{"id":10,"date":"2021-04-07T20:09:09","date_gmt":"2021-04-08T03:09:09","guid":{"rendered":"https:\/\/blogs.ubc.ca\/quartet\/?page_id=10"},"modified":"2021-04-17T14:50:23","modified_gmt":"2021-04-17T21:50:23","slug":"annotated-bibliography-blog","status":"publish","type":"page","link":"https:\/\/blogs.ubc.ca\/quartet\/annotated-bibliography-blog\/","title":{"rendered":"Annotated Bibliography Blog"},"content":{"rendered":"\n

Cariou, Warren, and Isabelle St-Amand. \u201cIntroduction: Environmental Ethics through Changing Landscapes: Indigenous Activism and Literary Arts.\u201d The Canadian Review of Comparative Literature<\/em>, vol. 44, no. 1, 2017, https:\/\/journals.library.ualberta.ca\/crcl\/index.php\/crcl\/article\/view\/29377<\/a>. Accessed 7 Apr. 2021.<\/strong><\/p>\n\n\n\n

This special edition of The Canadian Review of Comparative Literature <\/em>is composed of contributions that \u201cexamine the discourses, aesthetics, and knowledges that are emerging at the intersections of public protest, artistic expression, and environmental ethics\u201d (9). The Introduction opens by discussing Sto:lo writer Lee Maracle and her story<\/a> \u201cSalmon is the Hub of Salish Memory.\u201d This story draws parallels between human tragedy and environmental struggles, so its inclusion firmly emphasizes the intersections between story and the environment. Indeed, the special issue is focussed on the ongoing climate crisis and especially its impact on Indigenous communities, including how Indigenous activists and\/or artists are responding to it. The introduction explores how Indigenous artists and activists can influence environmental affairs and underscores how the importance of developing a reciprocal relationship with the land is fundamental to Indigenous beliefs.<\/p>\n\n\n\n

In this special edition, \u201c[the contributors] explore the settlers\u2019 and Indigenous peoples\u2019 relationships to the environment that sustains them by looking at novels and poetry, slam and speculative fiction, storytelling and documentary filmmaking, as well as other forms of expression\u2026\u201d (17). More broadly, this collection discusses how imagination and story can be used to conceptualize potential futures, which can then lead to a widespread effort to discover how to achieve \u2013 or avoid \u2013 those potential futures. In short, it discusses how the realm of fiction can be used to dissect and discuss the impacts of ecological destruction<\/a>, citing examples of (mostly Indigenous) environmental artist activists across a wide range of disciplines. Juxtaposing points of view are also considered and examined using comparative techniques in order to reach a fuller understanding.<\/p>\n\n\n\n

Both authors of the Introduction have themselves engaged in environmental activism through the arts; Warren Cariou developed the discipline of petrography<\/a>, while Isabelle St-Amand has focussed her research on Indigenous cinema and media<\/a>. Reading the conclusions of these two environmental activists, artists, and scholars highlights the interconnectivity of these disciplines and the potential for the arts, literary and beyond, to effect lasting change on our environment. Literature in particular is a familiar and effective tool in motivating change, as books can inspire readers to become involved<\/a>. It is clear that exploring the possibilities of using the power of stories and the arts in general to initiate environmental reform is a very worthwhile endeavour, and the introduction to this special edition of The Canadian Review of Comparative Literature <\/em>reinforces that notion.<\/p>\n\n\n\n

Works Cited<\/p>\n\n\n\n

Cariou, Warren. \u201cPetrography.\u201d Warren Cariou, <\/em>http:\/\/www.warrencariou.com\/petrography<\/a>. Accessed 7 Apr. 2021.<\/p>\n\n\n\n

Fine, Julia. \u201c10 Books Climate Activists Are Reading Now.\u201d Yes Magazine<\/em>, 8 May 2020, https:\/\/www.yesmagazine.org\/environment\/2020\/05\/08\/books-climate-change<\/a>. Accessed 7 Apr. 2021.<\/p>\n\n\n\n

\u201cIsabelle St-Amand on Indigenous cinema and media.\u201d UofMPress, <\/em>13 Aug. 2020, https:\/\/uofmpress.ca\/blog\/entry\/isabelle-st-amand-on-indigenous-cinema-and-media<\/a>. Accessed 7 Apr. 2021.<\/p>\n\n\n\n

\u201cJesse Oak Taylor: What \u2018Environmental Humanities\u2019 Teach Us: Cyclone Amphan, COVID-19, & Collectivity.\u201d YouTube<\/em>, uploaded by UW Department of English, 28 May 2020, https:\/\/www.youtube.com\/watch?v=xPlD-xrnXIY<\/a>. Accessed 7 Apr. 2021.<\/p>\n\n\n\n

