Humanities — Open Access Journal

This essay proposes a concept of the “blue sublime” in order to address how the contradictions of capitalist accumulation regimes manifest themselves in the hydrosphere. My argument starts from the fact that capitalism entails a shift in the imagination of the sea: from the point of view of commodity production and consumption, the sea has turned into field of extraction, resource to be exploited or waste disposal site. But capitalism also involves circulation, which casts the sea into a space of contradictions. On the one hand, the oceanic expanse can be an image for the flow of capital and commodities, and a privileged route that has been central to the mercantile expansion of the world economy. On the other hand, however, the sea can become the emblem of the limit to accumulation, and the ultimate barrier to capital’s self-expansion. The blue sublime, hence, provides an image for picturing the totality of capitalism, while in its materiality it embodies capitalism’s contingency and perishability. From this point of view, the blue sublime registers a process described by Marx as the “annihilation of space by time” proper to the universalizing tendency of capital. Through a reading of Marx’s Grundrisse, the blue sublime hence provides a tangible representation of the asymptotic tendency of capital to reach a zero time of circulation and a privileged location to grasp the material contradictions of a global modernity. Full article

Putting Blue Humanities scholarship in critical dialogue with recent research on the ‘cultural fix’ and ‘fixed-labour-power’, this article offers a comparative reading of two Portuguese-language novels in which the figure of the female water-spirit features as an index for two contrasting modes of knowing the ocean. In Jorge Amado’s Mar Morto (1936), the water-spirit is registered as a passive and incomprehensible extra-human entity that looms over the poverty of the text’s working-class community of dockworkers with an ominous and mysterious edge. By contrast, the water-spirit in Pepetela’s novel O Desejo de Kianda (1995) is angry, active and only too immediate, seeking revenge for the extractivist violence carried out in the name of neoliberalism. Activating a broadly hydro-materialist framework, I argue that these differing conceptions of the water-spirit carry with them very different socio-ecological implications, and directly intersect with contemporary debates over hydrological crisis, the privatisation of the oceans and the enclosure of the water commons. Full article

Situated within debates of world literature, petrocultures, and the blue humanities, this article provides a methodological approach to interpreting genre, energy forms, and world-literature. This relies on Dominic Boyer’s concept of ‘energopolitics’ (adapted from Foucault’s biopolitics), which considers the codependence of political power, electricity, fuel and energy infrastructure. Echoing Fredric Jameson (1981) and Patricia Yaeger (2011), the article argues that looking for a text’s ‘energopolitical unconscious’ is a means of discerning the way energopolitics and energy are encoded in world-literary plot, form, and genre. Then, it turns to a comparative reading of two novels, Carlos Fuentes’s The Hydra Head (1978) and Ian Rankin’s Black & Blue (1997), to argue that such novels provide an understanding of relationships between world-literary genre, forms of energy, and the world-oceanic regime of the offshore. The offshore is a juridical-spatial regime that circumvents nation-state regulation through extraterritorial ownership practices. It is a political and infrastructural power over the oceanic flows of capital and energy, to produce a spatial environment that exceeds the juridical boundaries of nation-states. Thus, if the world-ocean is the space upon which fossil capital depends for its realisation, the offshore is the legal form of fossil capital in the world-ocean. Finally, the article argues that noir mysteries are the genre of the offshore, as it is a genre particularly capable of indexing its social tensions. Noir’s settings and atmospheres are intimately connected with petromodernity’s infrastructure: hotels, highways, flickering streetlights and eerie hinterlands, ports and warehouses; the mystery is an excellent formal device, providing both narratorial motivation and a code for traversing imagined territories and detecting their secrets. At the same time, noir’s generic investment in investigations of legality and power—its ‘legal grammar’—makes it a useful stage through which to pursue questions of sovereignty, ocean-space, territory, and juridical forms. Full article

This article discusses the shaping of Halkyn Mountain, an upland common in the county of Flintshire in northeast Wales. Extractive industry has had a dramatic impact on the area, and it was one of Britain’s major lead mining regions in the nineteenth and early twentieth centuries. This extractive history is essential for understanding its contemporary character and is a key element of community identity and local heritage production. The mountain is a multilayered landscape that has been made and transformed by geomorphological and human action, by subterranean water flow, digging, burrowing and extraction, by internal rupture and the upheaval and movement of earth and rock, and by grazing, burning, clearing and churning up the surface. It continues to be shaped by management and conservation, by the lifeworlds of plants and animals, and by perspectives on what constitutes a landscape. Drawing from current anthropological research in Flintshire on the making and shaping of place, the article explores how Halkyn Mountain exemplifies the contested nature—and the contradictions and provocations—of landscape and the difficulties inherent in using, living on, defining and managing a place that has been reshaped by industry, but one that is continually coming into being. It does so through a consideration of the area as a landscape shaped and given form by lead mining, by multispecies encounters, by land management and conservation initiatives, and by how notions of heritage inform local identity and regional preservation. Full article

