concepts to the study of literature.” Ecologically minded individuals and scholars have been publishing progressive works of eco theory and criticism since the explosion of environmentalism in the late 1960s and 1970s. However, because there was no organized movement to study the “greener” side of literature, these important works were scattered and categorized under a litany of different subject headings: pastoralism, human ecology, regionalism, American Studies, and so on. British Marxist critic Raymond Williams, for example, wrote a seminal critique of pastoral literature, The Country and the City’ (1973), which spawned two decades of leftist suspicion of the ideological evasions of the genre - its habit of making the work of rural labour disappear, for example - even though Williams himself observed that the losses lamented in pastoral might be genuine ones, and went on to profess a decidedly green socialism. Another early ecocritical text, Joseph Meeker’s The Comedy of Survival’ (1974), proposed a version of an argument that was later to dominate ecocriticism and environmental philosophy: that environmental crisis is caused primarily by a cultural tradition in the West of separation of culture from nature, and elevation of the latter to moral predominance. Such ‘anthropocentrism’ is identified in the tragic conception of a hero whose moral struggles are more important than mere biological survival, whereas the science of animal ethology, Meeker avers, shows that a 'comic mode' of muddling through and making love not war has superior ecological value. In later, 'second wave' ecocriticism, Meeker's adoption of an eco philosophical position with apparent scientific sanction as a measure of literary value tended to prevail over Williams's ideological-historical critique of the shifts in a literary genre's representation of nature.As Cheryll Glotfelty noted in The Ecocriticism Reader, “One indication of the disunity of the early efforts is that these critics rarely cited one another’s work; they didn’t know that it existed ... Each was a single voice howling in the wilderness.” Nevertheless, the reasons why ecocriticism - unlike feminist and Marxist criticisms - failed to crystallise into a coherent movement in the late 1970s, and indeed only did so in the USA in the 1990s, would be an interesting question for historical research.In the mid-eighties, scholars began to work collectively to establish ecocriticism as a genre, primarily through the work of the Western Literature Association in which the revaluation of nature writing as a non-fictional literary genre could function as: a fillip to the regional literature in which it had prominence; a counterbalance to the mania for 'cultural constructionism' in the literary academy; and a moral imperative in the face of mounting environmental destruction.By comparison with other 'political' forms of criticism, there has been relatively little dispute about the moral and philosophical aims of ecocriticism, although its scope has broadened rapidly from nature writing, Romantic poetry and canonical literature to take in film, TV, theatre, animal stories, architectures, scientific narratives and an extraordinary range of literary texts. At the same time, ecocriticism has pilfered methodologies and theoretically-informed approaches liberally from other fields of literary, social and scientific study.Glotfelty's working definition in The Ecocriticism Reader is that "ecocriticism is the study of the relationship between literature and the physical environment" (xviii), and one of the implicit goals of the approach is to recoup professional dignity for what Glotfelty calls the "undervalued genre of nature writing" (xxxi). Lawrence Buell defines “‘ecocriticism’ ... as [a] study of the relationship between literature and the environment conducted in a spirit of commitment to environmentalist praxis” (430, n.20).More recently, in an article that extends ecocriticism to Shakespearean studies, Estok argues that ecocriticism is more than “simply the study of Nature or natural things in literature; rather, it is any theory that is committed to effecting change by analyzing the function - thematic, artistic, social, historical, ideological, theoretical, or otherwise - of the natural environment, or aspects of it, represented in documents (literary or other) that contribute to material practices in material worlds”. Ecocritics ask questions such as - What is the role of the landscape in this work? Are the underlying values of the text ecologically sound? What is nature writing? Indeed, what is meant by the word ‘nature’? Should the examination of place be a distinctive category, much like class, gender and race? What is our perception of wilderness, and how has this perception varied throughout history? Are current environmental issues accurately represented or even mentioned in our popular culture and in modern literature? Can the principles of ecology be applied to poetry? Does gender affect the way one perceives and writes about nature? What can other disciplines - such as history, philosophy, ethics, and psychology - contribute?William Rueckert may have been the first person to use the term ecocriticism. In 1978, Rueckert published an essay titled “Literature and Ecology: An Experiment in Ecocriticism.” His intent was to focus on “the application of ecology and ecological concepts to the study of literature.” Ecologically minded individuals and scholars have been publishing progressive works of eco theory and criticism since the explosion of environmentalism in the late 1960s and 1970s. However, because there was no organized movement to study the “greener” side of literature, these important works were scattered and categorized under a litany of different subject headings: pastoralism, human ecology, regionalism, American Studies, and so on. British Marxist critic Raymond Williams, for example, wrote a seminal critique of pastoral literature, The Country and the City' (1973), which spawned two decades of leftist suspicion of the ideological evasions of the genre - its habit of making the work of rural labour disappear, for example - even though Williams himself observed that the losses lamented in pastoral might be genuine ones, and went on to profess a decidedly green socialism.Another early ecocritical text, Joseph Meeker's The Comedy of Survival' (1974), proposed a version of an argument that was later to dominate ecocriticism and environmental philosophy: that environmental crisis is caused primarily by a cultural tradition in the West of separation of culture from nature, and elevation of the latter to moral predominance. Such 'anthropocentrism' is identified in the tragic conception of a hero whose moral struggles are more important than mere biological survival, whereas the science of animal ethology, Meeker avers, shows that a 'comic mode' of muddling through and making love not war has superior ecological value. In later, 'second wave' ecocriticism, Meeker's adoption of an ecophilosophical position with apparent scientific sanction as a measure of literary value tended to prevail over Williams's ideological-historical critique of the shifts in a literary genre's representation of nature.As Cheryll Glotfelty noted in The Ecocriticism Reader, “One indication of the disunity of the early efforts is that these critics rarely cited one another’s work; they didn’t know that it existed... Each was a single voice howling in the wilderness.” Nevertheless, the reasons why ecocriticism - unlike feminist and Marxist criticisms - failed to crystallise into a coherent movement in the late 1970s, and indeed only did so in the USA in the 1990s, would be an interesting question for historical research. In the mid-eighties, scholars began to work collectively to establish ecocritism as a genre, primarily through the work of the Western Literature Association in which the revaluation of nature writing as a non-fictional literary genre could function as: a fillip to the regional literature in which it had prominence; a counterbalance to the mania for 'cultural constructionism' in the literary academy; and a moral imperative in the face of mounting environmental destruction.By comparison with other 'political' forms of criticism, there has been relatively little dispute about the moral and philosophical aims of ecocriticism, although its scope has broadened rapidly from nature writing, Romantic poetry and canonical literature to take in film, TV, theatre, animal stories, architectures, scientific narratives and an extraordinary range of literary texts. At the same time, ecocriticism has pilfered methodologies and theoretically-informed approaches liberally from other fields of literary, social and scientific study.Glotfelty's working definition in The Ecocriticism Reader is that "ecocriticism is the study of the relationship between literature and the physical environment" (xviii), and one of the implicit goals of the approach is to recoup professional dignity for what Glotfelty calls the "undervalued genre of nature writing" (xxxi). Lawrence Buell defines “‘ecocriticism’ ... as [a] study of the relationship between literature and the environment conducted in a spirit of commitment to environmentalist praxis” (430, n.20). More recently, in an article that extends ecocriticism to Shakespearean studies, Estok argues that ecocriticism is more than “simply the study of Nature or natural things in literature; rather, it is any theory that is committed to effecting change by analyzing the function - thematic, artistic, social, historical, ideological, theoretical, or otherwise - of the natural environment, or aspects of it, represented in documents (literary or other) that contribute to material practices in material worlds”.Which of these assumptions are not central to the function of ecocriticism?

