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Journal articles on the topic 'Timothy Morton'

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Published: 4 June 2021
Last updated: 27 April 2022

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1

Vályi, Péter. "Timothy Morton: Being Ecological (Recenzió)." OxIPO 2, no. 2020/1 (2020): 103–11. http://dx.doi.org/10.35405/oxipo.2020.1.103.

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2

Vályi, Péter. "Timothy Morton: The Ecological Thought (Recenzió)." OxIPO 1, no. 3 (2019): 95–101. http://dx.doi.org/10.35405/oxipo.2019.3.95.

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3

Gidal, Eric. "The Ecological Thought by Timothy Morton." Studies in Romanticism 50, no. 2 (2011): 373–77. http://dx.doi.org/10.1353/srm.2011.0028.

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4

Morton, Timothy. "Efnisleiki, leikur." Ritið 20, no. 1 (May 8, 2020): 197–202. http://dx.doi.org/10.33112/ritid.20.1.10.

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Þýðingin sem birtist í Ritinu að þessu sinni er eftir Timothy Morton, heimspeking og prófessor við Rice háskóla. Morton er einn áhrifamesti heimspekingur okkar tíma en hann vinnur á mörkum margvíslegra list- og fræðigreina. Nýverið hélt hann fyrirlestur í Safnahúsinu sem fjallaði um vistfræðilega listsköpun og listsköpun á tímum aukinnar vistfræðilegrar meðvitundar. Þess má einnig geta að hann hefur unnið töluvert með heimsþekktum listamönnum á borð við Ólaf Elíasson og Björk. Það er því sérstaklega ánægjulegt og viðeigandi að fá texta eftir hann birtan í Ritinu að þessu sinni. Textann samdi Morton í tengslum við verk Hrafnhildar Arnardóttur, Efnisleikann, sem var framlag Íslands á Feneyjatvíæringnum árið 2019. Þýðandi er Oddný Eir Ævarsdóttir, heimspekingur og rithöfundur, og birtist hann hér með góðfúslegu leyfi höfundar. Timothy Morton hefur einkum beint sjónum sínum að vistfræðilegum málefnum í verkum sínum. Í því samhengi hefur hann meðal annars lagt áherslu á það sem hann kallar myrka vistfræði (e. dark ecology) og varpað ljósi á mikilvægi þess að manneskjan finni nýjar leiðir til að hugsa um tengsl sín við umhverfið, lífhvolfið og alheiminn. Hann veltir upp spurningum og varpar ljósi á þau sameiginlegu vandamál sem steðja að lífríkinu og vistkerfi jarðar nú á tímum mannaldar (e. Anthroposcene). Í þessu samhengi hefur Morton fært rök fyrir því að allt í veröldinni sé samtengt þannig að nær ómögulegt sé að skipta heiminum upp í tvenndir á borð við mann og náttúru eða setja þær fram sem andstæður. Veruleikinn, að hans mati, er í raun einn risastór samanflæktur möskvi (e. mesh). Í texta Mortons, um verk Hrafnhildar, er að finna svipaða nálgun því þar leggur hann áherslu á þétta samofna þræði á milli manneskju, umhverfis og dýra. Þar er einnig að finna myrka vistfræðilega undirtóna sem vísa veginn inn í litríkt verk Hrafnhildar um efnisleikann.
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5

Shalaginov, Denis. "The Psychology of Bardo." Sotsiologicheskoe Obozrenie / Russian Sociological Review 19, no. 2 (2020): 392–402. http://dx.doi.org/10.17323/1728-192x-2020-2-392-402.

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6

Hart, Heidi. "Timothy Morton (2021). All Art Is Ecological." Journal of Ecohumanism 1, no. 1 (January 23, 2022): 77–80. http://dx.doi.org/10.33182/joe.v1i1.2061.

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7

Gómez S´ánchez, Ruth, Roberto Álava, Mary Spratt, and Jorge Riechmann. "pensamiento ecológico." Análisis. Revista de investigación filosófica 7, no. 1 (June 29, 2020): 139–44. http://dx.doi.org/10.26754/ojs_arif/a.rif.202014145.

