In Ecology without Nature, Timothy Morton argues that the chief stumbling block to environmental thinking is the image of nature itself. Ecological writers propose a new worldview, but their very zeal to preserve the natural world leads them away from the "nature" they revere. The problem is a symptom of the ecological catastrophe in which we are living. Morton sets out a seeming paradox: to have a properly ecological view, we must relinquish the idea of nature once and for all.

Ecology without Nature investigates our ecological assumptions in a way that is provocative and deeply engaging. Ranging widely in eighteenth-century through contemporary philosophy, culture, and history, he explores the value of art in imagining environmental projects for the future. Morton develops a fresh vocabulary for reading "environmentality" in artistic form as well as content, and traces the contexts of ecological constructs through the history of capitalism. From John Clare to John Cage, from Kierkegaard to Kristeva, from The Lord of the Rings to electronic life forms, Ecology without Nature widens our view of ecological criticism, and deepens our understanding of ecology itself. Instead of trying to use an idea of nature to heal what society has damaged, Morton sets out a radical new form of ecological criticism: "dark ecology."

In 1832, Ralph Waldo Emerson had come to a critical pass. He had lost his wife and was on the brink of leaving his career as a minister. In this reduced state he traveled to New Hampshire, where he made his famous decision to pursue wholeness--in his life and in his writing. This book reveals how Emerson went about achieving this purpose--and how he conceived a uniquely American literary practice.

Central to this project were the aims and methods of natural science, which Emerson discovered in spectacular form at the Museum of Natural History (Jardin des Plantes) in Paris exactly a year after his momentous decision. Lee Rust Brown describes Emerson's use of these scientific techniques to integrate a disparate, constantly enlarging field of subject matter--ultimately, to reconceive himself as an institution of private research and public presentation not unlike the museum itself, methodically gathering specimens from the exotic frontiers of experience and setting them out, in their manifold affinities, on common ground.

The Emerson Museum shows how this undertaking transformed the legacy of European romanticism into a writing project answerable to American urgencies. The natural science of the time was itself informed by romantic demands for wholeness of prospect, and its methods offered Emerson a way to confront an American reality in which any manifestation of unity--literary, political, philosophical, psychological--had to embrace an expanding and fragmenting field of objective elements. In the experimental format of Emerson's essays, Brown identifies the evolution of this new approach and the emergence of wholeness as a national literary project.

“An extraordinary work of intellectual history as well as a scholarly tour de force, a bracing polemic, and a work of Christian prophecy…McCarraher challenges more than 200 years of post-Enlightenment assumptions about the way we live and work.”
—The Observer

At least since Max Weber, capitalism has been understood as part of the “disenchantment” of the world, stripping material objects and social relations of their mystery and magic. In this magisterial work, Eugene McCarraher challenges this conventional view. Capitalism, he argues, is full of sacrament, whether one is prepared to acknowledge it or not. First flowering in the fields and factories of England and brought to America by Puritans and evangelicals, whose doctrine made ample room for industry and profit, capitalism has become so thoroughly enmeshed in the fabric of our society that our faith in “the market” has become sacrosanct.

Informed by cultural history and theology as well as management theory, The Enchantments of Mammon looks to nineteenth-century Romantics, whose vision of labor combined reason, creativity, and mutual aid, for salvation. In this impassioned challenge to some of our most firmly held assumptions, McCarraher argues that capitalism has hijacked our intrinsic longing for divinity—and urges us to break its hold on our souls.

“A majestic achievement…It is a work of great moral and spiritual intelligence, and one that invites contemplation about things we can’t afford not to care about deeply.”
—Commonweal

“More brilliant, more capacious, and more entertaining, page by page, than his most ardent fans dared hope. The magnitude of his accomplishment—an account of American capitalism as a religion…will stun even skeptical readers.”
—Christian Century

There are separate languages to be understood in the writings of French and English Romantics, Margery Sabin tells us. Instead of minimizing the importance of national characteristics, as comparatistes frequently do, she demonstrates that national traditions of thought and language have a determining influence throughout the Romantic period. In tracking the differing courses pursued by the best French and English writers of the period, she shows that the idea of the transcendental imagination never took hold among the French-Romantics; that Wordsworth's ideal of the marriage between mind and nature did not inform the vision of the French, who were preoccupied with the isolated human spirit thrown back on its own resources of conscience or faith.

A detailed and far-ranging comparison of Rousseau's Confessions and Wordsworth's Prelude establishes her provocative argument. The idea gains force from the wealth of examples that follow. Sabin examines Wordsworth, Coleridge, and George Eliot as representative of varieties of English Romanticism in the genres of lyric poetry, critical theory, and the novel. Contrasts between these writers and Hugo, Baudelaire, and Flaubert offer new and more precise ways of understanding both Romanticism and later departures from it. Her sensitive readings of Pascal, La Rochefoucauld, Addison, Samuel Johnson, Gerard Manley Hopkins, Thomas Hardy, Yeats, T. S. Eliot, and others yield further evidence. This fresh critical perspective will generate further thought about major writers and about national differences in literature.

“They join the greatest boldness in thought to the most obedient character.” So Madame de Stael described German intellectuals at the close of the 18th century, and her view of this schism between the intellectual and the political has stood virtually unchallenged for 200 years. This book lays to rest Madam de Stael's legacy, the myth of the apolitical German. In a narrative history of ideas that proceeds from his book The Fate of Reason, Frederick Beiser discusses how the French Revolution, with a rationalism and an irrationalism that altered the world, transformed and politicized German philosophy and its central concern: the authority and limits of reason. In Germany, three antithetical political traditions—liberalism, conservatism, and romanticism—developed in response to the cataclysmic events in France.

Enlightenment, Revolution, and Romanticism establishes the genesis and context of these traditions and illuminates their fundamental political ideas. Moving from such well-known figures as Kant, Fichte, Jacobi, Forster, and Moser, Beiser summarizes responses to the French Revolution by the major political thinkers of the period. He investigates the sources for their political theory before the 1790s and assesses the importance of politics for their thought in general. By concentrating on a single formative decade, Beiser aims to reveal the political values and purposes underlying German thought in the late 18th century and ultimately to clarify the place of practical reason in the German philosophical tradition.