By Lawrence Hazelrigg
"Philosophically not easy. . . . Hazelrigg's thesis turns out to trap all people short."--Steve Fuller, govt editor, Social Epistemology
"A caliber piece of labor; the vital complex is obviously articulated and critical; the theoretical analyses are subtle and sophisticated; and the narrative is definitely crafted. . . . the point of interest of this paintings is on the center of middle matters now being mentioned by means of a lot better circles of interdisciplinary social theorists and cultural reviews scholars."--Robert Antonio, collage of Kansas
Lawrence Hazelrigg's thesis, argued during this concluding paintings of his trilogy, is that "nature, less than any description whatever, is carefully a humanly made existence." Nature is a cultural construction, he says, and any contrast among nature and tradition is drawn from the kinfolk of energy that represent a selected culture.
In this leading edge imaginative and prescient of the very starting place of social idea, he units out many of the phrases and relationships of the nature-culture polarity and provides a map of the "circuits and relays" that exist among "that which counts as wisdom and that which counts as power." He extends the mapping to problems with philosophical anthropology and the "production" of human nature (and the Marxian roots of this construction) after which examines 3 events within which the circuits and relays function in ecu and Euroamerican cultures: the sixteenth-century invention of tradition; sleek innovations of primitiveness; and "a lengthy series of practices of sexing nature's body."
In end, he addresses the query of an ecologism that starts off to glimpse the artificiality of nature (the new "crisis of nature") and which needs to paintings anew to appreciate what counts as knowledge.
This paintings should be an incredible resource for college kids within the becoming zone of sociology of tradition in addition to for students in philosophy, social and political idea, ethnography, and feminism and others attracted to the social building of nature and the politics of environmentalism.
Lawrence Hazelrigg is professor of sociology at Florida kingdom University. he's the writer of A barren region of Mirrors and Claims of Knowledge (both UPF, 1989), the 1st books of this trilogy, and of Class, clash, and Mobility and felony inside of Society.
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Additional info for Cultures of nature: an essay on the production of nature
That there should be (or must be) two essential questions as we have them, and that they should be (or must be) related in a logical and temporal sequence of natural birthing as they have been, depends on the sort of detachment that became increasingly troublesome to Putnam. Hawthorn depicts this detachment in terms that suggest the encryption of a field by a key expelled from the field by the encrypting act. Gestation of Magritte's La Clef des champs (1936) began, then, long ago, in "the conviction, peculiar to European thought in the period since the Enlightenment," that a rational account of humankind's place in the scheme of things "should begin from a distinction between men and some external realm, that it could no longer remain within the self-maintaining securities of anthropocentric cosmologies.
It is commonly held, I suppose, that a society is territorially delimited in a way that a culture is not, or need not be; and the notion that a culture can be exported, at least in part, from one society to another is comfortably intelligible, whereas the parallel notion that a society is exportable from one culture to another seems to involve semantic confu- 11 Bénéton sees a century earlier, in Vauvenargues' Réflexions et maximes of 1746, the first explicit use of the word "culture" as designation of the product or outcome of the activity (rather than the activity itself) of forming human character, that is, of education or upbringing (Bénéton 1975, 31; Vauvenargues  1968, 484, 488).
This stamp of modernity's history, specifically "Rousseauist" only in the sense that his interrogation became perhaps the richest of enigmatic nuance, serves as a sort of backhanded recognition of what historical beings cannot but do in every productive act: call history into question. In an age that increasingly calls itself "post-modern" and proclaims that history has stopped, we may well be led to "question whether history is or can be anything at all," as Gillespie avowed. But since, by such accounting of what has gone before, "history" is second on the scenethat is, defined in the very question of its possibility by reference to natureshould we not therefore call nature into question?