Tracing The Connected Narrative

Through extensive research and reference to new archival material, Cavell recaptures and examines the experience of nineteenth-century readers.

Drawing on Samuel Hearne’s gruesome account of an alleged massacre at Bloody Falls in 1771, Emilie Cameron reveals how Qablunaat (non-Inuit, non-Indigenous people) have used stories about the Arctic for over two centuries as a tool to justify ongoing colonization and economic exploitation of the North. Rather than expecting Inuit to counter these narratives with their own stories about their homeland, Cameron argues that it is the responsibility of Qablunaat to develop new relationships with northerners – ones grounded in the political, cultural, economic, environmental, and social landscapes of the contemporary Arctic.

Planetary spaces such as the poles, the oceans, the atmosphere, and subterranean regions captured the British imperial imagination. Intangible, inhospitable, or inaccessible, these blank spaces—what Siobhan Carroll calls "atopias"—existed beyond the boundaries of known and inhabited places. The eighteenth century conceived of these geographic outliers as the natural limits of imperial expansion, but scientific and naval advances in the nineteenth century created new possibilities to know and control them. This development preoccupied British authors, who were accustomed to seeing atopic regions as otherworldly marvels in fantastical tales. Spaces that an empire could not colonize were spaces that literature might claim, as literary representations of atopias came to reflect their authors' attitudes toward the growth of the British Empire as well as the part they saw literature playing in that expansion. Siobhan Carroll interrogates the role these blank spaces played in the construction of British identity during an era of unsettling global circulations. Examining the poetry of Samuel T. Coleridge and George Gordon Byron and the prose of Sophia Lee, Mary Shelley, and Charles Dickens, as well as newspaper accounts and voyage narratives, she traces the ways Romantic and Victorian writers reconceptualized atopias as threatening or, at times, vulnerable. These textual explorations of the earth's highest reaches and secret depths shed light on persistent facets of the British global and environmental imagination that linger in the twenty-first century.

A gripping account of one of the most contested questions in colonial history: what became of Greenland's vanished Viking settlers?

How do writers and artists represent the climate catastrophe so that their works stir audiences to political action or at least raise their environmental awareness without, however, appearing didactic? Storying the Ecocatastrophe attempts to answer this question while interrogating the potential of narrative to become a viable political force. The collection of essays achieves this by examining the representational strategies and ideological goals of contemporary cultural productions about climate change. These productions have been created across different genres, such as the traditional novel, dance performance, solarpunk, economic report, collage, and space opera, as well as across different languages and cultures. The volume’s twelve chapters demonstrate that rising temperatures, erratic weather, extinction of species, depletion of resources, and coastal erosion and flooding are an effect of our abusive relationship with nature. They also show that our use of nuclear power, extraction of natural resources and extensive farming, including heavy reliance on pesticides, intersect with intrahuman violence, as fleshed out by heteropatriarchy, racism, (neo)colonialism, and capitalism. They finally argue that human activity has indirectly contributed to other contemporary crises, namely the migrant crisis and the spread of contagious diseases such as Covid-19.

A popular sub-genre of fantasy and science fiction, steampunk re-imagines the Victorian age in the future, and re-works its technology, fashion, and values with a dose of anti-modernism. While often considered solely through the lens of literature, steampunk is, in fact, a complex phenomenon that also affects, transforms, and unites a wide range of disciplines, such as art, music, film, television, fashion, new media, and material culture. In Steaming into a Victorian Future: A Steampunk Anthology, Julie Anne Taddeo and Cynthia J. Miller have assembled a collection of essays that consider the social and cultural aspects of this multi-faceted genre. The essays included in this volume examine various manifestations of steampunk—both separately and in relation to each other—in order to better understand the steampunk sub-culture and its effect on—and interrelationship with—popular culture and the wider society. This volume expands and extends existing scholarship on steampunk in order to explore many previously unconsidered questions about cultural creativity, social networking, fandom, appropriation, and the creation of meaning. With a foreword by popular culture scholar Ken Dvorak, and an afterword by steampunk expert Jeff VanderMeer, Steaming into a Victorian Future offers a wide ranging look at the impact of steampunk, as well as the individuals who create, interpret, and consume it.

This book examines changes in the Persian Gulf security complex following the United States (US) invasion of Iraq in 2003, focusing on threats to the collective identities of two religious sects - Shia and Sunni. Although there is a growing body of literature examining security in the Persian Gulf, little focus has been given to the theoretical and methodological aspects of the problem. In this volume, Shayan analyses the causes behind the security changes which occurred in the region since 2003 and demonstrates how regional security dynamics are interlinked to perceived sectarian threats on the Shia and Sunni religious identities. This text is essential reading for political scientists, policy makers and scholars of international relations.