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Reseña de: Timothy Morton: El pensamiento ecológico (trad. Fernando Borrajo). Barcelona: Paidós, 2018. 205 pp. “La ecología equivale a menos Naturaleza y a más conciencia”. Tal sería la propuesta del filósofo Timothy Morton (Londres, 1968) en esta obra. El pensamiento ecológico es un ensayo ecléctico donde se nos presenta una forma ecológica de pensar, que no tiene tanto que ver con la ciencia como con las humanidades. La clave del pensamiento ecológico según Morton es precisamente ésta: su ramificación y diversidad. Parte de la consideración de que todos los seres están conectados entre sí en una “malla” (the mesh); como nada existe por sí mismo, nada es plenamente “sí mismo”. Lo que contemplamos es una inmensidad de diferencias infinitesimales, que nos requerirá “pensar a lo grande” (así se titula el capítulo 1 de la obra). De la mano del arte, la filosofía, la literatura, la música y la cultura popular, el autor intenta trazar en tres capítulos una nueva estética ecológica: la ecología oscura (dark ecology, noción que da título a una obra anterior de Morton en 2018), un pensamiento capaz de expresar la ironía y la incertidumbre en la que nos sitúa la ecología mortoniana.
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8

Howe, T. "TIMOTHY MORTON (ed.). The Cambridge Companion to Shelley." Review of English Studies 58, no. 236 (July 16, 2007): 577–79. http://dx.doi.org/10.1093/res/hgm067.

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9

Aretoulakis, Emmanouil. "Morton Timothy, Ecology: Without Nature. Rethinking Environmental Aesthetics." Synthesis: an Anglophone Journal of Comparative Literary Studies, no. 1 (May 1, 2008): 72. http://dx.doi.org/10.12681/syn.16693.

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10

McIntyre, Caitlin, and Dana Medoro. "Spokesvultures for Ecological Awareness: An Interview with Timothy Morton." ESC: English Studies in Canada 42, no. 3-4 (2016): 159–74. http://dx.doi.org/10.1353/esc.2016.0030.

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11

Laist, Randy. "Castaway on the hyperobject: Getting Lost with Timothy Morton." Journal of Popular Television 5, no. 2 (October 1, 2017): 195–209. http://dx.doi.org/10.1386/jptv.5.2.195_1.

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12

Rossington, Michael. "The Cambridge Companion to Shelley – Edited by Timothy Morton." Journal for Eighteenth-Century Studies 31, no. 1 (March 2008): 181–82. http://dx.doi.org/10.1111/j.1754-0208.2008.00024.x.

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13

Yang, Xiaoli. "Timothy Morton, Humankind: Solidarity with Nonhuman People. London and New York: Verso, 2019, 224 pp., ISBN 9781788731003." interconnections: journal of posthumanism 1, no. 1 (August 26, 2021): 52. http://dx.doi.org/10.26522/posthumanismjournal.v1i1.2428.

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Abstract: What makes humans and nonhumans ecological beings in the wake of the Anthropocene? Timothy Morton’s Humankind invites us to consider this philosophical issue as intrinsically aesthetic, ethical, and political. Through his illuminating terminology, Morton argues that becoming human is to understand that we are in fact embedded in the network of solidarity and kindness with nonhumans. Being ecological, for Morton, means being spectral and capable of appreciating the spectrality, pleasure, and beauty of nonhuman beings. In our relationship with nonhuman beings, we are the actants who should overcome our troubled anthropocentrism and mull over what makes us humans, physically and experientially. By putting Marxism, object-oriented ontology, and political ecology into dialogue, Morton revisits the implicit inclusion of nonhuman beings in Marxism, revealing that Marxism can still serve as a critical resource of thinking through a kind of communist existence shared by all ecological beings.
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14

Bennett, A. R. "The Ecology of Art-iculation and Aggregate Reading." Publications of the Modern Language Association of America 131, no. 2 (March 2016): 356–63. http://dx.doi.org/10.1632/pmla.2016.131.2.356.

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The ecological digital humanities evoke a method of thinking that is responsive to what jane bennett terms “the ecology of things.” Neither strictly an ecocriticism nor a pursuit solely of environmental(ist) concerns, the ecological digital humanities explore the material and philosophical interconnectedness of actants in assemblages. They attempt, digitally, to think what Timothy Morton calls “the ecological thought.”
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15

Harris, Derrick. "Timothy Morton. Dark Ecology: For a Logic of Future Coexistence." Environmental Philosophy 13, no. 2 (2016): 303–6. http://dx.doi.org/10.5840/envirophil201613241.

