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The so-called Garden of Delights by Jheronimus Bosch (c. 1450-1516), now located in the Museo del Prado in Madrid, was painted over half a millennium ago yet remains an absolutely iconic work in European art history. The highly complex and enigmatic image has frequently been interpreted as a paradisaical utopia, in which people indulge playfully in erotic pleasure in harmony with nature. It is a visual utopia framed before Thomas More had actually coined the word in a book whose entirely unfrivolous blueprint for society could hardly differ more from Bosch's phantasm. More traditional art historians have identified Bosch's masterpiece as a painted warning against the sins of the body, more specifically that of 'lust', citing the image of Hell in the right wing in support. Paul Vandenbroeck argues that these two interpretations need not preclude one another: Bosch painted a phantasmagorical false paradise that leads inexorably to ruin. He drew his inspiration from folk ideas about a semi-earthly, semi-supernatural erotic paradise or Grail, in which those who entered could live in a dream-world of unbridled pleasure. But only until Judgement Day, upon which they would all wind up in Hell. As far as 'right-thinking' town-dwellers were concerned from their vantage point within a 'bourgeois civilizing offensive', belief in such an existence was dangerous, if not diabolical nonsense - tantamount to the 'Cult of Adam' and the indiscriminate sexual promiscuity of the late-medieval Sect of the Free Spirit. In large swathes of countryside throughout Europe, however, people were familiar with 'ecstatics', those 'born with the caul', who were able to access this other world. Bosch's magisterial work is simultaneously a reflection on the first and last times, on passions and moral norms, human beings and Nature. A Nature which, although also part of God's creation, was permeated with malevolent and highly dangerous sexual urges, which human beings were required to keep in check. For whom did Bosch paint this enormous triptych? Since the discoveries of Prof. J.K. Steppe of Leuven University, art historians have tended to identify the patron as Henry III of Nassau or, more recently, his uncle, Engelbert II. This book presents an unexpected alternative hypothesis.
To reclaim a sense of hope for the future, German activists in the late twentieth century engaged ordinary citizens in innovative projects that resisted alienation and disenfranchisement. By most accounts, the twentieth century was not kind to utopian thought. The violence of two world wars, Cold War anxieties, and a widespread sense of crisis after the 1973 global oil shock appeared to doom dreams of a better world. The eventual victory of capitalism and, seemingly, liberal democracy relieved some fears but exchanged them for complacency and cynicism. Not, however, in West Germany. Jennifer Allen showcases grassroots activism of the 1980s and 1990s that envisioned a radically different society based on community-centered politicsÑa society in which the democratization of culture and power ameliorated alienation and resisted the impotence of end-of-history narratives. BerlinÕs History Workshop liberated research from university confines by providing opportunities for ordinary people to write and debate the story of the nation. The Green Party made the politics of direct democracy central to its program. Artists changed the way people viewed and acted in public spaces by installing objects in unexpected environments, including the Stolpersteine: paving stones, embedded in residential sidewalks, bearing the names of Nazi victims. These activists went beyond just trafficking in ideas. They forged new infrastructures, spaces, and behaviors that gave everyday people real agency in their communities. Undergirding this activism was the environmentalist concept of sustainability, which demanded that any alternative to existing society be both enduring and adaptable. A rigorous but inspiring tale of hope in action, Sustainable Utopias makes the case that it is still worth believing in human creativity and the labor of citizenship.
In the past five decades there have been many, many forecasts of impending environmental doom. They have universally been proven wrong. Meanwhile, those who have bet on human resourcefulness have almost always been correct. In his widely praised book Ecoscam, Ronald Bailey strongly countered environmentalist alarmism, using facts to demonstrate just how wildly overstated many claims of impending ecological doom really were. Now, twenty years later, the Reason Magazine science correspondent is back to assess the future of humanity and the global biosphere. Bailey finds, contrary to popular belief, that many present ecological trends are quite positive. Including: Falling cancer incidence rates in the United States. The likelihood of a declining world population by mid-century. The abundant return of agricultural land to nature as the world reaches peak farmland. A proven link between increases in national wealth and reductions in air and water pollution Global warming is a problem, but the cost of clean energy could soon fall below that of fossil fuels. In The End of Doom, Bailey avoids polemics and offers a balanced, fact-based and ultimately hopeful perspective on our current environmental situation. Now isn't that a breath of fresh air?
