Ecophilosophy

Some contemporary ecological fictions offer complex representations of their characters that can play an important part in developing a potentially less destructive form of human self-perception than the one dominant in the cultures in which these works are written. To understand those representations, I consider the four categories in my title in terms of a literary ecology grounded in the materiality of existence, showing how each one may be necessary but is insufficient to define an individual person. This analysis, ranging from postmodern theorists through genetic development systems theory and a variety of literary texts, leads to the conclusion that we are better served by the multiplicitous concept of being subject-identifiedbodily-selves rather than any singularity. ¤ Over the last few years and in the course of teaching a variety of environmental novels, I have had certain issues attract my attention that raise theoretical questions about the treatment of humans as agents and subjects in general, and

O progressivo avanço da crise socioecológica torna cada vez mais premente a necessidade de literalmente pararmos para pensar sobre o tipo de civilização em que estamos vivendo e quais os seus rumos possíveis. Há quase sessenta anos a Filosofia Ambiental tem se dedicado a esta tarefa, examinando criticamente as diferentes relações que vamos estabelecendo com a natureza mais que humana. Ao lado da ecologia política, os primeiros passos da filosofia ambiental se deram a partir de um esforço de articulação e avaliação das ideias e ações do movimento ecologista entre as décadas de 1960 e 70. Um olhar mais acurado sobre a peculiaridade deste contexto histórico nos permite reconhecer a nascente filosofia ambiental na confluência entre: i) o alerta ecológico disparado pela repercussão de obras como Primavera Silenciosa (CARSON, 1962); ii) a inclusão definitiva da temática do meio ambiente na política internacional através da Conferência de Estocolmo (1972); iii) um reavivamento dos ideais preservacionistas norte-americanos promovido pela contracultura. O presente artigo pretende esboçar uma genealogia deste prolífico campo de estudos ainda pouco explorado no Brasil.

Monografia w języku polskim, która ukazała się w Wydawnictwie Naukowym "Śląsk" w 2016 roku.

Spis treści:
Wstęp do ekokrytyki  17
Zagadnienia i problemy badawcze ekokrytyki  19
Przegląd polskich stanowisk wobec problematyki ekologicznej w literaturze  52
Redefiniowanie realizmu i nowe możliwości interpretacyjne  86
Niemota przyrody a realizm (post)traumatyczny  94
Słaby ludzki podmiot – miejsce na język przyrody 119
Realność ekosystemu w Placówce Prusa  121
Niezdara Dygasińskiego i sprawstwo przyrody  139
Dziecięce pomiędzy: Świat i ślepa dziewczyna Dygasińskiego oraz  Suka Reymonta  155
Nie-ludzki rodowód poezji: Leśmian  176
Splot historii i zagrożenia: głos drzew w Glorii victis Orzeszkowej  195 Zwierzęta – podmioty (nie)obecne 207
Człowiek i zwierzę – problem granicy w Dziennikach Gombrowicza  209 Ujarzmianie bestii? Walka byków Sienkiewicza  222
Relacje: Wilk, psy i ludzie Dygasińskiego  239
Próba reprezentowania zwierząt: Ostatnie historie i pisarstwo Tokarczuk  256
Moja przyjaciółka krowa – wspólne doświadczenia.  Hartwig i Brach-Czaina  272
Posthumanizm i znaczenie zwierzęcych narracji w literaturze  286 Zookrytyka i zoonarracje. Oczy tygrysa Czyżewskiego  314

Copies of E.F. Schumacher's Small is Beautiful, first published in 1973, can still be found in many libraries. And it occasionally chances as an unexpected treasure on the shelves of second-hand bookshops. Although most copies of the book were printed in paperback form, it remains one of the pivotal works of the twentieth century and carries within it the fruits of decades of considered reflection on the nature of human and planetary flourishing.

On E.F. Schumacher and Small is Beautiful offers a reflection on the life and work of Schumacher, and incorporates a number of selected excerpts from his Small is Beautiful. A Study of Economics as if People Mattered.

