Rachel Carson

Resumo: O presente artigo tem como proposta apresentar a vida de Rachel Carson (1907-1964), escritora e bióloga norte-americana muito reconhecida mundialmente, mas com poucas pesquisas ao seu respeito no Brasil. Abordarei questões biográficas desde a sua infância até a morte prematura, bem como o seu processo criativo e publicação de suas quatro obras. Pretende-se, assim, contribuir para a divulgação de personagens femininas relacionadas à ciência e, mais especificamente, divulgar materiais mais precisos sobre Rachel Carson e seus livros no contexto brasileiro. Serão utilizados livros biográficos estrangeiros e fontes jornalísticas brasileiras que fazem menção à autora, principalmente nas décadas de 1960 e 1970.

2017
This essay extends an open philosophy with a philosophy of music education on soil. An open philosophy emerges from analysis of Kafka's parable " Before the Law. " I explore what " the law " might be, what it could mean for how people relate to " the law, " and how critiquing " the law " allows music teachers and learners to challenge the institutionalization of musical values. Extended with a metaphor of soil, music educators recognize " the law " is unsustainable and deserving skepticism. Institutions require continual skepticism. Through skepticism, ways of being and musicking together emerge.

The  use  of  pesticides  has provoked  controversies,  at  least  since  the  1960s,  due  to consequences  observed  in  the  environment  and,  hence,  in  the  health  of  animals  and humans. Currently,  in  our  country,  these  discussions  have  intensified  in  view  of  the debates on the PL6299 / 2002. Thus, this topic became relevant in science teaching and forscientific  dissemination.  This paperintendsto  contribute  to  theseareas. Initially,  itfocuseson the debate on the use of DDT, triggered with the publication, in 1962, of Rachel Carson’s book Silent Spring, and analyzes some arguments raised against and in favor of the use of DDT.Next, it presentssome aspects of the current discussions about thechange in Brazilianlegislation  regarding  pesticides. Finally,  it  discussessome proposals  for classroom.In short, this paperintendsto offer teachers, educators and researchers some elements that can serve as a basis for the development of activities in classroom and also in  non-formal  spaces,  approachingsome  interactionsbetween  science,  technology, society and environment from a case studyin History of Science.

Limpet "A leaf a gourd a shell a net a bag a sling a sack a bottle a pot a box a container. A holder. A recipient. ... I am an adherent of ... the Carrier Bag Theory of human evolution. ... [T]he hero doesn't look well in this bag. He needs a stage or a pedestal or a pinnacle. You put him in a bag and he looks like a rabbit, a potato."-Ursula K. LeGuin J.M.W. Turner, "War. The Exile and the Rock Limpet" I remember the first academic conference I ever attended as a Romanticist. It was on Romantic Historicism, hosted in Aberystwyth, Wales, in summer 2004, and began its plenary welcome with a rich consideration of the J.M.W Turner painting, "War. The Exile and the Rock Limpet" (1842). The figure of Napoleon that we considered that day was a revenant: diminished, outmaneuvered by the sheer number of reactionary forces and the tide of events, and haunted by a historical reason that itself-on peril of dissertation and job for anyone starting out in their career-was not to be understood as selfpossessed. The hero (as, for example, Napoleon stood always in essayist William Hazlitt's eyes) had passed through the anti-hero stage (as in Lord Byron's contempt for defeated Napoleon, "abject-yet alive!") onto the phase where names as tropes are harder to find.

The full text is available here
http://kata.petra.ac.id/index.php/ing/article/view/18851/18544

Many similar subjects can be traced in world literature; among them is nature since it belongs to man/nature binary opposition. The American poet and philosopher, Ralph Waldo Emerson (1803-1882) employs nature in his works. Throughout his works, the American writer discusses the affinity between man and nature, emphasizing how man takes advantage of it. The contemporary Iranian poet, Sohrab Sepehri (1928-1980), also makes intensive use of nature in his poems; his interest in the subject increases along with his tendency to Buddhism. Sepehri is proficient in using nature either in philosophical or emotional issues. Due to the significance of nature in the works or the two figures, an ecocritical reading of them is not only applicable but unavoidable. This comparative study aims at investigating different approaches towards nature employed by the two poets, emphasizing their points of difference. Although both poets employ nature in their works with romantic tendencies, the postmodern environmental ethics of Sepehri is in direct contrast to the instrumental value viewpoint held by his American counterpart.

