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Introduces a way to study ecosystems that is resonant with current thinking in the fields of earth system science, geobiology, and planetology, providing an alternative process-based approach and proposing a truly planetary view of ecological science.

A concise introduction to the role of law in environmental protection. It offers a greater understanding of international and national environmental law and has case studies from all over the world.

In 1942, the sociologist Pitirim Sorokin, a survivor of the post-WorldWar I pandemic, published "Man and Society in Calamity," a comparative study of the human response (including political responses) to four recurrent mass-death events. One was "pestilence." Sorokin reached many general conclusions. In Fall of 2020, the author of this paper (Wilkinson) held a seminar whose students attempted to re-evaluate Sorokin's conclusions, based upon their own experiences, observations, and mutual dialogue. In general, the seminar found that Sorokin's conclusions were mostly still applicable, but that his social theory of pestilence needed drastic changes as concerned (a) the gendered, class-based, ethnic and national distribution of pestilence and its consequences of pestilence, (b) the much-changed capacity (from 1942) for the scientific and technological response to pestilence, and (c) the much changed capacity (again, since 1942) for international-organizational response to pestilence. With these updates, Sorokin's theory of the human social response to pestilence can serve as guidance both for study and for policy in regard not only to the current pandemic, but for epidemics and pandemics yet to come.

This article develops my existing published work on The Fall, which seeks to examine the consequences of Mark E. Smith's classed, educational and regional formation on the band's aesthetics and politics. I think through these latter categories both as they unfolded during The Fall's post-punk peak and as they signify in the present, bridging this gap through the elaboration of the concept of 'the working class weird'. Over the past decade, the work of Mark Fisher has traced a fascinating, if speculative, formal and classed history to The Fall's 'pulp modernism'. Here, I respond to and build upon Fisher's work by situating The Fall more concretely within a postwar British history of working class experiments with avant-garde cultural form. I locate the band's output within the shifting class relations of the late 20th century and explore its conflicted ideological implications, arguing that although Smith and The Fall may appear to presage and articulate a particular variant of working class conservatism that has coalesced around Brexit, their work also retains elements of utopianism and intransigent oppositionality.