In The Lily in the Field and the Bird of the Air (1849), Kierkegaard presents a succinct critique of Romantic aesthetics, in line with contemporary critiques of ecocriticism and ecophilosophy, e.g. by Timothy Morton. Whereas Romantic poets see nature as a mirror of their inner thoughts and pathos, thereby divinising themselves and their creativity, Kierkegaard emphasises the authority of the Creator and the exteriority of nature. He identifies the consequences of such Romantic self-infatuation on all levels of discourse: aesthetics, ethics, epistemology and ontology, and seeks to formulate an alternative. I argue that the discourses thus represent an alternative philosophy of nature, revealing an immediate joy for the gift of being-there. Being human thus means being dependent on and embedded in nature. This makes Kierkegaard a highly relevant interlocutor for contemporary ecophilosophy and ecocriticism, as revealed by Knausgård's novel Morgenstjernen (2020). In a strange way, what I read fell together with my being. I read about the noise of the sea in the noise of the sea; I read about the whispering woods in the whispering woods; and when I read that praying is not to speak but to remain silent, because it was only in silence that the Kingdom of God could come, then the Kingdom of God came. The Kingdom of God was the moment. (Karl Ove Knausgård)¹

This is a final draft of the article published in Environmental Ethics 11 (Fall 1989): 243-258. This assessment of  the Promethean dimension of Marx's thought is accurate, but though it mentions Marx's more dialectical side and its potential implications, this aspect is seriously neglected in the article . A more balanced assessment is presented in "Marx's Natures," a draft version of which can be found on this site. This article should be read in connection with the latter one.

Climate policy, climate communication and cognitive science researches have identified that better ways of conveying the climate change story are needed; specifically, a new frame or narrative is required. There are also increasing calls for the arts and humanities to play a greater role in the ‘meaning‐making’ task around climate change. Philosopher and literary theorist Timothy Morton has created a new approach, one which frames global warming as a ‘hyperobject’. Morton's work demonstrates the value of artistic and philosophical approaches in helping people perceive climate change, as well as understand how it may feel. It opens up a potentially crucial discussion about ontology (the study of ‘Being’ and existence) illuminating the difficult emotional and conceptual territory humans must cross. His work is intended to awaken people abruptly but debate exists as to whether Morton's approach is too harsh and disempowering, or whether it is the spur required for humans to adjust cognitively and emotionally to a new climate reality. Morton's frame vividly captures human vulnerability, but his association of vulnerability with shame and humiliation is concerning. Morton's narrative style, brilliantly evocative at times, is at others contentiously obscure. While this engenders what may be a necessary experience of dislocation, it also risks rendering his more valuable ideas impenetrable to many readers.

the most extensive overview of anarchist theory and practice yet to appear. His survey of the history of ecological thought is therefore quite welcome. Nature's Web is a valuable work for anyone concerned with ecological issues, and is essential reading for those interested in the relationship of ecology to anarchist and libertarian ideas. The study is noteworthy for the broad scope of its inquiry into the roots and development of ecological thought and values.

This is an expanded version of a paper originally given at the English and Theatre Studies research seminar at Melbourne University in May 2015, and it retains its oral tone. My intention both for the original paper and for this expanded version is to provide a first introduction to the work and thought of Michel Serres. I discuss how Serres’s work has been received in the French-speaking and English-speaking worlds to date, briefly highlight the different areas in which his thought is making a decisive contribution today, and then offer reflections on what it is that characterises his writing as a whole. I finish by examining some of his recent thought in more detail, specifically his recent elaboration of an econarratology around the idea of the "Great Story" of the universe, opening the way, for the first time in history, to develop a truly universal humanism.

I think of this as one of my more significant reviews, not only due to its dealings with the underlying orientation of a major environmental philosopher but also because it is here that I say a few words about my own conception of philosophy's proper role and definition, which is similar but not identical to that of Callicott.

