Tea Lobo – författare

This book analyzes the intrinsic value of urban environments in a world where the boundary between the city and the wild is increasingly dissolving. It provides the analytical tools for regarding the city as simultaneously a wild and a civil space. Due to rapid urbanization, the city is becoming the dominant habitat for people while also engulfing non-human habitats. Animals and plants are finding new ways to adapt to the built environment of urban spaces. But what does it mean to regard the city as simultaneously a wild and civil space? This book focuses on what it means to define the ideal city as the opposite of the wild, as well as how to include the wild in the sphere of the political. The author builds on the Aristotelian notion of the city as a political form of life in which the pleasant and the just are negotiated. Ideal wild cities incorporate the disruptive agency of non-humans and afford explicit and implicit deliberations on common values and ideals such as aesthetics, health, biophilia, leisure, community, wildness, order, sustainability, and (bio-) diversity. Wildness, Justice, and Aesthetics in Imaginaries of Future Urban Natures will be of interest to scholars and advanced students working in environmental philosophy and environmental humanities, political philosophy, environmental ethics and aesthetics, philosophy of the city, urban ecology, and animal ethics.

While there are publications on Wittgenstein’s interest in Dostoevsky’s novels and the recurring mentions of Wittgenstein in Sebald’s works, there has been no systematic scholarship on the relation between perception (such as showing and pictures) and the problem of an adequate presentation of interiority (such as intentions or pain) for these three thinkers.This relation is important in Wittgenstein’s treatment of the subject and in his private language argument, but it is also an often overlooked motif in both Dostoevsky’s and Sebald’s works. Dostoevsky’s depiction of mindset discrepancies in a rapidly modernizing Russia can be analyzed interms of multi-aspectivity. The theatricality of his characters demonstrates especially well Wittgenstein’s account of interiority's interrelatedness with overt public practices and codes. In Sebald’s Austerlitz, Wittgenstein’s notion of family resemblances is an aesthetic strategy within the novel. Visual tropes are most obviously present in Sebald's use of photography, and can partially be read as an ethical-aesthetic imperative of rendering pain visible. Tea Lobo's book contributes towards a non-Cartesian account of literary presentations of inner life based on Wittgenstein's thought.

While there are publications on Wittgenstein’s interest in Dostoevsky’s novels and the recurring mentions of Wittgenstein in Sebald’s works, there has been no systematic scholarship on the relation between perception (such as showing and pictures) and the problem of an adequate presentation of interiority (such as intentions or pain) for these three thinkers.This relation is important in Wittgenstein’s treatment of the subject and in his private language argument, but it is also an often overlooked motif in both Dostoevsky’s and Sebald’s works.

Dostoevsky’s depiction of mindset discrepancies in a rapidly modernizing Russia can be analyzed interms of multi-aspectivity. The theatricality of his characters demonstrates especially well Wittgenstein’s account of interiority''s interrelatedness with overt public practices and codes.

In Sebald’s Austerlitz, Wittgenstein’s notion of family resemblances is an aesthetic strategy within the novel. Visual tropes are most obviously present in Sebald''s use of photography, and can partially be read as an ethical-aesthetic imperative of rendering pain visible. Tea Lobo''s book contributes towards a non-Cartesian account of literary presentations of inner life based on Wittgenstein''s thought.