Journal articles on the topic 'Cli-fi'

Niniejszy artykuł poświęcony jest analizie nowego gatunku literackiego, jakim jest fikcja klimatyczna. Termin ten rozpowszechnił sięw drugiej dekadzie XXI w. Niektórzy naukowcy postrzegają cli-fi jako odmianę science fiction ze względu na obecne w nim motywy charakterystyczne dla utworów postapokaliptycznych. Inni z kolei traktują cli-fi jako podgatunek fikcji spekulatywnych, posługujący się różnymi konwencjami (np. thrillera, science fiction, prozy realistycznej). W przeciwieństwie do fantastyki cli-fi pełni funkcję dydaktyczną i stanowi rodzaj ostrzeżenia przed grożącą ludzkości katastrofą. Do popularnych motywów występujących w cli-fi należą: powodzie, deforestacje, wymieranie gatunków zwierząt, katastrofy spowodowane wybuchem w elektrowniach atomowych. W niniejszym artykule autora interesują dwie powieści zaliczane do cli-fi. Pierwsza z nich (Lot motyla) posługuje się poetyką realistyczną, opisując zjawisko globalnego ocieplenia. Druga (Jasność), będąca pierwszą polską cli-fi, wykorzystuje poetykę postapokaliptyczną, ukazując skutki eksplozji w elektrowni atomowej w miasteczku Bethlem

In this essay, we survey recent prominent works of climate fiction, or cli-fi, through the lens of Indigenous futurism, arguing that several of these works pointedly absent or even appropriate Indigenous perspectives and traditions. We conclude that this genre potentially works to justify settler colonialism.

The article gives an introduction to the use of sci-fi and cli-fi in Scandinavian poetry. By focusing on seven works from Denmark, Sweden and Norway, the article discusses different ways in which sci-fi, and especially cli-fi, has become a significant element in poetry preoccupied with contemporary social, technological and environmental issues.

This paper focuses on the dystopian camp of climate fiction and its affinities with another fiction genre: horror. During cli-fi’s rise, horror has enjoyed a resurgence of popular interest and sustained and reinvigorated scholarly interest in the past few years. While horror and dystopian cli-fi have different roots and conceptual underpinnings, there are points of contact between the genres, when the horrible in horror fiction spawns from environmental collapse or when the climatic in cli-fi drives what horrifies. My central claim is that these contact points, the overlap between cli-fi and horror fiction, become critical research nodes for developing the necessary societal, cultural, and intellectual framework for living in a destroyed world. I suggest a label for the crossover between cli-fi and horror fiction: terrestrial horror. Analyzing multiple texts within this subgenre renders visible the societal, cultural, and intellectual changes necessary for the kinds of posthumanism needed in a destroyed world.

Little scholarly attention has been paid to how audiences interpret pop culture messages about climate. This paper addresses this issue by taking up the case of disaster cli-fi films and exploring how audiences react to film representations of climate change. It draws on data from focus groups to evaluate audience responses to disaster cli-fi films. Analysis reveals that by only briefly discussing climate change in their plotlines, the films weaken their environmental message. The paper concludes with a discussion of the effects of disaster cli-fi films on environmental attitudes and suggestions for further research.

O artigo discute, a partir da crítica de uma obra ficcional, as dimensões discursivas da ironia na narrativa distópica do futuro, no qual a vida humana e a própria sobrevivência do planeta encontram-se ameaçadas pelo avanço inexorável do consumismo, do progresso capitalista e dos seus impactos sobre a crise climática global. Metodologicamente, o texto explora os conceitos bakhtinianos da linguagem do riso na conformação dos sentidos sociais, buscando identificar seu potencial enquanto estratégia argumentativa. A análise aponta para a eficácia discursiva da ironia para abordar o comportamento humano irremovível frente às promessas dos prazeres inesgotáveis do lazer permanente e do consumismo e o fracasso da máquina autopoiética guattariana na produção de novas subjetividades e do agenciamento coletivo para a produção de novas realidades, ambos fenômenos necessários ao enfrentamento do iminente colapso ambiental.

Abstract Reimagining human-nature relationships in the climate change era conjures mutants, creatures from the deep that help surface modes of becoming for a drenched world of rising tides, plastic oceans, and soaked cities. Re-imaging deep, embodied relations with watery ecologies, then, also involves attention to speculative climate fictions (cli-fi) and the potential worlds they help fathom. Cli-fi renderings of climate disaster provide critical insight into possible alternative arrangements of power, meaning, and ontological status. As such, this article explores the depths of the 1995 cli-fi film Waterworld, offering an ecocritical analysis of how the film’s mutant imaginary might help us fathom how to flourish amid floods and contest the very human forces/forms that shape them. In Waterworld, the authors find queer elemental bodies collaborating with ecology and embracing their inherent impurities. This classic cli-fi film provides an important touchstone for a future in which dominant petro-masculine approaches to pelagic place are found to be drowned, dead ends. This article amplifies how mutant corporeal formations and elemental agencies in Waterworld swirl together to submerge systems of power and privilege and drench binaries. Ultimately, Waterworld’s queer ecology helps morph what and how it means to live in a flooded future as speculative seascapes seep into everyday contemporary climate life.

