Bibliografie tematiche / Timothy Morton

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Letteratura scientifica selezionata sul tema "Timothy Morton"

Autore: Grafiati
Pubblicato: 4 giugno 2021
Ultima modifica: 27 aprile 2022

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Articoli di riviste sul tema "Timothy Morton"

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Vályi, Péter. "Timothy Morton: Being Ecological (Recenzió)". OxIPO 2, n. 2020/1 (2020): 103–11. http://dx.doi.org/10.35405/oxipo.2020.1.103.

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Vályi, Péter. "Timothy Morton: The Ecological Thought (Recenzió)". OxIPO 1, n. 3 (2019): 95–101. http://dx.doi.org/10.35405/oxipo.2019.3.95.

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Gidal, Eric. "The Ecological Thought by Timothy Morton". Studies in Romanticism 50, n. 2 (2011): 373–77. http://dx.doi.org/10.1353/srm.2011.0028.

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Morton, Timothy. "Efnisleiki, leikur". Ritið 20, n. 1 (8 maggio 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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Shalaginov, Denis. "The Psychology of Bardo". Sotsiologicheskoe Obozrenie / Russian Sociological Review 19, n. 2 (2020): 392–402. http://dx.doi.org/10.17323/1728-192x-2020-2-392-402.

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Hart, Heidi. "Timothy Morton (2021). All Art Is Ecological". Journal of Ecohumanism 1, n. 1 (23 gennaio 2022): 77–80. http://dx.doi.org/10.33182/joe.v1i1.2061.

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Gómez S´ánchez, Ruth, Roberto Álava, Mary Spratt e Jorge Riechmann. "pensamiento ecológico". Análisis. Revista de investigación filosófica 7, n. 1 (29 giugno 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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Howe, T. "TIMOTHY MORTON (ed.). The Cambridge Companion to Shelley." Review of English Studies 58, n. 236 (16 luglio 2007): 577–79. http://dx.doi.org/10.1093/res/hgm067.

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Aretoulakis, Emmanouil. "Morton Timothy, Ecology: Without Nature. Rethinking Environmental Aesthetics." Synthesis: an Anglophone Journal of Comparative Literary Studies, n. 1 (1 maggio 2008): 72. http://dx.doi.org/10.12681/syn.16693.

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McIntyre, Caitlin, e Dana Medoro. "Spokesvultures for Ecological Awareness: An Interview with Timothy Morton". ESC: English Studies in Canada 42, n. 3-4 (2016): 159–74. http://dx.doi.org/10.1353/esc.2016.0030.

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Più fonti

Tesi sul tema "Timothy Morton"

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Cavalier, Vincent. "SCENE STIR: How we begin to see the biosphere in David Mitchell’s Cloud Atlas". Thesis, Stockholms universitet, Engelska institutionen, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-114800.

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This essay marks the degrading biosphere in David Mitchell’s Cloud Atlas and argues that its narrative disclosure is meaningfully explored using the idea of a growing ecological awareness. The book depicts agentive nonhumans that are unseen or under-attended by the novel’s humans. I suggest this literary presentation of the biosphere is best understood as after the discovery of global warming when matters of ecological concern “intruded,” to use Timothy Morton’s word, on a human-only society with underequipped modes of historical thought. To construct my reading, I motivate recent work in object-oriented philosophies that would eschew anthropocentric metaphysics. I unpack Cloud Atlas’ ecological vision using Morton’s philosophy in which he explores the conceptual and aesthetic consequences of the hyperobject – a thing that is massively distributed in time and space relative to humans. My analysis will examine passages and techniques that construct Cloud Atlas’ “scenery,” and I argue that they evoke a degrading biosphere that interacts substantially with the human-only personal dramas. Features of the book’s formal construction allow for the animation of this scenery in the reader’s cross-novel interpretation. I look at how characters narrate this scenery to build my argument that the novel’s ecological vision makes claims on its storytelling characters. But as those characters still miss the long-view historical perspectives afforded the reader, they are shown to want community. I end by ruminating on how Cloud Atlas, which would “stretch” the literary novel, questions what the novel is at this ecological moment.
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Gotfredsen, Maria. ""Den matematiska oceanen" : Hur Göran Sonnevis dikt KOSTER 2002 sammankopplar gudomlighet med matematik". Thesis, Umeå universitet, Institutionen för kultur- och medievetenskaper, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-185296.