Enclosed is a philosophically oriented impassioned plea for a revolution in the way we think about the future in light of climate change. It was composed as a university and public presentation for the Institute for Culture and Society' series on Revolutions at my home institution, Bloomsburg University of Pennsylvania, Fall 2017. As I read it again now, I am impressed--though saddened--by the urgency of its commonsense message: we must act. We must act collectively, globally, and with deliberation to stem the growing tide of climate change catastrophe.

Yet, I fear we are moving just as swiftly--backwards.

Wendy Lynne Lee

This article aims to provide a historical summary of the eco-critical situation from its origins to recent acquisitions, focusing on both the comparative and aesthetics of reception aspects of this new approach to literary analysis and criticism.

The aim of the essay is to analyze the practice of “multispecies storytelling” proposed by Haraway (2016), to extrapolate tools for the creative critique of the narrative of the «Anthropocene» (Crtuzen, Stoemer 2000). The essay starts by deconstructing the dichoto- mous and patriarchal imaginaries linked to the “uncanny” (Freud 1919) and the “sublime” (Burke 1757; Kant 1790); subsequently, it shows how Haraway engages in composting alternative stories of technology and science, thanks to the adoption of the SF methodology; Finally, it analyzes the speculative fabulation entitled The Camille Stories, to appreciate the troubling polyphony and polysemy of “multispecies realism” (Pinto 2021).

Invasion Biology, the study of biota redistributed via human agency, has traditionally traced its founding to Charles Elton’s 1958 book The Ecology of invasions by Animals and Plants. But there were many substantial, scientific pre-Eltonian accounts and analyses of redistributed biota dating back at least to the mid-1700s; and non-Eltonian treatments appeared into the late 1950s. Elton began writing on the topic by 1925. From 1931 to 1948 he developed his ideas on conservation in association with Aldo Leopold. Their “competitive collaboration” is explored and documented, showing that each supported and contextualized the other. Elton was, in part, inspired to write The Ecology of invasions by Animals and Plants in dissatisfied response to an earlier effort by American Marston Bates. The two authors, and these works, are compared and contrasted. The Ecology of Invasions by Animals is analyzed in detail, showing how Elton framed his arguments in terms of warfare and cold-war era nuclear alarmism, making a plea for action without providing a strong theoretical basis for preventing the redistribution of biota. The republication of Elton’s book in 2000 iincited a new round of interpretation, but even while its proponents hailed the book as invasion biology’s ‘bible,’ they prepared to replace it with more modern texts. The narrative shows how a ideas about the origins of life on earth, the role of humans in nature, a sense of place and biogeographical belonging, and concerns about the unintended consequences of human agency motivated scientists to attempt to impute order to, and impose it upon, the historically contingent distribution of biota.

Environment, conservation, green, and kindred movements look back to Rachel Carson’s 1962 book Silent Spring as a milestone. The impact of the book, including on government, industry, and civil society, was immediate and substantial, and has been extensively described; however, the provenance of the book has been less thoroughly examined. Using Carson’s personal correspondence, this paper reveals that the primary source for Carson’s book was the extensive evidence and contacts compiled by two biodynamic farmers, Marjorie Spock and Mary T. Richards, of Long Island, New York. Their evidence was compiled for a suite of legal actions (1957-1960) against the U.S. Government and that contested the aerial spraying of dichlorodiphenyltrichloroethane (DDT). During Rudolf Steiner’s lifetime, Spock and Richards both studied at Steiner’s Goetheanum, the headquarters of Anthroposophy, located in Dornach, Switzerland. Spock and Richards were prominent U.S. anthroposophists, and established a biodynamic farm under the tutelage of the leading biodynamics exponent of the time, Dr. Ehrenfried Pfeiffer. When their property was under threat from a government program of DDT spraying, they brought their case, eventually lost it, in the process spent US$100,000, and compiled the evidence that they then shared with Carson, who used it, and their extensive contacts and the trial transcripts, as the primary input for Silent Spring. Carson attributed to Spock, Richards, and Pfeiffer, no credit whatsoever in her book. As a consequence, the organics movement has not received the recognition, that is its due, as the primary impulse for Silent Spring, and it is, itself, unaware of this provenance.

