Victorians’ views of water and its role in how the social fabric of Victorian Britain was imagined Water matters like few other substances in people’s daily lives. In the nineteenth century, it left its traces on politics, urban reform, and societal divisions, as well as on conceptualizations of gender roles. Drawing on the methodology of material ecocriticism, Ursula Kluwick’s Haunting Ecologies argues that Victorian Britons were keenly aware of aquatic agency, recognizing water as an active force with the ability to infiltrate bodies and spaces. Kluwick reads works by canonical writers such as Braddon, Dickens, Stoker, and George Eliot alongside sanitary reform discourse, court cases, journalistic articles, satirical cartoons, technical drawings, paintings, and maps. This wide-ranging study sheds new light on Victorian-era anxieties about water contamination as well as on how certain wet landscapes such as sewers, rivers, and marshes became associated with moral corruption and crime. Applying ideas from the field of blue humanities to nineteenth-century texts, Haunting Ecologies argues for the relevance of realism as an Anthropocene form.

Living on a damaged planet challenges who we are and where we live. This timely anthology calls on twenty eminent humanists and scientists to revitalize curiosity, observation, and transdisciplinary conversation about life on earth. As human-induced environmental change threatens multispecies livability, Arts of Living on a Damaged Planet puts forward a bold proposal: entangled histories, situated narratives, and thick descriptions offer urgent “arts of living.” Included are essays by scholars in anthropology, ecology, science studies, art, literature, and bioinformatics who posit critical and creative tools for collaborative survival in a more-than-human Anthropocene. The essays are organized around two key figures that also serve as the publication’s two openings: Ghosts, or landscapes haunted by the violences of modernity; and Monsters, or interspecies and intraspecies sociality. Ghosts and Monsters are tentacular, windy, and arboreal arts that invite readers to encounter ants, lichen, rocks, electrons, flying foxes, salmon, chestnut trees, mud volcanoes, border zones, graves, radioactive waste—in short, the wonders and terrors of an unintended epoch. Contributors: Karen Barad, U of California, Santa Cruz; Kate Brown, U of Maryland, Baltimore; Carla Freccero, U of California, Santa Cruz; Peter Funch, Aarhus U; Scott F. Gilbert, Swarthmore College; Deborah M. Gordon, Stanford U; Donna J. Haraway, U of California, Santa Cruz; Andreas Hejnol, U of Bergen, Norway; Ursula K. Le Guin; Marianne Elisabeth Lien, U of Oslo; Andrew Mathews, U of California, Santa Cruz; Margaret McFall-Ngai, U of Hawaii, Manoa; Ingrid M. Parker, U of California, Santa Cruz; Mary Louise Pratt, NYU; Anne Pringle, U of Wisconsin, Madison; Deborah Bird Rose, U of New South Wales, Sydney; Dorion Sagan; Lesley Stern, U of California, San Diego; Jens-Christian Svenning, Aarhus U.

This volume is a study of human entanglements with Nature as seen through the mode of haunting. As an interruption of the present by the past, haunting can express contemporary anxieties concerning our involvement in the transformation of natural environments and their ecosystems, and our complicity in their collapse. It can also express a much-needed sense of continuity and relationality. The complexity of the question—who and what gets to be called human with respect to the nonhuman—is reflected in these collected chapters, which, in their analysis of cinematic and literary representations of sentient Nature within the traditional gothic trope of haunting, bring together history, race, postcolonialism, and feminism with ecocriticism and media studies. Given the growing demand for narratives expressing our troubled relationship with Nature, it is imperative to analyze this contested ground. “Chapter 6” is available open access under a Creative Commons Attribution 4.0 International License via link.springer.com.

Gendered Ecologies considers the value of interrelationships that exist among human, nonhuman species, and inanimate objects, featuring observations by women writers as recorded in texts. The edition presents a case for transnational women writers, participating in the discourse of natural philosophy from the late eighteenth through the early twentieth centuries.

The turn of the millennium has heralded an outgrowth of culture that demonstrates an awareness of the ephemeral nature of history and the complexity underpinning the relationship between location and the past. This has been especially apparent in the shifting relationship between landscape, memory and sound in film, television and other media. The result is growing interest in soundtracks, as part of audiovisual culture, as well as an interest in the spectral aspects of culture more generally. This collection of essays focuses on audiovisual forms that foreground landscape, sound and memory. The scope of inquiry emphasises the ghostly qualities of a certain body of soundtracks, extending beyond merely the idea of 'scary films' or 'haunted houses.' Rather, the notion of sonic haunting is tied to ideas of trauma, anxiety or nostalgia associated with spatial and temporal dislocation in contemporary society. Touchstones for the approach are the concepts of psychogeography and hauntology, pervasive and established critical strategies that are interrogated and refined in relation to the reification of the spectral within the soundtracks under consideration here.

