Ecocritics and Ecoskeptics examines environmental themes and questions about the evolving relationship between humans and animals in nine modern and contemporary French novels. Considering arguments from both environmentalists and ecoskeptics, it concludes that, far from distancing itself from humanism as it often has, environmentalism must embrace an inclusive and ecological humanism.
Ecocritics and Ecoskeptics examines environmental themes and questions about the evolving relationship between humans and animals in nine modern and contemporary French novels. Considering arguments from both environmentalists and ecoskeptics, it concludes that, far from distancing itself from humanism as it often has, environmentalism must embrace an inclusive and ecological humanism.
This book argues for the need to rethink governance through the lens of 'resilience as self-governance'. Building on complexity-thinking, it contends that in the context of change and complex life, challenges are most efficiently dealt with, at the source, 'locally', to make 'the global' more responsive and sustainable. Resilience as self-governance is advanced as an overriding framework to explore its constitutive elements - identity, ‘good life’, local coping strategies and support infrastructures - which, when mobilized, can turn communities into ‘peoplehood’ in the face of adversity. It is argued that these communities of relations, self-organised and self-aware of their worth, is what makes them so resilient to crises, and what helps them to transform with change; and how they should be governed today. Central Eurasia, spanning from Belarus in the west, to Azerbaijan in the south and Kyrgyzstan in the east, provides fertile grounds for exploring how resilience works in practice in times of complex change. By immersing into centuries-long traditions and philosophy, local experiences of survival, and visions for change, this book shows that governability at any level requires a substantive 'local' input to make 'the global' more enduring and resilient in a complex adaptive world. This book will be of great value to students and scholars in the fields of Politics including Eurasian politics and the various aspects of Governance. Most of the chapters in this book were published as a special issue of Cambridge Review of International Affairs.
1. It asks not what ecological thought can do for early modern literature, but vice-versa. 2. It brings a specifically Francophone focus to the dialogue between early modern literature and eco-theory. 3. It gathers work from some of the most respected scholars in French Studies, but also from several younger scholars within the field.
'Cultural Traces of a Massacre in Paris' is a cultural history devoted to literary and visual representations of the police massacre of peaceful Algerian protesters.
CLASSIC FICTION. The Paranthropus ("tropi" for short) are a large tribe of New Guinea cliff-dwellers. Simian in many of their physical characteristics, they are normally erect in stance, though happy to drop to all fours at a moment's notice. Australian wool interests see the tropis as a dream come true--workers who can be trained without benefit of paycheck. Newspaperman Douglas Templemore is an idealist--by killing his son (bred by artificial insemination of a female tropi), he hopes to cause a riot in the realm of race relations. Is he a murderer or merely an owner of a pet, which he has "put to sleep?" As he comes up for trial scientific experts file into the witness box; none agreeing on what constitutes a human being. Is man to be defined by his jawbone? By his rational capacity? By his grasp of metaphysics? Or is the judge right when he muses (without a trace of cynicism) that the tropis must be animals because they are not cannibals?
Three book editors, jaded by reading far too many crackpot manuscripts on the mystic and the occult, are inspired by an extraordinary conspiracy story told to them by a strange colonel to have some fun. They start feeding random bits of information into a powerful computer capable of inventing connections between the entries, thinking they are creating nothing more than an amusing game, but then their game starts to take over, the deaths start mounting, and they are forced into a frantic search for the truth
The Prague Cemetery is the #1 international bestselling historical novel from the award-winning and New York Times bestselling author of The Name of the Rose, Umberto Eco. Nineteenth-century Europe—from Turin to Prague to Paris—abounds with the ghastly and the mysterious. Jesuits plot against Freemasons. Italian republicans strangle priests with their own intestines. French criminals plan bombings by day and celebrate Black Masses at night. Every nation has its own secret service, perpetrating forgeries, plots, and massacres. Conspiracies rule history. From the unification of Italy to the Paris Commune to the Dreyfus Affair to The Protocols of the Elders of Zion, Europe is in tumult and everyone needs a scapegoat. But what if behind all of these conspiracies, both real and imagined, lay one lone man? “Choreographed by a truth that is itself so strange a novelist need hardly expand on it to produce a wondrous tale... Eco is to be applauded for bringing this stranger-than-fiction truth vividly to life.” —The New York Times
Bodies abound in Rimbaud's poetry in a way that is nearly unprecedented in the nineteenth-century poetic canon: lazy, creative, rule-breaking bodies, queer bodies, marginalized and impoverished bodies, revolting and revolutionary, historical bodies. The question that Poetry, Politics, and the Body seeks to answer is: What does this corporeal density mean for reading Rimbaud? What kind of sense are we to make of this omnipresence of the body in the Rimbaldian corpus, from first to last–from the earliest poems in verse celebrating the sheer, simple delight of running away from wherever one is and stretching one's legs out under a table, to the ultimate flight away from poetry itself? In response, this book argues that the body appears–often literally–as a kind of gap, breach, or aperture through which Rimbaud's poems enter into contact with history and a larger body of other texts. Simply put, the body is privileged 'lyrical material' for Rimbaud: a figure for human beings in their exposed, finite creatureliness and in their unpredictable agency and interconnectedness. Its presence in the early work allows us not only to contemplate what a strange, sensuous thing it is to be embodied, to be both singular and part of a collective, it also allows the poet to diagnose, and the reader to perceive, a set of seemingly intractable, 'real' socio-economic, political, and symbolic problems. Rimbaud's bodies are, in other words, utopian bodies: sites where the historical and the lyrical, the ideal and the material, do not so much cancel each other out as become caught up in one another.
A 17th century Italian nobleman is marooned on an empty ship in this “astonishing intellectual journey" by the author of Foucault’s Pendulum (San Francisco Chronicle). In the year 1643, a violent storm in the South Pacific leaves Roberto della Griva shipwrecked—on a ship. Swept from the Amaryllis, he has managed to pull himself aboard the Daphne, anchored in the bay of a beautiful island. The ship is fully provisioned, he discovers, but the crew is missing. As Roberto explores the different cabinets in the hold, he looks back on various episodes from his life: Ferrante, his imaginary evil brother; the siege of Casale, that meaningless chess move in the Thirty Years' War in which he lost his father and his illusions; and the lessons given him on Reasons of State, fencing, the writing of love letters, and blasphemy. In this “intellectually stimulating and dramatically intriguing” novel, Umberto Eco conjures a young dreamer searching for love and meaning; and an old Jesuit who, with his clocks and maps, has plumbed the secrets of longitudes, the four moons of Jupiter, and the Flood (Chicago Tribune).