Claire G. Coleman’s science fiction novel The Old Lie (2019) evokes the blemished chapters of Australia’s history as the basis of a dystopian futuristic Earth. By using the metaphor of a secular apocalypse (Weaver) wrapped in the form of a space opera, she interrogates historical colonialism on a much larger scale to bring to the fore the distinctive Indigenous experience of Australia’s terra nullius and its horrific offshoots: the Stolen Generations, nuclear tests on Aboriginal land and the treatment of Indigenous war veteran, but this time experienced by the people of the futuristic Earth. Following a brief introduction of the concept of the “Native Apocalypse” (Dillon) in the framework of Indigenous futurism, the paper discusses Coleman’s innovative use of space opera embedded in Wilfred Owen’s famous WWI poem “Dulce et Decorum Est”. The analysis focuses on four allegedly separate stories in the novel which eventually interweave into a single narrative about “the old lie”. In keeping with the twenty-first-century Indigenous futurism, Coleman’s novel does not provide easy answers. Instead, the end brings the reader to the beginning of the novel in the same state of disillusionment as Owen’s lyrical subject. Full article

This paper advocates for a blue comparative literature that uses the view from the sea to provide new axes for comparison. Roy Jacobsen’s De usynlige (The Unseen, 2013) and Sarah Moss’s Night Waking (2011) explore subsistence lives on small islands in the northern Atlantic at different moments in the past, when inhabitants were dependent on the sea for food and transport. By looking at them together, as texts linked by their engagement with the physical world of the northern Atlantic, the two novels show how marginal populations on small islands can represent a space for the imagination of the human past and future in the Anthropocene. Full article

Hollywood films such as Pixar’s Moana (2016) and Warner Brothers’ Aquaman (2018) have drawn on the aesthetics and stories of the island cultures of Oceania to inform their narratives. In doing so, these works have both succeeded and failed to respect and engage with oceanic cultural knowledge, providing a cultural vehicle to expand communication, while also exploiting Oceanic culture for financial gain. Cultural tropes and stereotypes pose a heavy intellectual burden that neither film fully shoulders, nor are the complexities of their content acknowledged. Moana sought to enlarge the franchise of the “Disney Princess” genre, but could not avoid issues of cultural appropriation and tokenism becoming entangled with an ongoing process of engagement. Moana’s desire to represent the cultural memory of Oceania raises questions, but while Pixar presents digital fantasy, Aquaman hides its global ambitions beneath star Jason Momoa’s broad shoulders. If the blue humanities is to follow the seminal postcolonial scholarship of Tongan and Fijian cultural theorist Epeli Hau’ofa by exploring a counter-hegemonic narrative in scholarly treatment of the global oceans, then how can it respond with respect? This risk applies equally to academic literary inquiry, with a more inclusive mode of receptive and plural blue humanities as an emerging response. Full article

This essay will explore the complex relationship between Pacific Islander Literature and the “Blue Humanities,” navigation traditions and canoe aesthetics, and Chamoru migration and diaspora. First, I will chart the history, theory, and praxis of Pacific voyaging traditions; the colonial history of restricting indigenous mobilities; and the decolonial acts of seafaring revitalization in the Pacific (with a specific focus on Guam). Then, I will examine the representation of seafaring and the ocean-going vessel (the canoe) as powerful symbols of Pacific migration and diasporic cultural identity in the context of what Elizabeth DeLoughrey termed, “narrative maritime legacies” (2007). Lastly, I will conduct a close-reading of the avant-garde poetry collection, A Bell Made of Stones (2013), by Chamoru writer Lehua Taitano. As I will show, Taitano writes about the ocean and navigation in order to address the history and traumas of Chamoru migration and diaspora. In terms of poetic form, I will argue that Taitano’s experimentation with typography and visual poetry embodies Chamoru outrigger design aesthetics and navigational techniques. In the end, I will show how a “Blue Humanities” approach to reading Pacific Islander literature highlights how the “New Oceania” is a profound space of Pacific migration and diasporic identity. Full article