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This thesis focuses on how Göran Sonnevis poetry, particularly KOSTER 2002 in Oceanen (2005), and how the poem portrays how the main character encounters divine concepts of entirety using mathematic terminology. The divine concept of eternity is referred to as nunc-stans and hic-stans, terms coined by the philosopher Thomas Hobbes and explicitly referenced to in the poetry of Oceanen. The study locates where in KOSTER 2002 the encounters appears and accounts for how the mathematic terminology is affiliated with divinity and the concepts of nunc-and hic-stans. This study shows how the poem expresses an ontological view of the existence, which is a fundamental aspect of the poetry in Oceanen. The study concludes that the view of the existence is that “everything there is” is connected and integrated with one another. When the main character experiences fragments of nunc-and hic-stans this refers to the integration of existence, in which the particular (the main characters subjective experiences) is connected to the universal (concepts of eternity and mathematical theories) and vice versa.
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Bovin, Erik. "Ekomimesis i Fredrik Nybergs Offerzonerna". Thesis, Stockholms universitet, Institutionen för kultur och estetik, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-194705.

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Denna uppsats undersöker ekopoetiken i Fredrik Nybergs diktsamling Offerzonerna (2018). Analysen utgår från Timothy Mortons teori om mörk ekologi. Utifrån en tematisk, retorisk och ekokritisk läsning av Offerzonerna – som diskuteras tillsammans med texter av bland annat Kate Rigby, William Cronon och Sofia Roberg – dras slutsatserna att Nybergs ekopoetik kan beskrivas som anti-dualistisk, språkmaterialistisk, fragmentarisk och collageartad. En ödslig och utarmad natur präglad av klimatförändringar gestaltas, samt mötet mellan natur och kultur. Form och innehåll återspeglar varandra och gestaltar ett ekologiskt och anti-antropocentriskt tema.
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Nilsson, Lina. "Antropocentrism och samlevnad i Harry Potter-böckerna". Thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-69746.

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In this essay I have studied the Harry Potter series by J. K. Rowling from an ecocritical point of view. The main theorist is Timothy Morton and his concepts of the Mesh and Strange Strangers. The analysis shows that the books are anthropocentric, and that Culture has a higher status than Nature in the magic world. The analysis also shows that the witches and wizards of the books have a similar way of looking at nature as the real world has, which can be used to open up discussions about nature. The books are anthropocentric when it comes to animals and how they can be used. The analysis also focuses on coexisting, and how the magic world deals with Strange Strangers. The Strange Strangers that the analysis deals with are both humans and other entities.
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Olsson, Vera Maria. "Natursyn i antropocen : En ekokritisk läsning av dikter av Ingela Strandberg och Gunnar D Hansson". Thesis, Uppsala universitet, Litteraturvetenskapliga institutionen, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-407235.

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In the Anthropocene, a new approach towards nature in poetry is emerging. This change is closely related to ecocritical theory, which is a reevaluation of the human view on, and representation of, nature. It moves away from a more traditional anthropocentric perspective to a more critical one. This can for instance be in the spirit of Arne Naess or Timothy Morton, the two main theorists used in this essay. This essay is an ecocritical close reading of two Swedish contemporary poems on nature: “När jag går i skymningsmörkret” by Ingela Strandberg (from Att snara en fågel, 2018) and “(Strandförskjutningar)” by Gunnar D Hansson (from Tapeshavet, 2017). The focus of the reading is on the representation of wild, untouched nature. The formulated questions in the essay concern how untouched nature is represented in the poems, the human relationship towards it and how the differences and similarities between the two poems relate to and transform romantic representations of nature.  The conclusion is that these two very different poems exemplify the range of contemporary Swedish nature poetry. Strandberg’s poem is leaning towards a romantic or ecosofist representation of nature, whilst Hansson’s is more clear-cut ecocritical in line with Morton’s dark ecology.
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Svensson, Kristofer. "Beyond Ecophony". Thesis, Kungl. Musikhögskolan, Institutionen för komposition, dirigering och musikteori, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1351.

