Blue Humanities is one of the most enthralling and important areas of emergent research in disciplines ranging from history to visual arts, to cultural and literary studies. In 2009, literary scholar Steve Mentz coined the phrase “blue cultural studies” or “blue humanities”—thereby providing a platform for the collective work of an increasing number of scholars who had shifted their attention from land to ocean, and from the surface to what lies below and is characterized by disciplinary fluidity, interdisciplinary environmental studies, science studies, and more. Blue Humanities scholars as Dan Brayton, Steve Mentz and Hester Blum use the ocean as a lens to advocate a shift from the frequent use of watery metaphors to focus on the ocean as a material and social entity, advancing studies that take the vantage point of those whose lives relate to and are determined by the ocean. The academic research area of the Blue Humanities applies critical tools, such as those of literature, cultural studies, and history, to oceanic contexts. Scholars from a variety of backgrounds have demonstrated how the world’s oceans challenge dominant epistemologies demanding new approaches that are both contingent and interdisciplinary. From Homer’s Odyssey to Life Between the Tides: In Search of Rockpools and other Adventures along the Shore and Sea Room by Adam Nicolson and finally to The Ocean Speaks: A Photographic Journey of Discovery and Hope by Matt Porteous, the ocean has always captivated the imagination of poets, writers, and artists alike.  At a time of extreme weather, melting polar caps, maritime pollution, and oceanic biodiversity loss, one perceives innumerable artistic and activist actions dedicated to water. Yet there is still a lack of comprehensive cultural and literary analysis of increased interest in water resulting from the climate crisis and an urgent need to change our attitude towards nature. 

Blue Humanities arose as part of a broader environmental turn in the humanities, one that sought to understand humanity’s relationship with nature beyond terrestrial boundaries. By drawing on a diverse range of fields such as oceanography, marine biology, maritime history, and ecology, scholars within the Blue Humanities advocate for a critical re-evaluation of our relationship with the oceans. This transdisciplinary approach encompasses everything from literature and cultural studies to the social sciences and natural sciences, and it pushes for a holistic understanding of the ocean’s impact on human life.

Steve Mentz’s coining of the term “Blue Humanities” marked a significant departure from previous conceptions of the ocean as a mere backdrop to human activity or an unknowable, alien expanse. Instead, the ocean is positioned as a central and active participant in human history and culture. This shift is notable in that it challenges long-standing epistemologies that have privileged land-based perspectives (often referred to as “terrestrial thinking”). By focusing on the ocean, scholars are advancing new ways of thinking that are contingent, interdisciplinary, and deeply informed by ecological awareness.

One of the defining characteristics of the Blue Humanities is its emphasis on the ocean as a material entity—an element that shapes and is shaped by human activity. Rather than relying on abstract or metaphorical interpretations, scholars such as Hester Blum and Dan Brayton encourage a deeper engagement with the ocean as a living, dynamic space that fosters social relations, politics, and cultural expression. From ancient epics to modern narratives, the ocean has captivated the imagination of writers, artists, and thinkers across cultures and time periods. However, Blue Humanities aims to push beyond this fascination and investigate the material realities of ocean life, including its role in shaping human history and identity.

This approach to the ocean necessitates a rethinking of long-standing assumptions about the human-nature divide. As scholars move away from ‘terra-centrism’—a term coined by historian Markus Rediker to describe the land-focused bias in scholarship—they reveal the ocean as a site for the making and unmaking of social relations, identity formation, and even politics. The ocean becomes a vantage point from which to reconsider our understanding of law, economics, and militarization, as well as a stage for cultural reflection. This reconsideration of the ocean is especially critical in the context of anthropogenic climate change, where rising sea levels, pollution, and acidification are threatening marine ecosystems at an alarming rate.

One of the core strengths of the Blue Humanities is its inherently interdisciplinary nature. This approach is essential because the challenges facing the world’s oceans—such as plastic pollution, oil spills, overfishing, acidification, and climate change—are multifaceted and require comprehensive solutions. Humanities scholars, in particular, have a unique role to play in this endeavour. By applying critical tools from literature, cultural studies, and history, these scholars can provide valuable insights into how societies have interacted with the ocean throughout history. They can also advocate for the need to shift public attitudes toward the ocean, encouraging greater environmental awareness and activism. In this way, Blue Humanities serves as a bridge between the sciences and the humanities, fostering a dialogue that is necessary to address the ecological crises facing the world’s oceans.

