Carolyn Fornoff – författare

Subjunctive Aesthetics argues for the importance of ecocritical approaches within the field of Mexican Studies. While environmental historians of Mexico have been leading the charge in terms of foregrounding the nonhuman as a legitimate object of analysis, Mexican cultural studies is just beginning to do. This monograph engages with established and up-and-coming Latin American ecocritical scholars who argue that Latin America offers an important corrective to Anglocentric approaches to the Anthropocene by foregrounding colonialism and empire. Studies indicate that Mexicans are more worried about climate change than any other global issue, more anxious about natural disasters than any other quotidian threat (including crime), and that suicide rates have risen along with temperatures. These fears are grounded in reality: in the last twenty years, Mexico issued more than 2,000 extreme weather warnings linked to hydrometeorological events, and ranked in the top ten countries in terms of absolute economic losses caused by (un)natural disasters. Mexico is also one of the deadliest countries in the world for environmental activists: in 2018 alone, twenty-one defenders of the land were murdered, and many others criminalized or intimidated. Pervasive social anxiety in Mexico about ongoing and future climate change is reflected in the outpouring of eco-cultural production over the past decade, a body of work that has yet to be comprehensively studied. The exponential explosion of cultural responses to climate change is not limited to any one genre: Mexican poets like Karen Villeda and Isabel Zapata have thematized extinction, sci-fi writer Alberto Chimal recently published a dystopian young adult climate fiction, and performance artist Naomi Rincón Gallardo has created works that contest extractivism’s murderous tactics. Subjunctive Aesthetics brings together these artists and others to collate a diverse constellation of Mexican cultural responses to climate change that index the multifaceted nature of this crisis. Carolyn Fornoff argues that what unites this array is the way in which it deploys the subjunctive—not the what is, but the what if—in order to disrupt current paradigms of energy consumption and envision a more just and sustainable planetary future.

Subjunctive Aesthetics argues for the importance of ecocritical approaches within the field of Mexican Studies. While environmental historians of Mexico have been leading the charge in terms of foregrounding the nonhuman as a legitimate object of analysis, Mexican cultural studies is just beginning to do. This monograph engages with established and up-and-coming Latin American ecocritical scholars who argue that Latin America offers an important corrective to Anglocentric approaches to the Anthropocene by foregrounding colonialism and empire. Studies indicate that Mexicans are more worried about climate change than any other global issue, more anxious about natural disasters than any other quotidian threat (including crime), and that suicide rates have risen along with temperatures. These fears are grounded in reality: in the last twenty years, Mexico issued more than 2,000 extreme weather warnings linked to hydrometeorological events, and ranked in the top ten countries in terms of absolute economic losses caused by (un)natural disasters. Mexico is also one of the deadliest countries in the world for environmental activists: in 2018 alone, twenty-one defenders of the land were murdered, and many others criminalized or intimidated. Pervasive social anxiety in Mexico about ongoing and future climate change is reflected in the outpouring of eco-cultural production over the past decade, a body of work that has yet to be comprehensively studied. The exponential explosion of cultural responses to climate change is not limited to any one genre: Mexican poets like Karen Villeda and Isabel Zapata have thematized extinction, sci-fi writer Alberto Chimal recently published a dystopian young adult climate fiction, and performance artist Naomi Rincón Gallardo has created works that contest extractivism’s murderous tactics. Subjunctive Aesthetics brings together these artists and others to collate a diverse constellation of Mexican cultural responses to climate change that index the multifaceted nature of this crisis. Carolyn Fornoff argues that what unites this array is the way in which it deploys the subjunctive—not the what is, but the what if—in order to disrupt current paradigms of energy consumption and envision a more just and sustainable planetary future.

Sheds light on emergent Latin America cinema that addresses the politics of environmental destruction, the unevenness of climate change consequences, and new ways of visualizing the world beyond the human.Pushing Past the Human in Latin American Cinema brings together fourteen scholars to analyze Latin American cinema in dialogue with recent theories of posthumanism and ecocriticism. Together they grapple with how Latin American filmmakers have attempted to "push past the human," and destabilize the myth of anthropocentric exceptionalism that has historically been privileged by cinema and has led to the current climate crisis. While some chapters question the very nature of this enterprise-whether cinema should or even could actualize such a maneuver beyond the human-others signal the ways in which the category of the "human" itself is interrogated by Latin American cinema, revealed to be a fiction that excludes more than it unifies. This volume explores how the moving image reinforces or contests the division between human and nonhuman, and troubles the settler epistemic partition of culture and nature that is at the core of the climate crisis. As the first volume to specifically address how such questions are staged by Latin American cinema, this book brings together analysis of films that respond to environmental degradation, as well as those that articulate a posthumanist ethos that blurs the line between species.

Sheds light on emergent Latin America cinema that addresses the politics of environmental destruction, the unevenness of climate change consequences, and new ways of visualizing the world beyond the human.Pushing Past the Human in Latin American Cinema brings together fourteen scholars to analyze Latin American cinema in dialogue with recent theories of posthumanism and ecocriticism. Together they grapple with how Latin American filmmakers have attempted to "push past the human," and destabilize the myth of anthropocentric exceptionalism that has historically been privileged by cinema and has led to the current climate crisis. While some chapters question the very nature of this enterprise-whether cinema should or even could actualize such a maneuver beyond the human-others signal the ways in which the category of the "human" itself is interrogated by Latin American cinema, revealed to be a fiction that excludes more than it unifies. This volume explores how the moving image reinforces or contests the division between human and nonhuman, and troubles the settler epistemic partition of culture and nature that is at the core of the climate crisis. As the first volume to specifically address how such questions are staged by Latin American cinema, this book brings together analysis of films that respond to environmental degradation, as well as those that articulate a posthumanist ethos that blurs the line between species.

Humanists, scientists, and artists collaborate to address the disjunctive temporalities of ecological crisis In 2016, Antarctica’s Totten Glacier, formed some 34 million years ago, detached from its bedrock, melted from the bottom by warming ocean waters. For the editors of Timescales, this event captures the disjunctive temporalities of our era’s-the Anthropocene’s-ecological crises: the rapid and accelerating degradation of our planet’s life-supporting environment established slowly over millennia. They contend that, to represent and respond to these crises (i.e., climate change, rising sea levels, ocean acidification, species extinction, and biodiversity loss) requires reframing time itself, making more visible the relationship between past, present, and future, and between a human life span and the planet’s. Timescales’ collection of lively and thought-provoking essays puts oceanographers, geophysicists, geologists, and anthropologists into conversation with literary scholars, art historians, and archaeologists. Together forging new intellectual spaces, they explore the relationship between geological deep time and historical particularity, between ecological crises and cultural expression, between environmental policy and social constructions, between restoration ecology and future imaginaries, and between constructive pessimism and radical (and actionable) hope. Interspersed among these essays are three complementary “etudes,” in which artists describe experimental works that explore the various timescales of ecological crisis.Contributors: Jason Bell, Harvard Law School; IemanjÁ Brown, College of Wooster; Beatriz Cortez, California State U, Northridge; Wai Chee Dimock, Yale U; Jane E. Dmochowski, U of Pennsylvania; David A. D. Evans, Yale U; Kate Farquhar; Marcia Ferguson, U of Pennsylvania; ÖmÜr Harmanşah, U of Illinois at Chicago; Troy Herion; Mimi Lien; Mary Mattingly; Paul Mitchell, U of Pennsylvania; Frank Pavia, California Institute of Technology; Dan Rothenberg; Jennifer E. Telesca, Pratt Institute; Charles M. Tung, Seattle U.