Pub Date : 2024-07-01DOI: 10.1215/22011919-11150115
Arthur H. Rose
Asbestos has long been a staple lesson for the precautionary principle. As a toxic material, it is often something people hope not to encounter. But before this, it often appeared as a substance of hope, carrying the promise of safety and economic rewards. This article uses these conflicting accounts of asbestos’s hope as a starting point for thinking about the conditions of hazardous hope. Turning to a vignette about an asbestos facility in Mike McCormack’s Solar Bones (2016), the article considers how stories of hazardous hope may produce a diminishment of hope. Rather than dismiss this as insufficiently hopeful, however, the article addresses the form of the novel as an exemplar of accessible experimentalism, suggesting it models new ways of communicating complex problems. If narrativizing hope demands an openness to multiple possible futures, then the form of such hope might need to defer resolution in much the same way as that adopted by modernist writing.
{"title":"Asbestos","authors":"Arthur H. Rose","doi":"10.1215/22011919-11150115","DOIUrl":"https://doi.org/10.1215/22011919-11150115","url":null,"abstract":"\u0000 Asbestos has long been a staple lesson for the precautionary principle. As a toxic material, it is often something people hope not to encounter. But before this, it often appeared as a substance of hope, carrying the promise of safety and economic rewards. This article uses these conflicting accounts of asbestos’s hope as a starting point for thinking about the conditions of hazardous hope. Turning to a vignette about an asbestos facility in Mike McCormack’s Solar Bones (2016), the article considers how stories of hazardous hope may produce a diminishment of hope. Rather than dismiss this as insufficiently hopeful, however, the article addresses the form of the novel as an exemplar of accessible experimentalism, suggesting it models new ways of communicating complex problems. If narrativizing hope demands an openness to multiple possible futures, then the form of such hope might need to defer resolution in much the same way as that adopted by modernist writing.","PeriodicalId":46497,"journal":{"name":"Environmental Humanities","volume":null,"pages":null},"PeriodicalIF":1.2,"publicationDate":"2024-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141714340","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-07-01DOI: 10.1215/22011919-11150067
Stuart Earle Strange
This article describes Maroon anti-necropolitics and its implications for multispecies justice to aid in creating a genuinely decolonial Caribbean ecological theory. Ndyuka Maroons, the descendants of one nation of self-liberated formerly enslaved Black Surinamese peoples, have created a cosmopolitical order based on the refusal of necropolitics (which is the assumption that politics must be predicated on the sovereign human appropriation of the right to kill or let die). In its place, Ndyukas practice an ethics of sociality premised on the shared collective vulnerability of present and future generations to the consequences of acts of killing. This Maroon anti-necropolitics has three primary principles: (1) death always relates specific deaths to future collective harm; (2) humans do not have a sovereign right to death over the lives of others; and (3) death does not rupture relations between the living and the dead, or the community and its enemies, but intensifies them by imposing ineradicable connections of tragic loss between perpetrators and victims. Ndyukas accordingly articulate a theory of relational justice that rejects human sovereignty while emphasizing human responsibility. This article illustrates how Maroons have imagined a world beyond necropolitics and why this helps confront the ways in which necropolitical assumptions inflect how multispecies justice is imagined.
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Pub Date : 2024-07-01DOI: 10.1215/22011919-11150083
Nathaniel Otjen
This article asks what it means for conservation scientists to label a member of an endangered, endemic species homeless. By considering the boundary-crossing figure of Ho‘ailona, a partially blind Hawaiian monk seal who was declared homeless and translocated six times between 2008 and 2009, the article argues that the language of home points to the ongoing operations of colonialism in Western conservation. Reading the discourse of homelessness offers a methodology for tracing the histories and manifestations of colonial logics as they circulate in conservation science. At the same time, the article considers how Kānaka Maoli articulated a contrapuntal claim to home that positioned Ho‘ailona as belonging in his natal waters and among a multispecies community of caregivers. Bringing together critical homelessness studies and settler colonial studies, the essay examines how settler societies and institutions use endangered marine species to make specific claims to home and, by extension, erase Indigenous claims to place.
