Javaid Bhat, University of Kashmir
This Paper begins with Timothy Brennan’s riposte to Amir Mehmud and Sara Suleri, underlining, simultaneously, the problem of Post colonialism as described by Brennan. His rather hasty definition is used to underscore the different postcolonial propensity in Pachigam, a fictional village created by Salman Rusdie in the novel Shalimar the Clown (henceforth SC). This village is posited as hybrid, fluid, and a space marked by difference. It is a typical but not an unproblematic post colonial space, one which Brennan ignores in his categorical definition of post colonialism. Finally, the essay highlights the essentially ambiguous relationship of Pachigam, a microcosm of Kashmir, with the larger ‘postcolonial’, ‘post-imperial’ entities of India and Pakistan.
Axel Bader, Georg-August-Universität Göttingen, Büsgenweg Göttingen, Germany
Christoph Riegert, Bavarian Forest State Forest Service,Regensburg, Germany
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Reflecting on forest functions links forestry and the society since the 19th century, thus demanding early forms of interdisciplinarity. In this essay we trace back the history of the research on forest functions to its very beginning. We present the most influential conceptualizations on this topic in the last 180 years. Including forestry science, political science, history, and economics, protagonists met this challenge by showing an interdisciplinary interest in their other works, too. Since the 19th century, many different terms have been used to describe the relationship between forestry and society, including ‘forest uses’, ‘forest effects’, ‘forest tasks’, and ‘meanings’. This did not only lead to a confusing use of terms but the protagonists did not build on, and connect with each other either. For that reason, a research tradition could not be established. The overview of the development of the different terms is followed by a suggestion to amalgamate the concepts: Today, a society’s demands to a forest should be named ‘tasks’ of a forest. If the forest is producing ‘natural effects’ that make it possible to satisfy these ‘tasks’, we should talk about ‘services’ that are delivered by the forest.
Michael Dan Archer, School of Art and Design, Loughborough University
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Michael Dan Archer, British Sculptor and Senior Lecturer in Fine Art at Loughborough University School of the Arts in the UK is currently working on a project with Ray Leslie, Professor of Chemistry at Nottingham University, James Davis, Nottingham Trent University, Simon Austin, Professor of Structural Engineering at Loughborough University, Tony Thorpe, Civil and Building Engineering, Loughborough University on a project to illustrate the volume of the Carbon Footprint of an average British family through a large sculptural tower partly based on the form of a carbon nanotube and partly on the shape of a power station cooling tower.
Kanta Kochhar-Lindgren, University of Washington, Bothell
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Place: Athipatti, a fictional South Indian village
Vellaisamy: Can I trouble you for a little water?
Vellaisamy: Why do you laugh when I ask you for water?
Kovalu: To ask a man for his wife is not a sin in this village. But to ask him for water is a great sin.
Thaneer Thaneer (Water!) Komal Swaminathan
“Dramatizing Water: Performance, Anthropology, and the Transnational” investigates how “dramatizing water” can act as a constellation that links the basic substance of life to translocal performances across a continuum that spans water in everyday life, in ritual, and as it appears on a formalized stage. A brief genealogy of examples is developed across the everyday and ritual, but the primary focus in on the late Tamil playwright Komal Swaminathan’s 1980 Thaneer Thaneer (Water!) and its relevance as a prototype for political drama on water. There is currently a profound global crisis around water distribution and “dramatizing water” indexes an attempt to chart the possibilities of moving toward a differently configured space for our water-practices, toward an alternative and more sustainable performative cartography of water.
Norbert Oyibo Eze, University Of Nigeria, Nsukka
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Johnny Igbonekwu observes that ‘an obvious primal instinctive human quest” is to “conquer the world” but he equally notes that man has not been able to achieve this goal, in spite of his “formidable intellectual assaults on the multifarious stupendous mysteries of the world” (Talk About Man 1). The quest for all manner of domination-economic, political, territorial, and spatial, etc, has driven man into invention and mindless application of technology which in choking nature, cause it to frequently retaliate through global warming, tsunami, landslide, erosion, and flooding of different dimensions. The constant decimation of human lives, businesses, buildings, and municipal services as well as the emergence of perturbing diseases owing to these palpable effects of natural disaster, force the issue of climate change to occupy a significant place in the world of environmental studies and research. This paper seeks to explain the place of drama in tackling the problem of climate change through a detailed analysis and interpretation of Greg Mbajiorgu’s Wake Up Everyone considered to be a giant impact assessment study and provocative wake-up call.
