Thesis (M.A.B.S.)--Multnomah Biblical Seminary, 2000. / Includes bibliographical references (leaves 75-79).

Thesis (Ph. D.)--University of North Carolina at Greensboro, 2007. / Title from PDF title page screen. Advisor: Glenn M. Hudak; submitted to the School of Education. Includes bibliographical references (p. 190-197).

Environmentalists are accustomed to using the rhetorical appeals of guilt and sacrifice to advocate their agendas. I argue that the motivations of guilt and sacrifice do not mirror the goals of sustainability, and are easy for anthropocentric-resourcist ideology (ARI) agendas to counter. When it comes to actual environmental policy change, however, the rhetorical means in which guilt and sacrifice appeals arise are valid and sustainable: the melodramatic frame and dialogic engagement. I use these rhetorical tools to inform my readings of two eco-comedic artifacts: Earth to America! and my own performance work with "The Composters." Through these analyses, I argue that comedy is a viable method that matches the message of environmentalism. Comedy becomes a kind of discursive biomimicry that mirrors, as a predator does a prey, the language of ARI. Since comedy is dependent on contradiction and juxtaposition, it becomes an adequate tool for calling the bluff on ARI agendas that are based on illogical claims that sound ecologically savvy (e.g., "clean coal"). In this dissertation I undertake an examination of these informative overlaps. I place eco-comedy on the line in order to map a more sustainable environmental rhetoric between the intersections of melodrama, dialogic engagement, environmentalism, comedy, and advocacy.

This dissertation examines conflicts involving the use of public land for both extractive resources and recreational purposes in Southern Illinois from an anthropological perspective. These conflicts are examined in terms of place, western ideas of nature and culture, and the debate concerning conservation versus preservation. The beginning point for this work was the question of whether or not place building influences conflicts over public land. The conflicts that this work encompasses are logging, hunting, use of off-road vehicles, equestrian, and hydraulic fracturing. My goal was to look at different recreational conflicts of Southern Illinois and determine how issues of place, nature and culture, and conservation versus preservation ethics play into those conflicts. What I found is that all of these factors are inextricably intertwined and that both sides of these conflicts are informed by the identities and place-making of those involved and the perception of those identities and places.

This study looks at the role that liberal economic norms are playing in international environmental negotiations on hazardous chemicals (including wastes), and the implications of these norms for the protection of the environment and human health from the thousands of chemicals on the market. The key trait of liberal economic norms in relation to global environmental governance is their assumption that the liberalisation of trade and finance and economic growth are both consistent with and necessary for environmental protection. From this assumption follows, for instance, the idea that states should adopt the "least-trade restrictive" measures required to protect the environment and human health. I argue that liberal economic norms are "hegemonic," in a Gramscian sense, in chemicals-related international environmental negotiations. This means that a wide range of actors, including those that do not necessarily accept the liberal economic perspective, are upholding liberal economic norms in their statements and proposals if not out of conviction then out of a perceived need to be realistic or persuasive. The most important implication of liberal economic hegemony is that it is widely assumed that human health and the environment can be effectively protected from the negative effects of hazardous chemicals even though the volume of chemicals and chemical-containing products being consumed is increasing at a spectacular rate. The issue of growing consumption of chemicals is therefore consistently framed as a problem of quality (hazardousness) rather than quantity. To understand consumption in this narrow sense is problematic, however, because there is considerable scientific uncertainty concerning the environmental and health effects of most of the chemicals on the market and because chemicals that pose minimal risks to the environment and human health might be very hazardous when they are being manufactured or upon becoming waste. In order to address the problem of hazardous chemicals effectively, it is necessary to challenge the hegemony of liberal economic norms in international environmental negotiations. This can be done, I conclude, by deepening a number of fissures in the hegemony of the liberal economic perspective that can be detected in the context of chemicals-related instruments. / Law, Faculty of / Graduate

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In this document, I discuss the creative process of a piece for instruments, electronics, and video titled Music for the End of the World in the context of the Anthropocene and music's relationship with it. The document is divided into two parts: Part I, divided into three chapters, is a critical essay and Part II, the score for Music for the End of the World. In the first two chapters, I present the conceptual basis for the creation of the piece and discuss relevant musical references. In the third chapter, I describe the creative process in detail and explain how the aesthetic decisions I made relate to the original concept. The first chapter starts by defining the Anthropocene and pointing out some connections between music, colonialism, and ecology. It also highlights some of the Anthropocene potential implications for the arts through the lens of Timothy Morton's post-humanist philosophy. In the second chapter, three important references for the creation of Music for the End of the World are presented: Luigi Nono's Prometeo; Francisco López La Selva; and João Pedro Oliveira's Neshamah. In the third chapter, I present the creative process of Music for the End of the World in detail. It starts by describing how the piece was created after the composition of shorter study pieces for different chamber ensembles. Regarding electronics, in that chapter, I discuss the use of synthesized sounds in addition to field recordings. For the synthesized part, the paper also describes each of the instruments I developed in Max/MSP. Finally, it explains the creation of the video using AI image synthesis in Midjourney and their implementation in the piece.