Between light and darkness: Earthsea and the name of utopia

In Le Guin's Earthsea Quartet, knowledge of the name of a thing or person guarantees control over their destiny. In a world where light and darkness co-exist and where dragons are an extension of humans, a name is the means with which one can achieve one's vision of the world. If utopia is the individual projection of a supposedly collective ideal, then knowledge of names is the vehicle for the realization of one's own utopia, which may well come into conflict with the utopias of others. However, Earthsea is not simply a series of battles between individual utopists. Earthsea itself constitutes a precarious and non-traditional utopia, where antithetical sides co-exist and neither prevails forever. As its name denotes, “earth” and “sea,” darkness and light, tombs and open seas, tiny islands and eternal journeys operate together to produce the setting for the novels and enable the chase of an ever-elusive knowledge. For as the utopists in Earthsea find out, knowledge can only be complete if it also comprises its Jungian opposite, namely ignorance. In an attempt to explore the relation between utopia, knowledge, and ignorance, this article employs psychology and linguistics, and constructs a description of a “just” world which remains necessarily utopian.

Utopia and its Discontents: Dreams of Catastrophe and the End of 'the End of History'

The institutionalization of Utopia Studies in the last decade is premised upon a specifically aesthetic reception of Ernst Bloch’s theory of the “utopian impulse” during the 1980s and 1990s. A postmodern uneasiness to both left and right formulations of the "End of History" during this period imposes a resistance to concepts of historical and political closure or totality, resulting in a "Utopianism without Utopia". For all the attractiveness of this pan-utopianism, its failure to consider the relation between historical representation and fulfillment renders it consummate with liberalism as a merely inverted conservatism. In contrast to this specific recuperation of a Bloch, the continuing importance of Walter Benjamin’s theory of the dialectical image and the speculative concept of historical experience which underlies it becomes apparent. The intrusion of the historical Absolute is coded throughout Benjamin’s thought as the eruptive and mortuary figure of catastrophe, which stands as the dialectical counterpart to the utopian wish images of the collective dream. Indeed, the motto under which the Arcades Project was to be constructed derives from Adorno: “Each epoch dreams of itself as annihilated by catastrophe”.

Marcadia Postponed: Marketing, Utopia and the Millennium

Before envisioning the future of marketing, as the conference theme suggests, it may be worthwhile examining our desire to envision the future of marketing. This paper argues that our need to imagine the future is part of an innate utopian propensity. It examines the relationship between marketing and utopianism, contends that marketing is inherently utopian in ethos, and concludes that, necessary though they are, future visions of marketing cannot and should not be enacted.

In-enviroment of law

A linguistic game of prepositions in order to define the following: (1) What is the Environment? What is 'environment' for environmental law? (2) How does the law react to the complexity of its environment? (3) How to take into account the ecological crisis within a rather narrow, anthropocentric legal frame? (4) How to move away from the hackneyed binarism econcentricity/anthropocentricity and venture a different, de-centred conceptualisation? (5) How can utopia be considered in its potential realisation? The paper is a further investigation of the concept of the paradox in the ecological legal crisis.