2025/01/02 by Lieven Raymaekers · 1 voice
Arts and Humanities · Environmental Science · #Ecocriticism and Environmental Literature #Marine animal studies overview #Narrative Theory and Analysis
paper · doi:10.1080/17526272.2024.2436759
openalex publication_date 2025/01/02 · openalex created_date 2025/10/10 · openalex updated_date 2026/06/15
Through an analysis of Denys Rayner’s The Enemy Below (1956) and Rick Campbell’s Ice Station Nautilus (2016), this article demonstrates that military submarine novels critically reflect on the entanglements between technology, human agency, and (acoustical) imaginations of the ocean. After all, crew members must rely on advanced technologies to traverse and survive in the inhospitable subaqueous space. Moreover, as light does not travel through water, perception in this underwater world depends on auditory technology. Operators of these sonic technologies (such as hydrophones and sonar) often function as recognizable figures familiarizing audiences with the intricate technology and knowledge necessary to render this inaccessible space comprehensible. Examining depictions of these operators, this paper argues that delineating their (technological) sensorium is key not only in understanding the aforementioned novels’ narrative structure and the aesthetics of the submarine soundscape, but also in determining the precarious position of the human subject in this technological environment.