【正文】 ................................................................ 20 1 1. Introduction Literature Review and the Current Studies Emily Bronte is remembered and extolled chiefly as the author of one novel, Wuthering Heights, which is regarded as one of the greatest masterpieces in the world literature. It is wellknown that since “Emily heat” and “Wuthering Heights doctrines” formed in the twentieth century, new interpretations of Emily and Wuthering Heights have e into a continuous stream. The Belgian essayist and poet, Maeterinck, says Emily is a woman who is expert in meditation and she is highly skilled in experiencing and observing what she has seen and heard. She has never fallen in love with anyone but she has already understood love and talked about it and got into its most incredible myth. (Cecil, 20xx:139) At that time many people judged this novel from the theme, the characters, the plot and the motif, such as these mon factors. It involves a lot of themes to talk: passion, love, clash of elemental forces, the clash of economic interest and social classes, the striving for transcendence, the abusive patriarch and patriarchal family, study of childhood and the family, the effects of intense suffering, selfimposed of selfgenerated confinement and escape, displacement, dispossession, and exile, munication and understanding, the fall. The universe is made up of two opposite forces, storm and calm. Wuthering Heights and the Earnshaws represent the storm。 while Thrushross Grange and the Lintons, the calm. Catherine and Herthcliff are elemental creatures of the storm. That is David Cecil’s theorya principle of calm and storm. The single principle that ultimately directs them sooner 2 or later imposes equilibrium. His interpretations trying to prove the novel had a unified structure. Surveying these myriad efforts, J. Hills Miller challenged the assumption that the novel presents a unified, coherent, single meaning: The secret truth about Wuthering Heights, rather, is that there is no secret truth which criticism might formulate in this way… It leaves something important still unaccounted for… The text is over rich.”(Miller, 1998:204) Perhaps . Leavis penned the most quoted modern interpretation of Wuthering Heights when he excluded it from the great tradition of the English novel because it was a “sport,” ., had no meaningful connection to fiction which preceded it of influence on fiction which followed it. (Leavis, 1988:132) Ecocriticism as A Literary Approach Ecocriticism is one of the most recent interdisciplinary fields that have emerged in literary and cultural studies. It began in the 1970s, burgeoned in the late 1990s and is still experiencing its booming development at present. Stressing the linkage between the literary texts and the natural world, or environment, it is developed against the background of the increasingly severe environmental crisis and the development of global movement of Environmentalism. Due to its broad scope of inquiry and vision, Ecocriticism cannot be limited to one single methodology, but rather is required to be integrated with other literary theories and disciplines. For instance, while interpreting the texts, Ecocriticism often applies to the close reading approach of new criticism. With the appearance and formation of Ecocriticism, it is possible 3 to see the book in the light of the new theory. It not only offers new and elaborates frameworks in which the book might be discussed, but also raises questions about the very motivations that have driven critics of earlier decades to write so persistently about the novel. Ecocriticism emerges as a response to a growing worldwide environmental pressure and the need for humanistic understanding of our relationships with the natural world. Because of this unprecedented ecological crisis, many disciplines of humanities, such as history, philosophy, law, sociology, and even religion, have been felt by scholars of literature, who have realized the necessity and importance of environmental concern and revising the critical focus of their studies. The word “ecocriticism” traces back to William Rueckert’s 1978 essay “Literature and Ecology: An Experiment in Ecocriticism” and apparently lay dormant in critical vocabulary until the 1989 Western Literature Association meeting, when Cheryll Glotfelty not only revived the term but urged its adoption to refer to the diffuse critical field that heretofore had been known as “the study of nature writing.” Cheryll’s call for an “ecocriticism” was immediately seconded at that same WLA meeting by Glen Love in his Past President’s speech, entitled “Revaluing Nature: Toward an Ecological Literary Criticism”. Since that meeting in 1989, the term “ecocriticism” has bloomed in usage. 2. Confliction between Nature and Culture The Symbol of the Wilderness The word “wilderness” derives from the AngloSaxon “wilddeoren”: 4 where “deoren” exists beyond the boundaries of cultivation. So the useful part is “wild” which has been endowed with different meanings. In the course of human’s conquering nature, wilderness gradually loses selfdiscipline and its value. Particularly, with the roaring of anthropocentrism, wilderness is enduring disaggregation and reference being read. Generally speaking, the symbolic idea of wilderness presents two plex archetypes: the result of human’s moral desolation and spiritual degenerateness, and the place of moral returning and spiritual purifying. In literary history, it is regarded as the shadow of civilization connecting with evil as well as the synonymy of civilization relating to spiritual purifying, which is tinted with different cultural colors. The wilderness is also associated with Satan. In JudacoChristian conception, w