Kienwen, Alexis. Review of Memory Serves: Oratories, <\/em>by Lee Maracle. NeWest Press<\/em>, Jan. 2016, https:\/\/quillandquire.com\/review\/memory-serves-oratories\/<\/a>. Accessed 7 Apr. 2021.<\/p>\n\n\n\n

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\u201cClimate Finance for a Sustainable Future\u201d YouTube,<\/em> uploaded by World Bank, 7 Jul. 2020, <\/strong>www.youtube.com\/watch?v=crAKMz81Gr0<\/strong><\/a>. Accessed 7 Apr. 2021<\/strong><\/p>\n\n\n\n

The world bank is a subsidiary of the United Nations, which targets philanthropic projects that hope to eliminate poverty and boost prosperity around the world. This video discusses the ways that the World Bank is imagining its approach to these projects in a world that is recovering from the COVID-19 Pandemic. The projects that they map out on their website cover a range of themes, ranging from Economic Policy to Urban and Rural Development. However, the theme Environment and Natural Resource Management lists out Watershed Management projects happening world wide<\/a> that involve reimagining water supplies to various regions in more sustainable and responsible ways.<\/p>\n\n\n\n

As Canada is a country with a lot of wealth, it does not require assistance from the World Bank to finance its economic and sustainability projects, and therefore does not appear on this list. However, on the Canadian government\u2019s own website there is also a large list of projects<\/a> that it has been managing and financing, itself, to address the same concerns of restoring Canada\u2019s natural resources (especially in eastern Canada), specifically outlining projects that engage Indigenous Peoples in addressing these issues.<\/a> However, with Canada\u2019s recent history around environmental efforts being at odds with the needs of indigenous communities<\/a>, these appraisals on the government\u2019s own website seem to lack sincerity.<\/p>\n\n\n\n

These government- and internationally-developed projects show how stories of sustainability and restoration can ring false when told from the perspective that holds power over other, more active entities. Where receiving the engagement of Indigenous Peoples in restorative projects is a must<\/a>, this stance seems to imply that inaction has been on the side of indigenous communities, rather than \u2014 as indicated by climate research groups<\/a> \u2014 on government, itself. And similarly, the World Bank, too, does not escape criticism<\/a> with how it has handled managing and prioritizing its own projects.<\/p>\n\n\n\n

Works Cited<\/p>\n\n\n\n

\u201cCanada.\u201d Climate Action Tracker<\/em>, climateactiontracker.org\/countries\/canada<\/a>. Accessed 7 Apr. 2021.<\/p>\n\n\n\n

Etchart, Linda. \u201cThe Role of Indigenous Peoples in Combating Climate Change.\u201d Palgrave Communications<\/em>, vol. 3, no. 1, 2017, p. 17085, doi:10.1057\/palcomms.2017.85.<\/p>\n\n\n\n

\u201cProjects.\u201d WorldBank.org<\/em><\/a>,<\/em> projects.worldbank.org\/en\/projects-operations\/projects-summary?themecodev2=000837.<\/a> Accessed 7 Apr. 2021.<\/p>\n\n\n\n

Projects funded by the Great Lakes Protection Initiative.<\/em> Government of Canada, Environment and Natural resources, 10 Nov. 2020, www.canada.ca\/en\/environment-climate-change\/services\/great-lakes-protection\/funding\/funded-projects.html<\/a>. Accessed 7 Apr. 2021.<\/p>\n\n\n\n

Simmons, Matt. \u201c\u2018Localized harassment\u2019: RCMP patrol Wet\u2019suwet\u2019en territory despite UN calls for withdrawal.\u201d The Narwhal<\/em>, 22 Feb. 2021, thenarwhal.ca\/rcmp-wetsuweten-territory-february-2021\/<\/a>. Accessed 7 Apr. 2021.<\/p>\n\n\n\n

\u201cWhat are the World Bank Safeguards?\u201d YouTube,<\/em> uploaded by Bank Information Center, 1 Oct. 2015, www.youtube.com\/watch?v=zGJd1uFRDJo<\/a>. Accessed 7 Apr. 2021.<\/p>\n\n\n\n

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<\/a>Colgan, William. \u201cVanishing Canada: Group of Seven Landscapes Under Climate Change\u201d. Glacier Bytes, <\/em><\/strong>williamcolgan.net, 31 July 2015, www.williamcolgan.net\/blog\/?p=338. Accessed 6 Apr. 2021. <\/strong><\/p>\n\n\n\n