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Libri sul tema "Timothy Morton"

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Goul, Pauline, e Usher, a cura di. Early Modern Écologies. NL Amsterdam: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789462985971.

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Early Modern Écologies is the first collective volume to offer perspectives on the relationship between contemporary ecological thought and early modern French literature. If Descartes spoke of humans as being ‘masters and possessors of Nature’ in the seventeenth century, the writers taken up in this volume arguably demonstrated a more complex and urgent understanding of the human relationship to our shared planet. Opening up a rich archive of literary and non-literary texts produced by Montaigne and his contemporaries, this volume foregrounds not how ecocriticism renews our understanding of a literary corpus, but rather how that corpus causes us to re-think or to nuance contemporary eco-theory. The sparsely bilingual title (an acute accent on écologies) denotes the primary task at hand: to pluralize (i.e. de-Anglophone-ize) the Environmental Humanities. Featuring established and emerging scholars from Europe and the United States, Early Modern Écologies opens up new dialogues between ecotheorists such as Timothy Morton, Gilles Deleuze, and Bruno Latour and Montaigne, Ronsard, Du Bartas, and Olivier de Serres.
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Rohman, Carrie. Choreographies of the Living. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190604400.001.0001.

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Animals seem to be everywhere in contemporary literature, visual art, and performance. But though writers, artists, and performers are now engaging more and more with ideas about animals, and even with actual living animals, their aesthetic practice continues to be interpreted within a primarily human frame of reference—with art itself being understood as an exclusively human endeavor. The critical wager in this book is that the aesthetic impulse itself is profoundly trans-species. Rohman suggests that if we understand artistic and performative impulses themselves as part of our evolutionary inheritance—as that which we borrow, in some sense, from animals and the natural world—the ways we experience, theorize, and value literary, visual, and performance art fundamentally shift. Although other arguments suggest that certain modes of aesthetic expression are closely linked to animality, Rohman argues that the aesthetic is animal, showing how animality and actual animals are at the center of the aesthetic practices of crucial modernist, contemporary, and avant-garde artists. Exploring the implications of the shift from an anthropocentric to a bioaesthetic conception of art, this book turns toward animals as artistic progenitors in a range of case studies that spans print texts, visual art, dance, music, and theatrical performance. Drawing on the ideas of theorists such as Elizabeth Grosz, Jane Bennett, Gilles Deleuze and Félix Guattari, Jacques Derrida, Una Chaudhuri, Timothy Morton, and Cary Wolfe, Rohman articulates a deep coincidence of the human and animal elaboration of life forces in aesthetic practices.
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Stock, Catherine McNicol. Rural Radicals. Cornell University Press, 2018. http://dx.doi.org/10.7591/cornell/9781501714030.001.0001.

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This book originally appeared in the wake of the bombing of the Murrah Federal Building in Oklahoma City on April 19, 1995. Written for a general audience, it asks where these “angry, white, rural men” came from and how their movements and grievances both stayed the same and changed over time. Timothy McVeigh and Terry Nichols acted in a long line of rural protesters on the left and the right—including the nineteenth century Populists--- who crusaded against big government, big business, and big banks. At the same time, and with little sense of contradiction, rural people also used violence to suppress the political voices of African Americans, Mormons, Chinese and many other marginalized people. In the new preface, Catherine McNicol Stock provides an update and overview of the increasingly conservative face of rural America. While populism in many historical eras meant hope and progress, for many today it means hate and a desire to turn back the clock on American history.
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Capitoli di libri sul tema "Timothy Morton"

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Shiflett, Stephanie. "Du Bartas Responding to Morton’s Milton : A Bodily Route to the Ecological Thought". In Early Modern Écologies. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789462985971_ch02.

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In The Ecological Thought (2012), Timothy Morton calls us to recognize the interconnectedness of all things by rethinking the relationship between cosmic and local. He points to Raphael’s speech to Adam in John Milton’s Paradise Lost, which compares Earth to the infinite cosmos, as an example of this ecological thought. An analogous cosmic viewpoint occurs in Guillaume du Bartas’s La Sepmaine (1578). This hexameron both highlights and complicates ecocriticism’s applicability to early modern texts. Whereas Milton’s text responds to Morton’s call by scaling Earth in relation to the macrocosmic, Du Bartas’s does the opposite: it scales the cosmic to the hyperlocal—the observer’s body. This earlier work thus offers a converse avenue by which to arrive at the ecological thought.
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Harman, Graham. "3D Printing in Dialogue With Four Thinkers". In Advances in Human and Social Aspects of Technology, 156–70. IGI Global, 2019. http://dx.doi.org/10.4018/978-1-5225-7027-1.ch007.