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16

Everhart, Elle. "Dark Ecology: For a Logic of Coexistence. By Timothy Morton." ISLE: Interdisciplinary Studies in Literature and Environment 24, no. 3 (2017): 608–9. http://dx.doi.org/10.1093/isle/isx059.

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17

Flinker, Jens Kramshøj. "Antropocæn økopoesi og komplekse skalaforhold." European Journal of Scandinavian Studies 51, no. 2 (October 1, 2021): 220–34. http://dx.doi.org/10.1515/ejss-2021-2045.

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Abstract The term Anthropocene is often tied to an anxious awareness of the incalculable complexity of anthropogenic environmental changes. As a concept transferred from geology, the term Anthropocene, for humanities scholars such as Timothy Morton (Morton 2013) and Timothy Clark (Clark 2015), installs a crisis in thinking that is bound to scales of mundane and embodied experiences. Instead, they demand thinking about the impact of human life on the whole planet in much broader scales of space and time than is customary. This article examines how contemporary Nordic ecopoetry responds to these environmental changes and challenges in the epoch of the Anthropocene. The point of departure for this work is Silja E. K. Henderson’s 1,7 tipping point (Henderson, Silja E. K. 2018. 1,7 tipping point. København) and Jonas Gren’s Antropocen: dikt för en ny epok (Gren, Jonas 2016: Antropocen: dikt för en ny epok. Stockholm). The article argues that Henderson’s and Gren’s ecopoetry zooms in on micro-levels and out on larger global macro-levels to represent the scale-dynamics of the Anthropocene. Overall, the article argues that this kind of ecopoetry can affect and transform the reader’s ecological imagination.
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Flinker, Jens Kramshøj. "Antropocæn økopoesi og komplekse skalaforhold." European Journal of Scandinavian Studies 51, no. 2 (October 1, 2021): 220–34. http://dx.doi.org/10.1515/ejss-2021-2045.

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Abstract The term Anthropocene is often tied to an anxious awareness of the incalculable complexity of anthropogenic environmental changes. As a concept transferred from geology, the term Anthropocene, for humanities scholars such as Timothy Morton (Morton 2013) and Timothy Clark (Clark 2015), installs a crisis in thinking that is bound to scales of mundane and embodied experiences. Instead, they demand thinking about the impact of human life on the whole planet in much broader scales of space and time than is customary. This article examines how contemporary Nordic ecopoetry responds to these environmental changes and challenges in the epoch of the Anthropocene. The point of departure for this work is Silja E. K. Henderson’s 1,7 tipping point (Henderson, Silja E. K. 2018. 1,7 tipping point. København) and Jonas Gren’s Antropocen: dikt för en ny epok (Gren, Jonas 2016: Antropocen: dikt för en ny epok. Stockholm). The article argues that Henderson’s and Gren’s ecopoetry zooms in on micro-levels and out on larger global macro-levels to represent the scale-dynamics of the Anthropocene. Overall, the article argues that this kind of ecopoetry can affect and transform the reader’s ecological imagination.
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19

Rzepka, Charles J. "The Poetics of Spice: Romantic Consumerism and the Exotic. Timothy Morton." Wordsworth Circle 32, no. 4 (September 2001): 238–39. http://dx.doi.org/10.1086/twc24044886.

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20

Bagdanov, Kristin George. "Dark Ecology: For a Logic of Future Coexistence by Timothy Morton." Canadian Review of Comparative Literature / Revue Canadienne de Littérature Comparée 44, no. 1 (2017): 152–55. http://dx.doi.org/10.1353/crc.2017.0013.

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21

Bennett, Jane. "Systems and Things: A Response to Graham Harman and Timothy Morton." New Literary History 43, no. 2 (2012): 225–33. http://dx.doi.org/10.1353/nlh.2012.0020.

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22

Marzec, Andrzej. ""Jesteśmy połączonym z sobą światem" - Timothy Morton i widmo innej wspólnoty." Teksty Drugie 2 (2018): 88–101. http://dx.doi.org/10.18318/td.2018.2.6.

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23

Arribas, Brais. "Consideraciones sócio-politicas en el marco dela ontologia orientada a objetos." Problemata 11, no. 5 (December 2020): 90–105. http://dx.doi.org/10.7443/problemata.v11i5.53197.

