This book offers essays on both canonical and non-canonical German-language texts and films, advancing ecocritical models for German Studies, and introducing environmental issues in German literature and film to a broader audience. This volume contextualizes the broad-ranging topics and authors in terms of the Anthropocene, beginning with Goethe and the Romantics and extending into twenty-first-century literature and film. Addressing the growing need for environmental awareness in an international humanities curriculum, this book complements ecocritical analyses emerging from North American and British studies with a specifically German Studies perspective, opening the door to a transnational understanding of how the environment plays an integral role in cultural, political, and economic issues.

The volume offers a survey of the contribution of German literature and culture to the evolution of ecological thought. As the field of ecocritical theory and practice is rapidly expanding towards transnational and global dimensions, it seems nevertheless necessary to consider the distinct manifestations of ecological thought in various cultures. In this sense, the volume demonstrates in twenty-six essays from different disciplines how German literature, philosophy, art, and science have contributed in unique ways to the emergence of ecological thought on national and transnational scale. The volume maps the most important and characteristic of these developments both on a theoretical and on a textual-analytical level. It is structured in five parts ranging from proto-ecological thought since early modern times (part I) to major theoretical approaches (part II), environmental history (part III), and ecocritical case studies (part IV), to ecological visions in different media and art forms (part V). The four editors have widely published and are actively involved in ecocritical literary and cultural studies. The group of editors consists of two scholars of German literature and cultural studies, Gabriele Duerbeck and Urte Stobbe (both University of Vechta), a scholar in German and comparative literature, Evi Zemanek (University of Freiburg), as well as a scholar of Anglo-American ecoliterature and ecocriticism, Hubert Zapf. All of them are involved in various projects and research networks on ecology and literature. The contributors of the individual chapters likewise are all experts in their respective fields, ranging from German literature, history, environmental studies, art history, music and art. The book is a unique and readily accessible collection of essays that is of relevance not only for a German and continental European but for a worldwide audience.

Already in the nineteenth century, German-language writers were contending with the challenge of imagining and accounting for a planet whose volatility bore little resemblance to the images of the Earth then in circulation. The Geological Unconscious traces the withdrawal of the lithosphere as a reliable setting, unobtrusive backdrop, and stable point of reference for literature written well before the current climate breakdown. Through a series of careful readings of romantic, realist, and modernist works by Tieck, Goethe, Stifter, Benjamin, and Brecht, Groves elaborates a geological unconscious—unthought and sometimes actively repressed geological knowledge—in European literature and environmental thought. This inhuman horizon of reading and interpretation offers a new literary history of the Anthropocene in a period before it was named. These close readings show the entanglement of the human and the lithic in periods well before the geological turn of contemporary cultural studies. In those depictions of human-mineral encounters, the minerality of the human and the minerality of the imagination become apparent. In registering libidinal investments in the lithosphere that extend beyond Carboniferous deposits and beyond any carbon imaginary, The Geological Unconscious points toward alternative relations with, and less destructive mobilizations of, the geologic.

In The End of the Anthropocene: Ecocriticism, the Universal Ecosystem, and the Astropocene, Michael J. Gormley examines literary imaginings of the Anthropocene’s end and the Astropocene’s beginning—when humans are no longer bound to the blue planet on which we evolved. Gormley analyzes literary images of human tracks on Earth, the Moon, and Mars to characterize the late-stage Anthropocene and to explore humanity’s role in the universal ecosystem. The End of the Anthropocene uses a predictive and paradigmatic model of ecocriticism, examining science fiction works as interplanetary nature narratives.

This book offers a brief, incisive accessible overview of the fast-changing field of environmental literary criticism in an age of global environmental threat.

This edited collection explores the relationships between humans and nature at a time when the traditional sense of separation between human cultures and a natural wilderness is being eroded. The ‘Anthropocene,’ whose literal translation is the ‘Age of Man,’ is one way of marking these planetary changes to the Earth system. Global climate change and rising sea levels are two prominent examples of how nature can no longer be simply thought of as something outside and removed from humans (and vice versa). This collection applies the concepts of ecology and entanglement to address pressing political, social, and cultural issues surrounding human relationships with the nonhuman world in terms of ‘working with nature.’ It asks, are there more or less preferable ways of working with nature? What forms and practices might this work take and how do we distinguish between them? Is the idea of ‘nature’ even sufficient to approach such questions, or do we need to reconsider using the term nature in favour of terms such as environments, ecologies or the broad notion of the non-human world? How might we forge perspectives and enact practices which build resilience and community across species and spaces, constructing relationships with nonhumans which go beyond discourses of pollution, degradation and destruction? Bringing together a range of contributors from across multiple academic disciplines, activists and artists, this book examines how these questions might help us understand and assess the different ways in which humans transform, engage and interact with the nonhuman world.