As part of the Canada150 events, Canadian research climatologist William Colgan<\/a> and art curator Virginia Eichhorn (currently of Quest Art School + Gallery (“Executive Committee”); previously of the Tom Thomson Art Gallery) sought artist collaborators to engage in a transformative arts-based project bringing awareness to the changing Canadian landscapes. The proposed project, titled Vanishing Canada: Group of Seven Landscapes Under Climate Change<\/em>, aimed to \u201creframe Group of Seven paintings as unique time capsules of a vanishing Canada, rather than portraits of an intransigent Canada\u201d (Colgan). The goal was to display series of triptychs which would include the original painting, a 2016 version, and a projected 2100 version based upon scientific projections.<\/p>\n\n\n\n

This proposed project unfortunately never took off, but it offers a engaging way of showcasing the many critical issues effecting our land forms, and a way of mapping the collective life of our communities. Perhaps, as Rita Wong writes, this could allow our perceptions to shift, for us to begin to \u201cact differently as well\u201d (116). Art is a language that transcends borders; it speaks to the past and present, and looks towards the future. It creates a dialogue not only between artist and audience, but artist and theimself. Art Therapist Shaun McNiff encourages his clients to \u2018dialogue\u2019 with their images<\/a>, to learn more about themselves and the subject of the artworks (McNiff). By (re)imaging<\/a> Canadian borders through art, we create a dialogue with our imagination, looking at how to (re)define the unceded<\/a> and ceded lands. \u201cThrough dialogue and thoughtful action we may shift away from the colonial norms that have been violently imposed upon this land toward a sense of interrelation and interdependence, not only with humans but with the plants and animals and minerals to which we owe our lives\u201d (Wong 115).<\/p>\n\n\n\n

Works Cited<\/p>\n\n\n\n

Colgan, William. \u201cVanishing Canada: Group of Seven Landscapes Under Climate Change\u201d. Glacier Bytes, williamcolgan.net, 31 July 2015, www.williamcolgan.net\/blog\/?p=338. Accessed 6 Apr. 2021.<\/p>\n\n\n\n

@GlacierBytes (William Colgan). Twitter<\/em>. twitter.com\/GlacierBytes. Accessed 6 Apr. 2021.<\/p>\n\n\n\n

\u201cExecutive Committee\u201d. Craft Ontario<\/em>, www.craftontario.com\/index.php?a=member&id=56. Accessed 6 April 2021. <\/p>\n\n\n\n

Guo, Demi. \u201cIndigenous Artists Use Technology to Tell Stories About Their Ancestral Lands\u201d. Yes, <\/em>15 June 2022. www.yesmagazine.org\/environment\/2020\/06\/15\/indigenous-artists-climate-technology. Accessed 7 Apr. 2021.<\/p>\n\n\n\n

McNiff, Shaun. \u201cTreating Images as Persons and Dialoguing with Them\u201d. Art Heals: How Creativity Cures the Soul<\/em>. Shambala, 2004, pp. 82-95. <\/p>\n\n\n\n

Murdoch, Ruth. \u201cDialoguing With Images\u201d. Ruth Murdoch Counselling, <\/em>www.ruthmurdochcounselling.com\/uploads\/6\/3\/0\/0\/6300204\/dialoguing_with_images.pdf. Accessed 7 Apr. 2021. <\/p>\n\n\n\n

\u201cReimagining Landscape and Our Relationship with the Land\u201d. Canada Council for the Arts<\/em>, 18 Aug. 2017, canadacouncil.ca\/spotlight\/2017\/08\/reimagining-landscape. Accessed 7 Apr. 2021.<\/p>\n\n\n\n

Wong, Rita. \u201cWatersheds.\u201d Canadian Literature, <\/em>no.<\/em> 204, 2010, pp. 115-117.<\/p>\n\n\n\n

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Inwood, Hilary. \u201cExploring eco-art education in elementary classrooms.\u201d Independent Education,<\/em> 17 June 2015, https:\/\/www.ieducation.co.za\/exploring-eco-art-education-in-elementary-classrooms\/<\/a>. Accessed 7 Apr. 2021.<\/strong><\/p>\n\n\n\n

Hilary Inwood<\/a> has been a driving force in the development of eco-art education curriculums across North America. The relatively new field of eco-art education (also referred to as environmental art education) works to integrate artistic and scientific approaches to the environment to better understand environmental concepts. Inwood notes that environment activist artists like Agnes Denes<\/a> are able to communicate \u201cin ways that scientists have been unable to do,\u201d reflecting the idea that the arts can positively influence the public toward environmental reform<\/a>, much as eco-art education itself reflects the importance of an interconnected approach to education. <\/p>\n\n\n\n

