Understanding the interaction between people and the environment is one of the issues facing contemporary society. In recent dramatic works, the reflection on sustainability and ecological preservation as a crucial necessity in contemporary society has taken center stage. A case in point is Laura Wade’s Colder Than Here (2005), in which the protagonist, Myra, who is diagnosed with terminal cancer, opts for a green burial, causing incredulity in her family members. In the play, the destruction of the environment is necessarily reflected in the crisis of human relations: discussing human disconnection from the environment necessitates examining the disruption of family and community ties. Wade’s play is preoccupied with two fundamental issues: first, it challenges the dominant framing of death, which aims at separating oneself from the physical/natural process of dying. This natural process is replaced by death management practices in which nature and physicality are denied. Second, Myra’s eco-friendly choice is presented by Wade as the sole means by which family bonds can be revived: in reality, it is only through a reconnection with the environment and nature that human relationships can thrive and become meaningful. Drawing on Conversation Analysis, this paper seeks to demonstrate how discourse on sustainability in drama can open up new avenues for investigating human existence and relationships, challenging dominant frames of death and end-of-life decisions.

中文翻译：

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语言、自然和死亡的框架：对劳拉·韦德 （Laura Wade） 的《比这里更冷》的生态风格分析


理解人与环境之间的相互作用是当代社会面临的问题之一。在最近的戏剧作品中，对可持续性和生态保护作为当代社会重要必需品的反思占据了中心位置。一个很好的例子是劳拉·韦德 （Laura Wade） 的《比这里更冷》（2005 年），其中被诊断出患有晚期癌症的主人公迈拉 （Myra） 选择了绿色葬礼，这引起了家人的怀疑。在剧中，环境的破坏必然反映在人际关系的危机中：讨论人类与环境的脱节需要审视家庭和社区纽带的破坏。韦德的戏剧全神贯注于两个基本问题：首先，它挑战了死亡的主导框架，该框架旨在将自己与死亡的物理/自然过程分开。这种自然过程被否认自然和物质性的死亡管理实践所取代。其次，韦德将 Myra 的环保选择作为恢复家庭纽带的唯一手段：实际上，只有通过与环境和自然的重新联系，人际关系才能蓬勃发展并变得有意义。借鉴对话分析，本文试图展示关于戏剧中可持续性的讨论如何为研究人类存在和关系开辟新的途径，挑战死亡和临终决定的主导框架。