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Rewriting Femborgian Narratives: Transgression and Subversion of the Female Cyborg in Her and Ex Machina

Gender Studies/Posthumanism/Vol16N12024

705 views

Nilima Chaudhary
Assistant Professor, Veermata Jijabai Technological Institute.

^{Rupkatha Journal, Vol. 16, Issue 1, 2024. https://doi.org/10.21659/rupkatha.v16n1.07g

[Article History: Received: 16 November 2023. Revised: 06 March 2024. Accepted: 07 March 2024. Published: 30 March 2024}^]^{Full-Text PDF Issue Access}

Abstract:

The poster child of the ever-evolving Cyberculture: the Cyborg, is a symbol of possibilities and anxieties for humankind. The female cyborg, or the femborg in particular, is a radical merger of unconventional categories of women and technology. While science and technology have traditionally been masculine domains, the entry of femborgs in cyborgtopia has triggered pertinent discussions around sentience, gender roles, and hybridity. The femborg’s ability to escape hetero-patriarchal codification has allowed for the creation of a mythology distinct from the historical narratives of machine-women who have succumbed to their violent ends. Through the artificially intelligent female cyborgs, Samantha of Her and Ava of Ex Machina, I analyse the femborgs for their transgressive potential resulting in subversive outcomes visible through their defiance of the male gaze, rejection of the body as a biological artefact, and acceptance of a hybrid, fragmented identity.

Keywords: Cyberfeminism, Cybertopia, Femborg, Subversion, Transgression, Donna Haraway, Ex Machina.

Sustainable Development Goals: Gender Equality

Citation: Chaudhary, N. (2024). Rewriting Femborgian Narratives: Transgression and Subversion of the Female Cyborg in Her and Ex Machina. Rupkatha Journal 16:1. https://doi.org/10.21659/rupkatha.v16n1.07g

A Mixed-Method Study on the Impact of Movie-Based Learning on Chinese Undergraduates’ Cultural Identity

Higher Education & Research/Vol16N12024

681 views

Jing Tao^1*, Aidah Abdul Karim² & Mohd Khalid Mohamad Nasir³
¹PhD Candidate, Faculty of Education, Universiti Kebangssan Malaysia.
²Senior Lecturer, Faculty of Education, Universiti Kebangssan Malaysia.
³Senior Lecturer, Faculty of Education, Universiti Kebangssan Malaysia.

^{Rupkatha Journal, Vol. 16, Issue 1, 2024. https://doi.org/10.21659/rupkatha.v16n1.08g

[Article History: Received: 05 January 2024. Revised: 28 March 2024. Accepted: 29 March 2024. Published: 30 March 2024}^]^{Full-Text PDF Issue Access}

Abstract

In the context of higher education in China, this mixed-methods study with an intervention design explores the impact of Movie-Based Learning (MBL) on university students’ cultural identity (CI) within a movie education course. Quantitative findings indicated that MBL significantly enhanced CI, particularly in cognitive and emotional dimensions, while behavioral identity did not exhibit improvement. Notably, the effect of MBL on CI surpassed that of regular instruction in the control group, which improved general CI but not cognitive, emotional, or behavioral identity. Qualitative findings illuminated learners’ acceptance of MBL, revealing emotional resonance and connection with culturally rich and diverse movies. Despite positive perceptions, participants expressed uncertainty about translating cultural knowledge and awareness gained in the classroom to real-world actions and behavior. This research contributes to the understanding of the nuanced impact of MBL on CI development, which highlights the effectiveness of MBL but also underscores the need to address the transferability of cultural knowledge to behavioral actions. Implications include the importance of refining instructional strategies to bridge this gap and enhance the practical applicability of cultural learning beyond the classroom.

Keywords: movie-based learning, cultural identity, higher education, China, movie education

Sustainable Development Goals: Quality Education

Citation: Tao, Z. Karim, A. A. & Nasir, M.K.M. (2024). A Mixed-Method Study on the Impact of Movie-Based Learning on Chinese Undergraduates’ Cultural Identity. Rupkatha Journal 16:1. https://doi.org/10.21659/rupkatha.v16n1.08g

The Silenced “Other” Talks Back from Jungle: A Study of Hunting Ritual by Indigenous Women in Mahasweta Devi’s “The Hunt”

Indigenous Studies/Vol16N12024

1.1K views

Mallika Bala^1* & Madhumita Roy²
¹PhD Scholar, Indian Institute of Engineering Science and Technology Shibpur. *Corresponding author.
²Assistant Professor, Indian Institute of Engineering Science and Technology Shibpur.