Writer, scientist and activist Rachel Carson proposed that wonder had a redeeming role to play during an age of escalating environmental destruction. For her, wonder was an integral part of scientific inquiry. This was an open-ended wonder in a Socratic tradition, which fostered not only a sense of appreciation and gratitude for everyday processes and objects of the natural world but also a deeper scientific understanding of that world. As such, it was a powerful check to what she called a lust for destruction. Pioneering any kind of new literature in the field of the natural sciences, or nature writing, thus involved conveying and communicating a participatory wonder from beyond the privileged domain of the scientist to a broader non-specialist audience. This chapter suggests that evoking and awakening wonder was a civic responsibility for Carson. It formed a subtle mode of pre-emptive or anticipatory activism, which foreclosed an inclination toward destruction before it occurred. Her writing distilled, synthesized and communicated complex scientific knowledge from across a range of disciplines in order to impel a sense of wonder in broad public audiences.

Ecocide as an international crime is urged by Polly Higgins as the fifth crime against peace. Will creating such an offence be effective to mobilise public opinion to prevent environmental damage. What lessons can we draw, fifty years after the publication of Rachel Carson's Silent Spring.

This essay argues for reading Rachel Carson's Silent Spring as a work of love that calls for an environmental politics of desire rather than self-preservation narrowly construed. I make this argument by reading Silent Spring in conjunction with the extant love letters of Carson and Dorothy Freeman, where they depict their love as a wondrous multispecies achievement constituted through encounters with birds. I argue that their example reveals that love need be neither worldless nor heteronormative, but may be a world-disclosing practice that leads individuals to live, and desire to live, differently. Reading Silent Spring through the lens of these letters, I argue that it calls us to see the threat insecticides pose not only to " mere life " (Honig) but also to pleasurable lives of wonder and love. I build on Silent Spring to argue for an alternative politics of survival in the face of climate change: one that foregrounds the connections between inter-human affects and a vibrant multispecies world, between intimate and public feelings, and calls for preservation of a multispecies world through and on behalf of human pleasure.

Resumo O propósito deste artigo é analisar a repercussão do livro Primavera Si-lenciosa (1962), da bióloga norte-americana Rachel Carson, na imprensa brasileira nas décadas de 1960 e 1970. A obra teve objetivo de denunciar o uso indiscriminado de pesticidas químicos nos EUA e foi considerada por alguns a fundadora do movimento ambientalista contemporâneo, que ganhou força nos anos 1970. Em um primeiro momento do artigo, abordar-se-á as principais características do impresso, a sua publicação nos EUA e o processo de difusão pelo mundo. Em seguida, analisare-mos como o livro foi apresentado, divulgado, recebido e referenciado em alguns jornais e revistas no Brasil. O recorte dos títulos consultados provém dos jornais e revistas digitalizados e disponibilizados pela Heme-roteca da Biblioteca Nacional.

"Dear Rachel,

The news is grim. The Earth bios is unsettling and moving in response to planetary warming. The overdeveloped world of anthropogenic climate endangerment is well underway now, at multiple scales, and in unpredictable, unforeseen and yet-to-be-known ways. “The atmosphere is being radicalised,” astrophysicist Katie Mack recently exclaimed. And yet ...

Compelled by her mid-twentieth century words, I have been making and writing postcards to Rachel Carson in the thick time of the present day. The trilogy of postcard images and short narratives that follows was sparked by a chance encounter in twilight during an austral Spring—or Ngoonungi in the local Dharawal calendar. I thought of Carson. I imagined she might also listen to the trace of that affective exchange in, and as, an aesthetics of practice that composes and speculates with more than words, and across porous boundaries of knowledge from material art-making, science, and affect scholarship."                                                               
                                                                                     
A short extract from the chapter essay in the multi-authored book '100 Atmospheres: Studies in Scale and Wonder', Open Humanities Press, London:  http://www.openhumanitiespress.org/books/titles/one-hundred-atmospheres/

Print ISBN: 978-1-78542-063-4
PDF ISBN: 978-1-78542-064-1

Full citation: Boscacci, Louise. “Ecologising Affect and Atmosphere in the Anthropocene: Dear Rachel.” In 100 Atmospheres: Studies in Scale and Wonder, edited by Susan Ballard, Louise Boscacci, David Carlin, Anne Collett, Eva Hampel, Lucas Ihlein, Jade Kennedy, Jo Law, Joshua Lobb, Catherine McKinnon, Ted Mitew, Joanna Stirling and Kim Williams (The MECO Network), 195-217. London: Open Humanities Press, 2019.

