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"Biophilia" is the term coined by Edward O. Wilson to describe what he believes is humanity's innate affinity for the natural world. In his landmark book "Biophilia," he examined how our tendency to focus on life and lifelike processes might be a biologically based need, integral to our development as individuals and as a species. That idea has caught the imagination of diverse thinkers."The Biophilia Hypothesis" brings together the views of some of the most creative scientists of our time, each attempting to amplify and refine the concept of biophilia. The variety of perspectives -- psychological, biological, cultural, symbolic, and aesthetic -- frame the theoretical issues by presenting empirical evidence that supports or refutes the hypothesis. Numerous examples illustrate the idea that biophilia and its converse, biophobia, have a genetic component: fear, and even full-blown phobias of snakes and spiders are quick to develop with very little negative reinforcement, while more threatening modern artifacts -- knives, guns, automobiles -- rarely elicit such a response people find trees that are climbable and have a broad, umbrella-like canopy more attractive than trees without these characteristics people would rather look at water, green vegetation, or flowers than built structures of glass and concrete The biophilia hypothesis, if substantiated, provides a powerful argument for the conservation of biological diversity. More important, it implies serious consequences for our well-being as society becomes further estranged from the natural world. Relentless environmental destruction could have a significant impact on our quality of life, not just materially but psychologically and evenspiritually.
"When we grasp fully that the best expressions of our humanity were
not invented by civilization but by cultures that preceded it, that
the natural world is not only a set of constraints but of contexts
within which we can more fully realize our dreams, we will be on
the way to a long overdue reconciliation between opposites which
are of our own making." --from Coming Home to the Pleistocene
Through much of history our relationship with the earth has been plagued by ambivalence--we not only enjoy and appreciate the forces and manifestations of nature, we seek to plunder, alter, and control them. Here Paul Shepard uncovers the cultural roots of our ecological crisis and proposes ways to repair broken bonds with the earth, our past, and nature. Ultimately encouraging, he notes, "There is a secret person undamaged in every individual. We have not lost, and cannot lose, the genuine impulse."
A pioneering exploration of the roots of our attitudes toward nature, Paul Shepard's most seminal work is as challenging and provocative today as when it first appeared in 1967. Man in the Landscape was among the first books of a new genre that has elucidated the ideas, beliefs, and images that lie behind our modern destruction and conservation of the natural world. Departing from the traditional study of land use as a history of technology, this book explores the emergence of modern attitudes in literature, art, and architecture -- their evolutionary past and their taproot in European and Mediterranean cultures. With humor and wit, Shepard considers the influence of Christianity on ideas of nature, the absence of an ethic of nature in modern philosophy, and the obsessive themes of dominance and control as elements of the modern mind. In his discussions of the exploration of the American West, the establishment of the first national parks, and the reactions of pioneers to their totally new habitat, he identifies the transport of traditional imagery into new places as a sort of cultural baggage.
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