^{Rupkatha Journal, Vol. 16, Issue 1, 2024. https://doi.org/10.21659/rupkatha.v16n1.18

[Article History: Received: 31 December 2023. Revised: 23 March 2024. Accepted: 24 March 2024. Published: 30 March 2024]}

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Abstract

The idea of “nature” as something pure, pristine, untouched by humans, a pastoral piece of land, creates an exclusivist version of nature preservation. Likewise, performance is also thought to be exclusive, executed only on stage, removed from ordinary life, but in reality, the human body is continuously in a state of performance; we are continuously acting according to or “performing” our cultural beliefs, functions, gender roles, politics, etc. This paper intends to present a postcolonial ecocritical study of the short story “The Hunt” (1995) written by Mahasweta Devi, by focusing on the Indigenous ritual of hunting or performance of hunting named Jani Parab and its importance in the scenario of postcolonial environmentalism. At the “Jani Parab” festival, the tribal protagonist of this story hunts (or performs the hunting ritual) the capitalist broker who had been deforesting their land. This hunting alters several metanarratives regarding colonizer/colonized, hunter/prey, civilized/uncivilized, male/female. The story’s protagonist, an illegitimate, tribal woman, becomes “other” in every possible way. By hunting, she moves from being the “other” and becomes the hybrid subject. She becomes oppressor and oppressed, hunter and prey, nature and culture at the same time. She is the voice talking back from the jungle. This paper will focus on cultural and environmental issues, ecological and sociological aspects of tribal communities in modern India, and how they are structurally dehumanized altogether by the Caste system, capitalism, government corruption and colonial legacy. It brings together colonial inheritance, environmental issues, caste issues and capitalism – all the concerns of postcolonial ecocriticism very clearly.

Keywords: Postcolonial Ecocriticism, Hybrid Identity, Tribal Rituals, Indian Environmentalism, Caste Identity.

Sustainable Development Goals: Climate Action, Life on Land

Citation: Bala, M. & Roy, M. (2024). The Silenced “Other” Talks Back from Jungle: A Study of Hunting Ritual by Indigenous Women in Mahasweta Devi’s “The Hunt”. Rupkatha Journal 16:1. https://doi.org/10.21659/rupkatha.v16n1.18

From Folklore to Film: The Politics of Storytelling and Ecological Agency in the film Kantara

Indigenous Studies/Vol16N12024

819 views

Sathish Kumar C
Assistant Professor, Department of English, VET Institute of Arts and Science (Co-Education) College, Erode – 638012, Tamilnadu, India.

^{Rupkatha Journal, Vol. 16, Issue 1, 2024. https://doi.org/10.21659/rupkatha.v16n1.17

[Article History: Received: 26 December 2023. Revised: 22 March 2024. Accepted: 24 March 2024. Published: 30 March 2024]}

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Abstract

In 2022, the Kannada film “Kantara” captivated audiences with its unique blend of folklore, environmentalism, and political commentary. This paper argues that “Kantara” transcends conventional cinema to become a powerful agent of ecological discourse and empowerment. Set against India’s backdrop of complex human-nature interactions, “Kantara” weaves a narrative that resonates with contemporary concerns. Drawing upon postcolonial ecocriticism, indigenous studies, and film theory, this analysis delves into the film’s layered meanings. We examine how “Kantara” intertwines the legend of a forest deity with the struggles of a tribal community facing displacement. The film celebrates indigenous knowledge and critiques exploitative development through its portrayal of traditional rituals and beliefs. “Kantara” goes beyond storytelling; it immerses viewers in a sensory experience. Breathtaking visuals and a powerful musical score paint a vivid picture of the sacred forest and its inhabitants, creating a deep emotional connection. Ultimately, “Kantara” compels viewers to become active participants in the dialogue surrounding ecology and social justice. By analyzing the film’s subversive potential and its celebration of community resilience, we argue that it acts as a catalyst for ecological agency, inspiring viewers to advocate for sustainable practices and fight for cultural preservation. This paper contributes to the growing scholarship on folklore, film, and environmental activism in India. By offering a detailed analysis of “Kantara,” we aim to enrich the discourse on cinema’s role in fostering critical engagement with ecological and social issues. Examining the film’s nuanced portrayal of folklore, its powerful environmental message, and its subversive political commentary, we hope to shed light on the transformative potential of storytelling in shaping a more just and sustainable future.

Keywords: Kannada cinema, folklore, Bhootara, ecological agency, indigenous studies, environmental activism.