It should not be out of place for us here to think of giving an outline to a kind of project, which was on our minds till a certain time but which could not be either discussed or implemented for the lack of appropriate opportunities. Could it be possible to think of a center or academy devoted to neuroscience, evolutionary studies, aesthetics, environment and medicine. Perhaps there is no one single institution in which information from such disciplines could be studied with a general redressive purpose. An institute which shall contain interdisciplinary course work intending to develop modules of analysis regarding behavioral functions, or components of human social existence is the call of the day. This call is driven by the very simple notion that what men and women need are scientific insights into the roots of their own existence and being, and a study of the conditions that would be conducive to free, uninhibited livelihood. Perhaps such insights lead to amelioration of health. The connection between neurophysiological realities of the brain and any form of physical exercise, athletics or sports seemed to have been already grasped by ancient systems of religion. Economists are studying the effects of microlevel redressal measures in the context of attempts made in order to bring about radical changes on macroeconomic level. Answer to such questions as how the arts emerge in human societies can explain the nature of aesthetically motivated actions. It is indeed time for us to conceive of the formation of a society that could discuss issues related to our lives and its environment, our culture and the arts that we perform. Please send us your suggestions or proposals for the formation of such a society. We look forward to hearing from you.
Tirtha Prasad Mukhopadhyay, Editor-in-Chief
University of New Mexico, USA
Volume 2, Number 3, 2010 I Download PDF Version
This paper explores the articulation of resistance to neoliberal globalization in Alejandro González Iñárritu’s Amores Perros, Alejandro Springall’s Santitos and Maria Novaro’s El Jardín del Edén. I argue that this resistance is enunciated within what Homi Bhabha terms ‘Third Space’, the in-between space of cultural translation and negotiation where notions of an essential national identity are destroyed and a contingent and indeterminate hybrid identity is constructed. Speaking from this hybrid space, these films employ Western cinematic conventions to construct narratives of the disjunctive experience of postcolonial time and space that disrupt the dominant temporality and imaginative geography of Western grand narratives of historical progress and global economic development, while at the same time deterritorializing the space and time of national imagining.
Gurudas Mahavidyalay, India
Volume 2, Number 1, 2010 I Download PDF Version
Judith Wright in Generation of Men reconstructs her past generations and their resilient struggle to master the alien landscape with all its traumas, pain and struggle in order to transform it to a ‘place’. This paper tries to locate Wright’s passionate attempt in this book to see the unique landscape of Australia as linked inextricably to the erosion, endurance and struggles of the mindscape of humanity, and to see how the landscape inheres the alterities of the spatial/cultural binarism. In this landscape a Protean mystery dies with the death of the black aboriginals but is once more re-born in the poet’s mnemonic homage. The paper tries to establish Wright as being above the category of a mere environmentalist, and argues for her poetics as a humanist celebration of Australia as a landscape of cornucopia as well as a problematization of the spatial dimensions of oppression and denial unacknowledged in a history of national reconciliation.
Sajalkumar Bhattacharya, Ramakrishna Mission Residential College, West Bengal, India
Parallel reading of history from the subaltern point of view is not only possible, but it also often proves to be revealing. It often unearths a new discourse, which challenges the canonized history or even subverts it. This paper offers a reading of a recent Bhasa (Bangla) novel Machh Master (The Expert Angler) where the Naxalite Movement that rocked Bengal in the sixties, has been narrated and analysed from the viewpoint of one dalit subaltern. The novel attempts to create a binary between this ‘uncorrupted’ world/mode of existence and the civilized, sophisticated, intellectual, but essentially ‘corrupted’ urban world. In this natural savage world and its eco-system, the urban, elitist Naxalite movement turns out to be nothing but an imposition and an intrusion. At the end, disillusioned Neul detaches himself from this movement, goes back to, and embraces Nature in a desperate bid to get back his pre-lapserian mode of existence. Neel, chief agent of the Naxalite movement, too is influenced by these children of Mother Nature, and undergoes a transformation. This paper explores this interesting role of Nature in this new reading of the history of mankind.
Jonathan Highfield, Rhode Island School of Design, Rhode Island, USA
Mulk Raj Anand’s Punjab trilogy–The Village (1939), Across the Black Waters (1940), and The Sword and the Sickle (1942)–speaks directly to the destruction of traditional agricultural systems under colonial rule and the absorption of the agricultural goods and human labor of India into a global economic system. The Punjab trilogy traces the life of a character searching for another India, an India free of oppression, misery, and classism. Lalu Singh looks at the situation in the Punjab from an ever-widening orbit, only to recognize that global movements devalue the very people they purport to help. In the end he rejects theory for action, returning to the peasant society he fled as a youth. His decision has resonance in the twenty-first century as formerly colonized regions face the neocolonial onslaught of biopiracy and genetic trait control technologies.