Providing a unique collection of perspectives on the persistence of documentary as a vital and dynamic media form within a digital world, New Documentary Ecologies traces this form through new opportunities of creating media, new platforms of distribution and new ways for audiences to engage with the real.

This book synthesizes ecofeminist theory, American studies, and postcolonial theory to interrogate what New Americanist William V. Spanos articulates as the "errand into the wilderness": the ethic of Puritanical expansionism at the heart of the U.S. empire that moved westward under Manifest Destiny to colonize Native Americans, non-whites, women, and the land. The project explores how the legacy of the errand has been articulated by women writers, from the slave narrative to contemporary fiction. Uniting texts across geographical and temporal boundaries, the book constructs a theoretical approach for reading and understanding how women authors craft counter-narratives at the intersection of metaphorical and literal landscapes of colonization. It focuses on literature from the United States and the Caribbean, including the slave narratives by Sojourner Truth, Harriet E. Wilson, and Harriet Jacobs, and contemporary work by Toni Morrison, Maryse Condé, Edwidge Danticat, and Native American writer Linda Hogan. It charts the contrast between America’s earliest idyllic visions and the subsequent reality: an era of unprecedented violence against women of color and the environment. This study of many canonical writers presents an important and illuminating analysis of American mythologies that continue to impact the cultural landscape today. It will be a significant discussion text for students, scholars, and researchers in environmental humanities, ecofeminism, and postcolonial studies.

Presenting a rigorous critical investigation of the reinvigoration of the political in contemporary British theatre, Ecologies of Precarity in Twenty-First Century Theatre provides a fresh understanding of how theatre has engaged with precarity, affect, risk, intimacy, care and relationality in recent times. The study makes a compelling case for reading precarity as a 'sticky' theatrical trope which carries the potential to re-animate our understanding of identity politics and responsibility for the lives of Others in an age of uncertainty. Approaching precarity as an ecology cutting across various practices, themes and aesthetics, the book features a comprehensive selection of theatre examples staged in the UK since the 1990s. Works by debbie tucker green, Alistair McDowall, Complicite, Simon Stephens, Stan's Cafe, Mike Bartlett, Caryl Churchill, The Paper Birds, and Belarus Free Theatre are put in dialogue with interdisciplinary feminist vocabularies developed by Judith Butler, Sara Ahmed, Lauren Berlant and Isabell Lorey. In focusing on areas such as children and youth at risk, human rights, environmental ethics and the politics of debt, the study makes a vital contribution to the burgeoning field of politics and theatre in the 21st century.

How literature of the British imperial world contended with the social and environmental consequences of industrial mining The 1830s to the 1930s saw the rise of large-scale industrial mining in the British imperial world. Elizabeth Carolyn Miller examines how literature of this era reckoned with a new vision of civilization where humans are dependent on finite, nonrenewable stores of earthly resources, and traces how the threatening horizon of resource exhaustion worked its way into narrative form. Britain was the first nation to transition to industry based on fossil fuels, which put its novelists and other writers in the remarkable position of mediating the emergence of extraction-based life. Miller looks at works like Hard Times, The Mill on the Floss, and Sons and Lovers, showing how the provincial realist novel’s longstanding reliance on marriage and inheritance plots transforms against the backdrop of exhaustion to withhold the promise of reproductive futurity. She explores how adventure stories like Treasure Island and Heart of Darkness reorient fictional space toward the resource frontier. And she shows how utopian and fantasy works like “Sultana’s Dream,” The Time Machine, and The Hobbit offer imaginative ways of envisioning energy beyond extractivism. This illuminating book reveals how an era marked by violent mineral resource rushes gave rise to literary forms and genres that extend extractivism as a mode of environmental understanding.

"Bringing together prominent early contributions from this emergent perspective, the volume traces the origins, theory and methodology of a nascent ghost criminology. From the powers of exorcism and erasure marshaled by state agents, street-level struggles over memorialization and memory, to the lingering violence of crime scenes and the ghostly traces of outlaw artists, Ghost Criminology is a book attuned to that which is well-theorized in other disciplines-the spectral, hauntological, apparitional. Each of the writers assembled here shares, as Mark Fisher (2017) put it, a fascination for the outside, "that which lies beyond standard perception, cognition and experience." As such, this collection uses cutting-edge social and cultural theory to tangle with some of criminology's most stubborn revenants-the politics of criminalization, the commodification of crime and violence, the haunting power of the image, as well as the unheard and disregarded cries of the dead"--