In 2009 the Roundtable on Sustainable Palm Oil established a conflict resolution mechanism to help rural communities address their grievances against palm oil companies that are RSPO members. This article presents the broadest ever comprehensive assessment of the use and effectiveness of the RSPO conflict resolution mechanism, providing both overviews and in-depth analysis. Our central question is: to what extent does the RSPO conflict resolution mechanism offer an accessible, fair and effective tool for communities in Indonesia to resolve conflicts with (...) companies? Our aim is not only to provide a ‘reality check’ of this mechanism but also to contribute to the wider debate on how communities can seek access to justice when engaged in intractable conflicts with palm oil companies. For data collection, we took three steps. First, we used our own database of 150 conflicts between communities and companies in Indonesia. We identified 64 conflicts that involved RSPO member companies, of which 17 prompted communities to convey their grievances to the RSPO’s conflict resolution mechanism. Second, we used the database of the RSPO, which handled 85 complaints against companies in Indonesia in the period 2009–2020. Third, we conducted fieldwork, in total, about 6 months of fieldwork and extensive interviews on three conflicts involving RSPO companies to identify mechanisms leading to both failed and successful instances of conflict resolution. For our assessment, we used three criteria to assess the conflict resolution mechanism of the RSPO: accessibility, procedural justice, and the outcomes of the process. We conclude that—on all counts—the conflict resolution mechanism is biased in favor of companies. The result of these biases is that the actual capacity of the RSPO’s mechanism to provide a meaningful remedy for rural communities’ grievances remains very limited. This unequal access to justice sustains conflicts between companies and communities over land. (shrink)

"This book is about the way shifting conceptions of ecology, biology and technology significantly alter what it means to write poetry about nature in a time of environmental crisis. It offers a radical re-reading of three major British poets, Ted Hughes, Derek Mahon and JH Prynne, and their aesthetic strategies for negotiating the complex feedbacks between organisms and their environments in a technological world. Their poetry not only provides ways of thinking and communicating about ecology and biology, (...) but shows how the unpredictable processes of thought and communication impact on organic life in the Anthropocene, providing a substantial challenge to aesthetics, ethics and politics" --. (shrink)

In ancient Greek ecological thought, vegetality is the most basic ground of life. It is followed by animality and rationality as increasingly active, self-aware forms of life. An ontology of forms of life need not justify a hierarchy among actual living beings, but in practice it often does. This paper shows how the poetic representation of plants resists this slippage. Poetry offers human beings an ecstasis from their own animality so that they can apprehend their participation in the vegetality (...) of living beings as a whole. (shrink)

This chapter contains sections titled: Green Mill? Mill and Radical Environmentalism Mill and Romanticism Further Reading.

This book casts new light on the work of the German poet Friedrich Hölderlin (1770 - 1843), and his translations of Greek tragedy. It shows Hölderlin's poetry is unique within Western literature (and art) as it retrieves the socio-politics of a Dionysiac space-time and language to challenge the estrangement of humans from nature and one other. In this book, author Lucas Murrey presents a new picture of ancient Greece, noting that money emerged and rapidly developed there in the sixth (...) century B.C. This act of monetization brought with it a concept of tragedy: money-tyrants struggling against the forces of earth and community who succumb to individual isolation, blindness and death. As Murrey points out, Hölderlin (unconsciously) retrieves the battle between money, nature and community and creatively applies its lessons to our time. But Hölderlin's poetry not only adapts tragedy to question the unlimited "machine process" of "a clever race" of money-tyrants. It also draws attention to Greece's warnings about the mortal danger of the eyes in myth, cult and theatre. This monograph thus introduces an urgently needed vision not only of Hölderlin hymns, but also the relevance of disciplines as diverse as Literary Studies, Philosophy, Psychology (Psychoanalysis) as well as Religious and Visual (Media) Studies to our present predicament, where a dangerous visual culture, through its support of the unlimitedness of money, is harming our relation to nature and one another. "Here triumphs a temperament guided by ancient religion and that excavates, in Hölderlin's translations, the central god Dionysus of Greek tragedy." -Bernhard Böschenstein, author of "Frucht des Gewitters". Zu Hölderlins Dionysos als Gott der Revolution and Paul Celan: Der Meridian. Endfassung-Entwürfe-Materialien. "Lucas Murrey shares with his subject, Hölderlin, a vision of the Greeks as bringing something vitally important into our poor world, a vision of which few classical scholars are now capable." -Richard Seaford, author of Money and the Early Greek Mind. Homer, Tragedy, Philosophy and Dionysus. "Hölderlin deserved such a book." -Jean-François Kervégan, author of Que faire de Carl Schmitt? "...fascinating material..." -Noam Chomsky, author of Media Control: The Spectacular Achievements of Propaganda and Nuclear War and Environmental Catastrophe. (shrink)