In this essay, we provide an outline of historical and contemporary examples to illustrate the theoretical concept of environing media. We first discuss how humans have environed their surroundings long before the advent of scientific modernity and the rapid evolution of media technologies that helped in making the planet governable. Against this background, we argue that a fundamental shift in the human–Earth relation happened after 1500 and that this shift is attributable to the development of environing media employed in the process of terrestrial globalisation. We see the present profound renegotiation of the human–Earth relation as a continuity, albeit with a different intensity as exemplified by the work in Earth system science. Finally, we invert Mike Hulme’s call for scientists to meet the humanities into an appeal to humanists to embrace the environmental sciences and pursue more integrative research. Recent developments in environmental history have seen an increased interest in the shaping of environments by means of technology. To this end, scholars have developed theoretical concepts like “environing technologies”, which are based on the premise that the environment is a historical formation by people and societies who form their surroundings as well as their sense of place. In the same vein, historical ecology has shown that premodern peoples also shaped the natural world to their purposes far more than what has generally been understood. The central premise is that what is understood as the environment is the result of human intervention and that environing technologies structure the way that it is used, perceived, and understood. These insights resonate with core notions in media theory, but they have never before been brought together. Given that all of our understanding of the environment today is the product of several processes of mediation, the theory of environing technology would benefit from stronger theorisation of the role of media. While the scale and intensity of information storage, processing, and transmission by media today are unprecedented, the logic of mediated data processing essentially remains the same as five centuries ago when agents of the Spanish Empire took part in shaping the understanding of the environment of the Americas and the globe. For these purposes, we propose the concept of environing media, as a means of both joining intellectual forces and pushing theoretical analysis of both branches further. The paper outlines the theory of environing media using examples from the Global South, in particular the shaping and sensing of landscapes in and around the Philippines. From early modern to late modern times, this region of the world has been influenced by environing media, most importantly circumnavigating ships and orbiting sensing satellites. The result is landscapes made and remade according to colonial and later capitalist priorities operating on a global, and eventually a planetary, scale. Full article

There has traditionally been some divergence in the interpretive paradigms used by scholars analysing minority literature in the Germanophone and Anglophone contexts. Whereas the Anglosphere has tended to utilize poststructural and postcolonial approaches, interculturality and transculturality are favoured in the German-speaking world. However, these positions are aligning more closely, as the concept of similarity is gaining ground in Germany, disrupting the self–other binary in what can be regarded as a shift from the idea of roots to rhizomes. In dialogue with Gilles Deleuze and Félix Guattari’s concept of the rhizome, the paradigm of similarity will be explored in terms of culture in Zafer Şenocak’s essay collection Das Fremde, das in jedem wohnt: Wie Unterschiede unsere Gesellschaft zusammenhalten (The Foreign that Resides in Everyone: How Differences Hold Our Society Together, 2018), which explores the similarities between Turkish and German culture alongside their internal differences; in terms of language in Uljana Wolf’s poetry cycle “DICHTionary” (2009), which seeks out links between German and English through ‘false friends’; and in terms of religion in Feridun Zaimoglu and Günter Senkel’s play Nathan Messias (Nathan Messiah 2006), which raises questions about interreligious dialogue. All three texts challenge binary notions of identity in favour of a more complex, rhizomatic network of relations. Full article

This essay aims at adding to the critical debate on Angela Carter and myths from a more technical perspective and discusses her keen interest in the “lo and behold” moment of recognition. I claim that for Carter myths “work” in literary texts by producing a sudden illumination. At that moment, an image reveals itself to be interposed from an older story that has, or used to have, some cultural importance. In order to describe this phenomenon, I am going to refer to Aristotle’s definition of recognition in his Poetics and essays of C.G. Jung, for whom myths are instances of revelation. To prove that Carter was very much interested in the technicalities of recognition, I analyse her non-fiction devoted to Edgar Allan Poe and Charlotte Brontë. Carter’s sample mythic reading of Jane Eyre (1847) and her plans to re-write the last chapter of this novel provide me with enough material to risk a hypothesis regarding how, in her opinion, myths might intertextually enrich the reading experience. Full article

In this article, we discuss contemporary Ghanaian ethos reflecting on female sexual behavior as a discursive construction that shifts and changes across time and space. Borrowing from Nedra Reynold’s concept of ethos as a location, we examine the various social and discourse spaces of different rhetors on female sexual behavior in Ghana and how each establishes ethos through identity formations and language use from various positions of authority. With multiethnic, multilingual, and multiple religious perspectives within the Ghanaian population, how does ethos and moral authority speak persuasively on female sexual behavior? We examine contemporary discourses governing normative female sexual behavior and presentation as revealed in both proverbs and social media to drive the discussion toward how these discourses of female sexual behavior and ethos are discursively constructed in contemporary Ghanaian society. Full article

