Charles Travis

Luke Bergmann

Deborah P. Dixon

Robert Legg

Arlene Crampsie

The Routledge Handbook of the Digital Environmental Humanities explores the digital methods and tools scholars use to observe, interpret, and manage nature in several different academic fields. Employing historical, philosophical, linguistic, literary, and cultural lenses, this handbook explores how the digital environmental humanities (DEH), as an emerging field, recognises its convergence with the environmental humanities. As such, it is empirically, critically, and ethically engaged in exploring digitally mediated, visualised, and parsed framings of past, present, and future environments, landscapes, and cultures. Currently, humanities, geographical, cartographical, informatic, and computing disciplines are finding a common space in the DEH and are bringing the use of digital applications, coding, and software into league with literary and cultural studies and the visual, film, and performing arts. In doing so, the DEH facilitates transdisciplinary encounters between fields as diverse as human cognition, gaming, bioinformatics and linguistics, social media, literature and history, music, painting, philology, philosophy, and the earth and environmental sciences. This handbook will be essential reading for those interested in the use of digital tools in the study of the environment from a wide range of disciplines and for those working in the environmental humanities more generally.

Routledge Handbook of the Digital Environmental Humanities

Sallie A. Marston

Building on a trans-disciplinary, feminist project that foregrounds the bodies of those at the ‘sharp end’ of various forms of international activity, such as immigration, development and warfare, the chapters included in this book cover a variety of sites, concerns, and hopes. These range from the fraught geopolitics of marriage and birth in Ladakh, India, to the fate of detained migrant children in the U.S., and from the human rights abuses of women and children in Uzbekistan to the body politics of aid workers in Afghanistan. The collective aim is to expose the force relations that operate through and upon those bodies, such that particular subjectivities are enhanced, constrained, and put to work, and particular corporealities are violated, exploited, and often abandoned. Oriented around issues of security, population, territory, and nationalism, these chapters expose the proliferating bodies of geopolitics, not simply as the bearers of socially demarcated borders and boundaries, but as vulnerable corporealities, seeking to negotiate and transform the geopolitics they both animate and inhabit. This book was originally published as a special issue of Gender, Place and Culture: A Journal of Feminist Geography.

At the Sharp End

Feminist Geopolitics

What can unfold from an engagement of feminist issues, concerns and practices with the geopolitical? How does feminism allow for a reconfiguration of how these two elements, the geo- and the -political, are understood and related? What kinds of objects can be located and put into motion? What kinds of relations can be drawn between these? What kinds of practice become valued? And, what is glossed or rendered absent in the process? In this thought-provoking and original contribution, Deborah P. Dixon cautions against the exhaustion of feminist geopolitics as a critique of both a classical and a critical geopolitics, and points instead to how feminist imaginaries of Self, Other and Earth allow for all manner of work to be undertaken. Importantly, one of the things they provide for is a reservoir of concerns, thoughts and practices that can be reappropriated to flesh out what a feminist geopolitics can be. While providing a much-needed, sustained interjection that draws out achievements to date, the book thus gestures forward to productive lines of inquiry and method. Grounded via a series of globally diverse case studies that traverse time as well as space, Feminist Geopolitics feels for the borders of geopolitical thought and practice by navigating four complex and corporeally-aware objects of analysis, namely flesh, bone, touch and abhorrence.

Deborah P. Dixon

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