夏天的雪

L. Beavington
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引用次数: 0

摘要

在这篇文章中,艺术被用作探究,提出有力的问题,解开悖论,并帮助我们在人类世中导航损失和悲伤。几个核心问题是考虑和动画通过叙事和诗歌。在一个我们需要利用才能生存的世界里,我们如何诗意地生活(Leggo, 2005) ?我们如何参与到一个充满歧义和悖论的超越人类的世界?大自然如何成为老师或导师(Jickling等人,2018),我们面临哪些以人类为中心的障碍?故事和诗歌如何促进整体表达和基于地点的联系?当我们阐释棉杨木的奇妙与失落,以及黄黄藤的指导作用时,卡尔·莱戈(2004、2005、2012、2016、2019a、2019b)为我们提供了一种艺术化的关注和充满希望的想象,让我们诗意地生活。乔安娜·梅西百货(Macy & Johnstone, 2012;梅西和布朗(Macy & Brown, 2014)的作品重新连接了乐高的快乐课程,为我们提供了悲伤和希望的平行路径,这样我们就可以在人类世找到自己的道路。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Snow in Summer
In this article art is used as inquiry to ask powerful questions, untangle paradoxes, and help us navigate loss and grief in the Anthropocene. Several central questions are considered and animated through narrative and poetry. How do we live poetically (Leggo, 2005) in a world that we need to exploit in order to survive? How do we engage in a more-than-human world full of ambiguity and paradox? How might nature become a teacher or mentor (Jickling et al., 2018), and what anthropocentric barriers do we face? How can stories and poems facilitate holistic expression and place-based connection? As we elucidate the wonder and loss of cottonwood, and the mentorship of ponderosa, Carl Leggo (2004, 2005, 2012, 2016, 2019a, 2019b) serves as a guide for artful attending and hopeful imagination for living poetically. Joanna Macy’s (Macy & Johnstone, 2012; Macy & Brown, 2014) work that reconnects and Leggo’s curriculum of joy offer parallel paths of grief and hope so that we might find our way through the Anthropocene.
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