Czy życie może zwyciężyć? Pentti Linkola-fiński przedstawiciel alternatywy ekologicznej
Streszczenie: W niniejszym artykule zaprezentowane zostały przekonania i poglądy fińskiego przedstawiciela ekologii głębokiej, Pentti Linkoli. Postać tę należy uznać za jedną z najbardziej charyzmatycznych i radykalnych na gruncie debat oraz dyskusji, w ramach których poszukuje się sposobów walki z globalnym kryzysem ekologicznym. Linkola szans na uratowanie życia w biosferze dostrzega w zorganizowanym przymusie, zdecydowanej redukcji liczby populacji ludzkiej, zarządzanym przez silny centralny ośrodek władzy systemie autorytarnym, w skrajnym ograniczaniu społeczeństw w zakresie konsumpcji, posiadania, podróżowania czy korzystania z energii elektrycznej. Koncepcja Linkoli przesiąknięta jest negatywnymi sądami na temat odpowiedzialności i mądrości gatunku ludzkiego-stanowi ujęcie ekocentryczne, w którym przedkłada się dobro i wartość życia w ogóle nad dobro i wartość życia poszczególnych jednostek. Celem niniejszego artykułu jest przybliżenie i próba oceny jego poglądów na kwestie relacji człowiek versus przyroda w odniesieniu do koncepcji bardziej znanych w Polsce autorów. Warto bowiem zaznaczyć, że idee oraz postulaty głoszone przez Linkolę nie są obecne na gruncie rodzimego dorobku subdyscyplin nauk społecznych, których przedstawiciele koncentrują swoją uwagę na społeczno-politycznych źródłach i skutkach problemów ekologicznych we współczesnym świecie. Fakt ten decyduje o istocie oraz wartości zamierzeń badawczych sformułowanych na potrzeby artykułu.

Europe, an effective confederal municipalist Green movement in the u.s. could demonstrate an alternative way forward. Social Ecology is a comprehensive holistic conception of the self, society, and naturei. It is, indeed, the first ecological pHlosophy to present a developed approach to all the central issues of theory and practice. It sets out from the basic ecological principle of organic uni$ in dfuersity, affirming that the good of the whole can be realized only through the rich individuality and complec< interrelationship of the parts, and it applies this fundamental insight to all realms of erperience. ln affirming such a holistic approach, Social Ecology rejects the dualism that has plagued Western civilization since its beginning;s: a dualism that sets spirit against mattet soul against body, humanity against nature, subjectivity against ofiectivity, and reason against feelings; a dualism that is intimately related to the social divisions that are so certral to the history of civilizationruler versus ded, rich versus poo4 urban versus rural, "civilized" versui "savagef'male versus femalq in short, the dominant versus the dominated. ln opposition to this dualism, Social Ecology proposes a principle of ecological wlnleness, which Bookchin defines as 'a dynamic unity of diversity" in which "balance and harmony are achieved by wer-changing differentiation." As a result, "stability is a function not of simplicity and Iahn

In this article I explore the environmental ethics of perhaps the most influential figure of modern Jewish orthodoxy, Joseph Dov Soloveitchik.  In his book, The Emergence of Ethical Man, Soloveitchik presents a developmental model of environmental consciousness influenced by Max Scheler's methodology of religious anthropology. After explaining this methodology, I shall summarize analyze Soloveitchik's eco-philosophy.  In tandem, shall contextualize Soloveitchik's thought with respect to three other philosophies from which environmental theorists have often drawn: Spinoza's conception of natural law, Arne Naess's Deep Ecology and Hans Jonas's biological ethics.

Within the literary tradition of existentialism, both Camus and Sartre express strong perspectives on nature and the natural world. We should use the special insights offered by Camus to consider the possibility of a new kind of existentialist naturalism, in which human relationships with nature can be reframed and escape the negative objectification currently available.

The 6th edition of Elsinore’s CLICK Festival investigates these Quirky Ecologies that we are, and that we are only slowly becoming aware of: Rather than taking human’s allegedly exceptional ‘nature’ and its cultural-technical superiority for granted, CLICK humbly stages human nature itself as an interspecies relationship while scientific discoveries grant more and more agency to bacteria, plants, non-human animals, phytoplankton and further tiny companions as significant others. How to come to grips with anthropocentrism? Art challenges the notion of the environment as considered beneficial milieu for humans only and reconsiders concepts such as ‘body’, ‘identity’ and ‘species’ to promote ‘plantamorphizations’, multi-species entanglements and microbial selves. In times where ‘we’ are endangering both our internal and our external ecologies, Quirky Ecologies explore the relationship between environments and ‘invironments’, questioning the interplay between ‘outside’ and ‘inside’ which are becoming meaningless in today’s worldwide inside-out laboratories. They shape our gaze for human-plant communication, plastiglomerates, DIY gyn-ecology, and re-enacts molecular animals, re-greens trees, and suggests swarming ants and autonomous plastic collecting drones as intelligent alternatives to ‘us’.