Inwood goes on to discuss a study \u201cto examine eco-art learning in a sustained way across four school sites,\u201d the first of its kind. Four elementary school teachers gave over fifty eco-art-based lessons (samples of which are included in the article) using a myriad of fine art mediums to teach environmental education concepts such as the impact of humans on the environment and the importance of a sense of place. The teachers found students to be excited and engaged during these lessons, resulting in a strengthened connection to place. The lessons also presented an opportunity for cross-discipline and place-based learning, as students worked with local natural materials or worked on art projects outside in nature. <\/p>\n\n\n\n

This article presents a hopeful outlook on how eco-art education can be used as a means of instilling appreciation for and awareness of the environment in young children, in addition to introducing them to environmental activism through art<\/a>. Studies like this one offer an encouraging framework for the formation of new endeavours that strive to take a cross-disciplinary approach to environmental change.<\/p>\n\n\n\n

Works Cited<\/p>\n\n\n\n

\u201cA Walk Through \u2018Agnes Denes: Absolutes and Intermediates\u2019 | THE SHED.\u201d YouTube, <\/em>uploaded by The Shed, 4 Feb. 2020, www.youtube.com\/watch?v=NYIt3FY0E4I<\/a>. Accessed 7 Apr. 2021.<\/p>\n\n\n\n

Colivicchi, Anna. \u201cHow Fiction Can Persuade Readers That Climate Change Is Real.\u201d EuroNews<\/em>, 14 Dec. 2020, www.euronews.com\/living\/2020\/12\/14\/how-fiction-can-persuade-readers-that-climate-change-is-real<\/a>. Accessed 7 Apr. 2021.<\/p>\n\n\n\n

Inwood, Hilary. \u201cBiography.\u201d Hilary Inwood, <\/em>www.hilaryinwood.ca\/about.html<\/a>. Accessed 7 Apr. 2021.<\/p>\n\n\n\n

\u201cVirtual Exhibit.\u201d Artists for Conservation<\/em>, 2020, gallery.artistsforconservation.org\/virtual-exhibit\/12053\/home<\/a>. Accessed 7 Apr. 2021.<\/p>\n\n\n\n

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Sobel, David. Place Based Education: Connecting Classroom And Community.<\/em> Kohala Centre, 2013, kohalacenter.org\/teachertraining\/pdf\/pbexcerpt.pdf<\/a>. Accessed April 7, 2021. <\/strong><\/p>\n\n\n\n

Just as Rita Wong\u2019s intervention Watersheds<\/em> calls for the arts to respond to and engage with the land, David Sobel calls for education to connect with land and community. Sobel is an American educator, responsible for developing the pedagogy of place-based education (PBE). This excerpt from Sobel\u2019s book<\/a> of the same title outlines a number of examples of PBE in action. <\/p>\n\n\n\n

One powerful example that Sobel illustrates is from Louisiana, where students worked together to come up with a way to reduce the mosquito population in the area surrounding their school. Students created ponds and raised fish to catch the mosquitos. Lessons in ecology helped the students understand which fish to breed, mathematics helped plot the number of offspring and the time it would take to see a change in mosquito population, science class taught about the life cycles of the mosquitos and the fish, social studies mapped the impact of this change on the wider environment, and English class saw the students writing pamphlets and practicing their public speaking to present this project to the school and community. <\/p>\n\n\n\n

Place-Based Learning is not necessarily about outdoor learning, but rather, about connecting to the place in which we live and understanding it more deeply. This usually includes outdoor learning. Sobel explains a moment of great importance when he suddenly realized that the oversized model of a particular flower that he studied in his grade 10 biology course, was in fact a flower that flourished right outside the door on the school grounds. The textbooks and classroom setting were so removed from the world that he did not recognize the plant he saw every day. Sobel writes that \u201cPlace-Based Education is the antidote to not thinking about the Earth\u201d (6). <\/p>\n\n\n\n

Though Sobel and his examples are American, PBE is practiced and taught across Canada. Arrow Lakes School District has some wonderful examples, such as the vast and varied educational impacts of a school garden at Lucerne Elementary Secondary School. <\/a>Place-Based Education is also connected to a number of other educational philosophies that are similar in many ways and unique in others, such as outdoor education, critical pedagogy of place and land-based education. Place-Based Education can also be connected to many Indigenous pedagogies <\/a>with focuses on community and care for the land.<\/p>\n\n\n\n