Climate Fiction and Cultural Analysis argues that the popularity of the term "climate fiction" has paradoxically exhausted the term's descriptive power and that it has developed into a black box containing all kinds of fictions which depict climatic events and has consequently lost its true significance. Aware of the prospect of ecological collapse as well as our apparent inability to avert it, we face geophysical changes of drastic proportions that severely challenge our ability to imagine the consequences. This book argues that this crisis of imagination can be partly relieved by climate fiction, which may help us comprehend the potential impact of the crisis we are facing. Strictly assigning "climate fiction" to fictions that incorporate the climatological paradigm of anthropogenic global warming into their plots, this book sets out to salvage the term's speculative quality. It argues that climate fiction should be regarded as no less than a vital supplement to climate science, because climate fiction makes visible and conceivable future modes of existence within worlds not only deemed likely by science, but which are scientifically anticipated. Focusing primarily on English and German language fictions, Climate Fiction and Cultural Analysis shows how Western climate fiction sketches various affective and cognitive relations to the world in its utilization of a small number of recurring imaginaries, or imagination forms. This book will be of great interest to students and scholars of ecocriticism, the environmental humanities, and literary and culture studies more generally.

Timothy Morton argues that ecological awareness in the present Anthropocene era takes the form of a strange loop or Möbius strip, twisted to have only one side. Deckard travels this oedipal path in Blade Runner (1982) when he learns that he might be the enemy he has been ordered to pursue. Ecological awareness takes this shape because ecological phenomena have a loop form that is also fundamental to the structure of how things are. The logistics of agricultural society resulted in global warming and hardwired dangerous ideas about life-forms into the human mind. Dark ecology puts us in an uncanny position of radical self-knowledge, illuminating our place in the biosphere and our belonging to a species in a sense that is far less obvious than we like to think. Morton explores the logical foundations of the ecological crisis, which is suffused with the melancholy and negativity of coexistence yet evolving, as we explore its loop form, into something playful, anarchic, and comedic. His work is a skilled fusion of humanities and scientific scholarship, incorporating the theories and findings of philosophy, anthropology, literature, ecology, biology, and physics. Morton hopes to reestablish our ties to nonhuman beings and to help us rediscover the playfulness and joy that can brighten the dark, strange loop we traverse.

The twenty-first century has seen an increased awareness of the forms of environmental destruction that cannot immediately be seen, localised or, by some, even acknowledged. Ecocriticism on the Edge explores the possibility of a new mode of critical practice, one fully engaged with the destructive force of the planetary environmental crisis. Timothy Clark argues that, in literary and cultural criticism, the “Anthropocene”, which names the epoch in which human impacts on the planet's ecological systems reach a dangerous limit, also represents a threshold at which modes of interpretation that once seemed sufficient or progressive become, in this new counterintuitive context, inadequate or even latently destructive. The book includes analyses of literary works, including texts by Paule Marshall, Gary Snyder, Ben Okri, Henry Lawson, Lorrie Moore and Raymond Carver.

Although current environmental debates lay the focus on the Industrial Revolution as a sociopolitical development that has led to the current environmental crisis, many ecocritical projects have avoided historicizing their concepts or have been characterized by approaches that were either pre-historic or post-historic: while the environmental movement has harbored the dream of restoring nature to a state untouched by human hands, there is also the pessimistic vision of a post-apocalyptic world, exhausted by humanity’s consumption of natural resources. Against this background, the decline of nature has become a narrative template quite common among the public environmental discourse and environmental scientists alike. The volume revisits Antiquity as an epoch which witnessed similar environmental problems and came up with its own interpretations and solutions in dealing with them. This decidedly historical perspective is not only supposed to fill in a blank in ecocritical discourse, but also to question, problematize, and inform our contemporary debates with a completely different take on “nature” and humanity’s place in the world. Thereby, a productive dialogue between contemporary ecocritical theories and the classical tradition is established that highlights similarities as well as differences. This volume is the first book to bring ecocriticism and the classical tradition into a comprehensive dialogue. It assembles recognized experts in the field and advanced scholars as well as young and aspiring ecocritics. In order to ensure a dialogic exchange between the contributions, the volume includes four response essays by established ecocritics which embed the sections within a larger theoretical and practical ecocritical framework and discuss the potential of including the pre-modern world into our environmental debates.