Organized and moderated by Jens Hauser, with the participation of Judith van der Elst, Åsa Ståhl & Kristina Lindström, Klaus Spiess & Lucie Strecker,
Aniara Rodado, Klau Kinki, Paula Pin & Oscar Martin, Timothy Morton,
Špela Petrič and Jacob Wamberg.

You would not find the boundaries of oikos, even by travelling along every path, so deep a logos does it have. 1 It has now been almost three decades since Bill Devall and George Sessions published Deep Ecology. 2 A decade before, Arne Naess had invented the term as a useful category for classifying the outlook of "a vast number of people in all countries" 3 who have a far-reaching ecological worldview. However, it was Devall and Sessions' book that did the most to transform deep ecology into a distinctive intellectual and activist movement with the aspiration of organizing these masses of ecologically conscious thinkers and activists and having a significant impact on society. At about the same time, The Trumpeter emerged as an important voice for deep ecology in the intellectual world, and Earth First!, which had been founded a few years before, quickly adopted the perspective of deep ecology and began to spread its influence in the environmental movement.

In metamodern culture, handicraft is everywhere. As I argue, the ‘artisanal turn’ is not just a symptom of postmodern nostalgia, i.e. past ‘options’ or ‘instances’ allowed to make a second appearance. Rather, it is our very experience of time that has changed. What seemed old can appear authentically new again. Today's interest in crafts and craftsmanship thus has less to do with the idolisation of pre-industrial handicrafts by John Ruskin or the anti-industrial Arts and Crafts movement founded by William Morris than with Bauhaus. Ever since, craft has been emancipating itself from the intimacy of the studio and the corresponding closed guild mind that values only the specifics of its metier and its skills. This transformation marks less the disappearance of craftsmanship after the end of art than its development into a general media literacy. Given a certain material, what is it capable of? It was perhaps in this metamodern sense that Deleuze and Guattari, in A Thousand Plateaus, proposed the concept of the modern artist as “cosmic artisan”. I offer a mannerist genealogy for metamodern crafts and craftsmanship. Starting from tensions brought about in matter-form relationships by contemporary digital design practices, I retrospectively problematise the division of labor between design and craft at the very moment it first appeared. In this way I expose an informal or cosmic dimension in both mannerist and metamodern craftsmanship, characterized by an infinite and continuous variation of manners rather than forms. I will then develop some of the ontological, epistemological and political implications of this dimension in the light of recent developments in Theory such as New Materialism, Object-Oriented Ontology (OOO), and the care for the plastic relationality of the Self, which themselves are interpreted as expressions of a metamodern sensibility.

Der Beitrag erläutert und analysiert die Kategorie der existenziellen Gefühle. Im Zentrum steht der Ansatz von Matthew Ratcliffe, der diesen Begriff eingeführt und vor allem im Bereich einer phänomenologischen Philosophie der Psychiatrie fruchtbar gemacht hat. Sodann wird das Konzept auf einen bislang in der Philosophie der Gefühle wenig behandelten Theoriekontext bezogen: auf den „ökosophischen“ Ansatz Félix Guattaris. Eine Synthese der Perspektiven von Ratcliffe, dem Phänomenologen, und Guattari, dem Vordenker einer ökotechnisch dezentrierten Subjektivitätslehre, bietet insbesondere den Kulturwissenschaften vielfältige Anschlussmöglichkeiten. Verdeutlicht wird das für die Bereiche Affect Studies, der Kulturgeographie sowie für die postkoloniale Critical Race Theory.

This article builds on the Pierre Hadot’s and others’ suggestions that philosophy can and should constitute not only an analysis of life, but also a “way of life” concerned with actualizing how to live in accordance with an aesthetics, ethics, and logic grounded in philosophical thought. To do this, it develops two key insights taken, respectively, from Alfred North Whitehead’s process philosophy and from Charles Sanders Peirce’s pan-semiotic categoreal phenomenology, to propose a “process-relational” “eco-ethico-aesthetics” of existence.