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In this article we will deal with the way in which Object-Oriented Ontology (OOO), elaborated by the American philosopher Graham Harman, faces the study of the social objects. Similarly, its most important implications in the field of practical philosophy will be analysed. To this end we will continue, in addition to the work of Harman, that of Levy R. Bryant and Timothy Morton, authors who assume the basic postulates of the OOO develop their possibilities in the context of ethics and ecology.
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Ubertowska, Aleksandra. "Antropocen/strategie oporu. Geomorficzny projekt Renza Piano." Prace Kulturoznawcze 22, no. 1-2 (January 15, 2019): 83–96. http://dx.doi.org/10.19195/0860-6668.22.1-2.6.

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Anthropocene/strategies of resistance: The geomorphic project by Renzo Piano The author aims to outline the strategies of resistance against the Anthropocene focusing on two philosophical concepts: the of “geostory” by Bruno Latour and the of “hyperobjects” introduced recently to the ecocriticism by Timothy Morton. In the second part of her text Ubertowska analyses the example of eco-architecture Zentrum Paul Klee in Bern designed by Renzo Piano examining how the idea of hyperobjects can be applied in the work of art.
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Yana, Tcyrlina. "From Ground Level: the Environment Strategy of Joseph Beuys and Timothy Morton." Bulletin of PNRPU. Culture. History. Philosophy. Law., no. 4 (2019): 128–40. http://dx.doi.org/10.15593/perm.kipf/2019.4.10.

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Wood, Gillen D'Arcy. "Cultures of Taste/Theories of Appetite: Eating Romanticism. Edited by Timothy Morton." Wordsworth Circle 36, no. 4 (September 2005): 153–54. http://dx.doi.org/10.1086/twc24044250.

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Lazopoulos, George. "Marcus Boon, Eric Cazdyn, and Timothy Morton, Nothing: Three Inquiries in Buddhism." Oxford Literary Review 39, no. 2 (December 2017): 281–85. http://dx.doi.org/10.3366/olr.2017.0227.

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O’Brien, Adam. "In and around The Bay: Water, Fish, Infrastructure." Film Studies 19, no. 1 (November 2018): 20–33. http://dx.doi.org/10.7227/fs.19.0003.

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An important theme in current studies of environmental representation is the inadequacy of many narratological and stylistic techniques for registering ecological complexity. This article argues that, in the case of cinema, water constitutes an especially vivid example of an allusive natural subject, and it examines the means by which one film, The Bay (Barry Levinson, 2012), manages to confront that challenge. It pays particular attention to The Bay’s treatment of animal life, and its acknowledgement of water’s infrastructural currency. The article draws on the writings of ecocritical literary theorist Timothy Morton and media historian and theorist John Durham Peters.
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Ivanov, A. G., and I. N. Pupysheva. "When Heidegger is a producer: being ecological according to version of Timothy Morton." Omsk Scientific Bulletin. Series Society. History. Modernity 4, no. 3 (2019): 129–35. http://dx.doi.org/10.25206/2542-0488-2019-4-3-129-135.

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30

Vályi, Péter. "Timothy Morton: Hyperobjects, Philosophy and Ecology After the end of the World (recenzió)." OxIPO 2019, no. 4 (2019): 79–88. http://dx.doi.org/10.35405/oxipo.2019.4.79.

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31

Franzén, Carin. "Reading Loops with Boccaccio, Freud and Morton." Humanities 11, no. 1 (February 18, 2022): 30. http://dx.doi.org/10.3390/h11010030.

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This article assesses the notion of ecological awareness through a re-reading of Giovanni Boccaccio’s classic Decameron, together with Sigmund Freud and Timothy Morton. The purpose is not primarily to trace antecedents to modern and late modern thought, but rather to follow a loop that in different ways is tangible in their works and links them together despite their temporal and thematic differences. If Freud and Morton possess heuristic value for a re-reading of Boccaccio, his way of articulating an earlier and freethinking vein in the humanist tradition may prompt us to see not only what an ecological thought may be, but also that it has always been there as an unconscious awareness. We suggest that such a loop can function as a liberating deviation from a linear idea of living at the end of times. In this article, we also follow this temporal and thematic loop as a tension between disruptiveness and interconnectedness that Freud metaphorically and mythologically describes as a battle between the two giants Thanatos and Eros. From Morton’s ecological perspective, everything’s interconnectedness (or Eros in Freud’s mythological description) is precisely what has been denied or repressed in the anthropocentric strive to master the world. What is interesting in this regard is that Boccaccio, by taking a specific disastrous event—the plague—as his starting point, also makes Thanatos and Eros the themes that interconnect his stories into a weird loop.
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Myren-Svelstad, Per Esben. "Lyrisk kompleksitet i antropocen. Ein formorientert, berekraftig litteraturdidaktikk." Nordlit, no. 48 (January 11, 2022): 1–17. http://dx.doi.org/10.7557/13.6331.