The "Happiest Place on Earth" opened in 1955 during a trying time in American life--the Cold War. Disneyland was envisioned as a utopian resort where families could play together and escape the tension of the "real world." Since its construction, the park has continually been updated to reflect changing American culture. The park's themed features are based on familiar Disney stories and American history and folklore. They reflect the hopes of a society trying to understand itself in the wake of World War II. This second edition expands its perspective in response to, among other things, the cultural shifts brought on by the Covid-19 pandemic. New and updated chapters endeavor to hold Disney accountable: not accountability for misdeeds, but its accountability to include everyone, as American mythmakers and cultural titans.
A freewheeling, sharp-shooting indictment of a tech-besotted culture. With razor wit, Nicholas Carr cuts through Silicon Valley’s unsettlingly cheery vision of the technological future to ask a hard question: Have we been seduced by a lie? Gathering a decade’s worth of posts from his blog, Rough Type, as well as his seminal essays, Utopia Is Creepy is “Carr’s best hits for those who missed the last decade of his stream of thoughtful commentary about our love affair with technology and its effect on our relationships” (Richard Cytowic, New York Journal of Books). Carr draws on artists ranging from Walt Whitman to the Clash, while weaving in the latest findings from science and sociology. Carr’s favorite targets are those zealots who believe so fervently in computers and data that they abandon common sense. Cheap digital tools do not make us all the next Fellini or Dylan. Social networks, diverting as they may be, are not vehicles for self-enlightenment. And “likes” and retweets are not going to elevate political discourse. Utopia Is Creepy compels us to question the technological momentum that has trapped us in its flow. “Resistance is never futile,” argues Carr, and this book delivers the proof.
Probes the contested concept of utopia, examining the different ways in which it has been used by commentators and theorists in both liberal and Marxist radiations. The works of Karl Mannheim, Georges Sorel, Ernst Bloch, William Morris, and Herbert Marcuse are studied. Annotation copyrighted by Book News, Inc., Portland, OR
Our understanding of ourselves and the world as historical has drastically changed since the postwar period, yet this emerging historical sensibility has not been appropriately explained in a coherent theory of history. In this book, Zoltán Simon argues that instead of seeing the past, the present and the future together on a temporal continuum as history, we now expect unprecedented change to happen in the future (in visions of the future of technology, ecology and nuclear warfare) and we look at the past by assuming that such changes have already happened. This radical theory of history challenges narrative conceptualizations of history which assume a past potential of humanity unfolding over time to reach future fulfillment and seeks new ways of conceptualizing the altered socio-cultural concerns Western societies are currently facing. By creating a novel set of concepts to make sense of our altered historical condition regarding both history understood as the course of human affairs and historical writing, History in Times of Unprecedented Change offers a highly original and engaging take on the state of history and historical theory in the present and beyond.
Originally published in 1966. The main purpose of this book is not philosophical speculation, but to draw the obvious conclusions from political and historical facts about the prospects and methods of human political survival. The central theme is developed in the context of problems which cause most anxiety today: the mounting arms race, the unstable balance of power, the rapid growth of population, racial conflicts and ideological incompatibilities.
Utopias and the Environment explores the way in which the kind of ‘dreaming’, or re-visioning, known as the ‘utopian imaginary’ takes environmental concerns into account. This kind of creative intervention is increasingly important in an era of ecological crisis, as we witness the failure of governments worldwide to significantly change industrial civilization from a path of ‘business as usual.’ In this context, it is up to the artists – in this case authors – to imagine new ways of being that respond to this imperative and immediate global issue. Concurrently, it is also up to critics, readers, and thinkers everywhere to appraise these narratives of possibility for their complexities and internal conflicts, as well as for their promise, as we enter this new era of rapid change and adaptation. Because creative and critical thinkers must work together towards this goal, the idea of the critical utopia, coined by Tom Moylan in response to the fiction of the 1970s, is now ingrained in the common argot and is one of the key ideas discussed in this book. This development in the genre, which combines self-reflexivity and multiple perspectives within its dreaming, represents the postmodern spirit in its most regenerative aspect. This book is testament to such hopes and potential realities. This book was originally published as a special issue of Green Letters.
This study examines feminist speculative fiction from the late twentieth and early twenty-first century, and finds within it a new vision for the future. Rejecting notions of postmodern utopia as exclusionary, Jennifer A. Wagner-Lawlor advances one defined in terms of hospitality, casting what she calls 'imaginative sympathy' as the foundation of utopian desire. Tracing these themes through the works of Atwood, Butler, Lessing and Winterson, as well as those of well-known Muslim feminists such as El Saadawi, Parsipur and Mernissi, Wagner-Lawlor balances literary analysis with innovative extensions of feminist philosophy to show how inclusionary utopian thinking can inform and promote political agency. Examining these contemporary fictions reveals the rewards of attending to a community that acknowledges difference, diversity and the imaginative potential of every human being.