I analyze a trend in Spanish American novels that features environmentalist and ecological concerns comprised of the following texts: Un viejo que lea novelas de amor (1993) (An Old Man who Read Love Stories), Mundo del fin del mundo (1994) (T he World at the End of the World), Patagonia Express (1995), and Historia de una gaviota y del gato que le enseñó a volar (1996) (The Story of a Seagull and of the Cat that Taught it to Fly) by Chilean Luis Sepúlveda; Imposible equilibrio (1995) (Impossible Equilibrium) by Argentine Mempo Giardinelli; Los caminos de Paxil (1990) The Paths to Paxil) by Guatemalan Arturo Arias; Waslala (1998) by Nicaraguan Gioconda Belli; and La leyenda de los soles (1993) (Legend of the Suns) and ¿En quién piensas cuando haces el amor? (1995) (Who Do You Think of When You Make Love?) by Mexican Homero Aridjis.; The approach to these novels ultimately hinges upon two things. First, there is the matter of the ethical work that can be done at the perceptual and imaginative level: images of nature and environmentalism in film, poetry, and literature play a fundamental role in the cultural formation of ecological values and in social decisions about environmental behavior. The second element of my approach rests upon the recognition that the experience of environmental degradation, where the most obvious literary manifestation is the explicit incorporation of the environmentalist discourse itself, will in turn affect formal aspects of literature like form, structure, language, and genre.; I find that the texts themselves actually incorporate an ethical discourse with respect to the environment; that is, they contribute to efforts at conservation, the quest for ecological justice, and resistance to ecologically destructive activity by offering literary representations that dramatize the need to do such things. I also find that the concerns of ecology and environmentalism can produce uncommon literary texts that contain a peculiar language and unexpected structures, and that expand the limits of genre. Finally, I find that these two elements often overlap such that ecological concerns imply new literary forms and these forms can express such concerns in unique ways.
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机译：我分析了西班牙裔美国人的小说的趋势，这些小说的特点是环境保护和生态问题，其中包括以下文本：小说中的小说（1993年）（读爱情故事的老人）， Mundo del fin del mundo （1994年）（世界尽头的世界）， Patagonia Express （1995年）。 ，以及壁画的“ Historia de una gaviota y del gato que leenseñó”（1996年）（一只海鸥和猫的故事，教他飞翔的故事）。 Sepúlveda; 不可能平衡（1995）（不可能平衡），阿根廷作家Mempo Giardinelli；危地马拉·阿图罗·阿里亚斯（Guatemalan Arturo Arias）的《 Los caminos de Paxil 》（1990年，通往Paxil的道路）； Nitalaraguan Gioconda Belli的 Waslala （1998）；和（《太阳报》）（1993年）和？enquiénpiensas cuando haces el amor？（1995年）（你怎么看？墨西哥霍梅·阿里吉斯（Howro Aridjis）撰写的《当你做爱吗？》。这些小说的创作方法最终取决于两件事。首先，有一个道德工作可以在感知和想象的层面上完成：电影，诗歌和文学中的自然和环境主义形象在生态价值的文化形成和有关环境的社会决策中起着根本性的作用。行为。我的方法的第二个要素是基于这样的认识，即环境退化的经历最明显的文学表现形式是环境保护主义者话语本身的明确结合，而环境退化的经历反过来会影响文学的形式方面，例如形式，结构，语言和体裁。;我发现这些文本本身实际上包含了关于环境的道德论述。也就是说，它们通过提供戏剧化的文学表现形式来促进保护工作，寻求生态正义以及抵抗生态破坏性活动。我还发现，生态和环境主义的关注会产生不寻常的文学文本，这些文学文本包含特殊的语言和意想不到的结构，并扩大了文学体裁的范围。最后，我发现这两个要素经常重叠，以至于生态关注意味着新的文学形式，而这些形式可以以独特的方式表达这种关注。
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