Chris Moser

Der Beitrag beschäftigt sich mit kulturanthropologischen und literarischen Reflexionen auf den Bewegungsmodus des Gehens. Er diskutiert die Frage, inwieweit das Gehen in diesen Diskursen als Linienpraxis aufgefasst wird. Ausgangspunkt ist die Beobachtung, dass die Kulturanthropologie, die dem aufrechten Gang eine Schlüsselfunktion für die Anthropogenese zuweist, diesen zugleich als Produkt eines ›Begradigungsprozesses‹ markiert und an die dichotomische Gegenüberstellung von Natur und Kultur koppelt. In literarischen Texten, aber auch in neueren ökoanthropologischen Ansätzen wird die Natur-Kultur-Opposition und die damit verbundene Privilegierung der geraden Linie kritisch hinterfragt. Setzt die literarische Peripatetik mithin eine alternative Form der Beziehung zwischen Mensch und Umwelt in Szene? Entwirft sie eine Ökologie des Denkens und Wahrnehmens, die sich jenseits der Natur-Kultur-Dichotomie bewegt? Diese Fragen werden an ausgewählten Fallbeispielen beleuchtet. The essay deals with the peripatetic mode of movement as reflected in cultural anthropology and literature. It asks to what extent these discourses view walking as a practice of line-making. The point of departure is the observation that cultural anthropology ascribes a key role to the upright gait within anthropogenesis while associating it with a process of rectilinearization on the one hand and a sharp dichotomy between nature and culture on the other hand. Certain literary texts and recent approaches in ecologically oriented anthropology have, however, challenged the validity of this dichotomy and the concomitant privilege of the straight line. Does literary peripatetics thus propose an alternative way to grasp the relationship between human beings and the environment? Does it outline a new ecology of the mind that supersedes the binary relation between nature and culture? These questions are discussed with reference to selected case studies.

This review argues that the role of technology in business and society debates has predominantly been examined from the limited, narrow perspective of technology as instrumental, and that two additional but relatively neglected perspectives are important: technology as value-laden and technology as relationally agentic. Technology has always been part of the relationship between business and society, for better and worse. However, as technological development is frequently advanced as a solution to many pressing societal problems and grand challenges, it is imperative that technology is understood and analyzed in a more nuanced, critical, and comprehensive way. The two additional perspectives invite a broader research agenda, one that includes questions, such as “Which values and whose interests has technology come to emulate?”; “How do these values and interests play out in stabilizing the status quo?”; and, importantly, “How can it be contested, disrupted, and changed?” Any research that endorses green, sustainable, environmental, or climate mitigating technologies potentially contributes to maintaining the very thing that it seeks to change if questions such as these are not being addressed.

This chapter sketches the genealogy of the modern concept of literature as imaginative fiction. It retraces its origins in the European enlightenment and points to the fact that, from the beginning, this notion of literature-as-art was systematically related to the concept of national literature. Literature was seen to be national in its primary alignment; the international dimension of literary communication, as codified by Goethe’s concept of ‘world literature,’ played a secondary role. This chapter proceeds to demonstrate, first, how the European concept of literature was globalized in the wake of Western colonial and imperial rule; second, how it has been transformed, on its part, as a result of recent processes of economic, political, cultural and communicative globalization. This transformation is shown to have taken place on three different levels: the level of literary institutions; the level of literary forms, techniques and topics; and the conceptual level.