The discussion of issues in political ecology has expanded greatly in recent times, above all as the result of growing concern about far-reaching ecological problems that seem to require an effective political response in the near future. These problems include global warming, ozone depletion, species extinction, desertification, loss of topsoil, depletion of global fisheries, disposal of nuclear waste, global population growth, environmentally-related illness, acid rain, and decline in air and water quality. Concern about disruptions caused by global climate change and the massive global loss of biodiversity has been a major impetus to debates in political ecology.

ABSTRACT: This article examines the growth of Neopaganism and Native Faith in post-Soviet Ukraine. It traces the historical development of Neopagan ideas and contextualizes their emergence within the cultic milieus of alternative religion and ethnic nationalism. It surveys the main contemporary Ukrainian Neopagan and Native Faith groups and movements, assessing their future growth possibilities and comparing them with more familiar forms of Western Neopaganism. The author argues that these Ukrainian movements have become caught up within a set of ideas which are ideologically right-wing and scientifically insup- portable, but that this represents a phase of development comparable to an earlier phase of Anglo-American Neopaganism, at least in its reliance on “alternative” scholarship and on a strong form of “identity politics.” Like those Western movements, Ukrainian Native Faith might overcome its present-day limitations, but this will be difficult as long as the coun- try continues to face the economic and political struggles within which it has recently been mired.

For Evagrius, both physical and psychological transformation are integral to spiritual transformation. A human being is essentially a nous that, as image of the Triune God, is itself triune, the anthropological triad of spirit, soul and body and the psychological triad of logistikon, thumos and epithumêtikon being its fragmented, post-lapsarian forms. All three parts of the human soul are, accordingly, in some sense nous, and the soul is the form of the body. The predominance of epithumia characteristic of the human soul is reflected in a predominantly earthy, 'thick' and contracted bodily 'mixture' which by means of diet can be transmuted to a lighter, more expansive constitution. This 'passage of the body from the bad to the superior quality' is reflected in that of the soul from passibility to impassibility and of the nous from ignorance to knowledge. Thus diet establishes the physical ground for the restoration of unity to the 'trinity of ours' that is the imago Dei, as body and soul are 'raised to the order of the nous' and the spiritual body emerges from the 'triple resurrection' of body, soul and spirit. The increasing expansiveness of the body's mixture is the correlate of the 'expansion of the heart' and is reflected phenomenologically in the passage of the nous into ever greater spaciousness and inclusivity as it 'approaches the unconcealed Divinity in itself.' Introducing his edition of Evagrius' letters, Fr Gabriel Bunge observes that 'a mystic writes not about something but from something, namely that unity that he himself has encountered and that informs his own life.' 1 Nowhere can this be seen more clearly in Evagrius than in his holistic understanding of the ascent to God as fully involving all three parts of the human person: spirit, soul and body, or in Evagrius' terms, nous, soul and body. All three rise together in a tripartite resurrection in which each finds renewal according to its particular nature, meaning that for Evagrius contemplation is rooted as much in the transformation of the body as in that of the soul. The first three sections of this paper develop an interpretation of Evagrius' anthropology, focusing respectively on the anthropological triad of nous, soul and body; the psychological triad of logistikon, thumos and epithumētikon, and the genesis of the physical body. From the latter it emerges that for Evagrius physical constitution is a function of spiritual condition and therefore mutable, and following on from this I argue in Section Four that the transformation of the body's elemental mixture forms the basis for the restoration of spiritual health to body and soul in the process that Evagrius identifies with their respective 'resurrections'. In Section Five I explain how this process continues in the contemplative ascent as the 'raising of the body and soul to the order of the nous', that is to say, the 'resurrection of the nous', and how it finds reflection in the experience of the contemplative. Finally, in Section Six I argue that Evagrius tacitly invites us to equate his 'intelligible body', as the composite of perceptible body and (fallen) soul, with Paul's 'animal body' and therefore to understand the process of 'raising of body and soul to the order of the nous' as the genesis of the spiritual body.

From the diversity of the currents in ecophilosophy we can trace three different main lines: the ethical, ontological and social approaches. In practice they are not found in a pure form and a philosopher can represent a different approach at different times. However, it may be illuminating to discuss these as separate.