In Watersheds, <\/em>Rita Wong encourages a shift from cultural diversity to biodiversity. Place-Based Education and all its offshoots and counterparts help to develop a community of people who feel, as Wong puts it, \u201ca sense of interrelation and interdependence, not only with humans but with the plants and animals and minerals to which we owe our lives\u201d (115).<\/p>\n\n\n\n

Works Cited<\/p>\n\n\n\n

Cherpako, Danielle. “Making Indigenous-Led Education a Public Priority.” Samuel Centre for Social Connectedness<\/em>, Aug. 2019, www.socialconnectedness.org\/wp-content\/uploads\/2019\/10\/Land-Based-Education-Pamphlet.pdf<\/a>. Accessed 7 Apr. 2021. <\/p>\n\n\n\n

\u201cGardens, Greenhouses, and Sustainability.\u201d Youtube<\/em>, Uploaded by School District 10 – Arrow Lakes, 11 Sept. 2016, www.youtube.com\/watch?v=TB3m1ec26fc<\/a>. Accessed 7 Apr. 2021. <\/p>\n\n\n\n

Sobel, David. “Place Based Education: Connecting Classroom And Community.” Kohala Centre<\/em>, 2013, kohalacenter.org\/teachertraining\/pdf\/pbexcerpt.pdf<\/a>. Accessed 7 Apr. 2021. 2021.<\/p>\n\n\n\n

Wong, Rita. \u201cWatersheds.\u201d Canadian Literature, <\/em>no.<\/em> 204, 2010, pp. 115-117.<\/p>\n\n\n\n

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<\/a>Twedt, Judy. \u201cConnecting to climate change through music.\u201d YouTube, <\/em>uploaded by TED, 23 Jan. 2019, <\/strong>www.youtube.com\/watch?v=eYXxAE5grRQ<\/strong><\/a>. Accessed 8 Apr. 2021.<\/strong><\/p>\n\n\n\n

In this video, Judy Twedt explains how she used data that collected by climate science to create a compelling and alarming piano piece. By translating temperature and sheet-ice data into musical notation, Twedt was able to showcase not just the data, but what that data means for the normal \u2018rhythm\u2019 of climate that the world has historically experienced. However, this was not the first work that Twedt made to represent this data. In her talk, she discusses various other music projects<\/a> that she launched and backed through her doctoral program aimed at translating and expressing climate data through music. She also expresses this data in other ways, as she notes, she wears the climate data on her dress<\/a> to show the drastic and shocking change in temperature that the earth has experienced, from the top of her outfit to the bottom.<\/p>\n\n\n\n

Data Art<\/a> has been a rising trend within artistic and scientific field for some time now, with different artists finding different ways to represent data in compelling, new ways. Where some artists use data obtained from human activity<\/a>, such as airline travel and cellular network use, others use data from scientific databases or their own research<\/a> to represent weather and other natural phenomenon.<\/p>\n\n\n\n

Art has a long history of storing the data that we observe in scientific record<\/a>. Throughout recorded history, scientists have been using artistic means to document their findings. Historical Biologists have stored their data in the form of sketches, such as in the work of Darwin\u2019s On the Origin of Species<\/em><\/a>, the artwork of Henry Vandyke Carter<\/a> (original illustrator of Gray\u2019s Anatomy of the Human Body)<\/em>, or the many works of Leonardo DaVinci<\/a>. Similarly, scientists in more mathematically rigorous fields such as astronomy have accumulated their data in the form of models, both abstract<\/a> and concrete<\/a>. Visual representation of data \u2014 whether in the form of a model or a graph \u2014 has long been an artistic feat of scientists around the world.<\/p>\n\n\n\n

But the principles stored in the way these works of art reflect on scientific data is not about science<\/em>, per se, but about comprehension, and how we can take in information that allows us to see its meaning.<\/p>\n\n\n\n

The impressions that the artist leaves in us provides a necessary insight into the meaning behind the data we see and the conclusions that we make in any scientific field. As many artists have developed some skill at making observations about the world, and coding them into the work that they do, some have argued, too, that artistic representations could potentially be used to obtain data about the world that the artist observes<\/a>.<\/p>\n\n\n\n

Works Cited<\/p>\n\n\n\n

Da Vinci, Leonardo. \u201cLeonardo da Vinci: pen-and-ink studies of human fetus.\u201d Encyclop\u00e6dia Birtannica<\/em>, n.d., www.britannica.com\/biography\/Leonardo-da-Vinci\/Anatomical-studies-and-drawings#\/media\/1\/336408\/15647<\/a>. Accessed 8 Apr. 2021.<\/p>\n\n\n\n

