Environmental Humanities

Avatar and Nature Spirituality explores the cultural and religious significance of James Cameron's film Avatar (2010), one of the most commercially successful motion pictures of all time. Its success was due in no small measure to the beauty of the Pandora landscape and the dramatic, heart-wrenching plight of its nature-venerating inhabitants. To some audience members, the film was inspirational, leading them to express affinity with the film's message of ecological interdependence and animistic spirituality. Some were moved to support the efforts of indigenous peoples, who were metaphorically and sympathetically depicted in the film, to protect their cultures and environments. To others, the film was politically, ethically, or spiritually dangerous. Indeed, the global reception to the film was intense, contested, and often confusing. To illuminate the film and its reception, this book draws on an interdisciplinary team of scholars, experts in indigenous traditions, religious studies, anthropology, literature and film, and post-colonial studies. Readers will learn about the cultural and religious trends that gave rise to the film and the reasons these trends are feared, resisted, and criticized, enabling them to wrestle with their own views, not only about the film but about the controversy surrounding it. Like the film itself, Avatar and Nature Spirituality provides an opportunity for considering afresh the ongoing struggle to determine how we should live on our home planet, and what sorts of political, economic, and spiritual values and practices would best guide us.

This book presents an ecophilosophy of cinema: an account of the moving image in relation to the lived ecologies – material, social, and perceptual relations – within which movies are produced, consumed, and incorporated into cultural life. If cinema takes us on mental and emotional journeys, the author argues that those journeys that have reshaped our understanding of ourselves, life, and the Earth and universe. A range of styles are examined, from ethnographic and wildlife documentaries, westerns and road movies, sci-fi blockbusters and eco-disaster films to the experimental and art films of Tarkovsky, Herzog, Malick, and Brakhage, to YouTube's expanding audio-visual universe.

downstream: reimagining water brings together artists, writers, scientists, scholars, environmentalists, and activists who understand that our shared human need for clean water is crucial to building peace and good relationships with one another and the planet. This book explores the key roles that culture, arts, and the humanities play in supporting healthy water-based ecology and provides local, global, and Indigenous perspectives on water that help to guide our societies in a time of global warming. The contributions range from practical to visionary, and each of the four sections closes with a poem to encourage personal freedom along with collective care. This book contributes to the formation of an intergenerational, culturally inclusive, participatory water ethic. Such an ethic arises from intellectual courage, spiritual responsibilities, practical knowledge, and deep appreciation for human dependence on water for a meaningful quality of life. Downstream illuminates how water teaches us interdependence with other humans and living creatures, both near and far.

Multispecies Modernity: Disorderly Life in Postcolonial Literature considers relationships between animals and humans in the iconic spaces of postcolonial India: the wild, the body, the home, and the city. Navigating fiction, journalism, life writing, film, and visual art, this book argues that a uniquely Indian way of being modern is born in these spaces of disorderly multispecies living. The zones of proximity traversed in Multispecies Modernity link animal-human relations to a politics of postcolonial identity by transgressing the logics of modernity imposed on the postcolonial nation. Disorderly multispecies living is a resistance to the hygiene of modernity and a powerful alliance between human and nonhuman subalterns. In bringing an animal studies perspective to postcolonial writing and art, this book proposes an ethics of representation and an ethics of reading that have wider implications for the study of relationships between human and nonhuman animals in literature and in life. Excerpted from the Introduction to Multispecies Modernity, by Sundhya Walther While I want to stress the possibilities that emerge out of connections between these two fields, it is also true that the stakes of bringing them together are high for both sides. As Fanon demonstrates, the comparison to the animal has been pervasive in constructions of otherness - particularly in terms of race and gender - against which postcolonial thinkers and writers work. What would it mean, then, for these writers to abandon an attachment to the human? Would this also mean the abandonment of the struggle for recognition and equality? As Cary Wolfe observes, "it is understandable . . . that traditionally marginalized peoples would be skeptical about calls by academic intellectuals to surrender the humanist model of subjectivity, with all its privileges, at just the historical moment when they are poised to 'graduate' into it." As Wolfe himself argues, and as I will expose throughout this study, "speciesism" is oppressive to human and nonhuman alike. But this contention is in itself problematic. Theorists in animal studies want to focus attention on the nonhuman animal, in particular on the ethical place of animals in the context of their systemic exploitation and domination by humans. The risk of a postcolonial approach to animal studies is thus to, once again, have the animal abandoned in favour of seemingly more pressing human concerns. The argument that attention to the nonhuman animal also includes attention to human beings who are other to the sovereign concept of the human crops up frequently to provide a commonsense justification for the importance of animal studies. This argument is a valuable one, but it also recentres the concerns of humans by assuming that human issues will be the "hook" that draws readers into the fold of animal studies. What a postcolonial animal studies would demand is attention to the alliances between subaltern human beings and nonhuman animals, as those groups whose positions are most politically and ethically important to postcolonial and animal studies. It would also refuse to abandon either the human or the nonhuman animal, but would rather engage in an intersectional analysis that considers the positions of both groups. Throughout this study, I am attentive to the human–nonhuman subaltern alliances created by authors, while maintaining a scepticism about the degree to which these authors are able to do justice to the lives of nonhuman animals. I argue that utilizing animals as figures is an instrumentalization that, to a degree, undercuts the anti-colonial thrust of some of these texts (as does the use of disabled, gendered, or subaltern human characters as figures, as will be clear in my discussions of Ghosh and Desai). Yet I am also interested in the ways that the representation of animals can exceed a humanist representational politics. Do nonhuman animal presences in literature i