This article proposes an ecophilosophy of the cinema. It builds on Martin Heidegger’s articulation of art as ‘world-disclosing,’ and on a Whiteheadian and Deleuzian understanding of the universe as a lively and eventful place in which subjects and objects are persistently coming into being, jointly constituted in the process of their becoming. Accordingly, it proposes that cinema be considered a machine that produces or discloses worlds. These worlds are, at once, anthropomorphic, geomorphic, and biomorphic, with each of these registers mapping onto the ‘three ecologies,’ in Felix Guattari’s terms, that make up the relational ontology of the world: the social, the material, and the mental or perceptual. Through an analysis of Andrei Tarkovsky’s Stalker (1979), I suggest that cinema ‘stalks’ the world, and that our appreciation of its potentials should similarly involve a kind of ‘stalking’ of its effects in the material, social, and perceptual dimensions of the world from which cinema emerges and to which it returns.

I.
Vikinški staronordijski književni likovi BALDR & FREYJA & ODIN & PROROČICA ČAROBNICA VOLVA & TOR u PJESNIČKOJ VJEŽBENICI ANALITIČKE MITOLOŠKE ČITANKE. Primjeri namijenjeni sveučilištarcima slušateljima nacionalnih jezika s književnostima: danski (eng. D), islandski (eng. I), finski (eng. F), norveški (eng. N), švedski (eng. S).
Suvremeno hrvatsko pjesništvo s motivima iz korpusa staronordijske književnosti: poetessa Marisstella Octek (Stella Levanić Čižmešija). Objavljeno u suvremenim književnim časopisima čiji su urednici RH učenjaci doktori znanosti o književnosti.
II.
Učenjačka znanstvena knjiga sveučilišnih profesora Dora Maček & Hermann Palsson &  Rudolf Simek o europskoj vikinškoj staronordijskoj mitologiji i književnosti poglavito o nacionalnoj srednjovjekovnoj islandskoj književnosti. Ocjenjivački tekst (prikaz / recenzija) predstavljačice S.L. Čižmešija.
III.
Zajedničko europsko rano srednjovjekovlje zapisano u kamenu i u kori stabala / drveća te na obrađenom i neobrađenom drvu.  Zajedničko europsko srednjovjekovlje pisano u kršćanskim skriptorijima. Umjesto čitanja i iščitavanja novih akademskih prijevoda s književnopovijesnim analizama samo Kroatistička Digresija.
IV.
Poetska Edda je duhovni sljednik (recidiv ritualnih) poganskih obreda magije a predstavlja niz tradicionalnih pučkih i dvorskih kazališnih izvedbi iz razdoblja sinkretizma. Snorrijeva Kršćanska Ekofilozofija (održivoga razvoja).
Snorrijev odgojni politički pragmatizam pri uspostavi svojeg nacionalnog programa prosvjetiteljskog kršćanskog demokratskog republikanizma.
V.
OČIŠTE
ISBN: 9781005637668    https://www.smashwords.com/books/view/1126598

Sets forth a new model for how American society has suppressed its grief over the progressive severance of its connection to the world soul over the last 60+ years, the consequences of that suppression, and the shadows projected in the form of mental health trends and indirect expressions in arts and entertainment. Concludes that we are mired in the 4th stage of collective climate grief -- climate depression -- which we are suppressing with unprecedented levels of distraction, and proposes that by acknowledging this depression and actively processing our grief, we will finally reach the last stage of climate grief -- acceptance -- which will unleash constructive and creative responses to the climate crisis, precipitating a kind of social awakening that is long overdue.

Despite more than a decade of widespread pubric discussion of "ecological crises" and,,enviro.r*arrtul problems,,, r"tfra"ti. ecological thinking has had only the *ort *u.ginal influence on contemporary society. The widespread tendenry to triviarize ecology is not limited ro its recycting Uy media, industry and politics for inclusion on their endless lists of ,.issues,,, ,,corcJrns,,, and "items on the agencra-" More disturbing irirr. ""..iii.ur treatment of ecological concep-ts by virtuallyitt tt. prevailing currents in social theory, including .,r., ih. allegldly most radical varieties.