The full text is available here http://kata.petra.ac.id/index.php/ing/article/view/18851/18544 Many similar subjects can be traced in world literature; among them is nature since it belongs to man/nature binary opposition. The American poet and philosopher, Ralph Waldo Emerson (1803-1882) employs nature in his works. Throughout his works, the American writer discusses the affinity between man and nature, emphasizing how man takes advantage of it. The contemporary Iranian poet, Sohrab Sepehri (1928-1980), also makes intensive use of nature in his poems; his interest in the subject increases along with his tendency to Buddhism. Sepehri is proficient in using nature either in philosophical or emotional issues. Due to the significance of nature in the works or the two figures, an ecocritical reading of them is not only applicable but unavoidable. This comparative study aims at investigating different approaches towards nature employed by the two poets, emphasizing their points of difference. Although both poets employ nature in their works with romantic tendencies, the postmodern environmental ethics of Sepehri is in direct contrast to the instrumental value viewpoint held by his American counterpart.

An analysis of the role of landscape in the recent films of Peter Greenaway, Ben Rivers and Ben Wheatley. How does cinema depict the relationship between cinema landscapes and mankind, as individuals, cultural agents and political bodies? These films use outside spaces to explore how aspects of human life are haunted by the distinction between man and animal.

An exploration and overview of some of the major philosophical contributors to emerging green political theory: Marcuse, Heidegger, Arendt, Jonas, Bloch, Commoner, Habermas, Merleau-Ponty, Bookchin, Rachel Carson, Fourier, and others. https://www.amazon.com/Minding-Nature-Philosophers-Ecology-Democracy/dp/1572300582/ref=sr_1_1?dchild=1&keywords=9781572300583&linkCode=qs&qid=1599885413&s=books&sr=1-1 https://books.google.com/books?id=C7kLnfRAv5QC&printsec=frontcover&source=gbs_atb#v=onepage&q&f=false

Explore the Hoosier Heartland and beyond as memorialized in American culture from music, to comedy, to sports, to political culture: John Mellencamp, Woodie Guthrie, Red Skelton, Mark Twain, Music Man, Hoosiers, and so much more. Ideals about the American heartland-including the importance of common people, small towns, and local ideals of justice-have been expressed in American popular culture and political debate. We ask whether America still has a "heartland" and what role Indiana as heartland has played in American Culture.

This article examines Rachel Carson’s rhetoric following the 1962 publication of Silent Spring. Although she had generated a fierce controversy, Carson could not rely on a scientific consensus to defend her arguments. As the author of this article argues, she turned to a series of interrelated strategies necessitated by the fact that controversy over pesticides was legitimate. Carson argued that the pesticide issue was moral, exigent, and corrupted by corporate interests. Rather than cloistering debate to scientific professionals, she granted the public autonomy to engage and form scientific arguments. In addition to extending scholarship on Rachel Carson, this article contributes to historical and contemporary understandings of environmental controversy. When an issue is contested within the scientific community, framing debate as open and promoting audience participation may be necessary – and perhaps effective – rhetorical strategies.

Este artigo discute as contribuições de sete cientistas naturais – Paul Sears, Aldo Leopold, Rachel Carson, Paul Ehrlich, Donella Meadows, Garrett Hardin e James Lovelock – na construção da agenda ambiental contemporânea. O texto sustenta que os cientistas sociais chegaram a ela de forma retardatária e, por vezes, parcialmente equivocada, por se apegarem à tradição de explicar o “social apenas pelo social”. Muitos cometeram ainda o erro de ignorar as contribuições daqueles pioneiros, com prejuízo para as suas próprias análises. É imprescindível que pesquisadores do campo das ciências exatas e humanas dialoguem de forma mais intensa sobre os temas da agenda ambiental.

NATURAL SCIENTISTS AS LEADERS IN THE CREATION OF THE CONTEMPORARY ENVIRONMENTAL AGENDA.