{"title":"Ho‘ailona","authors":"Nathaniel Otjen","doi":"10.1215/22011919-11150083","DOIUrl":"https://doi.org/10.1215/22011919-11150083","url":null,"abstract":"\u0000 This article asks what it means for conservation scientists to label a member of an endangered, endemic species homeless. By considering the boundary-crossing figure of Ho‘ailona, a partially blind Hawaiian monk seal who was declared homeless and translocated six times between 2008 and 2009, the article argues that the language of home points to the ongoing operations of colonialism in Western conservation. Reading the discourse of homelessness offers a methodology for tracing the histories and manifestations of colonial logics as they circulate in conservation science. At the same time, the article considers how Kānaka Maoli articulated a contrapuntal claim to home that positioned Ho‘ailona as belonging in his natal waters and among a multispecies community of caregivers. Bringing together critical homelessness studies and settler colonial studies, the essay examines how settler societies and institutions use endangered marine species to make specific claims to home and, by extension, erase Indigenous claims to place.","PeriodicalId":46497,"journal":{"name":"Environmental Humanities","volume":null,"pages":null},"PeriodicalIF":1.2,"publicationDate":"2024-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141714814","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-07-01DOI: 10.1215/22011919-11150139
Teresa Shewry, Philip Steer
Critics are increasingly recognizing the presence of irony in environmental cultures, often stressing its ability to highlight disjunctions between the individual’s convictions and their compromised behaviors. This article extends this work by taking up the relationship between irony and settler-colonial imaginaries in writings about unpredictable bodies of water. Focusing on settler writing in Australia, the article juxtaposes nineteenth-century author Henry Lawson and contemporary novelist Jane Rawson to argue that irony constitutes a form of environmental knowledge, calling up norms and hierarchies regarding water but also creating openings toward waters that cannot be given meaning. Lawson’s writings about ephemeral rivers and lakes stress their divergence from metropolitan ideas of water’s continuity, presence, and visibility. Largely ignoring Indigenous peoples’ relationships with water, his ironies of overturned expectations and norms make contact with but also disparage water in unfamiliar forms. By contrast, Rawson’s A Wrong Turn at the Office of Unmade Lists (2013) employs irony to grasp how climate-changed floodwater disrupts settler norms founded upon the erasure of floodplains and of Indigenous and colonial histories of urban rivers. Juxtaposing Rawson with Lawson illuminates an ongoing need to be cautious about the ideals that irony may evoke in response to changing and uncertain waters. At the same time, irony provides a multivalent tool to critically address what Mark Rifkin calls “settler common sense,” to glimpse the persistence of Indigenous knowledge and perspectives, and to acknowledge occluded forms of environmental agency.