Tom McLeish’s Music and Poetry of Science adds to along and complex literature looking at the creative powers of human genius. In addition to his own scientific field, McLeish draws on art, poetry, novels, music, and BBC television productions. Although positioned in the line of the ‘two cultures’ debate typically associated with C. P. Snow, McLeish reprises William Beveridge’s earlier contribution to that tradition, perhaps, to be aligned,although this McLeish does not do, with Peter Pesic’s Music and the (...) Making of Modern Science . The task of coordinating music, poetry, and science requires more, such that the material hermeneutics of the late Irish-Belgian physicist and philosopher, Patrick Heelan might have offered a basis for fruitful dialogue, although this,too, was a missed opportunity. Given McLeish’s illustration of the beauty key to mathematics in physics via BBC television, it seems an illustration of technological millenarianism via Andrew MacKendrick’s 1951 film, The Man in the White Sui , updated for today, key in a nano-context, might be helpful in raising issues of material‘instability,’ i.e., environmental detritus, nano-waste and pollution. (shrink)

At first glance, it might seem strange to consider Derrida as an environmental philosopher. There is still a sense with many that Derrida is primarily a thinker of poetry and texts rather than of “leaves or soil”. While this is still a common view, even a cursory glance at Derrida’s work and at this volume shows that it is based on a misunderstanding. What it ignores is the fact that ‘text’ for Derrida is “coextensive [at least, T.B.] with (...) mortal life” and indeed can be said to include every aspect of the world. Moreover, Derrida challenges the idea that we can understand culture independently from its material manifestations in the world and from its relations... (shrink)

Unbraided Lines offers a foray into environmental writing—an emerging literary genre that engages the current ecological crisis through poetry, creative non-fiction and other textual forms.

This paper explores the claims of recent research that suggests that more affective forms of environmental education, drawing upon the contributions of the arts (e.g. creative writing, poetry, art, music and photography), can engage with children's emotions more directly than can approaches based on scientific knowledge. This, in turn, may provide a better route for encouraging individuals to engage in more environmentally sustainable behaviours. The paper challenges some of these claims by considering the ways in which they draw (...) upon socially constructed notions of childhood and nature. The development of environmental education in the UK provides the primary context within which the influence of these social constructions on affective approaches to environmental education is illustrated. These findings suggest that further research and practice are required to develop approaches to environmental education that better reflect a range of children's own environmental experiences. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 40.4 (2006) 77-88 MuseSearchJournalsThis JournalContents[Access article in PDF]The Aesthetic Appreciation of Environmental Architecture under Different Conceptions of EnvironmentAllen CarlsonIntroductionIn what is in retrospect easily recognized as one of the three or four truly groundbreaking essays in environmental aesthetics, Francis Sparshott distinguishes a number of different ways of conceptualizing our relationships to our environments. Such different conceptualizations, he argues, deeply influence the ways (...) in which we aesthetically experience both environments and the things that occupy them. 1 It follows that understanding of, and thus education about, our environmental conceptualizations are of the utmost importance to our aesthetic appreciation. In this article I follow up some of Sparshott's insights by considering the ways in which a number of rather common conceptualizations of environments relate to what is an increasingly important feature of our built environments—what is commonly referred to as "environmental architecture." In doing so, I hope to make clear how aesthetic education concerning these common conceptualizations is vital for the appreciation of not only environmental architecture but the whole of our built environment.Initially, however, some clarifications are in order. First, due to the emphasis in environmental architecture on environments in general, there is, within this area of concern, somewhat of a shift away from the idea of architecture as a fine art. Traditionally, architecture, along with painting, sculpture, poetry, and music, was regarded as one of the five founding art forms of the so-called modern system of the arts. 2 And, although architecture, given its utilitarian dimensions, has often been the poor sister of the famous five, some individuals nonetheless regard it essentially as a fine art. 3 However, given my focus on environmental architecture, I here pay equal attention to what is known as "vernacular architecture." [End Page 77]Second, the phrase "environmental architecture" refers to architecture and architectural practices that are typically promoted as "working with the environment" or as being "environmentally friendly." Such characterizations bring to mind ideas such as ecological design, sustainable development, and green architecture. They are associated with design and building practices that rely on renewable energy and materials, stress recycling and efficient use of resources, and attempt to maintain the long-term integrity of both natural and human environments. Consequently, whether exemplified in the fine art of architecture or in the vernacular, such design and building practices point initially to the ecological and, more broadly, the ethical issues associated with architecture, which are best approached within environmental ethics or traditional ethical theory. 4 Although these ethical matters are of the greatest importance, I here primarily address, as noted, aesthetic issues involved in environmental architecture.Aesthetics and Environmental ArchitectureThe aesthetics of environmental architecture, as the ethics of environmental architecture, concerns most generally the relationships between structures and their environments, and especially the environmental effects of the former on the latter. Of course, unlike ethics, which in the case of architecture considers the environmental benefits or harms brought about by design and building practices and the resultant structures, aesthetics focuses first and foremost on appearances, on that which is perceived by the senses. As is well known, the discipline takes its name from the Greek aisthetikos, meaning "of sense perception." However, to recognize that aesthetics is concerned with appearances is not necessarily to relegate it to the realm of the superficial. Even though, since the aesthetics of environmental architecture considers the relationships between structures and their environments, it initially focuses on the appearances of such relationships, it need not be restricted to questions of whether such relationships are simply "pleasing to the eye" or "pretty." Rather, the basic question in the aesthetics of environmental architecture is whether structures reside in their environments such that they appear as they should. By this I mean that they and their environments are related in such a way that the structures appear appropriate or proper within their environments. 5An emphasis on whether structures appear appropriate within their environments immediately moves the matter beyond simple appearances. This is because... (shrink)

