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- Bédard-Goulet, Sara, et al.
(författare)
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Contemporary Collapse: New Narratives of the End : An Introduction
- 2023
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Ingår i: Ecozon@. - 2171-9594. ; 14:2, s. 1-5
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Tidskriftsartikel (refereegranskat)abstract
- This special issue takes seriously the idea that “global climate change is [...] catastrophic for the human imaginary” (Colebrook 10) and focuses on contemporary narratives that nevertheless seek to imagine the end of the world. It includes articles that explore how these narratives question the significance of the human in a collapsingworld, how this resonates with current issues in ecocriticism and the environmental humanities and allows for an articulation of environmental scholarship with the contributions of collapse and apocalypse studies. The contributions to this special issue investigate a posthuman aesthetics in contemporary literature, which builds on,but mostly shifts Western and anthropocentric conceptions of collapse,and diverges from the apocalyptic tradition. In that sense, this special topic considers the posthumusalong with the posthuman, to think about what happens after death, where the posthumusrenegotiates the assemblage of chains of life between animals, plants and humans (Derrida 285). The issue also includes essays that engage with ethical concerns of apocalyptic narratives, as well as with their epistemological implications, where the presence or absence of human and nonhuman traces determines a specific knowledge and way of knowing in a collapsing world.Colebrook, Claire. Death of the PostHuman: Essays on Extinction, Vol. 1. Open Humanities Press, 2014.Derrida, Jacques. The Beast and the Sovereign. Translated by Geoffrey Bennington, Chicago University Press, 2010.
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- Belmar Shagulian, Jasmin, 1971-
(författare)
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Pachakuti, an indigenous perspective on collapse and extinction
- 2023
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Ingår i: Ecozon@. - Alcalá de Henares : Universidad de Alcalá. - 2171-9594. ; 14:2, s. 20-35
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Tidskriftsartikel (refereegranskat)abstract
- This work aims to examine pachakuti as the patent mytheme found in three poems written by different indigenous poets: “Todo está dicho” (“Everything has been said”) by Fredy Chakangana, “La Tórtola, pájaro melancólico” (“The turtledove, Melancholic bird”) by Lorenzo Ayllapán, and “Vivir-Morir” (“To live-to die”) by Vito Apüshana. Pachakuti is a key concept in Andean literature, both in mythological and cosmological tales, and in contemporary indigenous narrative. Pachakuti is interpreted to symbolize a re-balancing of the world through a chaotic chain of events that manifests itself as a catastrophe or an upheaval of the order of things. As pachakuti becomes a recurrent motif (patent mytheme) in the chosen poems, it is explored to show a different narrative perspective of collapse and extinction, as well as to expose how earth-beings (latent mytheme) acquire their own agency in the poems and denounce modern forms of extractivism (such as deforestation and water contamination). Through the earth-beings’ voices the poems contribute to reveal new perspectives about collapse and extinction anchored in indigenous narratives from the Global South.
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- Furuseth, Sissel, et al.
(författare)
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Climate Change in Literature, Television and Film from Norway
- 2020
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Ingår i: Ecozon@. - : Universidad de Alcala. - 2171-9594. ; 11:2, s. 8-16
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Tidskriftsartikel (refereegranskat)abstract
- Environmental and climatic change has become a frequent motif in contemporary Norwegian literature, television and film, and Norway has the worldwide first organization of writers committed to climate action (The Norwegian Writers’ Climate Campaign, founded in 2013). In this article, we argue that Norwegian climate change fiction and related works draw on elements that relate to specific national and/or Nordic cultural, societal and historical aspects, and that these elements give these works their distinct identity. We focus on four such aspects: (1) references to Norwegian petroculture (since the Norwegian economy is largely based on the export of fossil fuels); (2) an (imagined) intimate connection between Norwegianness and nature, and thus of what often is seen as a typical element of Norwegian national identity; (3) notions of “Nordicity”, and (4) an atmosphere of gloom and melancholia in many of the works (which often has been ascribed to Nordic landscapes, and usually is characteristic for the genre of Nordic noir).
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- Hennig, Reinhard, 1983-
(författare)
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A Saga for Dinner : Landscape and Nationality in Icelandic Literature
- 2011
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Ingår i: Ecozon@. - 2171-9594. ; 2, s. 61-72
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Tidskriftsartikel (refereegranskat)abstract
- Iceland’s attempted industrialisation through an expansion of hydropower and aluminium smelters can lead to a significant reshaping of the country’s landscapes. There has been considerable resistance against such plans since the 1970s, culminating in the debate about the Kárahnjúkar project between 2001 and 2006. The book Draumalandið. Sjálfshjálparbók handa hræddri þjóð [Dreamland. A Self-Help Manual for a Frightened Nation] by the writer Andri Snær Magnason has been particularly influential. It combines ecological consciousness with an appreciation of Iceland‘s literary tradition and history. Thus it displays a view of landscape which connects nature preservation closely to cultural achievements and to national sovereignty. This perception of landscape originates from the assumption that Iceland experienced a golden age from the beginning of colonisation in the Viking age until the subordination under the Norwegian and later Danish kings in the 13th century, which led to an all-embracing degeneration. Nationalist poets such as Jónas Hallgrímsson in the 19th century based their demands for independence on Iceland‘s medieval saga literature and the country‘s landscapes. These seemed to provide evidence for a high culture in unity with nature during the time of the Commonwealth. Although the historical reliability of the sagas is doubtful, they are still used as an important argument in Draumalandið. Now the narratives as such are put in the foreground, as they can give value and meaning to the landscapes and places they describe. Thus a turn from a realistic to a more constructivist perception of landscape can be observed in contemporary Icelandic environmental literature.
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- Jørgensen, Dolly
(författare)
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A Blueprint for Destruction : Eco-activism in Doctor Who during the 1970s
- 2012
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Ingår i: Ecozon@. - 2171-9594. ; 3:2, s. 11-26
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Tidskriftsartikel (refereegranskat)abstract
- This article analyzes the television science-fiction show Doctor Who as a cultural forum within the context of British eco-activism of the 1970s. It examines four serials which aired during the 1970s during the first wave of eco-activism in the UK: "The Green Death" (1973), "The Invasion of the Dinosaurs" (1974), "The Seeds of Doom" (1976), and "Nightmare of Eden" (1979). Two environmentalist concerns-pollution and species conservation-put forward by the early British eco-activist movement as underscored in texts such as The Blueprint for Survival from 1972 are evident in these serials. While affirming the validity of some elements of environmentalist concerns, each serial also proposes that the ends do not always justify the means. The Doctor, although a supporter of eco-activism, rejects seemingly utopian approaches to reset the Earth's ecosystems. Rather than presenting viewers with a guide to sustainability, these Doctor Who serials offer dystopian visions of future realities steeped in ecological transgressions – these are the blueprints for destruction.
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