越来越多的评论家认识到环境文化中存在反讽，通常强调反讽能够凸显个人信念与妥协行为之间的脱节。本文对这一研究进行了延伸，探讨了在有关不可预知的水体的写作中，反讽与定居者殖民想象之间的关系。文章以澳大利亚定居者的写作为重点，将十九世纪作家亨利-劳森（Henry Lawson）和当代小说家简-罗森（Jane Rawson）并列，论证了反讽构成了一种环境知识，它唤起了关于水的规范和等级制度，但同时也为那些无法被赋予意义的水体开辟了道路。劳森关于短暂河流和湖泊的著作强调它们与大都市关于水的连续性、存在性和可见性的观念相背离。他基本上忽略了原住民与水的关系，他对被颠覆的期望和规范的讽刺，既接触了水，也贬低了陌生形式的水。相比之下，罗森的《A Wrong Turn at the Office of Unmade Lists》（2013 年）则运用反讽手法，揭示了气候变化的洪水如何扰乱了建立在抹杀洪泛区以及城市河流的土著和殖民历史基础上的定居者规范。将罗森与劳森并列在一起，揭示了在应对不断变化和不确定的洪水时，我们始终需要谨慎对待反讽可能唤起的理想。同时，反讽提供了一种多用途工具，可以批判性地解决马克-里夫金（Mark Rifkin）所说的 "定居者常识 "问题，窥见土著知识和观点的持久性，并承认环境机构的隐蔽形式。
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Pub Date : 2024-07-01DOI: 10.1215/22011919-11150123
Ayushi Dhawan, Simone M. Müller
This special section seeks to reconsider our troubled times and their histories of irreversible toxic pollution through the lens of hopeful yet critical ways of engaging with this unprecedented condition of life. Thinking with “hazardous hope” as a tool of analysis, the five contributions—combining perspectives from ecocriticism, environmental philosophy, film studies, visual arts, and history—showcase alternative presents and futures of living responsibly with a permanently polluted planet. Writing from the perspective of hazardous hope, the section’s editors argue, includes a plethora of conceptual and methodological repositionings to embrace the ambiguity that comes with living responsibly on a permanently polluted planet. Among them is a shift in focus on the acts and modes of hazardous hope as a relational practice that is focused on reorganizing established processes in radically different ways rather than wishing to achieve a predefined outcome, while at the same time remaining mindful of the polluted status quo. Contributions in this special section are situated across the entire troubled planet, from Chernobyl’s exclusion zone to Brazilian oil fields and from Canada’s tar sands to British asbestos-loaded homes.
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Pub Date : 2024-07-01DOI: 10.1215/22011919-11150155
Mankun Liu
This article navigates the obligatory relationship between extinction narratives and future imaginaries through the lens of an artist’s films. Taking Chinese artist Mao Chenyu’s works as case studies, the first part examines the notion of extinction that his video essay Becoming Father (2021) complicates through the perspective of rice (Oryza sativa) and humans in Dongting Lake. It reveals adaptive evolution, hetero-reproduction, and geontopower as three political regimes where extinctive pressures accumulate through the erosion of biocultural inheritability. The second part engages with this tripartite politics by questing for alternative models of inheritance from Mao’s ethnographic films. It centers on how the artist invests in shamanist, geomantic, and animist practices to envision alternative modes of inheritance. Based on this, the article argues that the conception of extinction beyond mass death demands counterextinction measures to aim for more than survival. This volition can be summarized by the term survivance, an ethical way of living in end-times. It concludes by contextualizing Mao’s work in post–Green Revolution China, where a logic of survival has driven mass extinction. On this basis, it proposes that extinction studies could benefit from cultivating a historical consciousness, especially regarding how extinctions are connected to the ideological underpinning of specific Anthropocene processes.