The article discusses the contributions made by seven natural scientists – Paul Sears, Aldo Leopold, Rachel Carson, Paul Ehrlich, Donella Meadows, Garrett Hardin, and James Lovelock - to the establishment of the contemporary environmental agenda. It argues that almost every major issue in this agenda was brought up and publicized originally by natural scientists. Social scientists interested in these issues were latecomers, mostly because they held on to the “human exemption paradigm.” Sometimes they also ignore the contributions of their colleagues in the natural sciences, a flaw that affects negatively the quality of their own endeavors. The article proposes that social scientists and natural scientists should deepen their exchanges on environmental matters.

The environmentalism spawned by Ms Carson's Silent Spring must always be tempered to ensure that the poor and the powerless who suffer most also receive protection and relief. Human rights principles can assist in ensuring that this also occurs in the fight to mitigate climate change.

Since the Inter-war period, mosquitoes have been seen as an obstacle for the economic attractiveness of the city of Lyon. The Bureau d’hygiène municipale (BHM, Municipal Hygiene Office) was given the task to fight their proliferation. In the Postwar, as many Lyon’s doctors and scientists were involved in international scientific networks, they facilitated the import and use of insecticides such as DDT. As this substance was becoming a symbol of modernity, the BHM convinced several of the city’s main economic actors of the relevance of mosquito control – from tourism industry (for whom mosquito eradication was an argument for the city’s attractiveness) to regional chemical companies which saw an opportunity to diversify their production. The BHM then organized mosquito control according to a military pattern in order to mobilize different categories of workers, from academics to municipal staff. The entire organization of mosquito control was then based on the use of insecticide products. The use of DDT was confirmed for a long time despite the growing media coverage of ecological and health alerts, as well as the emergence of several protests from farmers and beekeepers who questioned the relevance of the choice of a proven poison.

Renaud Bécot, « L'ombre toxique du moustique sur la ville. Hygiénisme municipal, reconstruction urbaine et accommodement aux risques », Stéphane Frioux (dir.), Une France en transition. Urbanisation, risques environnementaux et horizon écologique dans le second XXe siècle, Seyssel, Champ Vallon, 2021.

Beginning in the 1970s, the United States Congress passed legislation aimed at curtailing and sometimes even blocking actions and chemicals that would have deleterious impacts on human health and the environment. Yet these products of industrialization continue to be developed and implemented with the effects clearly observable in numerous contemporary environmental crisis. A fact that shows that current legislation and the ways in which it has been judicially interpreted fail to actualize adequate policy for the protection of the environment and human well-being. Of these issues, it is the problems of excess pesticide use being experienced in the United States today that best expresses the need for the legal recognition of the symbiotic interdependency of all ecological systems. Of the environmental legislation that has been drafted and passed by the United States Congress, it is the National Environmental Policy Act of 1969 (NEPA) that comes closest to realizing that the global, systemic, and temporally far-reaching consequences of modern technologies necessitates that science, specifically ecology, be the guiding principle for environmental regulation. The following pages will thus contain (i) the historical development of environmentalism in the United States, (ii) the primary ideas behind NEPA as expressed through its legislative history, (iii) some of the challenges NEPA has faced in Federal Courts, (iv) the ongoing crisis of the honeybee and human symbiosis, (v) an overview of the Federal Insecticide, Fungicide, and Rodenticide Act (FIFRA),  (vi) some of the issues of utilizing cost/benefit analysis for understanding environmental impact, and (vii) a proposal to relocate the original intentions of the National Environmental Policy Act of 1969 as the foundational philosophy for environmental legislation that its authors intended it to be.