Animal Subjects: An Ethical Reader in a Posthuman World (WLU Press, 2008) challenged cultural studies to include nonhuman animals within its purview. While the "question of the animal" ricochets across the academy and reverberates within the public sphere, Animal Subjects 2.0 builds on the previous book and takes stock of this explosive turn. It focuses on both critical animal studies and posthumanism, two intertwining conversations that ask us to reconsider common sense understandings of other animals and what it means to be human. This collection demonstrates that many pressing contemporary social problems-how and why the oppression and exploitation of our species persist-are entangled with our treatment of other animals and the environment. Decades into the interrogation of our ethical and political responsibilities toward other animals, fissures within the academy deepen as the interest in animal ethics and politics proliferates. Although ideological fault lines have inspired important debates about how to address the very material concerns informing these theoretical discussions, Animal Subjects 2.0 brings together divergent voices to suggest how to foster richer human–animal relations, and to cultivate new ways of thinking and being with the rest of animalkind. This collection demonstrates that appreciation of difference, not just similarity, is necessary for a more inclusive and compassionate world. Linking issues of gender, disability, culture, race, and sexuality into species, Animal Subjects 2.0 maps vibrant developments in the emergent fields of critical animal studies and posthumanist thought.

Writing in Dust is the first sustained study of prairie Canadian literature from an ecocritical perspective. Drawing on recent scholarship in environmental theory and criticism, Jenny Kerber considers the ways in which prairie writers have negotiated processes of ecological and cultural change in the region from the early twentieth century to the present. The book begins by proposing that current environmental problems in the prairie region can be understood by examining the longstanding tendency to describe its diverse terrain in dualistic terms-either as an idyllic natural space or as an irredeemable wasteland. It inquires into the sources of stories that naturalize ecological prosperity and hardship and investigates how such narratives have been deployed from the period of colonial settlement to the present. It then considers the ways in which works by both canonical and more recent writers ranging from Robert Stead, W.O. Mitchell, and Margaret Laurence to Tim Lilburn, Louise Halfe, and Thomas King consistently challenge these dualistic landscape myths, proposing alternatives for the development of more ecologically just and sustainable relationships among people and between humans and their physical environments. Writing in Dust asserts that "reading environmentally" can help us to better understand a host of issues facing prairie inhabitants today, including the environmental impacts of industrial agriculture, resource extraction, climate change, shifting urban–rural demographics, the significance of Indigenous understandings of human–nature relationships, and the complex, often contradictory meanings of eco-cultural metaphors of alien/invasiveness, hybridity, and wildness.

Found in Alberta: Environmental Themes for the Anthropocene is a collection of essays about the natural environment in a province rich in natural resources and aggressive in development goals. This is a casebook on Alberta from which emerges a far wider set of implications for North America and for the biosphere in general. The writers come from an array of disciplinary backgrounds within the environmental humanities. The essays examine the oil/tar sands, climate change, provincial government policy, food production, industry practices, legal frameworks, wilderness spaces, hunting, Indigenous perspectives, and nuclear power. Contributions from an ecocritical perspective provide insight into environmentally themed poetry, photography, and biography. Since the actions of Alberta's industries and government are currently at the heart of a global environmental debate, this collection is valuable to those wishing to understand the natural and commercial forces in play. The editors present an introductory argument that frames these interests inside a call for a rethinking of our assumptions about the natural world and our place within it.

