Naming the unknown, witnessing the unseen: Mediterranean ecocriticism and modes of representing migrant others
In continuity with the theoretical explorations of Mediterranean Ecocriticism, this essay deals with modes of representation of "migrant others." Often de-personified and reduced to statistical data, these “invisible” migrants are in fact parts of a larger ecology, where the fates of human...
| Autores: | , |
|---|---|
| Tipo de recurso: | artículo |
| Fecha de publicación: | 2020 |
| País: | España |
| Institución: | Universidad de Alcalá (UAH) |
| Repositorio: | e_Buah Biblioteca Digital Universidad de Alcalá |
| Idioma: | inglés |
| OAI Identifier: | oai:ebuah.uah.es:10017/45653 |
| Acceso en línea: | http://hdl.handle.net/10017/45653 https://dx.doi.org/10.37536/ECOZONA.2020.11.2.3559 |
| Access Level: | acceso abierto |
| Palabra clave: | Mediterranean ecocriticism Migrants Artistic representation Ecocrítica mediterránea Migrantes Representación artistica Literatura Medio ambiente Literature Environmental science |
| Sumario: | In continuity with the theoretical explorations of Mediterranean Ecocriticism, this essay deals with modes of representation of "migrant others." Often de-personified and reduced to statistical data, these “invisible” migrants are in fact parts of a larger ecology, where the fates of humans and nonhumans are interlaced, prompting deep ethical questions. Such invisibility is challenged by the many artists, writers, filmmakers, and thinkers that bring the migrant question to the center stage of their work, suggesting that the only response to the dehumanization of migrants is the humanization of nonhumans caught in the same predicaments of borders and violence. The essay includes an analysis of Jason deCaires Taylor's submarine artworks and of the documentary Asmat, "Names," by director Dagmawi Yimer. |
|---|