Flight Behaviouris an integration of many important issues that humanity faces today like climate change, global warming, species extinction, and the advent of the age of Anthropocene. The novel is set in rural Tennessee and it explores the reaction of a bible belt community to the arrival of millions of monarch butterflies on the mountains of their hometown. This astonishing phenomenon is branded as a miracle by the townsfolk but the arrival of a research team reveals the troubling truth behind the butterflies’ presence. They have been driven away from their usual Mexican winter grounds because of devastating mudslides and flooding that affected the area. Kingsolver, in simple words, expresses the alarming reality of how changing climate affects biodiversity and leads many species to the verge of extinction. She artfully links the monarch’s struggle for survival with the protagonist’s search for identity, independence and self-expression.

This article examines Margaret Atwood’s climate fiction novel MaddAddam (2013), a dystopian cautionary text in which food production and eating become ethical choices related to individual agency and linked to sustainability. In the novel, both mainstream environmentalism and deep ecologism are shown to be insufficient and fundamentally irrelevant in the face of a submissive population, in a state of passivity that environmental studies scholar Stacy Alaimo relates to a scientific and masculinist interpretation of the Anthropocene. The article focuses on edibility as a key element in negotiating identity, belonging, cohabitation and the frontiers of the new MaddAddam postapocalyptic community.

This article presents and contextualises my recently completed cli-fi novel, Chameleon, which is set during the fall of Atlantis and presents a scenario of extreme climate change some 12,000 years ago. I argue that by referring back to our pre-history we have much to learn and uncover about our earlier experiences of surviving climate change, and of coming to terms with its devastating impact, which has caused us to couch flood stories as myth and legend. Cli-fi has the potential to go beyond narratives of fear and humiliation to show us hope that our planet can survive a climate catastrophe as did our predecessors and live to tell the tale, just as the Atlanteans did.

‘Water wars’ are back. Conflicts in Syrian, Yemen and Israel/Palestine are regularly framed as motivated by water and presented as harbingers of a world to come. The return of ‘water wars’ rhetoric, long after its 1990s heyday, has been paralleled by an increasing interest among novelists in water as a cause of conflict. This literature has been under-explored in existing work in the Blue Humanities, while scholarship on cli-fi has focused on scenarios of too much water, rather than not enough. In this article I catalogue key features of what I call the ‘water wars novel’, surveying works by Paolo Bacigalupi, Sarnath Banerjee, Varda Burstyn, Assaf Gavron, Emmi Itäranta, Karen Jayes and Cameron Stracher, writing from the United States, India, Canada, Israel, Finland and South Africa. I identify the water wars novel as a distinctive and increasingly prominent mode of ‘cli-fi’ that reveals and obscures important dimensions of water crises of the past, present and future.

This article aims to analytically and comparatively examine the representation of children's and adolescents' voices and experiences in a world entirely altered by climate change. The article focuses on two cli-fi novels: Lydia Millet's A Children's Bible (2020) and Tochi Onyebuchi's War Girls (2019). The article looks at how children's and adolescents' voices and experiences are depicted in a climate changed-world. Climate Fiction (cli-fi) writers can serve as a wake-up call for the world to recognize the needs of children during a climatic catastrophe by incorporating children's and adolescents' voices and experiences in their literary works so that readers of all ages will be able to see how children will harvest their fathers' sins, and what actions needed to preserve the Earth from a climatic crisis. Indeed, children and teenage protagonists in climate change literature have something to say about their current situation and the corruption of their social and political structures, which have caused climate change and destroyed their sole home; the Earth.

Abstract Climate Change due to anthropogenic factors and its repercussions in the form of disastrous environmental calamities is the burning issue in the current scenario. People of different fields are trying every possible means to bring awakening in the populace. The field of literature is also making contributions to this noble cause. Cli-fi or Climate Change Fiction is the newfangled branch of Ecocriticism from the field of literature, which is entirely dedicated to dealing with and bringing up climate change problems, global warming and likewise. The impact of this genre of literature has brought up the positive impact on the wider range of the population in simple language as compared to that of the technical language. Thus, this research study aims to bring forth the advancement of environmental concern employing Cli-fi or Climate Change Fiction by analysing James Bradley’s work Clade as a prototype and inclusively quoting other key literary works in this genre and their primary contributions made in this field of operation. The narrative technique with vivid descriptions, the mapping of the psychological awakening of emotions towards environmental concern and the portrayal of environmental calamities will pave the way and establish the advanced approach of literature for environmental concern and climate change.

Margaret Atwood’s short prose piece, “Three Novels I Won’t Write Soon,” poses a conundrum for anyone seeking to place it within a genre. With features of science fiction, speculative fiction and a postmodern prose poem, the text addresses the topic of climate change and its concomitant fiction without offering closure. After examining and attempting to resolve the issue of genre, the paper aligns Atwood’s discourse of indeterminacy with the parallel discourse of climate change as expressed in science writing, in order to account for this text’s unusual structural and stylistic features.