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Theologian Harvey Cox, echoing Simmel, has pointed out that in an urban environment the attempt to "involve" oneself fully with everyone can lead only to self-destruction and emotional emptiness. Urban man, he writes, "must have more or less impersonal relationships with most of the people with whom he comes in contact precisely in order to choose certain friendships to nourish and cultivate.Which of the following statements best sums up the main idea of the passage?a)One should focus on establishing healthy and nourishing relationships with those around himself.b)One must be distant and unfriendly towards everyone around himself.c)It is impossible to please everyone.d)Close friendship is responsible for the destruction of self-identity.e)One should have a few close friends, and be detached from others.Correct answer is option 'E'. Can you explain this answer?

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Theologian Harvey Cox, echoing Simmel, has pointed out that in an urban environment the attempt to "involve" oneself fully with everyone can lead only to self-destruction and emotional emptiness. Urban man, he writes, "must have more or less impersonal relationships with most of the people with whom he comes in contact precisely in order to choose certain friendships to nourish and cultivate.Which of the following statements best sums up the main idea of the passage?a)One should focus on establishing healthy and nourishing relationships with those around himself.b)One must be distant and unfriendly towards everyone around himself.c)It is impossible to please everyone.d)Close friendship is responsible for the destruction of self-identity.e)One should have a few close friends, and be detached from others.Correct answer is option 'E'. Can you explain this answer? for CAT 2024 is part of CAT preparation. The Question and answers have been prepared according to the CAT exam syllabus. Information about Theologian Harvey Cox, echoing Simmel, has pointed out that in an urban environment the attempt to "involve" oneself fully with everyone can lead only to self-destruction and emotional emptiness. Urban man, he writes, "must have more or less impersonal relationships with most of the people with whom he comes in contact precisely in order to choose certain friendships to nourish and cultivate.Which of the following statements best sums up the main idea of the passage?a)One should focus on establishing healthy and nourishing relationships with those around himself.b)One must be distant and unfriendly towards everyone around himself.c)It is impossible to please everyone.d)Close friendship is responsible for the destruction of self-identity.e)One should have a few close friends, and be detached from others.Correct answer is option 'E'. Can you explain this answer? covers all topics & solutions for CAT 2024 Exam. Find important definitions, questions, meanings, examples, exercises and tests below for Theologian Harvey Cox, echoing Simmel, has pointed out that in an urban environment the attempt to "involve" oneself fully with everyone can lead only to self-destruction and emotional emptiness. Urban man, he writes, "must have more or less impersonal relationships with most of the people with whom he comes in contact precisely in order to choose certain friendships to nourish and cultivate.Which of the following statements best sums up the main idea of the passage?a)One should focus on establishing healthy and nourishing relationships with those around himself.b)One must be distant and unfriendly towards everyone around himself.c)It is impossible to please everyone.d)Close friendship is responsible for the destruction of self-identity.e)One should have a few close friends, and be detached from others.Correct answer is option 'E'. Can you explain this answer?.

