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Alternative pasts, sustainable futures
David Calder

orchard’s green space. At the time of writing only 37 hectares of orchard remain, and the Ministry of Ecology protects just over eight of those. Many of the remaining walls (17 kilometres of the original 600) are in disrepair. Nevertheless, the fruit persists. Granted use of 800 square metres within the Murs à pêches (including the building formerly occupied by the auto garage), Fer à Coudre co-founders Charnay, Dubus, and Sophie Belotte were impressed by the resilience of the area’s plant life. They decided, in Dubus’s words, to ‘recount, via the realisation of iron

in Street theatre and the production of postindustrial space
The paradoxes of sustainability and Michel Houellebecq’s The Possibility of an Island
Hannes Bergthaller

for individual health, spiritual wellbeing and a ‘more natural lifestyle’ (Emerich 2011: 137). Looking at LOHAS advertising and trade magazines, one begins to suspect that the true office of sustainability may have been to make deep ecology safe for consumer capitalism. While these two versions of sustainability are in many ways quite distinct, both indicate just how deeply the concept has become ingrained in the political, economic and social status quo. They highlight how talk of sustainability has become a way of expressing our desire to change things so as to

in Literature and sustainability
Stephen Greer

only in smaller proportions to individuals as ‘sole trader’ businesses. This income is frequently supplemented with other work –​as suggested above in discussion of Howells’ career, through teaching, mentorship roles, production work on other creative projects and occasional private commissions. This ecology contributes to a state of continual negotiation between different revenue sources, and between that which is necessary (to pay rent and keep a production company solvent) and that which might also serve the development of an artist’s practice and the creation of

in Queer exceptions
Andrew Patrizio

exports due to the rhizomes they put out to grow, as they thrive on instability. 73 Crosby’s foundational historical account of dominant Europeans and their associated organisms (‘portmanteau biota’ 74 as he calls both) can be carried forward to more contemporary critical discussions of the detrimental role that industrialised farming plays today. Ecologies both deep and dark have looked in this direction. A deep ecological approach is put elegantly by Wendell Berry in books such as The Unsettling of America: Culture and Agriculture (1977) and Home Economics (1987

in The ecological eye
Thomas Docherty

otherwise constant violence that would make life solitary, nasty, brutish, and short. In this view, politics exists in order to prevent us from having recourse to forms of physical violence to resolve competing interests. Unlike warring competition, it assuages our fears and allows for cooperation and cohabitation in an ecology whose key issue is that of enhanced survival. If we consider this in the more localized concern of the contemporary University, the question arises of where we might find our own ‘state’, our own over-arching authority to which all individual

in The new treason of the intellectuals
Abstract only
Science and art in Antarctica
Mike Pearson

seal placenta to penguin poop. In their strangeness, they are unexpected, uncanny, beyond one’s anticipated avian checklist. And they go about their specialised everyday life and, as with all other Antarctic fauna, ambivalent towards and indifferent to our attempts to encapsulate their world for our own aesthetic Treaty obligations 219 consumption. Beyond the ambiguities of Treaty Article XIII, it is they who truly own Antarctica. Ecology We now cherish Antarctic fauna, but that was not always the case. In the early nineteenth century, seal and whale

in Extending ecocriticism
William Welstead

and “pretty pictures of animals” at worst’ (2013: 13). In particular, it is evident that the picture-viewing public expects wildlife art to have a denoted meaning that relates to recognisable species. There are signs that wildlife artists are trying to break free from this straitjacket of denotation, towards a less representational form of their art. In this chapter the way that wildlife artists navigate the twin pulls of science and art is explored in the context of the task of ecocritics to read cultural works with and against discourses from ecology and

in Extending ecocriticism
Myra Seaman

. From the start, Ashmole 61 asserts the status-producing powers of its household object ecology. Its first eight texts act as a model household community, establishing methods of status affirmation for the entire collection to follow. St Eustace , Lydgate's Right as a Ram's Horn , How the Wise Man Taught His Son , How the Good Wife Taught Her Daughter , Sir Isumbras , the Ten Commandments (adapted from the Speculum Christiani ), Lydgate's Stans Puer ad Mensam , and Dame Curtasy : these texts’ largely modern titles emphasise their human elements (a saint, a

in Objects of affection
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Notes on Ackroyd & Harvey ecocriticism and praxis
Eve Ropek

considers some art works by British artists Heather Ackroyd and Dan Harvey, who practise in partnership as Ackroyd & Harvey. With their artistic interests grouped around the ideas and realities of transformative biological processes, of change and decay, and with deep interest in ecology and biology, much of Ackroyd & Harvey’s work engages with environmental and scientific concerns. The artists are far from didactic, however; they do not set out to deliver a homily nor is the work received primarily as such – it is too visually complex and too extra-ordinary to be easily

in Extending ecocriticism
Superficial paganism and false ecology in The Wicker Man
William Hughes

ecology: both are, in essence, timely rather than timeless, and anthropocentric rather than expressing human embodiment within a diffuse and diverse natural continuum. The Wicker Man is a work far from congruent with environmentalist aspirations, then or now. It is a critical commonplace that the central events of The Wicker Man , the processional axis, as it were, that

in Ecogothic