With the goal of better understanding how science, religion, and poetic art came together in the work of Christopher Southgate, the authors first explore his spiritual poetry. They come away with a better understanding of the author’s commitment to a broad naturalism that contributes, along with his own faith experience, to his prose works in the emerging field of ecotheology. The authors conclude that Southgate’s work is part of the worldwide emergence of a theological rationale that supports environmentalism, the (...) protection of species, and the conservation of biodiversity. The authors find Southgate’s poetry warm, appealing, accessible, and re-readable to good effect, but with a thread of danger and warning throughout. Both features are quite appropriate for the environmental movement in the twenty-first century. (shrink)

Demystifying Black American slavery through Dr. Seuss' The 5,000 fingers of Dr. T -- Understanding our dysfunctional U.S. congress in Dr. Seuss' If I ran the circus: the end of civility and bipartisanship -- Analyzing U.S. presidential leadership in Dr. Seuss' The king's stilts -- Assessing the U.S. criminal justice system in Dr. Seuss' If I ran the zoo -- Dr. Seuss' I had trouble in getting to Solla Sollew and decoding the American bureaucracy -- Deciphering the U.S. illegal immigration (...) problem in Dr. Seuss' Horton hears a Who -- Condeming absolute power in Dr. Seuss' Yertle the turtle: A cry for freedom and democracy in China -- Implications of modern-day Cold-War in Dr. Seuss' The butter battle book -- Environmental politics in Dr. Seuss' The Lorax: The need for sustainability -- Explaining American spirituality and religious politics in Dr. Seuss' Horton hatches the egg -- American popular culture and the politics of race in Dr. Seuss' The sneetches -- The new realities and politics of aging in Dr. Seuss' You're only old once: A book for obsolete children -- Conclusion -- Bibliography. (shrink)

Hastings Center Report, Volume 52, Issue S1, Page S18-S21, March‐April 2022.

Ethical reasoning of all types is anthropocentric, in that it is addressed to agents, but anthropocentric starting points vary in the preference they accord the human species. Realist claims about environmental values, utilitarian reasoning and rights-based reasoning all have difficulties in according ethical concern to certain all aspects of natural world. Obligation-based reasoning can provide quite strong if incomplete reasons to protect the natural world, including individual non-human animals. Although it cannot establish all the conclusions to which anti-speciesists aspire, (...) it may establish many of them with some clarity. (shrink)

Fabi and Goldberg raised important considerations regarding both research and funding priorities in the field of bioethics and, in particular, the field’s misalignment with social justice. W...