The disconnect between climate activists and their skeptical audience is a multipart communication challenge of representing the unrepresentable. Even if we accept climate change as reality, enormous barriers stand between humans and effective action, the first being a crisis of imagination: climate change is too big for representation, scholars such as Morton (2013) and Marshall (2014) have argued. This paper examines games that have taken climate-related themes into account and analyzes them in search of resonant design elements that might work to communicate about climate change. Focusing particularly on two independent games that stand out as climate change fiction (cli-fi), Little Inferno and The Flame in the Flood, this paper highlights the narrative and representational capabilities of digital games to facilitate engaging, educational, emotional environmental experiences. Rather than focusing on doomsday, as cli-fi tends to do, there may be more effective ways to explore climate change solutions. Some of the video game design principles that could be manipulated to this end include: nonhuman avatars; dynamic game environments that impact player-characters; mechanics that reflect climate change characteristics; and reliance on player ethics. If game design can persuasively communicate about climate change and encourage players to innovate solutions, games may have the potential to turn play into activism.Resumen La desconexión entre los activistas climáticos y su audiencia escéptica es un reto multiparte de comunicación para representar lo irrepresentable. Incluso si aceptamos el cambio climático como una realidad, existen enormes barreras entre los humanos y la acción efectiva: la primera es una crisis de la imaginación ya que el cambio climático es demasiado grande para su representación, tal y como argumentan académicos como Morton (2013) y Marshall (2014). Este ensayo analiza juegos que han tenido en cuenta temas relacionados con el clima y los analiza en búsqueda de elementos de diseño resonantes que pudieran funcionar a la hora de comunicar sobre el cambio climático. Centrándose en particular en dos juegos independientes que destacan como ficción de cambio climático (cli-fi), Little Inferno y The Flame in the Flood, este trabajo recalca las capacidades narrativas y representacionales de los juegos digitales a la hora de facilitar experiencias cautivadoras, educativas, emotivas y medioambientales. En vez de centrarse en el día del juicio, como tiende a hacer la cli-fi, pueden existir formas más efectivas de explorar soluciones al cambio climático. Algunos de los principios del diseño de videojuegos que pueden manipularse para este fin incluyen: avatares no-humanos; entornos de juegp dinámicos que impactan en los personajes-jugadores; mecánicas que reflejan las características del cambio climático; y la dependencia en la ética del jugador. Si el diseño de juegos puede comunicar persuasivamente sobre el cambio climático y animar a los jugadores a innovar en cuanto a soluciones, los juegos pueden tener el potencial de convertir el juego en activismo.

Studying the changes in soil properties caused by different land uses allows measures to be adopted that will reduce the risk of future negative effects. The aim of this study was to evaluate soil physical properties and quantify water infiltration for different types of land use in the Santa Catarina Plateau of southern Brazil. The research was conducted on a 1,200 ha rural property. The land use types selected were natural forest (NF), planted pine (PP), crop-livestock integration (CLI), and burned natural rangeland (BR). A sample survey was carried out in nine different areas for each land use. Samples were collected from four soil layers and the soil bulk density (Bd), total porosity (Tp), and macropore (Ma), micropore (Mi), and biopore (Bio) volumes were measured. Water infiltration tests were performed to obtain the initial (ii) and final (fi) water infiltration rates into the soil, and the total amount of water that had infiltrated the soil (Ti). In NF, Bd was lower and Tp was higher than in other types of land use. The forest vegetation (NF and PP) had higher Ma and Bio volumes in the superficial layers of the soil. Water infiltration was markedly different between land use types. The NF had the highest ii, fi, and Ti values followed by PP, whereas the CLI and BR areas had drastically lower infiltration parameters with BR having the lowest values. The variables ii, fi, and Ti correlated positively with Tp, Ma, and Bio, but negatively with Bd.

