Search Results (5)

The present research revisits the mythological fiction of Shakuntala: The Woman Wronged (2015) through an ecofeminist lens. Author Utkarsh Patel approaches the legendary tale of submissive Shakuntala and recreates it by arming her with the attributes of resilience, assertiveness, and compassion. Her deep bond with nature equips her with the strength to fight against patriarchal strictures. Based on the study of ecofeminism, this paper draws parallels between the exploitation of women and nature at the hands of mercenary and oppressive forces. An analysis of this work suggests that nature itself provides strength and succour and is also a source of empowerment. The strength gained through communion with nature allows her to make her voice heard. The ecofeminist perspective reveals how Shakuntala’s connection with nature offers her a sanctuary where she can explore her identity and voice, unimpeded by the norms that seek to suppress her. Her love for and defence of the environment transcends mere ecological concern—it becomes a catalyst leading to her transformation. Additionally, Shakuntala’s deep connection with Aranyani, the Forest Goddess, aligns with the concept of nature as a mother figure. By drawing attention to the intertwined dynamics of nature, nurture, and empowerment, this research celebrates and propagates the harmony between nature, feminine forces, and their transformative power. Full article

The Vietnamese state has advocated for the sedentarization and market integration of upland northern farmers over the past thirty years, leading to both agrarian and forest transitions. This article presents a comprehensive land use and land cover change (LULCC) analysis of two adjacent upland borderland districts, Phong Thổ and Bát Xát, in northern Vietnam, spanning two neighboring inland provinces, Lai Châu and Lào Cai. These districts are primarily home to ethnic minority farmers who are encouraged by Vietnamese state officials to not only protect forests but to also transition toward cash crop cultivation from less intensive semi-subsistence agriculture. Our LULCC maps, covering the period from 1990 to 2020, revealed a reduction in the speed by which closed-canopy forests were disappearing. During interviews, state officials were confident that this was due to a range of state policies and state-sponsored initiatives, including the promotion of tree crops and payments for forest environmental services. Our own fieldwork in the region suggests other factors are also supporting this decline in deforestation rates, rooted in ethnic minority farmer livelihood decision making. Some state officials were also able to point to factors hindering a more positive result regarding forest cover, including population pressure and new infrastructure. Interestingly, despite our positive findings on Land use and land cover change (LULCC) related to forest cover, one-third of state officials, upon reviewing our LULCC maps, firmly maintained that errors had occurred. Some even proposed that there was an actual rise in forest cover. Our study shows that these discrepancies raise compelling questions about officials’ political motivations and ongoing pressures to uphold the central state’s reforestation and agrarian transition discourses. Full article

This article examines three of Dario Argento’s supernatural horror films (Suspiria, Phenomena, and Dark Glasses) and their use of fairy tale imagery and narratives, which distinguishes them from murder-mystery-oriented giallo films. In them, Argento locates his characters, rather than in urban environments, in rural spaces (forests, fields, mountains) where the supernatural elements of their stories blossom. Suspiria represents a primarily aesthetic exploration of parallels between fairy tales and contemporary horror, while Phenomena uses these two modes to examine the conflict between the rational and irrational, the natural and the supernatural. Dark Glasses initially appears to be one of his more traditional gialli, but it abandons these tropes with a simplified plot evoking the story of “Little Red Riding Hood”; this shift is accomplished by moving the action of the film out of Rome and into the dark forests of the countryside. Dark Glasses, I argue, therefore represents a self-conscious move to unite in a single film the two major strands of Argento’s filmography and to expose some fundamental elements of his general cinematic approach—namely, the unique capacity of stylized aesthetics and irrational elements to convey the experience of very real, human terror and evil. Full article

Famous for its cliff-carved Buddhist cave-shrines, Longmen was also a burial ground that attracted a few women from the seventh and the eighth centuries. This paper examines the burial caves of two lay women, Lady Lou (d. 661) and Lady Zhang (c. 658–c. 718), in relation to the newly excavated archaeological material and epigraphic evidence. Lady Lou compared her cave burial to the Indian ascetic practice in the forest of Śītavana but did not enact the compassionate offering of flesh. Lady Zhang was later removed from her burial cave by her sons so that she could be interred in a joint tomb with her husband. Through these two cases, I investigate the motivations behind the adoption of cave burials in medieval China. Canonical Buddhist scriptures taught these women that their social gender presented an obstacle to the final release. Dedicatory inscriptions at women’s burials and two tales of miraculous events at Longmen further suggest that family ties, an important constituent of women’s social gender, were believed to persist posthumously. Married women were expected to maintain their spousal and parental relations in the afterlife, and unmarried girls were imagined as turning into seductive spirits because of their lack of spousal union in their lifetime. I argue that cave burials at Longmen were not a compromise of the Indian ascetic practice but rather presented these lay women with a socially acceptable way to break free from their familial attachments after death. Full article

We analyze three environmentally conscious works that are concerned with the state of Finnish forests: the documentary film Metsän tarina/Tale of a Forest (2012), the book with the same name (2013) and the series of short documentaries Tarinoita metsästä/Tales from the Forest (2013). By combining methods from arts research and ecology, we ask how the narratives adapt material from nature photography. The film and book present mythic stories and old Finnish beliefs about forests. They also contain references to cultural memory. Additionally, the biodiversity on display reflects a conventional practice to exhibit large or charismatic species. However, the ecological message remains only implicit, expressed through aesthetic choices rather than information about natural processes. Overall, we suggest that adaptation in these narratives can be understood as an artistic process of recycling and referencing and as a way to reconnect with cultural memory and nature. As such, it can enhance relationships with nature and awareness of conservation needs. However, we ask whether the past-oriented strategy is a politically effective way to activate a connection with nature in modern Finland, where discussions about environmental problems are closely connected to heated debates about forestry. Full article