Although much of the material studied is dense, Spretnak keeps her treatment lively, accessible, and challenging. The arguments that support globalization usually benefit the top business people in the world. About this Item: Routledge, 1999. May not contain Access Codes or Supplements. Synopsis In this insightful, beautifully written work, one of America's most important feminist ecological thinkers reflects on the roots of modernity in Renaissance humanism, the Reformation, the Scientific Revolution and the Enlightenment, Spretnak argues that an ecological postmodern ethos is emerging in the 1990s. That is something you cannot watch in real life, where we see others only from the outside and have to infer inner states from their behavior. The result is a significantly expanded understanding of the cultural history of modern art.
And they are points well taken but here made ponderously and without a whit of humor. All pages are intact, and the cover is intact. They are hospitable, and gregarious. On the other hand, showing how illusory and simplistic our intellectual categories seem to be, she argues for a recovery effort in order to actively regain our individual and collective awareness of our natural context, our relationships to other human beings, and to our basic grounding in the ecology of the real world around us. They love music, and are skillful at it. Most telling of all is Spretnak's explanation of why radical localism does not imply a new isolationism. Modern culture embodies the pretense that it is a cloak around the planet which could as easily be draped elsewhere.
A copy that has been read, but remains in clean condition. Yet Charlene Spretnak argues persuasively that the intensification of the modern crises is not inevitable and is already being challenged by an impressive network of corrective efforts. They eat plenty of meat, but little bread. The arguments against globalization mainly represent the poor people of the world. This is a book with a mission and a message.
The grand claims of modernity no longer inspire confidence because its destructive effects seem to be multiplying. The grand claims of modernity no longer inspire confidence because its destructive effects seem to be multiplying. The Spiritual Dynamic in Modern Art draws on direct statements by scores of leading artists—cited from little known historical documentation as well as contemporary interviews—to demonstrate that spirituality, far from being inconsequential in the terrain of modern art, is generative. The population that believes in this view benefits from a free market and will later become successful. She is particularly interested in 21st-century discoveries indicating that the physical world, including the human bodymind, is far more dynamically interrelated than modernity had assumed.
Both a sharp critique and a graceful performance of the art of the possible, The Resurgence of the Real changes the way we think about living in the modern world. The E-mail message field is required. Yet Charlene Spretnak argues persuasively that the intensification of the modern crises is not inevitable and is already being challenged by an impressive network of corrective efforts. She asserts that the ideologies of modernity have devalued the knowing body, the creative cosmos, and the complex sense of place. Using her own theories, Spretnak enacts the possible. Charlene Spretnak's thesis is somewhat visible and brought forth in this small quotation from her essay. An even greater challenge than getting enough exercise is that of eating right.
At ThriftBooks, our motto is: Read More, Spend Less. Book is in Used-Good condition. She inspires social change from the roots of our humanity, one that calls for compassionate intelligence over superficial reactions. Since the mid-1980s, her books have examined the multiple crises of modernity and their root causes and have contributed to corrective efforts that are arising. The same thing is true about the nature of ourselves.
This magisterial overview insightfully presents, for the first time, a chronological survey of the major art movements that weaves together spiritual profiles of numerous leading artists and situates their stories within the cultural context of each period. They observe with great sensitivity the dramas, rhythms, and presence of place. Pages and cover are clean and intact. Instead, she argues, we need to recognize that we are self-correcting energy systems operating within nature, which she defines as a dynamic and self-regulating cosmos. Green Party movement, of which she is a cofounder. According to Spretnak, this view not only reduced the universe to dead matter, mathematically measurable, but also resulted in the notion that humans are no more than biomechanical machines, to be repaired or technically enhanced at will so long as the means are available. May show signs of minor shelf wear and contain limited notes and highlighting.
This is a very special, passionate, and wonderful book, and is one offering hope for the future. About this Item: Routledge, 1999. The grand claims of modernity no longer inspire confidence because its destructive effects seem to be multiplying. In particular it has distorted our relationship to body, nature and place. She has written nine books on various subjects in which interrelatedness plays a central role, including its expression in the arts.
Place is not just where you are, but an influential ecosocial frame. Literary critic proposes a process that can be described as literary therapy: It is really quite remarkable what happens when reading a great novel: By identifying with a character, you learn from within what it feels like to be someone else. Finally, Charlene Spretnak concludes her wideranging exploration with an engaging story of an American heartland city in the near future that has largely decoupled from the destructive dynamics of the globalized economy and initiated a range of pragmatic alternatives in its region. This one may well knock your socks off. About this Item: Routledge, 1999.