This paper is meant to study the apocalyptic scenario of the at the perspectives of the Great Acceleration. the apocalyptic scenario is not a pure imagination of the literature works. Instead, scientific evidences are in favour of dramatic change in the climatic conditions related to the climax of Man actions. the modelling of the future climate leads to horrible situations including intolerable temperatures, dryness, tornadoes, and noticeable sear level rise evading coastal regions. Going far from these scientific claims, Homo Sapiens Sapiens extended his imagination through the Climate-Fiction (cli-fi) to propose a dramatic end. Climate Fiction is developed into a recording machine containing every kind of fictions that depict environmental condition events and has consequently lost its true significance. Introduction The Great Acceleration may be considered as the Late Anthropocene in which Man actions reached their climax to lead to dramatic climatic changes paving the way for a possible apocalyptic scenario threatening the existence of the humanity. So, the apocalyptic scenario is not a pure imagination of the literature works. Instead, many scientific arguments especially related to climate change are in favour of the apocalypse1. As a matter of fact, the modelling of the future climate leads to horrible situations including intolerable temperatures (In 06/07/2021, Kuwait recorded the highest temperature of 53.2 °C), dryness, tornadoes, and noticeable sear level rise evading coastal regions. These conditions taking place during the Great Acceleration would have direct repercussions on the human species. Considering that the apocalyptic extinction had really caused the disappearance of many stronger species including dinosaurs, Homo Sapiens Sapiens extended his imagination though the Climate-Fiction (cli-fi) to propose a dramatic end due to severe climate conditions intolerable by the humankind. The mass extinction of animal species has occurred several times over the geological ages. Researchers have a poor understanding of the causes and processes of these major crises1. Nonetheless, whatever the cause of extinction, the apocalyptic scenario has always been present in the geological history. For example, dinosaurs extinction either by asteroids impact or climate changes could by no means denies the apocalyptic aspect2.At the same time as them, many animal and plant species became extinct, from marine or flying reptiles to marine plankton. This biological crisis of sixty-five million years ago is not the only one that the biosphere has suffered. It was preceded and followed by other crises which caused the extinction or the rarefaction of animal species. So, it is undeniable that many animal groups have disappeared. It is even on the changes of fauna that the geologists of the last century have based themselves to establish the scale of geological times, scale which is still used. But it is no less certain that the extinction processes, extremely complex, are far from being understood. We must first agree on the meaning of the word "extinction", namely on the apocalyptic aspect of the concept. It is quite understood that, without disappearances, the evolution of species could not have followed its course. Being aware that the apocalyptic extinction had massacred stronger species that had dominated the planet, Homo Sapiens Sapiens has been aware that the possibility of apocalyptic end at the perspective of the Anthropocene (i.e., Great Acceleration) could not be excluded. This conviction is motivated by the progressive defaunation in some regions3and the appearance of alien species in others related to change of mineralogy and geochemistry4 leading to a climate change during the Anthropocene. These scientific claims fed the vast imagination about climate change to set the so-called cli-fi. The concept of the Anthropocene is the new geological era which begins when the Man actions have reached a sufficient power to modify the geological processes and climatic cycles of the planet5. The Anthropocene by no means excludes the possibility of an apocalyptic horizon, namely in the perspectives of the Great Acceleration. On the contrary, two scenarios do indeed seem to dispute the future of the Anthropocene, with a dramatic cross-charge. The stories of the end of the world are as old as it is, as the world is the origin of these stories. However, these stories of the apocalypse have evolved over time and, since the beginning of the 19th century, they have been nourished particularly by science and its advances. These fictions have sometimes tried to pass themselves off as science. This is the current vogue, called collapsology6. This end is more than likely cli-fi driven7and it may cause the extinction of the many species including the Homo Sapiens Sapiens. In this vein, Anthropocene defaunation has become an ultimate reality8. More than one in eight birds, more than one in five mammals, more than one in four coniferous species, one in three amphibians are threatened. The hypothesis of a hierarchy within the living is induced by the error of believing that evolution goes from the simplest to the most sophisticated, from the inevitably stupid inferior to the superior endowed with an intelligence giving prerogative to all powers. Evolution goes in all directions and pursues no goal except the extension of life on Earth. Evolution certainly does not lead from bacteria to humans, preferably male and white. Our species is only a carrier of the DNA that precedes us and that will survive us. Until we show a deep respect for the biosphere particularly, and our planet in general, we will not become much, we will remain a predator among other predators, the fiercest of predators, the almighty craftsman of the Anthropocene. To be in the depths of our humanity, somehow giving back to the biosphere what we have taken from it seems obvious. To stop the sixth extinction of species, we must condemn our anthropocentrism and the anthropization of the territories that goes with it. The other forms of life also need to keep their ecological niches. According to the first, humanity seems at first to withdraw from the limits of the planet and ultimately succumb to them, with a loss of dramatic meaning. According to the second, from collapse to collapse, it is perhaps another humanity, having overcome its demons, that could come. Climate fiction is a literary sub-genre dealing with the theme of climate change, including global warming. The term appears to have been first used in 2008 by blogger and writer Dan Bloom. In October 2013, Angela Evancie, in a review of the novel Odds against Tomorrow, by Nathaniel Rich, wonders if climate change has created a new literary genre. Scientific basis of the apocalyptic scenario in the perspective of the Anthropocene Global warming All temperature indices are in favour of a global warming (Fig.1). According to the different scenarios of the IPCC9, the temperatures of the globe could increase by 2 °C to 5 °C by 2100. But some scientists warn about a possible runaway of the warming which can reach more than 3 °C. Thus, the average temperature on the surface of the globe has already increased by more than 1.1 °C since the pre-industrial era. The rise in average temperatures at the surface of the globe is the first expected and observed consequence of massive greenhouse gas emissions. However, meteorological surveys record positive temperature anomalies which are confirmed from year to year compared to the temperatures recorded since the middle of the 19th century. Climatologists point out that the past 30 years have seen the highest temperatures in the Northern Hemisphere for over 1,400 years. Several climatic centres around the world record, synthesize and follow the evolution of temperatures on Earth. Since the beginning of the 20th century (1906-2005), the average temperature at the surface of the globe has increased by 0.74 °C, but this progression has not been continuous since 1976, the increase has clearly accelerated, reaching 0.19 °C per decade according to model predictions. Despite the decline in solar activity, the period 1997-2006 is marked by an average positive anomaly of 0.53 °C in the northern hemisphere and 0.27 °C in the southern hemisphere, still compared to the normal calculated for 1961-1990. The ten hottest years on record are all after 1997. Worse, 14 of the 15 hottest years are in the 21st century, which has barely started. Thus, 2016 is the hottest year, followed closely by 2015, 2014 