Contemporary architecture is increasingly grounded in science and mathematics. Architectural discourse has shifted radically from the sometimes disorienting Derridean deconstruction, to engaging scientific terms such as fractals, chaos, complexity, nonlinearity, and evolving systems. That's where the architectural action is -- at least for cutting-edge architects and thinkers -- and every practicing architect and student needs to become conversant with these terms and know what they mean. Unfortunately, the vast majority of architecture faculty are unprepared to explain them to students, not (...) having had a scientific education themselves. Here is an architecture book by an architect/scientist, just in time to help architects in the new millennium. Alexander discusses many of the scientific terms arising in cutting-edge architecture, and explains them to those who don't have scientific training or advanced mathematical knowledge. We find discussions of the evolution of forms; the importance of process in design; iteration; genetic algorithms; sequences of transformations; different levels of scale (i.e. fractals); etc. They are explained here by an architect who is also a scientist, because he wants to change the way architects think and build. Alexander is not merely popularizing other scientists' results and making them accessible to architects: he is in fact presenting new and original scientific work that ties many of these concepts together in a way that will be useful to architects. (shrink)

In this short essay I connect Perry Zurn’s work on curiosity with trans history, activism, and art to bridge trans curiosity with eco curiosity in the form of transecological curiosity. I discuss examples from trans art, literature, music, and ecopoetics.

This essay investigates the development of seeing as an affective, political and potentially transformative practice across the course of John Kinsella’s poetic career. It analyses how seeing becomes a means for Kinsella to apprehend the relationship between self and environment and to consider how local-scale is tied to broader-scale change. At the same time, it traces Kinsella’s concern at the ways in which Western theories of vision shape and reinforce structures of power, particularly in terms of gendered and colonial violence. (...) Moving through and then past ekphrastic debates, I argue that Kinsella considers how poetry and art might, in their own ways, ethically engage with both the human and more-than-human and actively navigate and reflect upon states of connection. (shrink)

Semiotics, in the guise of the limited Saussurean semiology, has been widely used in the humanities and in cultural studies for the past 20 to 30 years at least. With the advent, nearly 20 years ago, of the environmental humanities, including the new field of humanities animal studies, the weaknesses of this mode of analysis became increasingly clear. This essay forms part of a larger attempt to develop a Peirce-informed biosemiotic theory capable of affording conceptual tools for the broad-based (...) study of human and nonhuman natural and cultural developmental ecologies. It is particularly concerned to develop a biosemiotic, and hence non-reductive, account of aesthetic experience in which function consists in the growth of knowledge. Based on the role of chance, and thus creativity, in natural and cultural evolutionary systems, this essay uses poetry and poetic theory in order to argue that chance is a habit-upsetting happenstance whereby something which has the potential to become a sign , or to become a bearer of meaning, actually does become a sign to some living thing. (shrink)

This book unveils the myriad streams of ecocentric thoughts that have been flowing through the human mind - in indigenous communities, in the wisdom of philosophers, in the creative expressions of poets and writers - sometimes latent, but sometimes more explicit. The strength of this book lies in the fact that it attempts to show that ecocentrism had not emerged suddenly as a distinct line of philosophical thought or found its place among the various normative approaches towards nature, but the (...) seeds of ecocentrism had always been running through human societies. Thus, book not only emphasizes the "unity of life", but also reveals the inherent unity of all hues of ecocentrism. The book adopts a multidisciplinary approach, which is essential to dwell on a topic like ecocentrism which permeates the domains of disciplines as disparate as science, philosophy, religion, normative ethics, myths and folklore, poetry, and literature, among others. Despite this eclectic approach, the book attempts to maintain a continuity among the chapters and present these concepts in a simple form that will be easily accessible by readers from all conceivable backgrounds. This book would be useful to the students, researchers, and faculty from the field of ecology and environmental science, philosophy, sociology, religious studies, and literature. It will also be an indispensable companion all nature lovers, activists and general readers interested in the emergence and evolution of environmental thoughts. (shrink)

This essay deploys the theoretical frames of inheritance and echography to recover and redefine the meaning, for environmental philosophy, of Martin Heidegger’s storied hut in the Black Forest in Germany, where large portions of Being and Time and other major texts were written. Drawing on the work of Jacques Derrida, Stanley Cavell, Ralph Waldo Emerson, and others, the essay insists that a deconstructive reading is crucial to recovering and sustaining the significance for environmental philosophy of Heidegger’s work, a (...) reading quite different from those found in Deep Ecology. In that context, the essay transforms the hut into a kind of spectral presence that is put into dialogue with other, later “echoes”: the poetry of Paul Celan, the work of experimental film-maker and artist James Benning, and the author’s own current art project, focused on a clearcut site in the mountains of Colorado. (shrink)

"This book provides new interpretations of Heidegger's philosophical method in light of 20th-century postmodernism and 21st-century speculative realism. In doing so, it raises important questions about philosophical method in the age of global warming and climate change. Vincent Blok addresses topics that have yet to be extensively discussed in Heidegger scholarship, including Heidegger's method of questioning, the religious character of Heidegger's philosophical method and Heidegger's conceptualization of philosophical method as explorative confrontation. He is also critical of Heidegger's conceptuality and develops (...) a post-Heideggerian concept of philosophical method, which provides a new perspective on the role of willing, poetry and earth-interest in contemporary philosophy. This earth-interest turns out to be particularly important to consider and leads to critical reflections on Heidegger's concept of Earth, the necessity of Earth-interest in contemporary philosophy and a post-Heideggerian concept of the Earth. Heidegger's Concept of Philosophical Method will be of interest primarily to Heidegger scholars and graduate students, but its discussion of philosophical method and environmental philosophy will also appeal to scholars in other disciplines and areas of philosophy"--. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Ethics & the Environment 7.2 (2002) 1-11 [Access article in PDF] On Ecofeminist Philosophy Chris Cuomo In the heat of a historical moment when the interwoven nature of imperialism, ecological degradation, exploitation of workers, racism, and women's oppression is painfully obvious to many, ecofeminism appears to be gaining in popularity. As Karen Warren's book Ecofeminist Philosophy (2000) illustrates, a key insight of ecological feminism is captured by the phrase (...) "it's all connected." In more precise terms, ecofeminism stresses the depth to which human realities are embedded in ecological realities, and the fact that we are all composed of physical and conceptual connections and relationships. Ecofeminists also make strong normative claims about those connections, and they find present ecological and social relationships to be far more morally troubling than "we" modern thinkers tend to acknowledge.Karen Warren's work has been incredibly influential in the development of ecofeminism, especially as a philosophical perspective. In her 1987 essay "Feminism and Ecology: Making Connections," she argued for a basic ecofeminist position: that feminists ought to pay attention to environmental issues and ecological interdependencies, and that environmentalists ought to attend to the connections among ecological degradation, sexism, and other forms of social oppression. A wealth of ecofeminist poetry, fiction, and political writing had been published in the seventies and early eighties, before "Feminism and Ecology" appeared on the pages of [End Page 1] the journal Environmental Ethics. But Karen Warren was the among the first to use the tools of analytic philosophy to articulate and argue for ecofeminism as a philosophical position, ethical approach, and political movement.In fact, Mary Daly's Gyn/Ecology: The Metaethics of Radical Feminism (1978) was arguably the first work in contemporary academic philosophy to engage ecofeminism (my first acquaintance with ecofeminist theory was made through a special issue of the feminist magazine Heresies, on feminism and ecology). But Daly's emphasis was on the plight of females in patriarchal social environments. Karen Warren and Australian philosopher Val Plumwood brought full focus to the eco in ecofeminism, applying feminist philosophy (and especially feminist ethics) to our relations with the more than human world, and in turn articulating a broader theory of oppression and liberation. Their analytic approaches resulted in philosophy that synthesizes as it clarifies, taking seriously the value of nature, the history of philosophy, the power of culture, and the insights of good science.In Ecofeminist Philosophy Karen Warren presents ecofeminism as a general school of thought, though she also argues for a particular set of ecofeminist principles, values, methodologies, and practices. In terms of both her method and her conclusions, it is important to note that her emphasis on clearly articulated principles is by no means a defense of an absolutist or falsely universalizing ethic. Rather, Warren's ecofeminist philosophy emerges from her reading of a wide and diverse array of theoretical and political examples. Like Noël Sturgeon's Ecofeminist Natures: Race, Gender, Feminist Theory and Political Action (1997), which focuses on feminist ecological movements, Warren's project is to look for and describe the family resemblances among diverse examples of ecofeminism. This approach allows her to articulate epistemic, moral, and political positions that are pluralist, yet do not avoid making bold truth-claims. For example, Warren argues that "something is a feminist issue if an understanding of it helps one understand the oppression, subordination, or domination of women" (Warren 2000, 1).In a sense such a definition is wide open, taking various approaches and issues to be worthy of feminist attention. At the same time, it certainly does not allow just any perspective to count as feminist. Throughout Ecofeminist Philosophy, Warren defends multicultural ethics while clearly advocating specific transcultural values, such as justice and caring: [End Page 2] If we dare to care, if we dare to enter into community with others through an honest recognition of our commonalities and differences, we will be poised to create generally respectful, nonviolent, care-based, intentional communities where commonalities and differences are just that... Such intentional communities are a creative alternative to violence-prone communities where order is imposed from outside through unjustified... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Ethics & the Environment 7.2 (2002) 1-11 [Access article in PDF] On Ecofeminist Philosophy Chris Cuomo In the heat of a historical moment when the interwoven nature of imperialism, ecological degradation, exploitation of workers, racism, and women's oppression is painfully obvious to many, ecofeminism appears to be gaining in popularity. As Karen Warren's book Ecofeminist Philosophy (2000) illustrates, a key insight of ecological feminism is captured by the phrase (...) "it's all connected." In more precise terms, ecofeminism stresses the depth to which human realities are embedded in ecological realities, and the fact that we are all composed of physical and conceptual connections and relationships. Ecofeminists also make strong normative claims about those connections, and they find present ecological and social relationships to be far more morally troubling than "we" modern thinkers tend to acknowledge.Karen Warren's work has been incredibly influential in the development of ecofeminism, especially as a philosophical perspective. In her 1987 essay "Feminism and Ecology: Making Connections," she argued for a basic ecofeminist position: that feminists ought to pay attention to environmental issues and ecological interdependencies, and that environmentalists ought to attend to the connections among ecological degradation, sexism, and other forms of social oppression. A wealth of ecofeminist poetry, fiction, and political writing had been published in the seventies and early eighties, before "Feminism and Ecology" appeared on the pages of [End Page 1] the journal Environmental Ethics. But Karen Warren was the among the first to use the tools of analytic philosophy to articulate and argue for ecofeminism as a philosophical position, ethical approach, and political movement.In fact, Mary Daly's Gyn/Ecology: The Metaethics of Radical Feminism (1978) was arguably the first work in contemporary academic philosophy to engage ecofeminism (my first acquaintance with ecofeminist theory was made through a special issue of the feminist magazine Heresies, on feminism and ecology). But Daly's emphasis was on the plight of females in patriarchal social environments. Karen Warren and Australian philosopher Val Plumwood brought full focus to the eco in ecofeminism, applying feminist philosophy (and especially feminist ethics) to our relations with the more than human world, and in turn articulating a broader theory of oppression and liberation. Their analytic approaches resulted in philosophy that synthesizes as it clarifies, taking seriously the value of nature, the history of philosophy, the power of culture, and the insights of good science.In Ecofeminist Philosophy Karen Warren presents ecofeminism as a general school of thought, though she also argues for a particular set of ecofeminist principles, values, methodologies, and practices. In terms of both her method and her conclusions, it is important to note that her emphasis on clearly articulated principles is by no means a defense of an absolutist or falsely universalizing ethic. Rather, Warren's ecofeminist philosophy emerges from her reading of a wide and diverse array of theoretical and political examples. Like Noël Sturgeon's Ecofeminist Natures: Race, Gender, Feminist Theory and Political Action (1997), which focuses on feminist ecological movements, Warren's project is to look for and describe the family resemblances among diverse examples of ecofeminism. This approach allows her to articulate epistemic, moral, and political positions that are pluralist, yet do not avoid making bold truth-claims. For example, Warren argues that "something is a feminist issue if an understanding of it helps one understand the oppression, subordination, or domination of women" (Warren 2000, 1).In a sense such a definition is wide open, taking various approaches and issues to be worthy of feminist attention. At the same time, it certainly does not allow just any perspective to count as feminist. Throughout Ecofeminist Philosophy, Warren defends multicultural ethics while clearly advocating specific transcultural values, such as justice and caring: [End Page 2] If we dare to care, if we dare to enter into community with others through an honest recognition of our commonalities and differences, we will be poised to create generally respectful, nonviolent, care-based, intentional communities where commonalities and differences are just that... Such intentional communities are a creative alternative to violence-prone communities where order is imposed from outside through unjustified... (shrink)

In this paper I reconstruct Schlegel's idea that romantic poetry can re-enchant nature in a way that is uniquely compatible with modernity's epistemic and political values of criticism, self-criticism, and freedom. I trace several stages in Schlegel's early thinking concerning nature. First, he criticises modern culture for its analytic, reflective form of rationality which encourages a disenchanting view of nature. Second, he re-evaluates this modern form of rationality as making possible an ironic, romantic, poetry, which portrays natural phenomena (...) as mysterious indications of an underlying reality that transcends knowledge. Yet Schlegel relies here on a contrast between human freedom and natural necessity that reinstates a disenchanting view of nature as fully intelligible and predictable. Third, therefore, he reconceives nature as inherently creative and poetic, rethinking human creativity as consisting in participation in natural creative processes. He replaces his earlier "idealist" view that reality is in itself unknowable with the "idealist realist" view that reality is knowable as creative nature, yet, in its spontaneous creativity, still eludes full comprehension. I argue that Schlegel's third approach to the re-enchantment of nature is his most consistent and satisfactory, and is important for contemporary environmental philosophy in showing how re-enchantment is compatible with modernity. (shrink)

A caged animal in the heart of the city, thousands of miles from its natural habitat, neurotically pacing in its confinement . . . Zoos offer a convenient way to indulge a cultural appetite for novelty and diversion, and to teach us, albeit superficially, about animals. Yet what, conversely, do they tell us about the people who create, maintain, and patronize them, and about animal captivity in general? Rather than foster an appreciation for the lives and attributes of animals, zoos, (...) in Randy Malamud's view, reinforce the idea that we are, by nature, an imperial species: that our power and ingenuity entitles us to violate the natural order by tearing animals from the fabric of their ecosystems and displaying them in an "order" of our own making. In so doing, he argues, zoos not only contribute to the rapid disintegration of our ecosystems, but also deaden our very sensibilities to constraint, spatial disruption, and physical pain. Invoking an array of literary depictions of animals, from Albee's Zoo Story and Virginia Woolf's diaries to the films of Harold Pinter and the poetry of Marianne Moore, Reading Zoos links culture, literature, and nature in an engaging and accessible introduction to environmental ethics, animal rights, cultural critique, and literary representation. (shrink)

Theoretically, this study is framed within the semiotic tradition of communication theory, which theorizes communication as the intersubjective mediation by signs. Methodologically, this study is guided by Peirce’s semiotic ideas, especially his writing about the commens and commind, or the sign and the object, and the power of a community as the final interpretant performing the process of sensemaking. Results showed how the survivors of a natural calamity symbolically interacted with such calamity, and how this led to a reformation of (...) the way they view themselves and the world. The survivors’ symbolic images captured in narratives, in sketches and drawings, and in poetry helped them to reframe their sense of self and their worldview by believing in common sense and intuition, and by valuing the power of courage, initiative, preparedness, hope, and resilience. An unfortunate irony emerged in their symbolic interaction with the disaster such that their sinning and self-inflicted blame made them think they were worthy of punishment. Nonetheless, this unfortunate irony will change if the survivors continue to reflect on their civic roles, interrogate their environmental and political contexts, and expand their awareness and social consciousness. As these unfold, the survivors will be able to accomplish empowerment, emancipation, and an independent mind. (shrink)

This essay focuses on the attention paid to Prometheus by Goethe and Schlegel. Prometheus serves as an archetypal figure for Goethe, in particular, and as such the Titan can be viewed as a figure whose various appearances represent genuine metamorphoses or transformations of the archetype in much the same manner that Goethe takes the archetypes of leaf or vertebrae to function in the plant and animal kingdoms. Schlegel’s treatment of Prometheus takes the organic analogy even further. In his fragmentary work (...) Lucinde Schlegel exploits the metaphorical possibilities provided by plant life when thinking about not only the sessile structure of the text as a whole but indeed the internal literary devices capable of simulating the environmental impacts required for the flowering of the plot. The fact that Goethe and Schlegel deliberately leave their discussions in a fragmentary form is discussed in the final section of the essay in a manner that ties the open-ended quality of such productions to Gadamer’s discussion of the Vollzug or performative character of poetry and other works of art. (shrink)