Martin Heidegger characterized the modern world as the “age of the world picture,” an era when the world became conquered as a picture or representation set fully and clearly before our gaze. In the 1960s, the first images of the Earth from space delivered a glimpse of a world picture that was global and ecological, but also suggested humanity’s domination both of the earth (today) and of outer space (tomorrow). Fifty years later, we have not colonized other planets, but we might speak instead of an age of the world motion picture, an era when our colonization extends to imaginary planets, like the Pandora of the blockbuster film Avatar (2009) and where we see our world and ourselves in turbulent and uncontrollable motion on screens around the globe. The moving image has been with us a little over a century and in that time the world has arguably come to move faster and faster all around us. For Gilles Deleuze it was cinema that provided the greatest resource for reviving our lost “belief in this world.” This chapter asks how cinema is faring today, on the cusp of the digital era, in supporting “belief in this world” and in the universe that sustains it. I examine five films made since 1968. The year in which we received the first images of the Earth from space: 2001, A Space Odyssey (1968), Solaris (1973), Contact (1997), The Tree of Life (2011) and Melancholia (2011). Drawing on the semiotics of C. S. Pierce, I examine how images of the Earth in space have “moved” their viewers and how their use in these films facilitates new forms of global identity built on new emotional and spiritual geographies.

Dans l’immédiat après-guerre, la prise de conscience de la puissance annihilatrice des technologies militaires amène une réflexion sur la possibilité d’une destruction totale du monde. L’imaginaire de la menace, alimentée par les images de l’explosion des bombes atomiques au Japon, se diffuse dans l’art des années 1950 et 1960 ainsi que dans la philosophie contemporaine. L’étude croise les propositions plastiques de Gustav Metzger et ses nombreux écrits sur ce qu’il appelle l’« Auto-Destructive Art », un principe paradoxal de la création artistique, avec les textes du philosophe Günther Anders sur le développement du nucléaire civil et militaire : L’Obsolescence de l’homme (t.I 1956, t. II 1980), Hiroshima est partout (1982) et Violence, oui ou non (1987). L’étude s’articule autour de plusieurs réflexions communes qui inaugurent une culture survivaliste. Elle envisage d’abord la nécessité de détruire les instruments de destruction, puis aborde la question de la désensibilisation du sujet moderne dans la société capitaliste et sa faible perception de la menace globale qui pèse sur l’humanité et s’ouvre enfin sur une perspective écologique. Leur trajectoire de pensée lie donc l’extermination à l’extinction et anticipe le courant de la collapsologie en situant la civilisation industrielle dans « le temps de la fin ».

Nature has always inspired musicians and scholars. Through the imagery of nature, the basic issues of life and mental landscapes are explored and expressed. Music can reflect our experience of nature and create a sense of belonging to an environment or place. Naturalness has often served as an ideal in composing, and even the whole universe has been thought of to be composed of and reverberating musical ratios.

In the age of environmental crisis, the relationship between music and nature emerges in a new light. An environmental concern can be heard in music. The challenges of ecological sustainability are shaping music culture and music research.

This book explores these issues by studying the relationship between music/sound and nature from today’s perspective. Simultaneously the book presents the field of ecomusicology, i.e. ecocritical music research. The authors are Finnish scholars of music and culture.

ABSTRACT IN FINNISH

Luonto innoittaa musiikin tekijöitä ja tutkijoita. Luontokuvastolla ilmennetään elämän peruskysymyksiä ja sielunmaisemia. Musiikki voi kuvastaa luontokokemusta ja luoda tunteen ympäristöön tai paikkaan kuulumisesta. Luonnollisuus on usein ollut säveltämisen ihanne, ja onpa koko maailmankaikkeudenkin epäilty soivan musiikillisia lukusuhteita.

Ympäristökriisin aikakaudella musiikin ja luonnon suhde näyttäytyy uudessa valossa. Musiikissa kuuluu ympäristöhuoli. Ekologisen kestävyyden haasteet muokkaavat musiikkikulttuuria ja musiikintutkimusta.

Musiikki ja luonto paneutuu näihin kysymyksiin. Se pohtii musiikin ja äänen suhdetta luontoon nykypäivän näkökulmasta. Samalla se esittelee ekomusikologiaa eli ekokriittistä musiikintutkimusta. Kirjoittajat ovat musiikin ja kulttuurin tutkijoita.

The highest small-scale biodiversity or density of species (in the world scale) has been recorded in semi-natural communities. It demonstrates that sustainable role of humans can be beneficial in terms of biodiversity for the whole of ecosystem.

