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John Hewitt’s claim to ‘no female bards’ as part of the revival of what he called the rhyming weaver poets tradition narrowed the scope of scholarly interest. A variety of publications have provided a range of in-depth studies on the impact of Robert Burns in Ireland, and have done much to challenge the latter claim. However, the presence and output of Ulster-Scots women writers within this wider area of scholarship remains little known. By analysing poetry from three writers – Olivia Elder, Sarah Leech and Margaret Dixon McDougall – this article aims to advance several lesser-known eighteenth and nineteenth-century female Irish poets, add depth to the study of Ulster-Scots women’s writing, and provide a novel perspective on the relationship between Robert Burns and Ireland. Elder, who was active as a writer in the 1770s, adapts works from the eighteenth-century song tradition to satirize ‘Old Light’ Presbyterian beliefs in Ireland, arguably anticipating Burns attacks on Presbyterian church orthodoxy. Leech was a spinner living and writing in north-west Ulster in the early part of the nineteenth century, while Dixon came from a wealthy family in Co. Antrim, and emigrated to Canada in the 1840s, where she went on to become a pioneering writer and journalist. Both employ Standard Habbie in verses that ostensibly emulate Burns poems – ‘To a Mouse’ and ‘Address to the Deil’ – but which on closer inspection provide a vehicle to ruminate on moral, religious, and philosophical matters that were relevant to the unique circumstances of each author.

Jessie Greengrass’s cli-fi novel The High House (2021) is set in a near-future Britain and is chiefly dystopic in its depiction of the effects of Anthropogenic climate change on people and landscape. Set mostly in rural and coastal East Anglia, the story is noticeably devoid of urban spaces, digital technological, social media and the overall speed of modern life. Any yet, despite the rural setting, the novel’s post-apocalyptic narrative distorts any tendency towards easy pastoral associations. As Terry Gifford tells us, the long pastoral tradition is based on the paradigm of Theocritus Idylls, as “a vision of simplicity of life in contact with nature” (16). This heavily idealised representation of life in the country has been central to the Western literary tradition yet has changed dramatically in the early modern era. This paper will show how Greengrass employs traditional features of pastoral, such as a simpler, slower bucolic life, nostalgia, and a life lived in harmony with the seasons, together with more modern forms of the genre such as anti-pastoral or the harsh realities of rural life to present a form of pastoral disfigured by climate change. In addition, this paper will argue that The High House relies on elements of slowness related to Rob Nixon’s concept of “slow violence”: “a violence that occurs gradually and out of sight, a violence of delayed destruction that is dispersed across time and space, an attritional violence that is typically not viewed as violence at all.” (2) Ultimately, this paper argues that the conflation of rural slowness - a staple feature of the pastoral tradition - with the slow violence of climate change are central to the novel’s dystopic nature.  

John Lanchester’s speculative, dystopian cli-fi novel The Wall (2019) is set in a near-future Britain, where rising sea levels have led to a wall being built around the entire island. The wall is manned by Defenders to prevent those living outside the wall, the Others, from coming in. Britain of the novel has been transformed into a walled state within a climate changed Earth. Life inside the wall has been relatively little-affected by climate change, and the standard of living is somewhat similar to contemporary Britain. Beyond the wall remains largely unknown for much of the novel, since its focalisation on the protagonist Joseph Kavanagh means that as a reader we know as much as he knows: climate change has dramatically transformed whole parts of the planet and thus turned millions of people into climate refugees. Drawing on Adeline Johns-Putra’s engagement with intergenerational ethics in the context of climate change and the contemporary novel, this paper will analyse the generational elements of The Wall, in particular Kavanagh’s perspective from a near future, climate-changed earth, looking back (in anger). The paper will then make a comparative analysis between this fictional, future generation point-of-view and examples from contemporary speeches, documentary films and popular science publications, which have employed (no doubt genuinely) an imagined future generations trope, evidently designed to raise a sense of anxiety and alarm that leads to action on curbing global warming. James Hansen, Barack Obama, Al Gore, Leonardo DiCaprio and Greta Thunberg represent some of the key scientific, political and celebrity voices whose imaginative future scenarios are in many ways (fictionally) corroborated in Lanchester’s novel. This paper argues that the novel and recent climate-change discourse that employs the children-and-climate-change trope sets up a generational division (old-young, present-future) that may ultimately risk obscuring societal attitudes to climate change. 