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Although public awareness of the implications of 3D printing has been growing at a steady clip, prominent philosophers have barely begun to take stock of what this emerging technology might mean. This chapter starts by considering an important cautionary article on 3D printing by Rachel Armstrong. After giving an account of the materialist and relationist suppositions of Armstrong's approach, the author compares it with possibly different approaches illuminated by the thought of three prominent thinkers: Bruno Latour, Marshall McLuhan, and Timothy Morton.
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Knowles, Kim. "(Re)visioning Celluloid: Aesthetics of Contact in Materialist Film". In Indefinite Visions, tradotto da Elise Harris e Martine Beugnet. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474407120.003.0015.

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This chapter discusses contemporary approaches to analogue film, building towards a new theory of materialist film in the context of philosophical perspectives on ‘new materialism’ by writers such as Jane Bennett, Rosi Braidotti and Timothy Morton. It frames materialist interventions such as burying film and using body fluids on the surface of the filmstrip as a political gesture that forges a new ethically conscious relationship to the world. Reflecting on Peter Gidal’s critique of representation in his ‘Theory and Definition of Structural/Materialist Film’ (1975), I argue that the politics of representation manifests differently in contemporary materialist work by drawing attention to a new aesthetics of contact.
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Thrush, Coll. "The Unhidden City". In Indigenous London. Yale University Press, 2016. http://dx.doi.org/10.12987/yale/9780300206302.003.0001.

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This chapter adds to the canon of secret Londons through the inscription of another layer, another arcane and invisible text in the palimpsest that is the urban landscape. Such accounts of other Londons gesture toward the irreducible survivals of past landscapes in a place that constantly unearths its own history. As stated by Prof. Timothy Morton, “the streets beneath the streets, the Roman Wall, the boarded-up houses, the unexploded bombs, are records of everything that happened to London.” London's history exists in its form. From histories of the Underground to accounts by urban explorers entering the city's sewers and crypts, from compendia of obscure folklore to catalogs of nearly forgotten ghost stories, London provokes a predilection with the hidden.
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Oliver, Jennifer. "‘When is a meadow not a meadow?’ : Dark Ecology and Fields of Conflict in French Renaissance Poetry". In Early Modern Écologies. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789462985971_ch03.

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In poetic responses to the French civil wars, the wounded political body of France is aligned with the ravaged body of the physical landscape in an array of arresting ecological images. By tracing a web of profoundly imbricated commonplaces and analogies concerning fields, bodies, and entrails in particular, this chapter investigates the ways in which the verse of Pierre de Ronsard and Agrippa d’Aubigné both rehearses and decries the unnatural twists and turns of that ‘intestine’ conflict. Both poets revive ancient expressions of ecological anxiety that disrupt what Timothy Morton has termed ‘agrilogistic thought’; but I argue that in their distinctive and sometimes challenging styles, their verse presents (and through syntactic violence, uncannily performs) a still more radical vision of human enmeshment in nature.
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Chattopadhyay, Budhaditya. "19 The God of Small Sounds". In The Auditory Setting, 169–74. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474474382.003.0019.

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Jacob Bronowski argued that humans are always ingrained in natural landscapes and habitual sites, whether knowingly or unknowingly (1973). And yet, as Timothy Morton suggests, humans endeavour to distance themselves from nature as separate entities (2009). Location-driven film and media arts perhaps function as a mirror or lens through which we can see the sites we occupy and ourselves as we occupy them, perceive them, abandon them or personalise them through the agency of humanistic/artistic intervention and mediation. Through technological advancements, the world has entered the Anthropocene – a new geologic era defined by unprecedented human disturbances over earth’s environment and ecosystems. In this era, the ecological integrity of natural sites is being endangered. Land is being intensely developed, especially in the Global South, to facilitate rapid urbanisation and industrial growth. As a result of this speedy development, many natural and rural locations are becoming SEZs (special economic zones), which deeply affect the environment. Consequently, as these areas become homogenised, industrial sites, they are decaying into bucolic landscapes. This transition is complex to grasp, especially when considering their traditionally rich auditory culture and history....
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Pugh, Jonathan, e David Chandler. "Storiation: Holding the World". In Anthropocene Islands: Entangled Worlds, 141–78. University of Westminster Press, 2021. http://dx.doi.org/10.16997/book52.e.