Since 2000 there has been a boom in playwriting in the German-speaking world. This is shaped by a creative tension between two forms of theatre-texts. On the one hand the postdramatic text that exists in a theatre marked by a parataxis of all theatrical elements, as outlined by Hans-Thies Lehmann and Gerda Poschmann; on the other, the ‘dramatic drama’ as identified by Birgit Haas that engages with dramatic representation whilst still questioning the reality being represented on the stage. In this contribution I explore these strands of contemporary playwriting in two texts written since 2000: Lukas Bärfuss’ Die sexuellen Neurosen unserer Eltern (2003) and Katja Brunner’s von den beinen zu kurz (2012). My analysis examines how both playwrights question dramatic conventions of form and character and the implications this has for audience efforts to discern meaning in the plays. Full article

Eliza Gettel’s paper on the displacement of the Delians in the second century BCE does an excellent job of examining an ancient case study of displacement through the lens of contemporary conceptions of displacement and asylum. In this paper, I try, as a modern historian of asylum, to reflect on the applicability of modern classifications to a case study over 2000 years old. First, I discuss the compatibility of the ancient with the modern. Subsequently, I engage much more deliberately with the arguments Gettel presents in her paper. Finally, I introduce a contemporary case study involving the displacement of people from the Chagos Islands in the Indian Ocean that I argue shares some similarities with that of the Delians, with both cases highlighting the often-neglected agency of the displaced. Full article

The article examines how Marcin Wrona’s Demon (2015) reworks the Jewish myth of a dybbuk in order to discuss how and to what extent a spectral haunting may disrupt acts of collective forgetting, which are in turn fueled by repression, repudiation, and ritualized violence. A part of a revisionist trend in Polish cinema, Demon upsets the contours of national affiliations, and in doing so comments on the problematic nature of memory work concerning pre- and postwar Polish–Jewish relations. Because the body possessed by a female dybbuk is foreign and male, the film also underlines gendered aspects of possession, silencing, and story-telling. The article draws on Gothic Studies and horror cinema studies as well as Polish–Jewish studies in order to show how by deploying typical possession horror tropes Wrona is able to reveal the true horror—an effective erasure of the Jewish community, an act that needs to be repeated in order for the state of historical oblivion to be maintained. Full article

Marianne de Pierres’s Transformation Space (2010) is a rare example of an Australian novel set in an apocalyptic and dystopic interstellar future where pregnancy, childbearing and nursing have a presence that is quite uncommon in Science Fiction (SF). Despite the fact that the genre of SF and that of space opera in particular have been traditionally quite male-oriented, in the last years feminist theories of several kinds have been an undeniable transformative influence. This article intends to analyse not only how these specifically female issues related to motherhood/mothering are presented in the novel, but also to explore their function and role. A close reading of these topics will show whether they endorse a solid feminist stance or are just colourful feminist details in a male-dominated space opera and, in turn, if they have a specifically narrative purpose in the context of the dystopic subgenre. Full article

Recently, the Senegalese people have learned to speak more openly of their history. But, as late as the 1980s—the years of my youth and early schooling—the wounds of colonialism were still fresh. I contend that slavery had been so powerful a blow to the Senegalese ethos that we—my family, friends, and schoolmates—did not speak about it. The collective trauma and shame of slavery was apparently so powerful that we sought to repress it, keeping it hidden from ourselves. We were surrounded by its evidence, but chose not to see it. Such was my childhood experience. As an adult, I understand that repression never heals wounds. The trauma remains as a haunting presence. But one can discover its “living presence,” should one choose to look. Just 5.2 km off the west African coast of Senegal lies Gorée Island, where millions of Africans were held captive while awaiting transport into slavery. Much of the four-century history of the African slave trade passed through Senegal, where I grew up. In this essay, I explore the history of the island and its role in the slave trade. I describe my own coming to terms with this history—how it has haunted me since my youth. And I argue for the role of visual rhetorics in the formation (and affirmation) of Senegalese ethos. As Baumlin and Meyer (2018) remind us, we need to speak, in order to be heard, in order to be seen: Such is an assumption of rhetorical ethos. And the reverse, as I shall argue, may be true, too: Sometimes we need to see (or be seen), in order to know what to speak and how to be heard. It is for this reason that we need more films written, directed, produced, and performed by Africans (Senegalese especially). Full article

In the Geosciences, the new concept of the Anthropocene has been well established. Today, in the Humanities, it is increasingly also accepted as centrally relevant because it allows us to describe our present world in a more accurate fashion. The critical question of this study is what opportunities result from literature and literary studies in order to increase our understanding of the Anthropocene. This essay argues in favor of promoting the study of literature and of the Humanities in the search for necessary impulses that might free us from unilateral-instrumental concepts employed by the Natural Sciences as the only academic field that might be able to solve problems using exclusively technological strategies. We live in the Anthropocene now and must engage with it critically by drawing from both the Natural Sciences and the Humanities if we want to hope for a livable future here on earth. Full article