On Active Grounds considers the themes of agency and time through the burgeoning, interdisciplinary field of the environmental humanities. Fourteen essays and a photo album cover topics such as environmental practices and history, temporal literacy, graphic novels, ecocinema, ecomusicology, animal studies, Indigeneity, wolf reintroduction, environmental history, green conservatism, and social-ecological systems change. The book also speaks to the growing concern regarding environmental issues in the aftermath of the 2015 Paris Climate Conference (COP21) and the election of Donald Trump in the United States. This collection is organized as a written and visual appeal to issues such as time (how much is left?) and agency (who is active? what can be done? what does and does not work?). It describes problems and suggests solutions. On Active Grounds is unique in its explicit and twinned emphasis on time and agency in the context of the Environmental Humanities and a requisite interdisciplinarity.

Environmentalism and social sciences appear to be in a period of disorientation and perhaps transition. In this innovative collection, leading international thinkers explore the notion that one explanation for the current malaise of the "politics of ecology" is that we increasingly find ourselves negotiating "technonatural" space/times. International contributors map the political ecologies of our technonatural present and indicate possible paths for technonatural futures. The term "technonatures" is in debt to a long line of environmental cultural theory from Raymond Williams onwards, problematizing the idea that a politics of the environment can be usefully grounded in terms of the rhetoric of defending the pure, the authentic, or an idealized past solely in terms of the ecological or the natural. In using the term "technonatures" as an organizing myth and metaphor for thinking about the politics of nature in contemporary times, this collection seeks to explore one increasingly pronounced dimension of the social natures discussion. Technonatures highlights a growing range of voices considering the claim that we are not only inhabiting diverse social natures but that within such natures our knowledge of our worlds is ever more technologically mediated, produced, enacted, and contested.

What is the responsibility, or the task of the arts as we face environmental crisis? Ecologies in Practice is an edited collection of dynamic and multi-formatted contributions that explore the ways in which cultural production informs perceptions, communications, and knowledge of environmental distress in a Canadian context, pointing to the significance of the arts in the creation and sharing of crucial counter narratives and alternative possibilities. Ecologies in Practice identifies the arts as an important mode of inquiry for reimagining, and for public engagement and understanding of pressing environmental and social concerns, while acknowledging the ways in which it contributes important work to the growing interdisciplinary field of Environmental Humanities. Bringing together artistic perspectives from a range of lenses and voices, including artists, writers, scholars, activists, curators, theorists, and makers, Ecologies in Practice offers important tools for artists, scholars, students, and research-creators invested in arts and the environment. Contributors present artistic methods as alternative sites of understanding that contribute significant and affective work to environmental scholarship, while thinking outside of the disciplinary borders and confines of the artworld. Ecologies in Practice aims to initiate vital conversations among practitioners, and together with readers, consider what environmentally engaged arts lend differently to these conversations. Elysia French is an Assistant Professor in the Department of Visual Arts at Brock University. French is trained as an art historian and studies contemporary art and the environment, with an interest in the visual culture of oil, climate change, and multispecies relationships. Amanda White (she/her) is a white settler artist/scholar currently living and working in Tkaronto/Toronto. She is a SSHRC Postdoctoral Fellow at the Centre for Sustainable Curating in the Department of Visual Art at Western University. Her current work and research is focused on plants, food, and environmental justice. amandawhite.com A collection exploring the ways the arts participate in emerging environmentally focused interdisciplinary fields, such as the Environmental Humanities. Essays examine what creative practice and visual language lend to these vital conversations, and how the arts and artistic practitioners share environmental knowledge. Ecologies in Practice offers an adventurous foray into the current state of environmentally engaged arts in Canada. Its wide-ranging explorations of media and artistic practices will appeal to practitioners working in studio, in situ, and gallery settings, as well as those who research and teach in environmental humanities. The contributors add new layers to a rich existing lineage of arts-based environmental inquiry in Canada and engage with questions fundamental to understanding ourselves as stubbornly creative, cultural, and ecological beings. We need the contributions of artists of all stripes to help us imagine anew in the uneasy times to come, and this volume helps guide the way." Ecologies in Practice" has significant topicality as it looks to artists and artistic methods for engaging with timely and pressing topics, such as: Climate change; Wildfires; Pollution; Resource extraction; Environmental and social activism. Main audience is scholars and artists interested in environmentally engaged art and the environmental humanities. Markets include public libraries, galleries and museums with community arts programming -Indie bookstores with arts and culture and/or environmental and social justice focus fascinating for general readers who maintain an artistic practice, are interested in research creation, are concerned with our current environmental crisis and are involved with environmental and social justice communities. Canadian context of environmentally engaged arts practices and pedagogies provides spec