By Lawrence Hazelrigg
"Philosophically tough. . . . Hazelrigg's thesis turns out to trap every body short."--Steve Fuller, govt editor, Social Epistemology
"A caliber piece of labor; the critical problematical is obviously articulated and demanding; the theoretical analyses are refined and sophisticated; and the narrative is easily crafted. . . . the focal point of this paintings is on the center of middle matters now being mentioned through a lot greater circles of interdisciplinary social theorists and cultural reports scholars."--Robert Antonio, college of Kansas
Lawrence Hazelrigg's thesis, argued during this concluding paintings of his trilogy, is that "nature, below any description whatever, is carefully a humanly made existence." Nature is a cultural creation, he says, and any contrast among nature and tradition is drawn from the kin of energy that signify a specific culture.
In this leading edge imaginative and prescient of the very beginning of social thought, he units out the various phrases and relationships of the nature-culture polarity and gives 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 during 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 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 might be a tremendous resource for college students within the turning out to be region of sociology of tradition in addition to for students in philosophy, social and political conception, ethnography, and feminism and others attracted to the social development of nature and the politics of environmentalism.
Lawrence Hazelrigg is professor of sociology at Florida nation University. he's the writer of A desert of Mirrors and Claims of Knowledge (both UPF, 1989), the 1st books of this trilogy, and of Class, clash, and Mobility and felony inside Society.
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Additional resources for Cultures of nature: an essay on the production of nature
These "panhuman bases" of human behavior include certain "precultural needs," for which Spiro reported that he had found sufficient evidence in the kibbutz study. ) but also usually rather broad terms within a particular culture. , precultural or hypocultural nature) has been spied, not even if the "we" should include some "representative observer" from every one of the cultures in question. , under some consensual description) has been observed as a feature of every culture. The agreement need not be generalized, or generalizable, to every possible culture.
My aim here is not to add to that literature. But in view of the title of this volume, an advisory note concerning vocabulary is called for. " 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).
While able to criticize some of his former selvesas Spiro did, though to somewhat opposite conclusionPutnam remains appreciative of "what is appealing" about the now rejected realist view, and he invites his reader (perhaps needlessly) to appreciate in turn what "being torn" feels like (H. Putnam 1988, xii). The bundle of "ideas about truth," in Putnam's description, has certainly been enthralling. But what he "used to find seductive" about the realist view was an expectation more modern in character than the rather classical description quoted in the preceding paragraph.
Cultures of nature: an essay on the production of nature by Lawrence Hazelrigg