front cover of Hope Is an Imperative
Hope Is an Imperative
The Essential David Orr
David W. Orr
Island Press, 2010
For more than three decades, David Orr has been one of the leading voices of the environmental movement, championing the cause of ecological literacy in higher education, helping to establish and shape the field of ecological design, and working tirelessly to raise awareness of the threats to future generations posed by humanity’s current unsustainable trajectory.
 
Hope Is an Imperative brings together in a single volume Professor Orr’s most important works. These include classics such as “What Is Education For?,” one of the most widely reprinted essays in the environmental literature, “The Campus and the Biosphere,” which helped launch the green campus movement,and “Loving Children: A Design Problem,” which renowned theologian and philosopher Thomas Berry called “the most remarkable essay I’ve read in my whole life.”
 
The book features thirty-three essays, along with an introductory section that considers the evolution of environmentalism, section introductions that place the essays into a larger context, and a foreword by physicist and author Fritjof Capra.
 
Hope Is an Imperative is a comprehensive collection of works by one of the most important thinkers and writers of our time. It offers a complete introduction to the writings of David Orr for readers new to the field, and represents a welcome compendium of key essays for longtime fans. The book is a must-have volume for every environmentalist’s bookshelf.
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front cover of Hope Is of a Different Color
Hope Is of a Different Color
From the Global South to the Lodz Film School
Edited by Magda Lipska and Monika Talarczyk
Museum of Modern Art in Warsaw, 2020
The history of film students from the Global South who studied in Poland during the Cold War.
 
As Poland’s second-largest city, Łódź was a hub for international students who studied in Poland from the mid-1960s to 1989. The Łódź Film School, a member of CILECT since 1955, was a favored destination, with students from Africa, Latin America, and the Middle East accounting for one-third of its international student body. Despite the school’s international reputation, the experience of its filmmakers from the Global South is little known beyond Poland. 
 
Hope Is of a Different Color addresses the history of student exchanges between the Global South and the Polish People’s Republic during the Cold War. It sheds light on the experiences and careers of a generation of young filmmakers at Łódź, many of whom went on to achieve success as artists in their home countries, and provides insight into emerging areas of research and race relations in Central and Eastern Europe. The essays reflect on these issues from multiple perspectives, considering sociology, political science, art, and film history. The book also features previously unpublished photographs and film stills from private archives along with visual and written material collected at the Łódź Film School.
 
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