The historical dimension of Blue Humanities cannot be overstated. From ancient maritime civilizations to modern-day ocean exploration, human history has been deeply intertwined with the ocean. Yet, until recently, the ocean has often been treated as an afterthought in historical studies, seen primarily as a space to be traversed rather than as a site of cultural or historical significance in its own right. This historical neglect is slowly being rectified by scholars in  Blue Humanities. For example, early modern European explorers may have crossed the world’s oceans, but their focus was often on the land they reached, not the waters they travelled. It wasn’t until the rise of maritime history in the 19th and 20th centuries that the ocean itself began to receive serious scholarly attention. Even so, much of this early work focused on naval history, shipbuilding, and trade, rather than on the ocean as a material and social space.

In recent years, however, there has been a growing interest in the historical relationship between humans and the ocean. Studies of Atlantic and Mediterranean history, for example, have revealed the crucial role that oceans played in shaping early modern global trade networks and colonial expansion. Similarly, the history of science has illuminated how early modern voyages contributed to the development of ecological thinking, as sailors and naturalists began to recognize the impact of invasive species on island ecosystems. Literature and the arts have long played a critical role in shaping cultural perceptions of the ocean. From the seascapes of J.M.W. Turner to the modernist works of Virginia Woolf and Herman Melville, the ocean has served as a powerful source of inspiration for artists and writers. These works often reflect broader societal attitudes toward the sea, capturing both its beauty and its terror, its power and its mystery. In the realm of literature, the ocean has frequently been used as a metaphor for life’s challenges and uncertainties. From Daniel Defoe’s Robinson Crusoe to Jules Verne’s Twenty Thousand Leagues Under the Sea, the sea has been a space where characters confront their fears, test their limits, and undergo profound transformations. More recently, the rise of Eco literature—a genre that blends environmental concerns with literary analysis—has led to a renewed focus on the ocean as a subject of inquiry. Writers like Rachel Carson and John Steinbeck have drawn on their personal experiences with the ocean to craft narratives that explore the complex relationships between humans and marine ecosystems. This cultural turn toward the ocean has been mirrored in visual art as well. Nineteenth-century painters such as Winslow Homer and Turner were pioneers in their representation of light, movement, and atmosphere in seascapes. Their works are now regarded as significant contributions to the development of landscape painting, and they continue to influence contemporary artists who engage with themes of environmentalism and oceanic life.

At a time when the planet is facing unprecedented ecological challenges, Blue Humanities offers a critical framework for understanding the cultural and environmental significance of the ocean. The climate crisis, marked by extreme weather events, melting polar ice caps, rising sea levels, and the loss of marine biodiversity, has brought new urgency to the study of oceanic environments. This urgency is reflected in the increasing number of artistic and activist projects dedicated to water conservation and marine protection. Yet, as scholars in Blue Humanities point out, there remains a gap in our cultural and literary understanding of the ocean. Despite the growing interest in water-related issues, there is still a lack of comprehensive analysis that addresses the complex relationships between humans and the ocean in the context of the climate crisis. This gap presents an opportunity for scholars to explore new hydro-emancipatory discourses that not only analyse the current state of the ocean but also propose new ways of thinking about our relationship with nature.

As Blue Humanities continues to evolve, it offers exciting possibilities for future research. By bringing together scholars from a wide range of disciplines, the field fosters a deeper understanding of the ocean’s role in shaping human history, culture, and identity. Moreover, Blue Humanities has the potential to inspire new forms of environmental activism, encouraging individuals and communities to take action in the face of the climate crisis. In an era when the health of the world’s oceans is under threat, Blue Humanities serves as a vital reminder of the importance of interdisciplinary collaboration. Whether through historical analysis, literary criticism, or artistic expression, the field challenges us to think critically about our relationship with the ocean and to advocate for its protection. As we continue to grapple with the challenges of climate change and environmental degradation, Blue Humanities will play an increasingly important role in shaping our understanding of the world’s oceans and their place in human life.

About the book

The edited book Towards ‘Bluer’ Humanities: Oceanic Meditations in Art, Literature and Culture caters to the many new and emerging theoretical discourses in the realm of Blue Humanities, one of the most enthralling and important areas of emergent research in disciplines ranging from history to visual arts, to cultural and literary studies. The chapters in the book have been contributed by scholars from a variety of backgrounds, who have demonstrated how the oceans challenge dominant epistemologies that demand new approaches that are both contingent and interdisciplinary. It explores Blue Humanities and its representation in contemporary narratives, popular culture and visual culture from a predominantly South Asian perspective and aspires to fill the gap in emerging academic trends by exploring hydro-emancipatory discourses of Blue Humanities in the current scenario. The aim of this edited volume is to fill the gap, at least to some extent, by exploring hydro-emancipatory discourses of Blue Humanities and examine the manifold relationships between the burgeoning research area of the Blue Humanities and world literature perspectives. The chapters included in the book cater to diverse areas of Blue Humanities. The Foreword is by Prof. Steve Mentz ,renowned critic on Blue Humanities and Professor of English at St. John’s University in New York City.

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Tags: Literary Theory