{"title":"Narrating Extinctions for Survivance","authors":"Mankun Liu","doi":"10.1215/22011919-11150155","DOIUrl":"https://doi.org/10.1215/22011919-11150155","url":null,"abstract":"\u0000 This article navigates the obligatory relationship between extinction narratives and future imaginaries through the lens of an artist’s films. Taking Chinese artist Mao Chenyu’s works as case studies, the first part examines the notion of extinction that his video essay Becoming Father (2021) complicates through the perspective of rice (Oryza sativa) and humans in Dongting Lake. It reveals adaptive evolution, hetero-reproduction, and geontopower as three political regimes where extinctive pressures accumulate through the erosion of biocultural inheritability. The second part engages with this tripartite politics by questing for alternative models of inheritance from Mao’s ethnographic films. It centers on how the artist invests in shamanist, geomantic, and animist practices to envision alternative modes of inheritance. Based on this, the article argues that the conception of extinction beyond mass death demands counterextinction measures to aim for more than survival. This volition can be summarized by the term survivance, an ethical way of living in end-times. It concludes by contextualizing Mao’s work in post–Green Revolution China, where a logic of survival has driven mass extinction. On this basis, it proposes that extinction studies could benefit from cultivating a historical consciousness, especially regarding how extinctions are connected to the ideological underpinning of specific Anthropocene processes.","PeriodicalId":46497,"journal":{"name":"Environmental Humanities","volume":null,"pages":null},"PeriodicalIF":1.2,"publicationDate":"2024-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141689925","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-03-01DOI: 10.1215/22011919-10943145
Daniel Haines
The image of the heroic adventurer, who shot big game or traveled remote regions of the earth, populated the British Empire’s exploration and hunting narratives. Scholars have done much to deconstruct this image but have so far barely touched on the emotional dimensions of encounters between Britons and dangerous natural environments in tropical colonies. This article combines literary-historical criticism with a history of emotions perspective to show how the expression or, alternately, elision of fear in adventure memoirs helped to frame encounters with wild animals and sheer topography as part of imperialism’s moral project. It analyzes texts that recount events in and around India and parts of Africa, published between the 1890s and 1940s. The article’s author discusses a range of authors from obscure settlers and army officers to well-known proponents of the adventure genre such as Mary Kingsley, Jim Corbett, and Francis Kingdon-Ward. Together, these accounts demonstrated that fear held a legitimate and powerful place in heroic imperial narratives by helping readers to identify with the danger that a narrator had to overcome. Narratives of fear increased in number and forthrightness after the First World War, highlighting the impact of the wider British questioning of prewar models of heroic masculinity on imperial adventure literature.
{"title":"Heroic Fear","authors":"Daniel Haines","doi":"10.1215/22011919-10943145","DOIUrl":"https://doi.org/10.1215/22011919-10943145","url":null,"abstract":"\u0000 The image of the heroic adventurer, who shot big game or traveled remote regions of the earth, populated the British Empire’s exploration and hunting narratives. Scholars have done much to deconstruct this image but have so far barely touched on the emotional dimensions of encounters between Britons and dangerous natural environments in tropical colonies. This article combines literary-historical criticism with a history of emotions perspective to show how the expression or, alternately, elision of fear in adventure memoirs helped to frame encounters with wild animals and sheer topography as part of imperialism’s moral project. It analyzes texts that recount events in and around India and parts of Africa, published between the 1890s and 1940s. The article’s author discusses a range of authors from obscure settlers and army officers to well-known proponents of the adventure genre such as Mary Kingsley, Jim Corbett, and Francis Kingdon-Ward. Together, these accounts demonstrated that fear held a legitimate and powerful place in heroic imperial narratives by helping readers to identify with the danger that a narrator had to overcome. Narratives of fear increased in number and forthrightness after the First World War, highlighting the impact of the wider British questioning of prewar models of heroic masculinity on imperial adventure literature.","PeriodicalId":46497,"journal":{"name":"Environmental Humanities","volume":null,"pages":null},"PeriodicalIF":2.3,"publicationDate":"2024-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140398793","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-03-01DOI: 10.1215/22011919-10943185
Joshua B. Cohen, Amber Abrams, Martin Høybye
Recent decades have seen a transformation in how water and human-water interrelations are conceptualized in the environmental humanities and social sciences. Such adaptation of theory has been tied to an interest in developing transdisciplinary water research methodologies, particularly in projects focused on practical outcomes. Nonetheless, this article’s authors note an incongruence in how such advances in theory are often not actually applied in practice. Going a small way toward addressing this, the authors argue that there is space for experimenting with more-than-human participatory research praxes to intentionally generate previously imponderable questions. This article describes the authors’ experiences in Aarhus, Denmark, of combining “floating seminar” and arts-based methods, including body maps and public engagement. Through these experiences with passersby-who-became-participants, and with the nonhuman world, the authors’ attentions were drawn to unexpected issues and questions centered on human-water relationships. Here, they reflect on emerging methodologies, and invite curious others to join them in developing them further.
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