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Did modernity begin with the Renaissance and end with post-modernism? Dupre challenges both these assumptions, discussing the roots, development and impact of modern thought and tracing the principles of modernity to the late 14th century.
In Modern Nature,Lynn K. Nyhart traces the emergence of a “biological perspective” in late nineteenth-century Germany that emphasized the dynamic relationships among organisms, and between organisms and their environment. Examining this approach to nature in light of Germany’s fraught urbanization and industrialization, as well the opportunities presented by new and reforming institutions, she argues that rapid social change drew attention to the role of social relationships and physical environments in rendering a society—and nature—whole, functional, and healthy. This quintessentially modern view of nature, Nyhart shows, stood in stark contrast to the standard naturalist’s orientation toward classification. While this new biological perspective would eventually grow into the academic discipline of ecology, Modern Nature locates its roots outside the universities, in a vibrant realm of populist natural history inhabited by taxidermists and zookeepers, schoolteachers and museum reformers, amateur enthusiasts and nature protectionists. Probing the populist beginnings of animal ecology in Germany, Nyhart unites the history of popular natural history with that of elite science in a new way. In doing so, she brings to light a major orientation in late nineteenth-century biology that has long been eclipsed by Darwinism.
Virginia Woolf famously claimed that, around December 1910, human character changed. Aesthetic Technologies addresses how music (especially opera), the phonograph, and film served as cultural agents facilitating the many extraordinary social, artistic, and cultural shifts that characterized the new century and much of what followed long thereafter, even to the present. Three tropes are central: the tensions and traumas—cultural, social, and personal—associated with modernity; changes in human subjectivity and its engagement and representation in music and film; and the more general societal impact of modern media, sound recording (the development of the phonograph in particular), and the critical role played by early-century opera recording. A principal focus of the book is the conflicted relationship in Western modernity to nature, particularly as nature is perceived in opposition to culture and articulated through music, film, and sound as agents of fundamental, sometimes shocking transformation. The book considers the sound/vision world of modernity filtered through the lens of aesthetic modernism and rapid technological change, and the impact of both, experienced with the prescient sense that there could be no turning back.
Julia Adeney Thomas turns the concept of nature into a powerful analytical lens through which to view Japanese modernity, bringing the study of both Japanese history and political modernity to a new level of clarity. She shows that nature necessarily functions as a political concept and that changing ideas of nature's political authority were central during Japan's transformation from a semifeudal world to an industrializing colonial empire. In political documents from the nineteenth to the early twentieth century, nature was redefined, moving from the universal, spatial concept of the Tokugawa period, through temporal, social Darwinian ideas of inevitable progress and competitive struggle, to a celebration of Japan as a nation uniquely in harmony with nature. The so-called traditional "Japanese love of nature" masks modern state power. Thomas's theoretically sophisticated study rejects the supposition that modernity is the ideological antithesis of nature, overcoming the determinism of the physical environment through technology and liberating denatured subjects from the chains of biology and tradition. In making "nature" available as a critical term for political analysis, this book yields new insights into prewar Japan's failure to achieve liberal democracy, as well as an alternative means of understanding modernity and the position of non-Western nations within it.
From the early seventeenth to the mid-nineteenth century Japan saw the creation, development, and apparent disappearance of the field of natural history, or "honzogaku." Federico Marcon traces the changing views of the natural environment that accompanied its development by surveying the ideas and practices deployed by "honzogaku" practitioners and by vividly reconstructing the social forces that affected them. These include a burgeoning publishing industry, increased circulation of ideas and books, the spread of literacy, processes of institutionalization in schools and academies, systems of patronage, and networks of cultural circles, all of which helped to shape the study of nature. In this pioneering social history of knowledge in Japan, Marcon shows how scholars developed a sophisticated discipline that was analogous to European natural history but formed independently. He also argues that when contacts with Western scholars, traders, and diplomats intensified in the nineteenth century, the previously dominant paradigm of "honzogaku "slowly succumbed to modern Western natural science not by suppression and substitution, as was previously thought, but by creative adaptation and transformation.
