In the past decade, there has been increasing scholarly interest in language teachers’ emotional experiences, how they regulate and manage their emotions, and how their experiences and emotion-related practices are related to their cognition, practice, well-being, and professional development. A systematic and critical review is needed to help language teaching professionals to benefit from the insights generated by these studies. This review aims to explore this growing body of research on the emotions of language teachers published between 2015 and 2024 by outlining four major research themes: 1) emotional experience; 2) emotion labour; 3) emotion regulation; and 4) emerging emotion-related concepts. This review critically discusses these themes and draws on relevant research findings to visualise the results in an emotion-focused map of language teachers’ professional development. It concludes by proposing a research agenda to stimulate further inquiry into the emotions of language teachers.

Impending doom. Fire, drought, floods. This is the image of the environmental future our young people are shown and often set the challenged of “What are you going to do about it.” This is an enormous quest. It is directionless ambition without structure. It is the illusion of agency for change. This article showcases the design decisions of curricula and reflections on using of range of cli-fi and concludes with a set of continua that may help fellow educators in developing cl-fi learning activities including storytelling cards, design sprints, and sci-fi prototyping. They are iterations in the reflective approach to creating experiences that envision positive outcomes. These activities draw on research from the Australian Research Council Centre of Excellence for Plants for Space (P4S), which explores sustainable agriculture in extreme environments, like lunar habitats. P4S operates at the intersection of plants, people, technology, and sustainability, fostering critical and creative thinking. By framing sustainable futures in space context, we aim to alleviate environmental anxiety, encourages optimistic, innovative thinking, unconstrained by biological and societal norms. Climate fiction becomes a tool for imagining and realising new technologies, enabling students to create and critique possibilities beyond Earth’s current limitations.

Robin perches on a branch overlooking small humans below who are sat around a campfire. Robin notices. Robin responds. What happens when we notice Robin noticing us?

I land with a thud on the floor of the school and scurry off behind a chair, climb the walls, move away, camouflaging. I sense in ways intangible, magical, unknown.

This paper contributes to the emerging field of Posthumanist Climate Fiction (Posthuman Cli-Fi) by proposing practice-as-research-as-pedagogy for educational futures. This practice involves a generative, relational process of creative writings with more-than-human collaborators in everyday encounters in educational settings. Situated within the entangled realities and speculative futures of climate change, Posthuman Cli-Fi challenges the anthropocentric tendencies of traditional Climate Fiction by decentring human experiences and foregrounding relational ontologies. Drawing on our research in two distinct educational contexts—an urban forest school in London and a wall-less school in Bali—we explore how creative writing practices can engage with the stormy contours of living and educating with pastpresentfutures. Posthuman Cli-Fi offers a situated practice that creates possibilities for attuning to and attending to our shared worlds, offering pathways towards more response-able educational futures.

This article develops a model to explain the emergence and persistence of shared memory, providing a practical toolkit for empirical research in memory studies. It begins with a review of the concepts of individual and collective memory, highlighting their limitations. In response, the article introduces two alternative concepts – subjectivised memory and hegemonic memory – that capture the interdependence of individual and collective memory while moving beyond their dichotomy. These concepts form the theoretical basis of the proposed model. The article applies the model to the example of Holocaust remembrance in Germany, illustrating how memory becomes hegemonic and persists over time.

This study investigated the interaction between oral task enjoyment and task repetition and the effect of this interaction on second language learners’ speech complexity, accuracy, and fluency. In the context of task-based language teaching, task enjoyment is a context-specific, situational emotion that arises during task performance and is hypothesised to enhance engagement, motivation, and overall task performance, whereas task repetition is a classroom procedure shown to improve fluency, and possibly also complexity and accuracy. Fifty-two Polish young adult learners of L2 English completed the Oral Task Enjoyment Scale before exact task repetition. Their oral task performances were analysed before and after immediate exact task repetition. Results from Generalized Linear Model analysis reveal that 1) task repetition enhances lexical diversity and marginally improves fluency, 2) higher levels of oral task enjoyment positively influence learners’ lexical diversity, correct verb forms, and speech rate, yet 3) its interaction with task repetition is not significant, suggesting that task repetition benefits are consistent across different levels of enjoyment. These findings imply that task repetition is an effective strategy for improving language performance, regardless of learners’ emotional engagement with the task.

In this paper we theorise climate fiction in the context of Dirrayawadha: Rise Up, by Anita Heiss (2024). Dirrayawadha: Rise Up is a literary novel that narratises historical truths in a dialogic encounter. Through an exploration of love, resilience and resistance, the novel recounts early moments of invasion while simultaneously revealing the links between colonial violence and environmental crisis. We examine four excerpts from the novel to illustrate how the narratisation of historical truths and usage of literary devices and language works. We also show how the translanguaging in the novel, where some sections shift between English and Wiradyuri, enable the text to transcend some of the limitations of English. The novel reveals how the genesis of environmental crisis in so-called Australia begins in the first moments of invasion. Heiss (2022) argues the need for settlers to read more First Nations writing as a form of truth-listening (Kwaymullina, 2020).