Tämän kirjoituskokoelman aiheena on musiikin ja luonnon suhde. Aihe on laaja, sillä musiikin ja luonnon yhteyksistä löytyy loputtomasti esimerkkejä. Luonto tai luontokokemus lienee rakkauden ja uskonnollisten teemojen ohella musiikin tavallisin aihe niin historiassa kuin nykypäivässä (esim. Toliver 2011). Koska rakkautta ja uskonnollisia teemoja käsitellään musiikissa usein juuri luontoon liittyvien vertauskuvien avulla, näyttäytyy luonto musiikin itsestään selväksi peruskuvastoksi.

File contains table of contents and my introduction (original in Italian and self-translation in English) For further info: https://blogs.ubc.ca/indomediterraneanstudies/

Why «Oikosophia», and what does this new and yet archaic word mean? Sophia in Greek means Wisdom, a knowing, or intelligence, which once used to be called “of the heart”: that is to say, an inherently relational, inborn way of being in unison with the totality of the living world, rather than the analytical approach of a discriminating intelligence that reifies. Oikos in Greek is the communal home, and this word has generated the prefix of both «eco-logy» and «eco-nomy».
This collection of essays argues that, in order to regain a meaningful connection to our “communal home”, just “caring for the environment” is simply not enough: rather, we need to recover the vision and inner presence that allows us to feel, and to inwardly know, how radically we belong to this home of ours. The wisdom necessary to achieve such a sense of interbeing —our only true being, in fact — is now urgently calling upon us, yet it comes from afar. From ancient Egypt to the Hermetic, Pythagorean, Presocratic, mysteric, Neoplatonic wisdom traditions, the vestiges of this knowing are traceable all along the history of the Indo-mediterranean world.
During the first half of the twentieth century people such as G.R.S. Mead, C. G. Jung, R. Schwaller de Lubicz, and H. Corbin clearly saw, and proclaimed, that without a reclaiming of the Intelligence of the Heart there is no future for humanity, nor for our communal home. They therefore promoted the need for an epistemological shift in our perception of reality. Today, indigenous traditions weave this same ancestral message into the ecological discourse, with the same goal of endowing environmentalism with its necessary wisdom-based foundations; hence, their voice too has been included in these pages. In the words of David Abram, one of the most distinguished contributors to the present volume: «We are fully human only in contact, and conviviality, with what is not human», that is to say with the more-than-human living world. Today more than ever we and that world depend, for our survival, on the choices we are about to make. Now.

A spectre is haunting humanity: the spectre of a reality that will outwit and, in the end, bury us. “The Anthropocene,” or The Human Era, is an attempt to name our geological fate – that we will one day disappear into the layer-cake of Earth’s geology – while highlighting humanity in the starring role of today’s Earthly drama. In Shadowing the Anthropocene, Adrian Ivakhiv proposes an ecological realism that takes as its starting point humanity’s eventual demise. The only question for a realist today, he suggests, is what to do now and what quality of compost to leave behind with our burial.

The book engages with the challenges of the Anthropocene and with a series of philosophical efforts to address them, including those of Slavoj Žižek and Charles Taylor, Graham Harman and Timothy Morton, Isabelle Stengers and Bruno Latour, and William Connolly and Jane Bennett. Along the way, there are volcanic eruptions and revolutions, ant cities and dog parks, data clouds and space junk, pagan gods and sacrificial altars, dark flow, souls (of things), and jazz.

Ivakhiv draws from centuries old process-relational thinking that hearkens back to Daoist and Buddhist sages, but gains incisive re-invigoration in the philosophies of Charles Sanders Peirce and Alfred North Whitehead. He translates those insights into practices of “engaged Anthropocenic bodymindfulness” – aesthetic, ethical, and ecological practices for living in the shadow of the Anthropocene.

(Complete e-book is available for free download at Punctum Books web site, as is a Reader's Guide.)

Lovász Ádám "A gondolkodás mint kezdetlegesség maga a másik kezdet és ezáltal képes az utolsó Isten távoli közelségébe kerülni." 1 1 "Also vermag auch das Denken als anfängliches des anderen Anfangs in die ferne Nähe des letzten Gottes zu kommen.": Heidegger, Martin (1989Martin ( [1939) Beiträge zur Philosophie (Vom Ereignis) (Frankfurt am Main: