"The Affective Legacy of Silent Spring"
Alex Lockwood tries to measure the importance of Rachel Carson’s work in its affective influence on contemporary environmental writing across the humanities.
Alex Lockwood tries to measure the importance of Rachel Carson’s work in its affective influence on contemporary environmental writing across the humanities.
This article blurs the boundaries of literature, agriculture, public history, grassroots political activism, and public policymaking in order to problematize the current eco-cosmopolitan trajectory of ecocritical theory.
Miller suggests a new heuristic, the ecology of freedom, which highlights past contingency and hope, and can furthermore help guide our present efforts, both scholastic and activist, to find an honorable, just way of living on the earth.
Callicott supposes that the environmental turn in the humanities, grounded in ecology and evolutionary biology, foreshadows an emerging NeoPresocratic revival in twenty-first century philosophy.
Deborah Bird Rose aims to bring Val Plumwood’s philosophical animism into dialogue with Rose’s Australian Aboriginal teachers.
Looking to the work of Samuel R. Delaney, Sarah Ensor asks what it would mean to use the practice of cruising as a model for a new ecological ethic more deeply attuned to our impersonal intimacies with the human, nonhuman, and elemental strangers that constitute both our environment and ourselves.
Deane-Drummond’s article for the Special Commentary section focuses on Pope Francis’s statements about Catholicism, the environment, and social issues. She analyses how his choice of terminology and the concepts he engages set him apart from others speaking out on climate and inequality, and recognizes his contribution to environmental humanities literature.
Goodchild’s article for the Special Commentary section analyzes Pope Francis’s Laudato si, focusing particularly on the concept of connectedness and the economic changes necessary for the Pope’s statements to become reality.
In this commentary piece, the six authors attempt to “reboot” or reinstitute a concept close to the heart of the Moderns, namely the assumption that the traditional concept of nature, as developed through modern European history, would no longer be adequate to a future beset by environmental crises.
Considering Caroline Wendling’s living artwork White Wood (2014) in northeast Scotland, the author examines the relationship between deep time, ecology, and enchantment.