In 2005 philosopher Glenn Albrecht coined the term “solastalgia” as a psychological response to negative and often radical environmental changes in one’s home. For Albrecht, the increasing threat from “human-induced change such as war, terrorism, land clearing, climate change, mining, rapid institutional change” to our “solace” in a home milieu is an increasing cause for a sense of loss “nostalgia”, which causes “anguish or pain (algia)”. This presentation takes its bearings from Albrecht’s concept and the transnational turn in literary studies, and thus provides a literary-critical reading of two contemporary dystopian novels, Cormac McCarthy’s The Road (2006) and John Lanchester’s The Wall (2019). These novels are examples of speculative fiction, in that they provide fictional, future scenarios or ‘future histories’, to borrow Brian Stableford’s term, which include a high degree of “rational plausibility” within these “fictional constructs”. Consequently, this presentation extends the psychological-ecological, and contemporary, notion of solastalgia into the dystopian genre in general and future depictions in The Road and The Wall specifically. Ultimately, through literary analysis this paper illustrates a move beyond solastalgia, where the physic territory of the home has shifted onto a global scale, as a response to massive ecological devastation and desolation that I will call ‘globalgia’. In other words, the term is an attempt to theorise and categorise psychological-affective responses to fictional scenarios where the entire planetary system is recognised in the pain causing loss-of-home. I will argue that this notion informs aspects of characterisation and plot in the novels and that it can in turn offer the reader an understanding of solastalgia that is more in line with the level of ‘hyperobject’ proposed by Timothy Morton.

Over the past decade, what it means to be an academic teacher of English-language literature in Swedish institutions of higher education has changed. As a result of recent political reforms, many literature staff have come to assume the role as teacher educators. To better understand the implications of this development, the article maps the academic qualifications and research interests of English staff who teach on teacher education (TEd) literature courses nationally and their attitudes to TEd teaching. The article is based on data gathered via a semi-closed questionnaire and analysed using content and discourse analysis. It shows that a majority of the study participants are PhD holders in English with a specialisation in literature. Although few staff are qualified teachers and/or are engaged in literature teaching and learning scholarship, several have school teaching experience. Respondent attitudes to the teacher educator role vary, as do the conditions for TEd teaching at different institutions. The findings suggest that respondent expertise and self-identification and their previous TEd teaching experiences are consequential for their attitudes, as is the matter of whether the role requires that they address areas, such as school-oriented teaching and learning theories and practices, in which they lack competence. These findings, the article suggests, have bearing on future strategic discussions in English studies.

This chapter addresses the use of video assignments in two English courses for Swedish preservice primary school teachers (Years 4-6). These assignments have been introduced in courses designed to improve English proficiency and to develop digital competence according to the demands of Swedish educational policy. Students prepare short videos for assignments on course content and as makeup work for missed seminars. Student evaluations have confirmed the attainment of our main goals: extended student-teacher contact time, increased oral proficiency and increased digital competence for language learning. From a teacher perspective, the video assignments provide an important complement to other student work and a basis for better understanding what students know and for assessing their oral English. An added benefit is that the format is time saving for teachers, even as it requires a high level of preparation from students.

As part of the response in the humanities to rising concerns of the human influence on the Earth system, ecocriticism - an interdisciplinary approach to the study of literature focused on ecological and environmental concerns - became a major trend in literary and cultural studies by the first decade of the twenty-first century. This period also witnessed an increase in ecocritical studies of Shakespeare's works, which have continued to proliferate. It is timely therefore to consider those individual works that have interested ecocritics and featured in ecocritical studies. This article will provide just such a consideration of Shakespeare's final play, The Tempest (1611), providing a critical review of the play's ecocritical studies thus far, and drawing attention to central ideas and common themes in the process. Finally, the article offers its own ecocritical analysis of the play, based on historical accounts of a catastrophic tidal event that took place in south-west England, in 1607.