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Small-scale, conservation-based agrarianism provides a model for sustainable human habitation within heterogeneous landscapes. Thoreau's Transcendentalism and the historical roots of American Agrarianism are explored as influences for wilderness preservation and the New Agrarian movement. Idealizing a distant wilderness too often means overlooking the ecological and socio-economic environment where people live. Middle landscapes between nature and culture, or between wilderness and cities, can either increase or reduce ecological and social functioning within the landscape matrix. Managing middle landscapes by agrarian principles helps move both nature and culture towards ecological, economic, and social sustainability. This thesis ends with a discussion of agrarian themes, such as supporting decentralized local economies and increasing community connectivity, applied in urban, rural, and wilderness landscapes.

Although Wendell Berry’s first book, a novel, appeared in 1960, he did not gain significant national attention until the publication of his nonfiction manifesto, The Unsettling of America: Culture and Agriculture, in 1977. Since its publication, Berry has moved increasingly toward the prose of persuasion as he continues to sharpen his argument in support of a practical, continuous harmony between the human economy and Nature. His canon as a whole – the poems, essays, and novels – is an ongoing and thorough exploration of man’s use of and relationship to the land. Arguing that the health of a culture is linked to the health of its land, Berry focuses on agriculture, particularly the growing conflict between traditional farming (which espouses a harmonious cyclic vision) and modern agribusiness (which espouses a discordant linear vision). As a traditional farmer wedded to the land, Berry derives his ideas and images largely from his practical experiences and form his devotion to careful and responsible land stewardship. He also, in his nonfiction, turns to several agricultural (as well as a few literary) writers of the past and present to lend support to his arguments. Berry’s strong sense of Nature’s cycle is the basis for his imagery of departures and returns. As a crucial part of the cycle, death is prerequisite to life, and Berry shows the importance of understanding “that the land we live on and the lives we live are the gifts of death” (Home Economics 62). The power of Nature’s cycle is at once destructive and restorative; Berry teaches that by allying our human economy more with natural cyclic processes rather than with man-made linear – and ultimately destructive – ones, we and future generations can live with hope and assurance through the possibility of renewal. Traditional farming has taught Berry the concepts which inform his poems and essays (as well as his novels and short stories, which merit a separate study beyond the scope of this paper.) For example, he has learned, and continues to learn, the importance of understanding and acknowledging the primal, and ruling, character of a “place”; of looking to Nature for guidance, instruction, and justice; and of allying farming practices to Nature’s “Wheel” of birth, growth, maturity, death, and decay. This cycle and related motifs unify and connect his central themes, particularly death as a means of renewal. In Berry’s view, one of the cruxes in the agricultural crisis is that, whereas traditional farming seeks a natural balance between growth and decay, industrial farming, because of its pull toward mass production, stresses growth only (a linear inclination), which wears out the land and leads inevitably to infertility. Tracing our modern crisis to our past and to our present character and culture, Berry shows the ramifications of our abuse of Nature’s “gifts.”

Many poets write about the earth or even about God using the language of nature. And many poets and contemporary authors concern themselves with the state of the environment. However, the poetry of Wendell Berry, James Still, Li-Young Lee, Mary Oliver, and Charles Wright seems to engage different kinds of questions about how humans creatively respond to the earth. Collectively, their responses seem influenced by their connections with Christianity rather than any specific ecological agenda. In all of their poetry lies a sensibility about how humans should interact with the earth. All five of the poets seem to acknowledge humanity’s place on the earth as important without elevating humanity as the most important organism on the earth. Their work presupposes the existence of God or creator and because of this, engages the questions of being human in light of that Creator rather than as creators of their own environment or as the architecture of imagination. Their work offers an important insight into how we might live in harmony with all environments—agricultural, rural, wild or urban. Their work also suggests a connection between the Christian concept of worship, and a way of living that takes responsibility for human actions within creation. Their poetry recognizes the earth’s value as well as God’s presence and results in praise of both the beauty of creation and Creator.

Published in 1977, Wendell Berry's book The Unsettling of America: Culture and Agriculture gained widespread popularity. More than half a century later, many of the notions of the body and the earth presented in its seventh chapter, "The Body and the Earth," remain relevant and important for environmental discourse today. Berry's discussion of the body and the earth examines their mutuality and codependence from an ontological, theological, agricultural, and even biological perspective. The coupling of this text with Judith Butler's, Frames of War: When is Life Grievable? contemporizes his argument through its more socio-political and philosophical claims regarding life and the body. Through the discussion of societal frames that often prescribe the value of life and bodies, Butler introduces the concept of precarity, or the imposition of violence and its resultant instability of the body. Driven by the external forces of society, precarity weakens, commodifies, and exploits the body, creating unsustainable social systems. As we learn from Berry, this bodily precarity parallels the violence and mistreatment of the earth. The body, and its ecological and anthropological interconnectedness, establishes both material and immaterial ties to the earth, suggesting that any damage done to the body affects not just itself, but the entire system. In bringing together Butler and Berry through an ecocritical dialogue, a new ethic regarding the formation and meaning of a life emerges, prompting revision of the current societal parameters that establish the definitions of the body and the earth. Berry's resurgent relevance comes from his admonitions to repair the relationships of all bodies and the networks of which they are a part. Thus, the connection between an individual and their body, other bodies, and the earth must be restored for an environmental ethic to both persist and establish productive environmental change.