\u201cHenry Vandyke Carter.\u201d Kings College London<\/em>, n.d., kingscollections.org\/exhibitions\/specialcollections\/great-leveller\/leprosy\/henry-vandyke-carter<\/a>. Accessed 8 Apr. 2021.<\/p>\n\n\n\n

\u201cIllustrations in Darwin Online.\u201d Darwin Online<\/em>, n.d., darwin-online.org.uk\/graphics\/illustrations.html<\/a>. Accessed 8 Apr. 2021.<\/p>\n\n\n\n

Wing, Jennifer & Spitzer, Gabriel. \u201cCommunicating Earth\u2019s rising temperature one musical note at a time.\u201d KNKX.org<\/a>, 9 May, 2020, www.knkx.org\/post\/communicating-earths-rising-temperature-one-musical-note-time<\/a>. Accessed 8 Apr. 2021.<\/p>\n\n\n\n

\u201cThe Science: Orbital Mechanics.\u201d Earth Observatory, <\/em>NASA, n.d., earthobservatory.nasa.gov\/features\/OrbitsHistory\/page2.php<\/a>. Accessed 8 Apr. 2021.<\/p>\n\n\n\n

Galilei, Galileo. \u201cDrawings of the Moon.\u201d Biblioteca Nazionale<\/em>, n.d., brunelleschi.imss.fi.it\/galileopalazzostrozzi\/object\/GalileoGalileiDrawingsOfTheMoon.html<\/a>. Accessed 8 Apr. 2021.<\/p>\n\n\n\n

Twedt, Judy. \u201cThe Sounds of Climate Change.\u201d Judy Twedt,<\/em> www.judytwedt.com\/the-sounds-of-climate-change.html<\/a>. Accessed 8 Apr. 2021.<\/p>\n\n\n\n

Urist, Jacoba. \u201cFrom Paint to Pixels.\u201d The Atlantic<\/em>, 14 May, 2015, www.theatlantic.com\/entertainment\/archive\/2015\/05\/the-rise-of-the-data-artist\/392399\/<\/a>. Accessed 8 Apr. 2021.<\/p>\n\n\n\n

Miebach, Nathalie. \u201cArt Made of Storms.\u201d TED, <\/em>July 2011, www.ted.com\/talks\/nathalie_miebach_art_made_of_storms<\/a>. Accessed 8 Apr. 2021.<\/p>\n\n\n\n

Koblin, Aaron. \u201cVisualizing ourselves\u2026 with crowd-sourced data.\u201d TED, <\/em>Mar. 2011, www.ted.com\/talks\/aaron_koblin_visualizing_ourselves_with_crowd_sourced_data#t-221155<\/a>. Accessed 8 Apr. 2021.<\/p>\n\n\n\n

Arguedas Ortiz, Diego. \u201cThe climate change clues hidden in art history.\u201d BBC<\/em>, 28 May 2020, www.bbc.com\/culture\/article\/20200528-the-climate-change-clues-hidden-in-art-history<\/a>. Accessed 8 Apr. 2021.<\/p>\n\n\n\n

Urst Green, Sarah. \u201cHow Climate Changes Art.\u201d YouTube, <\/em>uploaded by The Art Assignment, 25 July 2019, www.youtube.com\/watch?v=dvQocRS3RdE<\/a>. Accessed 8 Apr. 2021.<\/p>\n\n\n\n

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Whiteley, Andrea, et al. \u201cClimate Change Imaginaries? Examining Expectation Narratives in Cli-Fi Novels\u201d. Bulletin of Science, Technology & Society, <\/em>vol. 36, no. 1, 2016, pp. 28-37. Sage<\/em>, doi: 10.1177\/0270467615622845. <\/strong><\/p>\n\n\n\n

Climate Change Imaginaries? Examining Expectation Narratives in Cli-Fi Novels<\/em> presents an analysis of five climate fiction (cli-fi) genre novels: Oryx and Crake<\/em><\/a> (Atwood), Memory of Water<\/em><\/a> (Itaranta), Solar<\/em><\/a> (McEwan), Flight Behavior<\/em><\/a> (Kingsolver), and Odds Against Tomorrow<\/em><\/a> (Rich). Written by University of Calgary Alumni from the department of communication, media, and film, the analysis focuses on the benefits of presenting environmentalism and sustainability in creative and engaging ways. <\/p>\n\n\n\n