Attempts to think anew about philosophical questions from the perspective of breath and breathing. As a physiological or biological matter, breath is mostly considered to be mechanical and thoughtless. By expanding on the insights of many religions and therapeutic practices, which emphasize the cultivation of breath, the contributors argue that breath should be understood as fundamentally and comprehensively intertwined with human life and experience. Various dimensions of the respiratory world are referred to as “atmospheres” that encircle and connect human existence, (...) coexistence, and the world. Drawing from a number of traditions of breathing, including from Indian and East Asian religion and philosophy, the book considers breath in relation to ontological, hermeneutical, phenomenological, ethical, and aesthetic concerns in philosophy. The wide-ranging topics include poetry, theater, environmental issues and health, feminism, and media studies. “Atmospheres of Breathing, the first collection of its kind, explores an emerging ‘respiratory philosophy’ of great consequence for philosophy and other fields. Its rich and diverse essays, many written by the pioneers of this radically new direction, show the deep historical and intercultural roots of such a philosophy, ranging from treatments of forerunners like Zhuangzi and Heraclitus to contemporary theorists of breathing such as Abram and Kleinberg-Levin. Presented here is the vision of innovative ways in which philosophy, on its own or inspired by spiritual practices, can bring breathing into the center of its concern. This is a landmark book that scintillates with brilliant and original insights. If taken as seriously as it deserves, this book has the potential to revolutionize contemporary and future thought.” — Edward S. Casey, author of The World at a Glance and The World on Edge “Air, the misunderstood element, finds ways and means of advancing to places where no one reckons with its presence; and, more significantly, it makes space on its own strength for strange places where there were previously none.” — Peter Sloterdijk. (shrink)

Retrieving our spiritual heritage: a challenge of our time -- Spiritual foundation of human rights -- Response to the president of Ireland -- World peace and interreligious understanding -- Education as transformation: a Baha'i model of education for unity -- Globalization and the Baha'i community in the Muslim world -- Unity of vision and ethic: values and the workplace -- Environmental ethics: a Baha'i perspective -- 'Abdu'l-Baha and the spiritual foundation of the American dream -- United Nations and world (...) order -- Ethics of globalization: a Baha'i perspective -- Opening of the academic mind: the challenges facing a culture in crisis -- Heritage: poetry and archeology as the common language of the past, the present, and the future -- Address given before the House of Lords. (shrink)

'Is There Truth in Art?' includes chapters on atonal music, environmental art, modern German and French poetry, contemporary French fiction, experimental French ...

Although he is the exemplar of poetic balance, control, and precision, Pope’s classical aesthetics and ecological vision are ultimately authorized not by restraint but by excess, by a response of wonder: emotive not rational, imaginative not formulaic, and fundamentally religious in nature. Pope’s lifelong and profound engagement with wonder—in both personal expression and formal poetics—embodies the tensions of his time: between myth and parody, enthusiasm and restraint, hyperbolic parody and interrupted awe, self-realization and self-loss, emotive expression and formalistic control. His (...) poetry continually evokes the response of wonder, pushing at the boundaries of verse satire, and embodied through his mastery of the couplet. Wonder in Pope’s writings is specifically associated with admiration for the supranatural, with release from the limitations of the body, and with a sweeping environmental vision. Finally, the ideas of “stupefaction” and “rapture” appear throughout Pope’s work in a paradoxical expansion and distancing of perspective, with the perpetual fear of the loss of the observing self. (shrink)

Although he is the exemplar of poetic balance, control, and precision, Pope’s classical aesthetics and ecological vision are ultimately authorized not by restraint but by excess, by a response of wonder: emotive not rational, imaginative not formulaic, and fundamentally religious in nature. Pope’s lifelong and profound engagement with wonder—in both personal expression and formal poetics—embodies the tensions of his time: between myth and parody, enthusiasm and restraint, hyperbolic parody and interrupted awe, self-realization and self-loss, emotive expression and formalistic control. His (...) poetry continually evokes the response of wonder, pushing at the boundaries of verse satire, and embodied through his mastery of the couplet. Wonder in Pope’s writings is specifically associated with admiration for the supranatural, with release from the limitations of the body, and with a sweeping environmental vision. Finally, the ideas of “stupefaction” and “rapture” appear throughout Pope’s work in a paradoxical expansion and distancing of perspective, with the perpetual fear of the loss of the observing self. (shrink)