and 2010. The temperature of tropical waters increased by 1.2 °C during the 20th century (compared to 0.5 °C on average for the oceans), causing coral reefs to bleach in 1997. In 1998, the period of Fort El Niño, the prolonged warming of the water has destroyed half of the coral reefs of the Indian Ocean. In addition, the temperature in the tropics of the five ocean basins, where cyclones form, increased by 0.5 °C from 1970 to 2004, and powerful cyclones appeared in the North Atlantic in 2005, while they were more numerous in other parts of the world. Recently, mountains of studies focused on the possible scenario of climate change and the potential worldwide repercussions including hell temperatures and apocalyptic extreme events10 , 11, 12. Melting of continental glaciers As a direct result of the global warming, melting of continental glaciers has been recently noticed13. There are approximately 198,000 mountain glaciers in the world; they cover an area of approximately 726,000 km2. If they all melted, the sea level would rise by about 40 cm. Since the late 1960s, global snow cover has declined by around 10 to 15%. Winter cold spells in much of the northern half of the northern hemisphere are two weeks shorter than 100 years ago. Glaciers of mountains have been declining all over the world by an average of 50 m per decade for 150 years. However, they are also subject to strong multi-temporal variations which make forecasts on this point difficult according to some specialists. In the Alps, glaciers have been losing 1 meter per year for 30 years. Polar glaciers like those of Spitsbergen (about a hundred km from the North Pole) have been retreating since 1880, releasing large quantities of water. The Arctic has lost about 10% of its permanent ice cover every ten years since 1980. In this region, average temperatures have increased at twice the rate of elsewhere in the world in recent decades. The melting of the Arctic Sea ice has resulted in a loss of 15% of its surface area and 40% of its thickness since 1979. The record for melting arctic sea ice was set in 2017. All models predict the disappearance of the Arctic Sea ice in summer within a few decades, which will not be without consequences for the climate in Europe. The summer melting of arctic sea ice accelerated far beyond climate model predictions. Added to its direct repercussions of coastal regions flooding, melting of continental ice leads to radical climatic modifications in favour of the apocalyptic scenario. Fig.1 Evolution of temperature anomaly from 1880 to 2020: the apocalyptic scenario Sea level rise As a direct result of the melting of continental glaciers, sea level rise has been worldwide recorded14 ,15. The average level of the oceans has risen by 22 cm since 1880 and 2 cm since the year 2000 because of the melting of the glaciers but also with the thermal expansion of the water. In the 20th century, the sea level rose by around 2 mm per year. From 1990 to 2017, it reached the relatively constant rate of just over 3mm per year. Several sources contributed to sea level increase including thermal expansion of water (42%), melting of continental glaciers (21%), melting Greenland glaciers (15%) and melting Antarctic glaciers (8%). Since 2003, there has always been a rapid rise (around 3.3 mm / year) in sea level, but the contribution of thermal expansion has decreased (0.4 mm / year) while the melting of the polar caps and continental glaciers accelerates. Since most of the world’s population is living on coastal regions, sea level rise represents a real threat for the humanity, not excluding the apocalyptic scenario. Multiplication of extreme phenomena and climatic anomalies On a human scale, an average of 200 million people is affected by natural disasters each year and approximately 70,000 perish from them. Indeed, as evidenced by the annual reviews of disasters and climatic anomalies, we are witnessing significant warning signs. It is worth noting that these observations are dependent on meteorological survey systems that exist only in a limited number of countries with statistics that rarely go back beyond a century or a century and a half. In addition, scientists are struggling to represent the climatic variations of the last two thousand years which could serve as a reference in the projections. Therefore, the exceptional nature of this information must be qualified a little. Indeed, it is still difficult to know the return periods of climatic disasters in each region. But over the last century, the climate system has gone wild. Indeed, everything suggests that the climate is racing. Indeed, extreme events and disasters have become more frequent. For instance, less than 50 significant events were recorded per year over the period 1970-1985, while there have been around 120 events recorded since 1995. Drought has long been one of the most worrying environmental issues. But while African countries have been the main affected so far, the whole world is now facing increasingly frequent and prolonged droughts. Chile, India, Australia, United States, France and even Russia are all regions of the world suffering from the acceleration of the global drought. Droughts are slowly evolving natural hazards that can last from a few months to several decades and affect larger or smaller areas, whether they are small watersheds or areas of hundreds of thousands of square kilometres. In addition to their direct effects on water resources, agriculture and ecosystems, droughts can cause fires or heat waves. They also promote the proliferation of invasive species, creating environments with multiple risks, worsening the consequences on ecosystems and societies, and increasing their vulnerability. Although these are natural phenomena, there is a growing understanding of how humans have amplified the severity and impacts of droughts, both on the environment and on people. We influence meteorological droughts through our action on climate change, and we influence hydrological droughts through our management of water circulation and water processes at the local scale, for example by diverting rivers or modifying land use. During the Anthropocene (the present period when humans exert a dominant influence on climate and environment), droughts are closely linked to human activities, cultures, and responses. From this scientific overview, it may be concluded apocalyptic scenario is not only a literature genre inspired from the pure imagination. Instead, many scientific arguments are in favour of this dramatic destiny of Homo Sapiens Sapiens. Fig.2. Sea level rise from 1880 to 2020: a possible apocalyptic scenario (www.globalchange.gov, 2021) Apocalyptic genre in recent writing As the original landmark of apocalyptic writing, we must place the destruction of the Temple of Jerusalem in 587 BC and the Exile in Babylon. Occasion of a religious and cultural crossing with imprescriptible effects, the Exile brought about a true rebirth, characterized by the maintenance of the essential ethical, even cultural, of a national religion, that of Moses, kept as pure as possible on a foreign land and by the reinterpretation of this fundamental heritage by the archaic return of what was very old, both national traditions and neighbouring cultures. More precisely, it was the place and time for the rehabilitation of cultures and the melting pot for recasting ancient myths. This vast infatuation with Antiquity, remarkable even in the vocabulary used, was not limited to Israel: it even largely reflected a general trend. The long period that preceded throughout the 7th century BC and until 587, like that prior to the edict of Cyrus in 538 BC, was that of restorations and rebirths, of returns to distant sources and cultural crossings. In the biblical literature of this period, one is struck by the almost systematic link between, on the one hand, a very sustained mythical reinvestment even in form and, on the other, the frequent use of biblical archaisms. The example of Shadday, a word firmly rooted in the Semites of the Northwest and epithet of El in the oldest layers of the books of Genesis and Exodus, is most eloquent. This term reappears precisely at the time of the Exile as a designation of the divinity of the Patriarchs and of the God of Israel; Daily, ecological catastrophes now describe the normal state of societies exposed to "risks", in the sense that Ulrich Beck gives to this term: "the risk society is a society of catastrophe. The state of emergency threatens to become a normal state there1”. Now, the "threat" has become clearer, and catastrophic "exceptions" are proliferating as quickly as species are disappearing and climate change is accelerating. The relationship that we have with this worrying reality, to say the least, is twofold: on the one hand, we know very well what is happening to us; on the other hand, we fail to draw the appropriate theoretical and political consequences. This ecological duplicity is at the heart of what has come to be called the “Anthropocene”, a term coined at the dawn of the 21st century by Eugene Stoermer (an environmentalist) and Paul Crutzen (a specialist in the chemistry of the atmosphere) in order to describe an age when humanity would have become a "major geological force" capable of disrupting the climate and changing the terrestrial landscape from top to bottom. If the term “Anthropocene” takes note of human responsibility for climate change, this responsibility is immediately attributed to overpowering: strong as we are, we have “involuntarily” changed the climate for at least two hundred and fifty years. Therefore, let us deliberately change the face of the Earth, if necessary, install a solar shield in space. Recognition and denial fuel the signifying machine of the Anthropocene. And it is precisely what structures eco-apocalyptic cinema that this article aims to study. By "eco-apocalyptic cinema", we first mean a cinematographic sub-genre: eco-apocalyptic and post-eco-apocalyptic films base the possibility (or reality) of the end of the world on environmental grounds and not, for example, on damage caused by the possible collision of planet Earth with a comet. Post-apocalyptic science fiction (sometimes abbreviated as "post-apo" or "post-nuke") is a sub-genre of science fiction that depicts life after a disaster that destroyed civilization: nuclear war, collision with a meteorite, epidemic, economic or energy crisis, pandemic, alien invasion. Conclusion Climate and politics have been linked together since Aristotle. With Montesquieu, Ibn Khaldûn or Watsuji, a certain climatic determinism is attributed to the character of a nation. The break with modernity made the climate an object of scientific knowledge which, in the twentieth century, made it possible to document, despite the controversies, the climatic changes linked to industrialization. Both endanger the survival of human beings and ecosystems. Climate ethics are therefore looking for a new relationship with the biosphere or Gaia. For some, with the absence of political agreements, it is the beginning of inevitable catastrophes. For others, the Anthropocene, which henceforth merges human history with natural history, opens onto technical action. The debate between climate determinism and human freedom is revived. The reference to the biblical Apocalypse was present in the thinking of thinkers like Günther Anders, Karl Jaspers or Hans Jonas: the era of the atomic bomb would mark an entry into the time of the end, a time marked by the unprecedented human possibility of 'total war and annihilation of mankind. The Apocalypse will be very relevant in describing the chaos to come if our societies continue their mad race described as extra-activist, productivist and consumerist. In dialogue with different theologians and philosophers (such as Jacques Ellul), it is possible to unveil some spiritual, ethical, and political resources that the Apocalypse offers for thinking about History and human engagement in the Anthropocene. What can a theology of collapse mean at a time when negative signs and dead ends in the human situation multiply? What then is the place of man and of the cosmos in the Apocalypse according to Saint John? Could the end of history be a collapse? How can we live in the time we have left before the disaster? Answers to such questions remain unknown and no scientist can predict the trajectory of this Great Acceleration taking place at the Late Anthropocene. When science cannot give answers, Man tries to infer his destiny for the legend, religion and the fiction. Climate Fiction is developed into a recording machine containing every kind of fictions that depict environmental condition events and has consequently lost its true significance. Aware of the prospect of ecological collapse additionally as our apparent inability to avert it, we tend to face geology changes of forceful proportions that severely challenge our ability to imagine the implications. Climate fiction ought to be considered an important supplement to climate science, as a result, climate fiction makes visible and conceivable future modes of existence inside worlds not solely deemed seemingly by science, however that area unit scientifically anticipated. Hence, this chapter, as part of the book itself, aims to contribute to studies of ecocriticism, the environmental humanities, and literary and culture studies. References David P.G. Bondand Stephen E. Grasby. "Late Ordovician mass extinction caused by volcanism, warming, and anoxia, not cooling and glaciation: REPLY." Geology 48, no. 8 (Geological Society of America2020): 510. Cyril Langlois.’Vestiges de l'apocalypse: ‘le site de Tanis, Dakota du Nord 2019’. Accessed June, 6, 2021, https://planet-terre.ens-lyon.fr/pdf/Tanis-extinction-K-Pg.pdf NajouaGharsalli,ElhoucineEssefi, Rana Baydoun, and ChokriYaich. ‘The Anthropocene and Great Acceleration as controversial epoch of human-induced activities: case study of the Halk El Menjel wetland, eastern Tunisia’. Applied Ecology and Environmental Research 18(3) (Corvinus University of Budapest 2020): 4137-4166 Elhoucine Essefi, ‘On the Geochemistry and Mineralogy of the Anthropocene’. International Journal of Water and Wastewater Treatment, 6(2). 1-14, (Sci Forschen2020): doi.org/10.16966/2381-5299.168 Elhoucine Essefi. ‘Record of the Anthropocene-Great Acceleration along a core from the coast of Sfax, southeastern Tunisia’. Turkish journal of earth science, (TÜBİTAK,2021). 1-16. Chiara Xausa. ‘Climate Fiction and the Crisis of Imagination: Alexis Wright’s Carpentaria and The Swan Book’. Exchanges: The Interdisciplinary Research Journal 8(2), (WARWICK 2021): 99-119. Akyol, Özlem. "Climate Change: An Apocalypse for Urban Space? An Ecocritical Reading of “Venice Drowned” and “The Tamarisk Hunter”." Folklor/Edebiyat 26, no. 101 (UluslararasıKıbrısÜniversitesi 2020): 115-126. Boswell, Suzanne F. "The Four Tourists of the Apocalypse: Figures of the Anthropocene in Caribbean Climate Fiction.". Paradoxa 31, (Academia 2020): 359-378. Ayt Ougougdal, Houssam, Mohamed YacoubiKhebiza, Mohammed Messouli, and Asia Lachir. "Assessment of future water demand and supply under IPCC climate change and socio-economic scenarios, using a combination of models in Ourika Watershed, High Atlas, Morocco." Water 12, no. 6 (MPDI 2020): 1751.DOI:10.3390/w12061751. Wu, Jia, Zhenyu Han, Ying Xu, Botao Zhou, and Xuejie Gao. "Changes in extreme climate events in China under 1.5 C–4 C global warming targets: Projections using an ensemble of regional climate model simulations." Journal of Geophysical Research: Atmospheres 125, no. 2 (Wiley2020): e2019JD031057.https://doi.org/10.1029/2019JD031057 Khan, Md Jamal Uddin, A. K. M. Islam, Sujit Kumar Bala, and G. M. Islam. "Changes in climateextremes over Bangladesh at 1.5° C, 2° C, and 4° C of global warmingwith high-resolutionregionalclimate modeling." Theoretical&AppliedClimatology 140 (EBSCO2020). Gudoshava, Masilin, Herbert O. Misiani, Zewdu T. Segele, Suman Jain, Jully O. Ouma, George Otieno, Richard Anyah et al. "Projected effects of 1.5 C and 2 C global warming levels on the intra-seasonal rainfall characteristics over the Greater Horn of Africa." Environmental Research Letters 15, no. 3 (IOPscience2020): 34-37. Wang, Lawrence K., Mu-Hao Sung Wang, Nai-Yi Wang, and Josephine O. Wong. "Effect of Global Warming and Climate Change on Glaciers and Salmons." In Integrated Natural Resources Management, ed.Lawrence K. Wang, Mu-Hao Sung Wang, Yung-Tse Hung, Nazih K. Shammas(Springer 2021), 1-36. Merschroth, Simon, Alessio Miatto, Steffi Weyand, Hiroki Tanikawa, and Liselotte Schebek. "Lost Material Stock in Buildings due to Sea Level Rise from Global Warming: The Case of Fiji Islands." Sustainability 12, no. 3 (MDPI 2020): 834.doi:10.3390/su12030834 Hofer, Stefan, Charlotte Lang, Charles Amory, Christoph Kittel, Alison Delhasse, Andrew Tedstone, and Xavier Fettweis. "Greater Greenland Ice Sheet contribution to global sea level rise in CMIP6." Nature communications 11, no. 1 (Nature Publishing Group 2020): 1-11.

All rights of children equate with the right to a life-sustaining biosphere. Climate change disproportionately harms children and profoundly threatens their future. Dystopian futures portrayed in cli-fi films illustrate the dangers but also may contribute to paralysis in the face of rapidly increasing global warming. Intergenerational equity frames our duty to future generations. A child-led lawsuit, if successful, will hold the state to its duty to safeguard natural resources. A new corporate paradigm is essential. Central to all strategies is hearing the child.

L’ultima bambina d’Europa (The Last Girl of Europe), written by Francesco Aloe, is a captivating example of Italian cli-fi. Inspired by Pulitzer-prizewinning American novel The Road by Cormac McCarthy, L’ultima bambina d’Europa narrates the story of a young Italian family traveling southbound in an exhausting voyage toward Africa; presumably, there the sun is still visible, the wind is softly blowing, and water and food supplies have not run out, at least, not yet. In this article, I will analyze some of the main cli-fi topoi and I will connect them to the narrative and rhetorical construction employed by the author. Specifically, I will focus on the effect of estrangement, which will encourage readers to embrace a less anthropocentric gaze. Through the perspective of the main protagonists - mother, father and their daughter Sofia - readers will become aware of the gluttonous nature of capitalism that functions only for a few. In their voyage, these three characters traverse a barren and devastated landscape void of temporal and spatial references. However, in this unspecified gloomy future scenario, readers will recognize the ruins of our current society and of our petroculture, heavily influenced by the American model of consumerism. Sofia’s parents, who seem to suffer from “petro-melancholia” (LeMenager, Living Oil 102), recollect nostalgically the petrochemical culture in which they grew up. This is in stark contrast with Sofia’s perspective; she has no recollection of a capitalist society. Finally, this analysis will underline Aloe’s prowess in situating death among the living, the place where it rightfully belongs.