In the spring of 2006 wild flamingos returned to Florida, though not to the places their kind had inhabited 100 years and more ago at the southern edge of the Everglades and the Florida Keys. Instead this group of flamingos alighted 80 miles northward in Palm Beach County's Stormwater Treatment Area 2 (STA-2), a human-made facility for filtering anthropogenic pollutants from storm runoff. This paper takes the return of wild flamingos to Florida as a case for thinking through haunting, ruination and encounters in what I call 'the ordinary Anthropocene': the ongoing, everyday more-than-human relationships, actions and less-than-planetary assemblages through which the Anthropocene is sensed and lived. After setting out a case for thinking with haunting, ruination and encounter as a way of making sense in the ordinary Anthropocene, I trace three interwoven narrative threads that unspool from the encounter with the STA-2 flamingos: First, I trace the transfiguration of living wild flamingos into idealised symbols of tropical dreamworlds over the 20th century. This leads me sideways to the present-absence of flamingos in the mid-century writings of Rachel Carson and through her backwards to John J. Audubon and the genocidal ruinations of the 19th century as they flicker in the margins of his ornithological writings. I end by returning to the present, to the encounter with STA-2 flamingos in the ongoing moment of living with others in the late capitalist ecologies of south Florida. The conclusion considers what might be taken forward, into the uncertain future, from this telling.

In Spectral Nationality, Pheng Cheah considers the role of the nation in political struggles for freedom once national independence has failed to achieve the political aspirations of decolonizing peoples, and any cosmopolitan alternatives seem to follow and serve the globalization of capital. This conundrum faces environmentalism, too, for the nation-state is at once necessary yet inadequate for environmental politics. National politics tend to be undertheorized in ecocriticism; the nation is too obviously an arbitrary, artificial category at odds with the various scales of ecological threat, at once too large and too small, too slow and too fast, too parochial and too varied. And yet the nation-state is the fulcrum on which our hopes for slowing climate change rest. The nation-state, in many places, is still the primary actor that determines, whether through action or inaction, the fate of waterways and forests, the quality of air, the treatment of domesticated animals, the distribution of energy infrastructure, and the toxicity of materials. Cheah's account of national politics embraces its artificiality, which he theorizes through the Gothic trope of spectrality to highlight how the autonomy and liveliness of the nation is always somewhat phantas-matic, an apparition that belies its reliance on the dead, including the seemingly inert apparatus of state and capital. Yet the state, in turn, Cheah argues, cannot legitimately act without the apparent presence ...

[texto completo del volumen disponible en: http://hdl.handle.net/10251/124175]

El  título  del  libro  Primavera  silenciosa,  publicado  por  Rachel  Carson  en  1962,  auguraba  una  poderosa ausencia auditiva resultado de la desaparición de las aves y de sus canciones debido al  abuso  de  pesticidas  y  herbicidas.  Dicho  silencio  exponía  el  impacto  de  ciertas  acciones  humanas  en  el  entorno,  y  en  nuestro  panorama  sensorial  y  emocional  cotidiano.  Ya  en  los  setenta,  al  éxito  y  difusión  de  esta  advertencia  le  seguiría  el  descubrimiento  de  las  canciones  de las ballenas jorobadas, cetáceos que pasaron de ser vistos como meros barriles flotantes de carne y aceite a ser celebrados como la voz de los océanos, cantantes y artistas únicos dignos de ser protegidos. Durante mi investigación, centrada en la presencia y agencia de animales no humanos en el arte y la cultura visual contemporáneas, he encontrado varios casos de cambios de  actitud  relacionados  con  la  exposición  a  lo  que  podrían  considerarse  como  voces  de  otros  animales.  Me  referiré  a  algunas  de  ellas  en  esta  comunicación,  desde  las  ya  mencionadas  canciones  de  pájaros  o  ballenas  a  las  llamadas  de  alarma  de  los  perritos  de  las  praderas,  pasando  por  los  mensajes  gestuales  de  los  grandes  simios.  Estas  voces  nos  acercan  a  los  mundos  sensoriales  y  emocionales  de  esos  animales,  que  entrelazamos  con  nuestros  propios  sentidos  y  emociones.  En  ocasiones,  distorsionamos  los  mensajes  que  transmiten,  los  falseamos  o  antropomorfizamos,  y  su  impacto  no  siempre  es  necesariamente  positivo.  Sin  embargo,  al  igual  que  se  buscan  y  se  muestran  las  voces  de  las  minorías  humanas  para  denunciar  un  abuso,  con  frecuencia  también  se  utilizan  las  voces  de  otros  animales  para  transmitir o reforzar ciertos mensajes medioambientales, para concienciar y tratar de producir cambios  en  las  actitudes  humanas.  Y  en  ocasiones,  esas  voces  animales  nos  hacen  más  difícil  ignorar los problemas que éstos sufren en sus hábitats.