Crise Climática

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    How the climate crisis is transforming the meaning of ‘sustainability’ in business
    (The Conversation US, Inc., 2021-10-12) Raz Godelnik
    Companies have been slow to commit to reducing their emissions to zero no later than mid-century, a target that the Intergovernmental Panel on Climate Change considers necessary to limit global warming to 1.5 degrees Celsius – roughly 2.7 degrees Fahrenheit – and avoid the worst effects of climate change. Why corporate climate pledges of ‘net-zero’ emissions should trigger a healthy dose of skepticism ------------ How to transform business sustainability Companies have tried to rebrand their efforts in ways that sound more sophisticated, moving from terms like “corporate social responsibility (CSR)” to “environmental, social and governance (ESG),” “purposeful companies” and “carbon-neutral products.” Public relations and advertising employees called out their own industry in a report exposing 90 agencies working with fossil fuel companies.
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    teste
    ( 2025-05-31) fjalves
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    teste2
    ( 2025-05-31)
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    The Climate Question
    ( 2020-11) BBC News
    Stories on why we find it so hard to save our own planet, and how we might change that. A global programme that reflects the variety of takes on climate change, how best to understand it and the world’s attempts to avert it, temper it or adapt to it. It is not about questioning whether climate change is happening, it’s about finding the best ways to respond to it. This is sharp-edged, analytical inquiry. Hard scrutiny, touched with a sense of adventure and discovery, and where we can find it, hope. It includes stories from across the world on why we find it so hard to save our own planet, and how we might change that.
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    The Disneyfication of Climate Crisis: Negotiating Responsibility and Climate Action in Frozen, Moana, and Frozen 2
    (Johns Hopkins University Press, 2021) Midkiff, Emily ; Austin, Sara
    Grounding our analysis in a broad reading of ecocriticism in children's literature and culture, as well as Disney's marketing of the films and their toys and material culture, we argue that these princess films can offer young viewers an introduction to issues of global warming, but do not always follow through on their green promise. Acknowledging that all art exists and participates in a neoliberal capitalist system and must contend with market forces in its production and dissemination, Gaard investigates the "confluence of ecopedagogy, ecofeminist and environmental justice literary criticisms [which] raises at least three important questions about children's environmental literature": whether it challenges the binary of human/nature and the resulting power imbalance, whether it solves environmental issues through community engagement rather than by children's efforts alone, and whether it gives nature its own subjectivity and agency without a hero-and-damsel dynamic (327; 327–30). Through its acquisition of Marvel, Discovery Channel, ABC, and Star Wars, as well as its staple cartoons, Disney has emerged as one of the primary producers of children's content in the twenty-first century. [...]a critical analysis of Disney is important to understanding the current role of children's ecoliterature and ecopedagogy. Not only does this shift suggest that children take responsibility for climate change in new ways, but it also uses this responsibility as a marketing tool to sell theme park experiences, toys, and branded merchandise, many of which are not ecologically responsible.