With the rise of science, we moderns believe, the world changed irrevocably, separating us forever from our primitive, premodern ancestors. But if we were to let go of this fond conviction, Bruno Latour asks, what would the world look like? His book, an anthropology of science, shows us how much of modernity is actually a matter of faith. What does it mean to be modern? What difference does the scientific method make? The difference, Latour explains, is in our careful distinctions between nature and society, between human and thing, distinctions that our benighted ancestors, in their world of alchemy, astrology, and phrenology, never made. But alongside this purifying practice that defines modernity, there exists another seemingly contrary one: the construction of systems that mix politics, science, technology, and nature. The ozone debate is such a hybrid, in Latour’s analysis, as are global warming, deforestation, even the idea of black holes. As these hybrids proliferate, the prospect of keeping nature and culture in their separate mental chambers becomes overwhelming—and rather than try, Latour suggests, we should rethink our distinctions, rethink the definition and constitution of modernity itself. His book offers a new explanation of science that finally recognizes the connections between nature and culture—and so, between our culture and others, past and present. Nothing short of a reworking of our mental landscape, We Have Never Been Modern blurs the boundaries among science, the humanities, and the social sciences to enhance understanding on all sides. A summation of the work of one of the most influential and provocative interpreters of science, it aims at saving what is good and valuable in modernity and replacing the rest with a broader, fairer, and finer sense of possibility.
This wide-ranging and accessible contribution to the study of risk, ecology and environment helps us to understand the politics of ecology and the place of social theory in making sense of environmental issues. The book provides insights into the complex dynamics of change in `risk societies′.
Adolf Hitler was a vegetarian and the Dachau concentration camp had an organic herb garden. Vegetarianism, organic farming, and other such practices have enticed a wide variety of Germans, from socialists, liberals, and radical anti-Semites in the nineteenth century to fascists, communists, and Greens in the twentieth century. Corinna Treitel offers a fascinating new account of how Germans became world leaders in developing more 'natural' ways to eat and farm. Used to conserve nutritional resources with extreme efficiency at times of hunger and to optimize the nation's health at times of nutritional abundance, natural foods and farming belong to the biopolitics of German modernity. Eating Nature in Modern Germany brings together histories of science, medicine, agriculture, the environment, and popular culture to offer the most thorough and historically comprehensive treatment yet of this remarkable story.
A common theme of this set of thirteen essays by one of the major figures in contemporary German philosophy is the idea of a postmetaphysical modernity. In his preface Wellmer relates the title of his book, Endgames, to this common theme: The historical utopias of the Marxist tradition and the programs of ultimate justification in the Kantian tradition are both endgames within metaphysics, the deconstruction of those utopias and programs of ultimate justification are endgames played with metaphysics, and the game with an end as ultimate telos--the end(s) of history, the end(s) of knowledge, the end(s) of human life--is metaphysics. The title, Endgames, finally also refers polemically to postmodernist games with an end of modernity; as opposed to these, Wellmer defends the fragile moral and political substance of the modernity that postmodernists attempt to overcome--and that sense of what needs to be preserved of the modern tradition for a postmetaphysical modernity is what makes his writings unique. In the first of the book's three parts, "Negative and Communicative Freedom," Wellmer focuses on political philosophy, examining in particular the links and tensions between liberal basic rights and modern ideas of democracy. In Part II, "Postmetaphysical Perspectives," he attempts to develop a postmetaphysical perspective on aesthetics and metaphysics (with and against Adorno), on the problem of truth (with and against Richard Rorty, Jürgen Habermas, and Karl-Otto Apel), and on hermeneutics (with and against Hans-Georg Gadamer and Karl-Otto Apel). Part III, "Images of the Times," contains occasional pieces on Ludwig Wittgenstein, the Frankfurt School, Hans Jonas, and architecture. The book closes with an appended critical essay on Hannah Arendt, reflecting the importance of Arendt's political philosophy to Wellmer's work.
In 1935, after the death of dictator General Juan Vicente Gómez, Venezuela consolidated its position as the world's major oil exporter and began to establish what today is South America's longest-lasting democratic regime. Endowed with the power of state oil wealth, successive presidents appeared as transcendent figures who could magically transform Venezuela into a modern nation. During the 1974-78 oil boom, dazzling development projects promised finally to effect this transformation. Yet now the state must struggle to appease its foreign creditors, counter a declining economy, and contain a discontented citizenry. In critical dialogue with contemporary social theory, Fernando Coronil examines key transformations in Venezuela's polity, culture, and economy, recasting theories of development and highlighting the relevance of these processes for other postcolonial nations. The result is a timely and compelling historical ethnography of political power at the cutting edge of interdisciplinary reflections on modernity and the state.