A frequent trope in apocalyptic literature is a war between time and knowledge. Focusing on Rita Indiana’s “cli-fi” novel La mucama de Omicunlé (Omicunlé’s Maid), this essay explores the ambiguous role that uncertainty plays in apocalyptic literature. It argues that time travel seeks to revert the result of negative actions in the past, eliminating uncertainty retrospectively. And yet moral freedom, the mark of the human, requires uncertainty to function, which thwarts time travel as a messianic genre. Yet even in failure, time travel reminds us that impending disaster is contingent on specific individual and collective action, suggesting that the future could still perhaps be otherwise.

Este artículo analiza algunos relatos de ciencia ficción de escritoras costarricenses de 1989 en adelante, aunque es a partir de 2009 cuando en Costa Rica se comienza a generar una importante cuota de antologías de este género. Los textos seleccionados se han agrupado en tres categorías temáticas: Cli-Fi y escenarios apocalípticos-postapocalípticos, organismos “artificiales” y eugenesia, y distopía feminista. El objetivo es organizar la producción de relatos de ciencia ficción de escritoras costarricenses para poder ubicarlos en el mapa de la ciencia ficción latinoamericana, donde predomina la denominada “ciencia ficción blanda”, inclinada a problematizar situaciones o preocupaciones en el terreno de las ciencias sociales.

Impactful communication remains a vexing problem for climate science researchers and public outreach. This article identifies a range of moving images and screen-based media used to visualize climate change, focusing especially on the Arctic region and the efforts of the United Nations. The authors examine the aesthetics of big data visualization of melting sea ice and glaciers made by NASA and similar entities; eye-witness, expert accounts and youth-produced documentaries designed for United Nations delegates to the annual COP events such as the Youth Climate Report; Please Help the World, the dystopian cli-fi narrative produced for the UN’s COP 15; and Isuma TV’s streaming of works by Indigenous practitioners in Nunavut.

What can the poetic or experimental mode of documentary contribute to the discourses of the New Taiwan Documentaries, particularly the ones that address everyday eco-disasters in the Pacific Rim during the climate change era? In this article, I use Huang Hsin-yao’s Daishui yun (Nimbus) (2009) and Shenmei zhi dao (Taivalu: Taiwan vs. Tuvalu) (2010) as case studies of what I call ‘cli-fi ethnographic documentary’. These documentaries demonstrate that the employment of the poetic documentary mode, as a filmic strategy, provides a different outlet to address the tension, for example, between planetary suffering, eco-aesthetics, human psychological adaptability and environmental justice. Here the Taiwanese directors dare to imagine a broader, deep-time, more-than-human multispecies world, affect and aesthetics, while not eschewing the question of justice, accountability and causality.

This article discusses two instances of ‘Anthropocene fiction’ (Trexler, 2015: 4) that engage with the environmental crisis that industrial modernity has generated: Richard Jefferies’ After London (1885), and Robert Harris’ The Second Sleep (2019), which both depict a future in which technological civilisation has collapsed, and the non-human world is resurgent. Like climate change fiction, or cli-fi, these novels are concerned with the elusive and unpredictable environmental risks that modern societies inadvertently create, and with finding ways to negotiate the representational challenge of those risks; unlike many instances of climate change fiction, however, these novels do not set out to warn their readers of what is to come, or lament the disaster they depict. They are instead concerned with the legacy of technological civilisation – a legacy of risk and uncertainty – and the question of whether that legacy can ever be escaped. Neither novel offers an answer; but nor do they foreclose its possibility.

In the late 20th and early 21st centuries, the narratives about a possible environmental collapse and its consequences have multiplied. This is due to a growing awareness about issues such as climate change or the energy crisis. The so-called ‘climate science fiction’ or cli-fi has reflected these concerns in highly successful films, like the two analysed here: The Day After Tomorrow (2004) and The Day the Earth Stood Still (2008), a remake of the 1951 classic. In this paper, I approach both films through an analysis of their plot and narrative structure, focusing mainly on the evolution of their main characters and storylines. I argue that these mainstream productions avoid any examination of the actual causes of the environmental crisis, turning it into a matter of individual responsibility based on Judaeo-Christian values such as guilt and redemption, especially those about the apocalypse.