Cli-fi is a genre that opens up critical and creative opportunities for both authors and readers. A term first used by Alaskan journalist Dan Bloom<\/a>, it has since been adapted to describe literary works focused on climate change and climate activism<\/a> (Whiteley et al.). Climate Change Imaginaries<\/em> presents the argument that cli-fi speaks both to our \u201cdeepest cultural fears\u201d (Whiteley et al. 30) and aims to inspire our imagination. This is further discussed in the context of the \u201csocial imaginary\u201d (30), a psychological concept defined by Charles Taylor as the way \u201cpeople imagine their collective social life, how they fit together with others, how things go on between them and their fellows\u201d (qtd. in Whiteley et al. 23). To Whiteley et al., cli-fi presents readers with the opportunity to look deeper into our human connections with the land, and how we will proceed into our futures.<\/p>\n\n\n\n

Through their analysis, Whiteley et al. identified five common themes within the novels – presence of \u201cclimate change scenarios\u201d (31), a scientific \u201cpedagogical inquiry\u201d (32), economical effects, a realistic approach to modifying behaviour, and imagining possible energy futures<\/a>, the last reflects an answer to Rita Wong\u2019s call to actions. Through cli-fi novels, authors are able to deliver creative solutions to current environmental crises. Wong writes that she sees literature as inviting \u201ccreative responses. It calls forth from us resources and knowledges we may not have known we had\u201d (117). <\/p>\n\n\n\n

Works Cited<\/p>\n\n\n\n

Atwood, Margaret. Oryx and Crake<\/em>. McClelland & Stewart, 2004.<\/p>\n\n\n\n

Atwood, Margaret. \u201cWe Must Tackle Climate Change Together\u201d. Huffington Post<\/em>, 23 Jan. 2014, www.huffingtonpost.ca\/margaret-atwood\/atwood-climate-change_b_4256145.html. Accessed 6 April 2021.<\/p>\n\n\n\n

Bloom, Daniel. \u201cCli-Fi Report Global\u201d. Cli-Fi<\/em>, 2021, cli-fi.net\/. Accessed 6 Apr. 2021.<\/p>\n\n\n\n

Geiger, Scott. \u201cOn the Near-Future Novelist: Odds Against Tomorrow by Nathaniel Rich\u201d. The Common Online<\/em>, 29 March, 2013, www.thecommononline.org\/on-the-near-future-novelist-odds-against-tomorrow-by-nathaniel-rich\/. Accessed 6 Apr. 2021.<\/p>\n\n\n\n

Itaranta, Emmi. Memory of Water<\/em>. HarperCollins, 2014.<\/p>\n\n\n\n

Kingsolver, Barbara. Flight Behavior. <\/em>HarperLuxe, 2012.<\/p>\n\n\n\n

McEwan, Ian. \u201cSolar\u201d. Ian McEwan<\/em>. www.ianmcewan.com\/books\/solar.html. Accessed 6 Apr. 2021.<\/p>\n\n\n\n

McEwan, Ian. Solar<\/em>. Random House, 2010.<\/p>\n\n\n\n

Munteanu, Nina. \u201cBarbara Kingsolver\u2019s Flight Behavior, Review by Nina Munteanu\u201d. Dragonfly.eco<\/em>, 14 Sept. 2016, dragonfly.eco\/flight-behavior-review-nina-munteanu\/. Accessed 6 Apr. 2021.<\/p>\n\n\n\n

Rich, Nathaniel. Odds Against Tomorrow<\/em>. Farrar, Straus & Giroux, 2013. <\/p>\n\n\n\n

\u201cSpeculative Energy Futures\u201d. Just Powers<\/em>, 2021, www.speculativeenergyfutures.com\/. Accessed 6 Apr. 2021.<\/p>\n\n\n\n

Whiteley, Andrea, et al. \u201cClimate Change Imaginaries? Examining Expectation Narratives in Cli-Fi Novels\u201d. Bulletin of Science, Technology & Society<\/em>, vol. 36, no. 1, 2016, pp. 28-37. Sage<\/em>, doi: 10.1177\/0270467615622845. <\/p>\n\n\n\n

Wong, Rita. \u201cWatersheds\u201d. Canadian Literature, <\/em>no.<\/em> 204, 2010, pp. 115-117. <\/p>\n\n\n\n

Woodbury, Mary. \u201cClimate Change Author Spotlight \u2013 Margaret Atwood\u201d. Dragonfly.eco<\/em>, 24 Oct. 2016, dragonfly.eco\/climate-change-author-spotlight-margaret-atwood\/. Accessed 6 Apr. 2021.<\/p>\n\n\n\n

Woodbury, Mary. \u201cInterview with Emmi It\u00e4ranta, Memory of Water\u201d. Dragonfly.eco<\/em>, 8 July 2014, dragonfly.eco\/interview-emmi-itaranta-memory-water\/.<\/p>\n\n\n\n