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Med utgangspunkt i Inger Hagerups dikt «Kvelden lister seg på tå» utforskar artikkelen moglegheitene for ein berekraftig litteraturdidaktikk som legg vekt på kompleksitet og uhygge. Teoretisk lener artikkelen seg på omgrepet «det sublime» slik det blir definert av Immanuel Kant og utlagt av den økologiske tenkaren Timothy Morton. Vidare byggjer lesinga av diktet på teori om lyrikk som affektiv form og på dei hermeneutiske implikasjonane av Kristin Hallbergs ikonotekstomgrep. Desse tilnærmingane framhevar spennet mellom det trygge og det uhyggjelege i diktet, og artikkelen utforskar korleis lyrikk for born kan stimulere evna til å dvele ved kompleksitet og det uavklåra. Slik kan litteraturdidaktikken byggje opp under ein berekraftig, audmjuk veikskap overfor omverda.
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Magnuson, Paul. "Shelley and the Revolution in Taste: The Body and the Natural World. Timothy Morton." Wordsworth Circle 26, no. 4 (September 1995): 206. http://dx.doi.org/10.1086/twc24042722.

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Deo, Federica, and Augusto Fabio Cerqua. "Progettare l'incertezza. Coesistere dopo la fine del mondo." CRIOS, no. 19 (May 2021): 84–89. http://dx.doi.org/10.3280/crios2020-019008.

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La condizione planetaria contemporanea, fortemente segnata dagli effetti della pan¬demia di coronavirus, ci pone con estrema violenza davanti ad un punto di non ritorno: il pianeta Terra sta collassando su sé stesso. Come osservare ed analizzare la realtà attuale? Che relazione sussiste tra il mondo umano e quello non-umano? E soprattutto, è possibile progettarne la coesistenza? Questo breve testo si compone di una introduzione alla figura e al pensiero di Timothy Morton, uno dei pensatori più interessanti nel panorama filosofico-ecologista contemporaneo, e della recensione di due dei suoi libri recentemente tradotti e pubblicati in italiano, Iperoggetti e Noi, esseri ecologici, in cui l'autore ci apre ad insondate e radicali prospettive ecologiche.
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Kussmaul, Kerstin, and Alys Longley. "The queer habitat of fascia." Journal of Dance & Somatic Practices 13, no. 1 (December 1, 2021): 145–52. http://dx.doi.org/10.1386/jdsp_00043_1.

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Practice-led, somatic research comes to understand fascia not only as structure, but also as a relational mediator ranging from the interior to the exterior. Reflections from this research also reveal fascia as an experienced otherness within us, a matrix modulating inside/outside perception through varying fascial tone. Embedded in the philosophies of feminist scholar Karen Barad and ecologist Timothy Morton, experiential movement of fascia discerns ‘nature’, and thus the body itself, as queer. Fascia connects with-in and with-outer and acknowledges strange strangers living within us. Dissolving the binary of the inside/outside leads to an understanding of the body in its surrounding as ecological, interdependent part of its habitat.
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Quinn, Justin. "W.B. Yeats and the End of the World." International Yeats Studies 4, no. 1 (January 1, 2020): 59–72. http://dx.doi.org/10.34068/iys.04.01.04.

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This article explores the connection between current ideas of ecological apocalypse and cultural form. The philosopher Timothy Morton argues that certain late modernist forms are more amenable to the imaginative representation of what he calls hyperobjects (especially, the hyperobject of global warming). However, through a consideration of Yeats’s formal choices when he faced his own apocalypse, we can broaden our ideas of viable cultural responses for our own moment. According to Barry Shiels, Yeats stands at the beginning of twentieth-century world literature idiom that draws on a expansive range of global cultural contexts: his “global poetry” enables to take on the theme of the globe’s end. Particularly, Yeats’s lifelong use of rhyme indicates that older traditions offer feasible artistic responses, beyond the protocols of late modernism.
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Bazzul, Jesse. "Hyperobjects, Media, and Assemblages of Collective Living: Playing With Ontology as Environmental Education." Australian Journal of Environmental Education 35, no. 3 (October 3, 2019): 213–21. http://dx.doi.org/10.1017/aee.2019.20.