Solutions for Theologian Harvey Cox, echoing Simmel, has pointed out that in an urban environment the attempt to "involve" oneself fully with everyone can lead only to self-destruction and emotional emptiness. Urban man, he writes, "must have more or less impersonal relationships with most of the people with whom he comes in contact precisely in order to choose certain friendships to nourish and cultivate.Which of the following statements best sums up the main idea of the passage?a)One should focus on establishing healthy and nourishing relationships with those around himself.b)One must be distant and unfriendly towards everyone around himself.c)It is impossible to please everyone.d)Close friendship is responsible for the destruction of self-identity.e)One should have a few close friends, and be detached from others.Correct answer is option 'E'. Can you explain this answer? in English & in Hindi are available as part of our courses for CAT. Download more important topics, notes, lectures and mock test series for CAT Exam by signing up for free.

Here you can find the meaning of Theologian Harvey Cox, echoing Simmel, has pointed out that in an urban environment the attempt to "involve" oneself fully with everyone can lead only to self-destruction and emotional emptiness. Urban man, he writes, "must have more or less impersonal relationships with most of the people with whom he comes in contact precisely in order to choose certain friendships to nourish and cultivate.Which of the following statements best sums up the main idea of the passage?a)One should focus on establishing healthy and nourishing relationships with those around himself.b)One must be distant and unfriendly towards everyone around himself.c)It is impossible to please everyone.d)Close friendship is responsible for the destruction of self-identity.e)One should have a few close friends, and be detached from others.Correct answer is option 'E'. Can you explain this answer? defined & explained in the simplest way possible. Besides giving the explanation of Theologian Harvey Cox, echoing Simmel, has pointed out that in an urban environment the attempt to "involve" oneself fully with everyone can lead only to self-destruction and emotional emptiness. Urban man, he writes, "must have more or less impersonal relationships with most of the people with whom he comes in contact precisely in order to choose certain friendships to nourish and cultivate.Which of the following statements best sums up the main idea of the passage?a)One should focus on establishing healthy and nourishing relationships with those around himself.b)One must be distant and unfriendly towards everyone around himself.c)It is impossible to please everyone.d)Close friendship is responsible for the destruction of self-identity.e)One should have a few close friends, and be detached from others.Correct answer is option 'E'. Can you explain this answer?, a detailed solution for Theologian Harvey Cox, echoing Simmel, has pointed out that in an urban environment the attempt to "involve" oneself fully with everyone can lead only to self-destruction and emotional emptiness. Urban man, he writes, "must have more or less impersonal relationships with most of the people with whom he comes in contact precisely in order to choose certain friendships to nourish and cultivate.Which of the following statements best sums up the main idea of the passage?a)One should focus on establishing healthy and nourishing relationships with those around himself.b)One must be distant and unfriendly towards everyone around himself.c)It is impossible to please everyone.d)Close friendship is responsible for the destruction of self-identity.e)One should have a few close friends, and be detached from others.Correct answer is option 'E'. Can you explain this answer? has been provided alongside types of Theologian Harvey Cox, echoing Simmel, has pointed out that in an urban environment the attempt to "involve" oneself fully with everyone can lead only to self-destruction and emotional emptiness. Urban man, he writes, "must have more or less impersonal relationships with most of the people with whom he comes in contact precisely in order to choose certain friendships to nourish and cultivate.Which of the following statements best sums up the main idea of the passage?a)One should focus on establishing healthy and nourishing relationships with those around himself.b)One must be distant and unfriendly towards everyone around himself.c)It is impossible to please everyone.d)Close friendship is responsible for the destruction of self-identity.e)One should have a few close friends, and be detached from others.Correct answer is option 'E'. Can you explain this answer? theory, EduRev gives you an ample number of questions to practice Theologian Harvey Cox, echoing Simmel, has pointed out that in an urban environment the attempt to "involve" oneself fully with everyone can lead only to self-destruction and emotional emptiness. Urban man, he writes, "must have more or less impersonal relationships with most of the people with whom he comes in contact precisely in order to choose certain friendships to nourish and cultivate.Which of the following statements best sums up the main idea of the passage?a)One should focus on establishing healthy and nourishing relationships with those around himself.b)One must be distant and unfriendly towards everyone around himself.c)It is impossible to please everyone.d)Close friendship is responsible for the destruction of self-identity.e)One should have a few close friends, and be detached from others.Correct answer is option 'E'. Can you explain this answer? tests, examples and also practice CAT tests.

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