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In Chapter 5, the authors give shape to an approach called Storiation. Central to Storiation is registering the ongoing afterlives, hauntings and effects of such significant forces as colonialism, modernity, global warming, nuclear radiation, rising sea levels, and waste production; where islands and island cultures regularly emerge as important sites for investigation. What distinguishes the Storiation analytic is the holding together of entities and effects, registered through islands and islander lives, intra-actions and effects. For authors like Timothy Morton the (island) future then becomes entangled with the past as the ‘afterlife’ of relational effects continue to reverberate in ‘strange’, ‘weird’ or ‘quantum’ ways. The chapter examines how the analytic of Storiation is today being widely developed in Anthropocene philosophy, critical Black and Indigenous Studies which all increasing turn to engage islands as key sites of relational entanglements and associated island scholars and literatures. Of particular importance is the work of the Barbadian writer Kamau Brathwaite. Brathwaite’s onto-epistemology of ‘tidalectics’ profoundly disrupts mainland, continental and modern frameworks of space-time, and binaries of human/nature. In Tiffany Lethabo King’s Storiations of Black and Indigenous life, she employs such methods as ‘critical fabulation’ and ‘speculative bricolage’ in order to hold together the traces, ghosts and afterlives of colonialism embodied and constitutive of the present. Thus, the chapter charts Storiations of the differentiating powers of colonialism, of the emergence of tidalectic psychologies living on in the wake, of island dances, Vodou loa and shamanistic practices, of species long extinct, of the consumerisms that haunt islands in strange ways.
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Smollett, Tobias. "Chapter XXXIX". In The Adventures of Roderick Random. Oxford University Press, 2008. http://dx.doi.org/10.1093/owc/9780199552344.003.0039.

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My reception by that lady——I become enamoured of Narcissa——recount the particulars of my last misfortune——acquire the good opinion of my mistress——an account of the young ’Squire—I am made acquainted with more particulars of Narcissa’s situation—conceive a mortal hatred against Sir Timothy—I examine my...
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Daw, Sarah. "Introduction: Ecocriticism and the Mid-Twentieth Century". In Writing Nature in Cold War American Literature, 1–25. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474430029.003.0001.

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This introductory chapter begins by contextualising the study, discussing the representation of Nature in early Cold War American culture and the emergence of modern environmentalism from 1945. The chapter also outlines the book’s argument that whilst the publication of Rachel Carson’s Silent Spring (1962) is understandably viewed as a watershed moment in terms of raising environmental consciousness in America, Silent Spring should also be considered as part of a developing trend of ecological portrayals of Nature in American literature written after 1945. This opening chapter also situates the book’s argument within the field of Cold War literary studies and introduces the book’s ecocritical methodology, including its sustained engagement with Timothy Morton’s ideas of ‘the mesh’ and ‘the ecological thought’ as outlined in The Ecological Thought (2010).
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Addis, Kat. "Equipment for Living with Hyperobjects : Proverbs in Ronsard’s Franciade". In Early Modern Écologies. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789462985971_ch04.

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Abstract (sommario):
In poetic responses to the French civil wars, the wounded political body of France is aligned with This chapter calls attention to the proverbs that punctuate Ronsard’s unfinished epic poem La Franciade. It proposes that, as literary forms, the proverbs share the massively distributed, viscous and non-local qualities of Timothy Morton’s hyperobjects. In Ronsard’s 1572 epic the significance of the aftermath of the Trojan war turns out to have extended far beyond Virgil’s Aeneid and the foundation of Rome, to the foundation of Paris and a yet-to-be-realized early modern French empire. La Franciade’s proverbs challenge their readers to perceive and respond to these vastly expanded relations, even as they progress through apparently local narrative time., On this basis, they might also equip their readers to engage with the dissonant scales of ongoing global ecological crisis.
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