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AbstractThis article emphasises the importance of creative thought for environmental education through a discussion of the ontologically rich work of Anna Tsing, Timothy Morton and John Peters. The recent turn toward ontology in the humanities and social sciences has consequently led to diverse theories about ‘how things are’, and some of these concepts might assist justice-oriented environmental educators in raising ecological awareness in a time of crisis. Using assemblages, media and hyperobjects as concepts to (re)imagine the the world(s) of the Anthropocene, this article promotes a practice of ontic-play, a constantly changing engagement with ontological thought. To think through ecological crisis means moving towards philosophy as creation or art. In other words, engaging thought from the future.
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Woźniak, Jarosław. "Życie po życiu albo republika bytów. Starość aksolotla Jacka Dukaja w perspektywie ekokrytycznej." Literatura i Kultura Popularna 25 (July 28, 2020): 261–82. http://dx.doi.org/10.19195/0867-7441.25.15.

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In the presented article, the author explores the possibilities of an ecocritical reading of the Starość aksolotla by Jacek Dukaj. Particular emphasis is placed on the post-humanist motifs and im-plications of the story. At the same time, the author extensively discusses the latest trends in ecocriti-cism and tries to supplement the interpretation of the literary text with theoretical reflections on the situation, challenges and future of ecocriticism. The author also presents the possibilities of using such trends as new materialism, flat ontology or Actor-Network Theory in ecocritical practice. The most important theoretical contexts are Bernard Stiegler’s reflections on the nature of technology, Latour’s Actor-Network Theory reinterpreted by Graham Harman, Jane Bennett’s new materialism and “ecology without nature” of Timothy Morton.
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Polyck-O’Neill, Julia. "The Hyperobject and the White Cube: The “Strange Stranger” in Douglas Coupland’s Canada House." Open Cultural Studies 2, no. 1 (December 1, 2018): 406–16. http://dx.doi.org/10.1515/culture-2018-0037.

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AbstractDouglas Coupland’s site-specific installation Canada House, temporarily erected in 2004 in a house deemed by locals to be a “tear down” in a Vancouver suburb, unwittingly captured the zeitgeist of the era eco-critics and theorists have named the Anthropocene, the age where the future of the climate and the environment are most influenced by human activity. In my article, I examine Coupland’s work from the perspective of new materialist philosophy, with particular attention to what Timothy Morton calls the “hyperobject.” In so doing, I attend to the specific dynamics of the installation as a phenomenon in real time and space, as well as its enduring reality as an artifact that translates specific dynamics of interconnectivity between aesthetic, linguistic, and ecocritical discourse as they relate to space and human/nonhuman relationships.
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40

Schoof, Carlos. "Timothy Morton. Dark Ecology. For a logic of future coexistence. Columbia University Press, 2016 (209 págs)." Sílex 9, no. 2 (July 1, 2019): 78–80. http://dx.doi.org/10.53870/uarm2019.n255.

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41

Paavolainen, Teemu. "Magnitudes of Performativity." Nordic Theatre Studies 30, no. 2 (March 13, 2019): 78–98. http://dx.doi.org/10.7146/nts.v30i2.112953.

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The article presents the Trump presidency and the human-derived geological epoch of the Anthropocene as two arguable extremes among current notions of ‘performativity’: (1) a traditionally vertical model based on individual action and antagonism – where ‘facts’ matter less than ‘making things great’; and (2) the more extended, horizontal human performance of things like global warming (“All the world’s a stage”). Drawing freely on George Lakoff and Timothy Morton, it is argued that these models differ fundamentally in ‘magnitude’: where the one is direct, singular, vertical, and fast, the other is systemic,plural, horizontal, and slow beyond human perception. With Judith Butler and Naomi Klein, it is also argued that to actually confront the twin crises at issue, we need to acknowledge the kind of ‘plural performativity’ – of repetition, norms, and dissimulation – that brought them into being in the first place.
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Gagnier, Regenia. "Culture and Economics." Victorian Literature and Culture 26, no. 2 (1998): 477–84. http://dx.doi.org/10.1017/s1060150300002527.

