Why do modern people assume that there will be perpetual economic growth? Because, David W. Noble tells us in this provocative study of cultural criticism, such a utopian conviction is the necessary foundation for bourgeois culture. One can imagine the existence of modern middle classes only as long as the capitalist marketplace is expanding. For Noble, the related—and relevant—question is, how can the middle classes believe that a finite earth is an environment in which infinite growth is possible? The answer, which Noble so painstakingly charts, is nothing less than a genealogy of the uses and abuses of knowledge that lie at the heart of so many of our political problems today.

As far back as Plato and as recently as Alan Greenspan, Noble finds proponents of the idea of a world of independent, rational individuals living in timeless simplicity, escaping from an old world of interdependence and generations. Such notions, although in sync with Newtonian science, have come up against the subsequent conclusions of geology, biology, and the physics of Einstein. In a survey of the responses to this quandary of historians, economists, literary critics, and ecologists, Noble reveals how this confrontation, and its implications for a single global marketplace, has forced certain academic disciplines into unnatural—and untenable—positions.

David Noble’s work exposes the cost—not academic at all—of the segregation of the physical sciences from the humanities and social sciences, even as it demonstrates the required movement of the humanities toward the ecological vision of a single, interconnected world.

In recent years, scientists have begun to focus on the idea that healthy, functioning ecosystems provide essential services to human populations, ranging from water purification to food and medicine to climate regulation. Lacking a healthy environment, these services would have to be provided through mechanical means, at a tremendous economic and social cost.

Nature and the Marketplace examines the controversial proposition that markets should be designed to capture the value of those services. Written by an economist with a background in business, it evaluates the real prospects for various of nature's marketable services to “turn profits” at levels that exceed the profits expected from alternative, ecologically destructive, business activities. The author:

• describes the infrastructure that natural systems provide, how we depend on it, and how we are affecting it
• explains the market mechanism and how it can lead to more efficient resource use
• looks at key economic activities -- such as ecotourism, bioprospecting, and carbon sequestration -- where market forces can provide incentives for conservation
• examines policy options other than the market, such as pollution credits and mitigation banking
• considers the issue of sustainability and equity between generations

Nature and the Marketplace presents an accessible introduction to the concept of ecosystem services and the economics of the environment. It offers a clear assessment of how market approaches can be used to protect the environment, and illustrates that with a number of cases in which the value of ecosystems has actually been captured by markets.

The book offers a straightforward business economic analysis of conservation issues, eschewing romantic notions about ecosystem preservation in favor of real-world economic solutions. It will be an eye-opening work for professionals, students, and scholars in conservation biology, ecology, environmental economics, environmental policy, and related fields.

The term outsider art has been used to describe work produced exterior to the mainstream of modern art by certain self-taught visionaries, spiritualists, eccentrics, recluses, psychiatric patients, criminals, and others beyond the perceived margins of society. Yet the idea of such a raw, untaught creativity remains a contentious and much-debated issue in the art world. Is this creative instinct a natural, innate phenomenon, requiring only the right circumstances—such as isolation or alienation—in order for it to be cultivated? Or is it an idealistic notion projected onto the art and artists by critics and buyers?

David Maclagan argues that behind the critical and commercial hype lies a cluster of assumptions about creative drives, the expression of inner worlds, originality, and artistic eccentricity. Although outsider art is often presented as a recent discovery, these ideas, Maclagan reveals, belong to a tradition that goes back to the Renaissance, when the modern image of the artist began to take shape. In Outsider Art, Maclagan challenges many of the current opinions about this increasingly popular field of art and explores what happens to outsider artists and their work when they are brought within the very world from which they have excluded themselves.

Religion is infiltrating the arena of consumer culture in increasingly visible ways. We see it in a myriad of forms-in movies, such as Mel Gibson's The Passion of the Christ, on Internet shrines and kitschy Web "altars," and in the recent advertising campaign that attacked fuel-guzzling SUVs by posing the question: What would Jesus drive?

In Religion, Media, and the Marketplace, scholars in history, media studies, and sociology explore this intersection of the secular and the sacred. Topics include how religious leaders negotiate between the competing aims of the mainstream and the devout in the commercial marketplace, how politics and religious beliefs combine to shape public policy initiatives, how the religious "other" is represented in the media, and how consumer products help define the practice of different faiths.

At a time when religious fundamentalism in the United States and throughout the world is inseparable from political aims, this interdisciplinary look at the mutual influences between religion and the media is essential reading for scholars from a wide variety of disciplines.