The signals and consequences of, and currently overall eco-socio-cultural inadequate responses to, the pressing climate and biodiversity crises of the Anthropocene foster a landscape of repression, hopelessness and anxiety among many, not least young people. As young people today seem to primarily encounter dystopian future narratives, this article tells a story about how playing an open-ended, solarpunk, character-driven cli-fi tabletop roleplaying game together with young people might nurture non-dystopic engagements. Designed as both a research and educational playspace, the game invites participants to become co-researchers and co-narrators engaged in imagining life-friendly futures, attempting to push the boundaries of environmental and sustainability education research. In conversation with the theoretical inspirations of the game — post-Anthropocene pedagogy, climate literacy research and SF multispecies storytelling — the article discusses insights from the first prototype playtests. When the game flows, it produces engagements with speculative futures and understandings of hope’s relational and complex character. When it halts, it reveals challenges around participation, social context and setting, pointing to directions for further research and game alterations.

This article explores multispecies climate fiction as a mode of inquiry that speculates-with other-than-humans. To explore cli-fi’s potential in research, I position speculative fiction in the field of research-creation, a praxis that combines artistic exploration with scholarly inquiry. Adopting a research-creation approach, I wrote the multispecies cli-fi story Canopy of the Hidden Alley. The story emerged from the Multispecies City Lab project, a participatory research project that invited participants to imagine multispecies life in urban areas affected by climate change. I engaged creatively with the research findings of the Multispecies City Lab project, using participants’ imaginaries as a proposition to write the cli-fi story. In this article, the story Canopy of the Hidden Alley is presented alongside methodological reflections on speculative fiction and research-creation, as well as theoretical conceptualizations of what it means to speculate-with other-than-humans in climate fiction. This article discusses the potentiality of speculative fiction as a form of research-creation, demonstrating how creative writing enabled deeper engagement with issues of identity and positionality, social and relational hierarchies and the interplay of multiple temporalities, which guided toward new understandings of multispecies entanglements in the context of climate change and speculative climate futures.

This article examines the representation of climate as hyperobject — described by Timothy Morton as something that is “massively distributed in time and space relative to humans” (Morton (2013) Hyperobjects: Philosophy and ecology after the end of the world. University of Minnesota Press, p. 1) — in fantastique genres (inclusive of fantasy, speculative and science fiction, horror, supernatural and New Weird genres) that arguably characterised climate fiction’s beginnings. By positioning such climate fictions within “the literature of the impossible” (Boucher (2024) The specificity of fantasy and the “affective novum”: A theory of a core subset of fantasy literature. Literature, 4(2), 101–121), I investigate the difference between what might be considered more speculative climate fictions and the increasingly common, more realist and literary cli-fi narratives. In other words, I discuss what, now, is the “use” of the speculative and the fantastic in climate fiction when climate crisis itself is indeed real and far from “impossible.” Discussing N.K. Jemisin’s fantasy series The Broken Earth (2015–2017) and Jeff VanderMeer’s horror/New Weird series Southern Reach (2014–2024), I argue that “climate-fantastic” novels are well-positioned to narrativise climate change as a hyperobject due to the ability of speculative, fantastic genres to exceed the limitations of Western-capitalist-colonial storytelling practices. I also consider the role of speculative climate fictions in education, including the importance of reading, studying and writing into the speculative alongside the realist when it comes to climate crisis.

This essay begins by reviewing the theoretical debates within literary-critical “ecocriticism” over what Paul J. Crutzen and Eugene Stoermer termed the “anthropocene” and what Jason Moore terms the “capitalocene.” It explains how those debates are implicated in recent climate fiction, which Daniel Bloom dubs “cli-fi.” These debates have direct implications for the possibilities and prospects for environmental education, insofar as both “high” literature and “popular” fiction remain important objects of educational practice. The essay proceeds to a critical account of the climate fictions of the Californian science fiction writer Kim Stanley Robinson, arguably the leading contemporary Anglophone cli-fi writer, whose work regularly features in environmental education programmes.

This article examines the transformative potential of the 2CG® (Content- and Context-specific Generic Competency Coaching) method in advancing climate education across disciplines, hierarchies, and cultures. Drawing on case studies and theoretical insights, it demonstrates how this multi-method approach deepens emotional engagement through imagination, challenges entrenched behaviours, and supports the development of climate-responsive competencies. By integrating polyphonic storytelling, poetry, the arts, and climate fiction, the 2CG® framework empowers learners to critically engage with ecological issues and adopt climate-conscious behaviours. Central to the approach is the co-creation of climate imaginaries — transformative narratives that interweave human and more-than-human perspectives to foster deep reflection, relational awareness, and contextually grounded action. Overall, this pedagogical model cultivates the cognitive, emotional, and dialogical capacities learners need to navigate complexity and contribute meaningfully to just and regenerative transitions.

Reworlding (Haraway, 2016, Staying with the trouble: Making kin in the Chthulucene. Durham, Duke University Press) underscores the significance of Indigenous cosmologies that perceive time and place through circular, recursive and reciprocal relationships. This recognition acknowledges the perpetual regeneration and transformation of the world, which flourishes through novel ways of worlding. Moving away from dystopian-utopian binaries in climate fiction (Cli-Fi), genres of hopepunk and solarpunk align with the collective and affirmative ethos of reworlding and its near-future grounded relationality. Climate Change Education (CCE) is situated in relation to the impacts of climate emergency on cities through urban play, opening up an opportunity for collective and collaborative live-action futuring for better worlds by reworlding together. These methods were developed through the design of a climate action game experienced through live-action role-play in a Carlton street closed for two days in Naarm Melbourne. The game design responds to cascading impacts of the climate emergency on the city in 2050 as it becomes a megacity of 8 million residents. Thematically, this fiction explores how we might live well together while players are invited to experience this scenario by learning how to reworld a neighbourhood together. Through this case study, the capacity of Cli-Fi and CCE to dream alternate social imaginaries are explored via urban role-play.