No / In this paper, we argue that two key trends – an unfolding ecological crisis and a reduction in the amount of (cheap) energy available to society – bring into question both the relevance and the resilience of existing educational systems, requiring us to rethink both the content and the form of education in general, and peace education in particular. Against this background, we consider the role education might play in enabling citizens and societies to adapt peacefully to conditions of energy descent and a less benign ecological system, taking seriously the possibility that there will be fewer resources available for education. Drawing on Wes Jackson’s and Wendell Berry’s concept of an education in ‘homecoming’, and on E.F. Schumacher’s concept of ‘appropriate technology’, we suggest a possible vision of peace education. We propose that such education might be focused around ‘appropriate knowledge’, commitment to place, and an understanding of the needs and characteristics of each local context. We then consider an example of what this might mean in practice, particularly under conditions of increasing resource scarcity: Permaculture education in El Salvador, we suggest, illustrates the characteristics and relevance of an education that aims to foster ‘appropriate knowledge’ within a particular and very challenging context. The paper concludes by considering the wider implications of our argument.

No / In this paper, we argue that two key trends – an unfolding ecological crisis and a reduction in the amount of (cheap) energy available to society – bring into question both the relevance and the resilience of existing educational systems, requiring us to rethink both the content and the form of education in general, and peace education in particular. Against this background, we consider the role education might play in enabling citizens and societies to adapt peacefully to conditions of energy descent and a less benign ecological system, taking seriously the possibility that there will be fewer resources available for education. Drawing on Wes Jackson’s and Wendell Berry’s concept of an education in ‘homecoming’, and on E.F. Schumacher’s concept of ‘appropriate technology’, we suggest a possible vision of peace education. We propose that such education might be focused around ‘appropriate knowledge’, commitment to place, and an understanding of the needs and characteristics of each local context. We then consider an example of what this might mean in practice, particularly under conditions of increasing resource scarcity: Permaculture education in El Salvador, we suggest, illustrates the characteristics and relevance of an education that aims to foster ‘appropriate knowledge’ within a particular and very challenging context. The paper concludes by considering the wider implications of our argument.

This thesis will explore a theology of place and placemaking that is focused on the participatory role of humans in both creation and redemption, while suggesting the central and paradigmatic role of artistry in our construction of and identification with place. Building on the most recent theological and philosophical engagement with place, this thesis will argue for a theology of place that takes seriously the doctrines of creation and incarnation, focusing on a particularly redemptive understanding of placemaking in the material world. In its study of scripture and theology, it will focus on God's blessing of people to participate in the making of places, along with the role this human making has in relationship to divine presence and the divine plan for creation and redemption. After developing a theology of place and placemaking more generally, the second half of this thesis will consider the practical, constructive, and transformative capabilities of placemaking as witnessed through the arts. Relying on theological engagement with the arts, it will argue that artistic making of all kinds and attention to place go hand in hand. Exploring a selection of artistic genres, including the photography of Marlene Creates, the quilts of Gee's Bend, and the literature of Wendell Berry, this thesis will suggest that imaginative and “artistic” placemaking practices can give us a deeper understanding of the creative, redemptive, and transformative work of Christ in Creation, while also elucidating our calling to participate in it.

The college commencement address is traditionally regarded as the low point of an otherwise auspicious occasion. An ephemeral form of ceremonial oratory, the commencement speech is reviled for its conventional platitudes, its easy piety, and its abstractions on the well-lived life, the sunny future, and the ethics of adulthood. The South may differ, however, in its approach to the commencement speech genre, especially in the years between World War II and the millennium, when one of the South’s most significant assets became the southern writer. Throughout this dissertation, I have tried to situate eight commencement addresses given by such prominent and dissimilar writers as W.J. Cash, William Faulkner, Wendell Berry, Will D. Campbell, Lee Smith, Clyde Edgerton, Maya Angelou, and Fred Chappell, within the context of the times in which they were delivered and within the speakers' written works. Through my analysis of these graduation talks, I discovered that southern writers typically abandon those repetitious conventions that render the commencement address forgettable in favor of the innovative techniques that were already at work in their written works.

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