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In a recent review essay in this journal (25.2), Timothy Morton considered a number of works of literary criticism on the centrality of commodification in Victorian literature and culture. This essay will look at the intersection of work in which economists and literary critics have interrogated Victorian economics and their afterlife: models of production and reproduction (classical political economy and Malthusian population theory), consumption (the calculation of pleasure, happiness, and taste), labor (as a theory of value), value (in relation to price), “Economic Man” (as productive pursuer of gain or, after the 1870s, rational chooser among scarcity), and so forth. This work, which has brought into dialogue economists, literary and cultural critics, and historians and philosophers of science, has flourished in the past decade, and this essay will focus on aspects of it relevant to the study of Victorian Britain.
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Watson, Jay. "The Other Matter of the South." Publications of the Modern Language Association of America 131, no. 1 (January 2016): 157–61. http://dx.doi.org/10.1632/pmla.2016.131.1.157.

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In a recent book i suggested that what haunts the field of southern studies is not the proverbial specter so much as an insistent materiality that troubles and illuminates the spaces, communities, and minds of the southern United States. I made a case for human materiality, in its diverse manifestations and histories, as an important methodological tool in the study of the cultural logics, illogics, and resistances that have shaped and sometimes stymied life in what Leigh Anne Duck calls “the nation's region” (Watson 9-27). Here I want to make a briefer but complementary case for the centrality of other materialities in scholarship on that region. To access them effectively, southern studies will need to forge closer, more creative ties with the field of environmental studies and with the habit of mind that Timothy Morton calls “the ecological thought.”
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Haecker, Ryan. "The Light of the Leaf: A Theological Critique of Timothy Morton’s ‘Dark Ecology’." Religions 12, no. 9 (September 13, 2021): 755. http://dx.doi.org/10.3390/rel12090755.

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The plant has recently emerged as a battleground of conflicting ecocriticisms. ‘Dark Ecology’ is, in the works of Timothy Morton, an ecocritical hermeneutic, in which the world can be subtracted into the parts of objects, of the plant, and of any leaf that exceeds the totality of abstract ‘Nature’. In dividing the whole into the parts, and combining the parts into an imminently subtracted whole, he has recommended a negative dialectic of virtual objects that can be collected into a ‘hyperobject’. This dialectic can, however, be argued to dissolve any whole into parts, and render the hyperobject internally fissured. We can, from the ‘darkness’ of this fissure, begin to read Nature according to the ‘via plantare’, that is, a mystical way of desiring an other as plant so as to know and love the visible light of the invisible God. ‘Vegetal difference’, the difference of the plant from the animal, should, I argue, be read for theology as a finite reflection of the divine difference of the Holy Trinity in a Trinitarian Ontology, in which the originary difference of the Son from the Father is related through the Holy Spirit, and given again in accelerating gratuity—like the light of the leaf that shines forth from any flower.
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Nicholls, David. "What’s real is immaterial: What are we doing with new materialism?" Aporia 11, no. 2 (January 30, 2020): 4–14. http://dx.doi.org/10.18192/aporia.v11i2.4594.

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New materialism is emerging as one of the most signifi cant developments in healthcare research in recent years, offering radical new ways to rethink our critical relationship with forms, matter, objects and things. As with any new paradigm, it can take some time for the limitations of the approach to become clear. In this article I examine some of these limitations, focusing particularly on new materialist defi nitions of objects and the ontology of affect. Drawing on the recent work of Graham Harman and Timothy Morton, I argue that new materialism fails the ‘fl at ontology test’, and reinforces the kinds of idealism that it purports to critique. Object Oriented Ontology, on the other hand, may allow us to shape a radical new ethics of objects, using that to transform our abusive relationship with the ecosystem, disturb raditional enlightenment binaries and hierarchies, and to put aside human hubris.
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Peperkamp, Monique. "Ecological Time: Natures that Matter to Activism and Art." APRIA Journal 3, no. 2 (March 4, 2021): 166–83. http://dx.doi.org/10.37198/apria.03.02.a18.

