Antarctica As Cultural Critique

Arguing that Antarctica is the most mediated place on earth and thus an ideal location for testing the limits of bio-political management of population and place, this book remaps national and postcolonial methods and offers a new look on a 'forgotten' continent now the focus of ecological concern.

Arguing that Antarctica is the most mediated place on earth and thus an ideal location for testing the limits of bio-political management of population and place, this book remaps national and postcolonial methods and offers a new look on a 'forgotten' continent now the focus of ecological concern.

As one of two points where the Earth’s axis meets its surface, the South Pole should be a precisely defined place. But as Elizabeth Leane shows in this book, conceptually it is a place of paradoxes. An invisible spot on a high, featureless ice plateau, the Pole has no obvious material value, yet it is a highly sought-after location, and reaching it on foot is one of the most extreme adventures an explorer can undertake. The Pole is, as Leane shows, a deeply imagined place, and a place of politics, where a series of national claims converge. Leane details the important challenges that the South Pole poses to humanity, asking what it can teach us about ourselves and our relationship with our planet. She examines its allure for explorers such as Robert F. Scott and Roald Amundsen, not to mention the myriad writers and artists who have attempted to capture its strange, inhospitable blankness. She considers the Pole’s advantages for climatologists and other scientists as well as the absurdities and banalities of human interaction with this place. Ranging from the present all the way back to the ancient Greeks, she offers a fascinating—and lavishly illustrated—story about one of the strangest and most important places on Earth.

The Antarctic and Southern Ocean are hotspots for contemporary endeavours to oversee 'the last frontier' of the Earth. The Handbook on the Politics of Antarctica offers a wide-ranging and comprehensive overview of the governance, geopolitics, international law, cultural studies and history of the region. Four thematic sections take readers from the earliest human encounters to contemporary resource exploitation and climate change. Written by leading experts, the Handbook brings together the very best interdisciplinary social science and humanities scholarship on the Antarctic and Southern Ocean.

Antarctica, that icy wasteland and extreme environment at the ends of the earth, was - at the beginning of the 20th century - the last frontier of Victorian imperialism, a territory subjected to heroic and sometimes desperate exploration. Now, at the start of the 21st century, Antarctica is the vulnerable landscape behind iconic images of climate change. In this genre-crossing narrative Gould takes us on a journey to the South Pole, through art and archive. Through the life and tragic death of Edward Wilson, polar explorer, doctor, scientist and artist, and his watercolours, and through the work of a pioneer of modern anthropology and opponent of scientific racism, Franz Boas, Gould exposes the legacies of colonialism and racial and gendered identities of the time. Antarctica, the White Continent, far from being a blank - and white - canvas, is revealed to be full of colour. Gould argues that the medium matters and that the practices of observation in art, anthropology and science determine how we see and what we know. Stories of exploration and open-air watercolour painting, of weather experiments and ethnographic collecting, of evolution and extinction, are interwoven to raise important questions for our times. Revisiting Antarctica through the archive becomes the urgent endeavour to imagine an inhabitable planetary future.

Anthropocene Antarctica offers new ways of thinking about the ‘Continent for Science and Peace’ in a time of planetary environmental change. In the Anthropocene, Antarctica has become central to the Earth’s future. Ice cores taken from its interior reveal the deep environmental history of the planet and warming ocean currents are ominously destabilising the glaciers around its edges, presaging sea-level rise in decades and centuries to come. At the same time, proliferating research stations and tourist numbers challenge stereotypes of the continent as the ‘last wilderness.’ The Anthropocene brings Antarctica nearer in thought, entangled with our everyday actions. If the Anthropocene signals the end of the idea of Nature as separate from humans, then the Antarctic, long considered the material embodiment of this idea, faces a radical reframing. Understanding the southern polar region in the twenty-first century requires contributions across the disciplinary spectrum. This collection paves the way for researchers in the Environmental Humanities, Law and Social Sciences to engage critically with the Antarctic, fostering a community of scholars who can act with natural scientists to address the globally significant environmental issues that face this vitally important part of the planet.

In Climate Change and the New Polar Aesthetics, Lisa E. Bloom considers the ways artists, filmmakers, and activists engaged with the Arctic and Antarctic to represent our current environmental crises and reconstruct public understandings of them. Bloom engages feminist, Black, Indigenous, and non-Western perspectives to address the exigencies of the experience of the Anthropocene and its attendant ecosystem failures, rising sea levels, and climate-led migrations. As opposed to mainstream media depictions of climate change that feature apocalyptic spectacles of distant melting ice and desperate polar bears, artists such as Katja Aglert, Subhankar Banerjee, Joyce Campbell, Judit Hersko, Roni Horn, Isaac Julien, Zacharias Kunuk, Connie Samaras, and activist art collectives take a more complex poetic and political approach. In their films and visual and conceptual art, these artists link climate change to its social roots in colonialism and capitalism while challenging the suppression of information about environmental destruction and critiquing Western art institutions for their complicity. Bloom’s examination and contextualization of new polar aesthetics makes environmental degradation more legible while demonstrating that our own political agency is central to imagining and constructing a better world.