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<\/a>Wong, Rita, and Fred Wah. Beholden: A Poem as Long as the River.<\/em><\/strong> Talon Books, 2018.<\/strong><\/p>\n\n\n\n

Beholden: A Poem as long as the River<\/em> is an artistic creation in response to the damming of the Columbia River in British Columbia, Washington and Oregon. This work consists of two long poems written each as single flowing lines weaving across a 114-foot map of the Columbia River. This project exists as a book and also as a museum art installation entitled River Relations: A Beholder\u2019s Share of the Columbia River<\/em>,<\/a> which features a massive banner map suspended in mid air and winding through the room. You can also view an interactive version of this project through River Relations. <\/a><\/p>\n\n\n\n

Wong and Wah explored the Columbia River in many different areas and then each created a poem to encapsulate the vast and complicated history of the river – the consequences of damming, the communities and ecosystems affected by development, the ongoing reverberations of colonization, and, as one reviewer states<\/a>, \u201cthe tenacity and vitality of what continues to exist\u201d (Boyle). Wong and Wah\u2019s voices are distinct in this piece, with Wah\u2019s poem written in type and Wong\u2019s poem handwritten. The poems run along opposite shores of the river and intersect at bridges, emphasising the movement and flow of the river. <\/p>\n\n\n\n

Wah\u2019s poem reads as both a call to action and an in-memoriam, sometimes seeming to ask the audience to think and act, and other times mourning all that has been lost and cannot be restored. \u201cAin\u2019t this dam messed up your plan to keep the spirit flowing with respect Will the riparian ever be repaired? Will the salmon ever return? Has the river taught us nothing? When will we ever learn?\u201d(Wong, 49).  <\/p>\n\n\n\n

Wong\u2019s poem often features descriptive lists diving into the land, people, animals and the many questions that arise when researching such a massive body of water and history. \u201cColville, Nespelem, Sanpoil, Lake, Palus, Wenatachi, Chelan, Entiat, Methow, Southern Okanagan, Moses Columbia, Nez Perce, whose homelands stretched and stretch much further than the map\u2019s lines, through sagebrush, scree, bitterroot camas, pine, through span of deer, grouse, hawks, rattlesnakes, through the shifting baseline held taught through story, memory, song & ceremony\u201d (Wong, 63).<\/p>\n\n\n\n

This interdisciplinary creation of eco-literacy is a prime example of how literacy and environment are interconnected. Artistic creations in response to environmental changes and the current climate crisis help to develop our understanding of the land we live on and create a shared story of past, present and future.
<\/p>\n\n\n\n

Works Cited<\/p>\n\n\n\n

Boyle, Frances. \u201cReview of beholden.\u201d Canthuis,<\/em> www.canthius.com\/feed-2\/2019\/10\/6\/review-of-beholden-a-poem-as-long-as-the-river-by-rita-wong-amp-fred-wah<\/a>. Accessed 7 Apr. 2021.<\/p>\n\n\n\n

Wong, Rita, and Fred Wah. Beholden: A Poem as Long as The River.<\/em> Talon Books, 2018

River Relations<\/em>. www.riverrelations.ca\/new-page<\/a>. Accessed 7 Apr. 2021.<\/p>\n\n\n\n

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<\/p>\n","protected":false},"excerpt":{"rendered":"

Cariou, Warren, and Isabelle St-Amand. \u201cIntroduction: Environmental Ethics through Changing Landscapes: Indigenous Activism and Literary Arts.\u201d The Canadian Review of Comparative Literature, vol. 44, no. 1, 2017, https:\/\/journals.library.ualberta.ca\/crcl\/index.php\/crcl\/article\/view\/29377. Accessed 7 Apr. 2021. This special edition of The Canadian Review of … Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":83432,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"open","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-10","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/blogs.ubc.ca\/quartet\/wp-json\/wp\/v2\/pages\/10","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/blogs.ubc.ca\/quartet\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/blogs.ubc.ca\/quartet\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/blogs.ubc.ca\/quartet\/wp-json\/wp\/v2\/users\/83432"}],"replies":[{"embeddable":true,"href":"https:\/\/blogs.ubc.ca\/quartet\/wp-json\/wp\/v2\/comments?post=10"}],"version-history":[{"count":32,"href":"https:\/\/blogs.ubc.ca\/quartet\/wp-json\/wp\/v2\/pages\/10\/revisions"}],"predecessor-version":[{"id":134,"href":"https:\/\/blogs.ubc.ca\/quartet\/wp-json\/wp\/v2\/pages\/10\/revisions\/134"}],"wp:attachment":[{"href":"https:\/\/blogs.ubc.ca\/quartet\/wp-json\/wp\/v2\/media?parent=10"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}