Ecopiety

McFarland Taylor Sarah

Description

Tackles a human problem we all sharethe fate of the earth and our role in its future Confident that your personal good deeds of environmental virtue will save the earth? The stories we encounter about the environment in popular culture too often promote an imagined moral economy, assuring us that tiny acts of voluntary personal piety, such as recycling a coffee cup, or purchasing green consumer items, can offset our destructive habits. No need to make any fundamental structural changes. The trick is simply for the consumer to buy the right things and shop our way to a greener future.It's time for a reality check. Ecopiety offers an absorbing examination of the intersections of environmental sensibilities, contemporary expressions of piety and devotion, and American popular culture. Ranging from portrayals of environmental sin and virtue such as the eco-pious depiction of Christian Grey in Fifty Shades of Grey, to the green capitalism found in the world of mobile-device "carbon sin-tracking" software applications, to the socially conscious vegetarian vampires in True Blood, the volume illuminates the work pop culture performs as both a mirror and an engine for the greening of American spiritual and ethical commitments. Taylor makes the case that it is not through a framework of grim duty or obligation, but through one of play and delight, that we may move environmental ideals into substantive action.

Sujets

• Philosophie et théologie
• Ethics in religion

Informations

• Publié par: NYU Press
• Date de parution: 12 novembre 2019
• Nombre de lectures: 0
• EAN13: 9781479844883
• Langue: English
• Poids de l'ouvrage: 5 Mo

Extrait

Ecopiet y

R e l i g i o n a n d S o c i a l T r a n s f o r m at i o n ééà Éôŝ: Āô .  à Śàçé . ô-hôàŝ

Prophetic Activism: Progressive Religion and Progressive Activism: New Religious Justice Movements in Stories about Faith and Politics Contemporary AmericaÉé  û àûŝé, ô ééé Śéŝŝàé-jà çôàŝ ûŝ, à ŝ . àŝ All You That Labor: Religion and “Jesus Saved an Ex-Con”: Political Ethics in the Living Wage Movement Activism and Redemption after Ç. éŝŝà ŚàIncarceration Éà Ôôzçô ôéŝ Blacks and Whites in Christian America: How Racial Discrimination Solidarity and Defiant Spirituality: Shapes Religious Convictions Africana Lessons on Religion, Racism, jàéŝ É. Śéô à çàé Ô.and Ending Gender Violence Ééŝô àç Ç. éŝ Pillars of Cloud and Fire: The Politics After the Protests Are Heard: Enacting of Exodus in African American Biblical Civic Engagement and Social Interpretation Transformation éé ôŝô àû Śàô . éç American Secularism: Cultural Ecopiety: Green Media and the Contours of Nonreligious Belief Systems Dilemma of Environmental Virtue jôŝé Ô. àé à ûŝé . Ś Śàà çàà àô

Éçôé Green Media and the Dilemma of Environmental Virtue

Śàà çàà àô

N E W Y O R K U N I V E R S I T Y P R E S S é ô

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10   7  5 4 3 2 1

Āŝô àààé àŝ à éôô

For my beautiful mother, Sandy McFarland Taylor

Contents

 ôûçô

 . éŝô é Éà: éà ééôŝ àŝ ôà ééôŝ

 .  Śàéŝ ô éé: ôà çéŝ, Ôŝéŝ, à àŝôàé ôŝ

 . “ Çà’ ’ŝ à ûŝ”: û, é, ôûô ô, à Çôà ô

 . éé ŝ é é àç: Çàô-Ś àçéŝ, éà , à éé ôé

 . ééàà àéŝ: ôô, Ô, Éôŝ, à ôŝôûŝ Çôŝûô

 . Çôôŝ à é: éé ûà àé à Śôé Çôŝéŝ àŝ “éà”

 . Éà é Śçôé ô jûŝçé: àôô à  ô àŝ Éçôéà éŝŝ ôôŝ

 Çôçûŝô. Śô é ûûé: éçô éé Śçééàzàéŝ  é Āôôçéé

Acknowledgments

Notes

Index

About the Author

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ôûçô

“’ŝ 3:23  é ô à ’awake.” Ā à ŝŝ û ô é ŝé ô ŝ é  ŝ éà  ŝ àŝ, û ŝ éŝ ôû ŝ ç ô à  ûŝàô, à é àŝ é ééŝ é é ŝéŝé à é ŝ é àûé  ŝôé ûŝéé ôçé. é ééé ŝôûŝ ô çéàç ôç à Śû óŝ ô à jôŝí à ûà ŝŝ  à ôŝé çéô ô éôé é çéàŝ à ôàŝ ô çà àçéŝ. é ŝçéé ŝŝ ô é  ŝ ô é ôé àé é  é Śà àçŝçô  ŝ, à é à ŝ ô û à éŝŝé, ŝôé ŝà û à ûŝ. é éàŝ: “’ ààé éçàûŝé  éà-éà-àçé ô’ é é ŝéé.” àéŝ ô çé à ô é-ô-ôûŝ à ŝ ô ŝŝ ŝéqûéçé ôé àé àôé. “ éà-éà- àçé àŝ é  éàŝ,” é çôûéŝ, “à  ôûdoé é àé àŝ ûéé? à  ôûdoé é éà àŝ ûà- é?” àéŝ àŝ ô ôé àŝ, ôûé ŝéŝ, é àçç çé, ŝéàŝ ŝéàç  à ô à, ŝéà ŝ àçéé  çûé ô, çôé àŝ, û ô éŝ, à ôé éŝ éàé ô ô à  à àéàŝ ô é é é Éàŝ. é éà-éà-àçé’ŝ qûéŝ- ôŝ  é à’ŝ éà à àé ûéé. é à ô ô ô , “Śûé ôû somethingàŝ é ŝéàŝôŝ ŝàé à? Āŝ é à- àŝ, ééŝ, à ŝ éé à ?” é çé éŝŝ ûé à éà, “ ôû  é ŝééŝ  ôéŝ é éôçàç àŝ ŝô- é?” é à qûéŝô àŝ éà  é à àŝ à àû éà ô àççûŝàô: “à  ôû ôonce you knew?” ô à ô ûŝ àé à é  àéqûàé àŝé à é àŝ qûéŝô ôé à  éŝô, “é,  àé ŝûé ô ŝô ô é  ŝûF.  ôû éé ôûçŝ,  ŝôé ôàç,  ŝûôé éé çààŝ, ûçàŝé éçôôçà û çé ôé àŝ, à çé éççé ééàé çôàé, à  éçé, à ééà çôŝûé  à ô é ŝôé ôà çàé çàé à ŝàé é éà.” ôû ŝ ŝàŝ é ŝéçéŝ ô ôû ûûé ôFŝ ô ŝ

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