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The term 'Anthropocene' brings together a range of interrelated ecological catastrophes and relates human history to the time scales of the Earth. While dominant modes of thinking maintain technocratic notions of nature and time, art has (re)presented alternative proposals and practices that radically shift perception. To foreground and strengthen the power of art to challenge core cultural assumptions and motivate change, this text maps out the implications of philosophical positions often referred to by artists. I consider the ideas of Donna Haraway, Bruno Latour, Andreas Malm, Naomi Klein and T. J. Demos, and perform a more indepth inquiry of the aesthetics proposed by Timothy Morton. Two works of art are at the beginning and at the end of this inquiry: Progress vs. Regress (Progress II) and Nocturnal Gardening, both by Melanie Bonajo. A material sense of time appears to be pivotal for art as an agent of change.
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Popa, Andrei Bogdan. "The World of the Dying:’ John Mcgahern’s Memoir and the Thingness in Anticipatory Grief." Metacritic Journal for Comparative Studies and Theory 7, no. 1 (July 8, 2021): 226–45. http://dx.doi.org/10.24193/mjcst.2021.11.14.

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My essay will aim to prove that John McGahern’s Memoir foregrounds the material dimension of anticipatory grief and its aftermath as a space in which different affective responses to the “Thing” can be explored. Firstly, I look at how the text edits together memories of anticipatory grief in order to dramatize the “apparatus of thinking” (Steven Connor) as an affective spatiality (Marta Figlerowicz) in relation to an irrupting thingness within the object world. Secondly, I look at how McGahern and his father are “timed by things” (Timothy Morton) in their effort to remember or objectify affect, and how mourning itself becomes a matter of accepting nonhuman temporality. As such, this textual engagement with memories and inscriptions enacts a writerly form of anticipatory-vicarious grief, a “moral emotion” arising from the “anticipated harm” (Somogy Varga and Shaun Gallagher) that the subject feels will affect those close to her after her death.
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Mjaaland, Marius Timmann. "Ecophilosophy and the Ambivalence of Nature: Kierkegaard and Knausgård on Lilies, Birds and Being." Kierkegaard Studies Yearbook 26, no. 1 (August 11, 2021): 325–50. http://dx.doi.org/10.1515/kierke-2021-0014.

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Abstract In The Lily in the Field and the Bird of the Air (1849), Kierkegaard presents a succinct critique of Romantic aesthetics, in line with contemporary critiques of ecocriticism and ecophilosophy, e.g. by Timothy Morton. Whereas Romantic poets see nature as a mirror of their inner thoughts and pathos, thereby divinising themselves and their creativity, Kierkegaard emphasises the authority of the Creator and the exteriority of nature. He identifies the consequences of such Romantic self-infatuation on all levels of discourse: aesthetics, ethics, epistemology and ontology, and seeks to formulate an alternative. I argue that the discourses thus represent an alternative philosophy of nature, revealing an immediate joy for the gift of being-there. Being human thus means being dependent on and embedded in nature. This makes Kierkegaard a highly relevant interlocutor for contemporary ecophilosophy and ecocriticism, as revealed by Knausgård’s novel Morgenstjernen (2020).
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Human, Inhuman, Posthuman, Anthropocenes –. "Hyperobjects, Hyposubjects and Solidarity in the Anthropocene: Anthropocenes Interview with Timothy Morton and Dominic Boyer." Anthropocenes – Human, Inhuman, Posthuman 1, no. 1 (May 27, 2020): 10. http://dx.doi.org/10.16997/ahip.5.

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Gamez, Patrick. "Metaphysics or Metaphors for the Anthropocene? Scientific Naturalism and the Agency of Things." Open Philosophy 1, no. 1 (September 1, 2018): 191–212. http://dx.doi.org/10.1515/opphil-2018-0014.

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Abstract In this paper, I provide the outlines of an alternative metaphilosophical orientation for Continental philosophy, namely, a form of scientific naturalism that has proximate roots in the work of Bachelard and Althusser. I describe this orientation as an “alternative” insofar as it provides a framework for doing justice to some of the motivations behind the recent revival of metaphysics in Continental philosophy, in particular its ecological-ethical motivations. In the second section of the paper, I demonstrate how ecological-ethical issues motivate new metaphysicians like Bruno Latour, Jane Bennett, Timothy Morton, Ian Bogost, and Graham Harman to impute to objects real features of agency. I also try to show how their commitments lead to deep ambiguities in their metaphysical projects. In the final section, I outline a type of scientific naturalism in Continental philosophy that parallels the sort of naturalism championed by Quine, both conceptually and historically, and suggest that it might serve our ecological-ethical purposes better.
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