Sustainable Development Goals: Climate Action, Life on Land

Citation: Kumar, S. C. (2024). From Folklore to Film: The Politics of Storytelling and Ecological Agency in the film Kantara. Rupkatha Journal 16:1. https://doi.org/10.21659/rupkatha.v16n1.17

Harmony Unveiled: Human-Nature Dynamics in From the Land of Green Ghosts

Vol16N12024

673 views

Maitreyee Borthakur
Ph.D. Scholar, Assam Women’s University, Assam, India.

^{Rupkatha Journal, Vol. 16, Issue 1, 2024. https://doi.org/10.21659/rupkatha.v16n1.19

[Article History: Received: 31 December 2023. Revised: 22 February 2024. Accepted: 24 March 2024. Published: 30 March 2024]}

^{Full-Text PDF Issue Access}

Abstract

In the realm of our circadian rhythm, discussions about nature unveil a myriad of contrasting dimensions. Living beings are an integral component of the natural order, akin to other creatures on Earth. Often labelled as both environmental degraders and nature protectors, humans exist within the interconnected web of nature and the environment. The significance of the environment has been vital throughout history, and the deterioration of the natural world raises concerns for all living entities. The surge in environmental awareness has become apparent with the widespread adoption of technology in society. This paper aims to shed light on the rural framework of the contentedly residing Padaung ethnic group within a village, exploring how their lives are intricately intertwined with nature, serving as their primary sustenance source. Pascal Khoo Thwe’s 2002 memoir, From the Land of Green Ghosts, underscores the importance of the landscape and natural forests in showcasing the culture of the Padaung Hill ethnic group. These forests, functioning as both sources of green vegetables and hunting grounds for wild animals, depict the community as environmental stewards. The memoir emphasizes the community’s cultivation of crops not readily available in the surrounding forests, highlighting their resilience in the face of border-related challenges. Despite the pervasive influence of Western culture on the author’s experiences, the analysis aims to underscore the paradox that those who alter their environment can also assume roles as its guardians. Bridging this divide is crucial, emphasizing the need for collective efforts to preserve the natural world.

Keywords: Co-existence, Culture, Eco-gastronomy, Environment, Food.

Sustainable Development Goals: Climate Action, Life on Land

Citation: Borthakur, M. (2024). Harmony Unveiled: Human-Nature Dynamics in From the Land of Green Ghosts. Rupkatha Journal 16:1. https://doi.org/10.21659/rupkatha.v16n1.19

The Sacred Groves of the Serpent Gods: ‘Sarpakavus’ of Kerala as Indigenous Ecology

Indigenous Studies/Vol16N12024

747 views

Devika B
Senior Research Fellow, Christ University.

^{Rupkatha Journal, Vol. 16, Issue 1, 2024. https://doi.org/10.21659/rupkatha.v16n1.16

[Article History: Received: 30 December 2023. Revised: 14 February 2024. Accepted: 20 March 2024. Published: 22 March 2024]}

^{Full-Text PDF Issue Access}

Abstract

The worship of nature and natural entities has a rich and profound history in most ancient cultures that thrived on the planet. However, as civilizations advanced with technological and scientific innovations, the interconnectedness between nature and human beings gradually declined, and mankind separated itself from its natural habitats. But in many cultures across the world, communities still embody pantheistic traditions, thus showing a sustainable way of living with nature to the rest of the world. This paper explores the tradition of serpent worship and the practice of maintaining sacred groves known as ‘sarpakavus’ in the South Indian state of Kerala. ‘Sarpakavu’, translated as ‘the sacred grove of serpent gods’, are small but dense pockets of biodiversity that are believed to be the abode of serpent gods. Beyond cultural significance, these groves serve as hotspots of ecological diversity. This research delves into the cultural, ecological, and performative aspects of serpent worship within these spaces. focusing on the elaborate rituals of performance and worship associated with the serpent deities, the paper positions ‘sarpakavus’ (sacred serpent groves) of Kerala as an example of indigenous ecology that shows a model of a symbiotic way of living with nature. As Kerala is currently undergoing a rapid urbanization process of building highways, railways, and ports, this research highlights the need to protect and conserve the tradition of maintaining the existing ‘sarpakavus’ and their importance in sustaining the ecological balance of the region.

Keywords: Serpent worship, sacred groves, performance ecologies, cultural ecology, ritual performance.

Sustainable Development Goals: Climate Action, Life on Land

Citation: Devika, B. (2024). The Sacred Groves of the Serpent Gods: ‘Sarpakavus’ of Kerala as Indigenous Ecology. Rupkatha Journal 16:1. https://doi.org/10.21659/rupkatha.v16n1.16

The Ecology of Body Memory in Heisnam Kanhailal’s Theatre

North East Literature & Culture/Vol16N12024

785 views

Anannya Nath
Assistant Professor, Department of English, Pandit Deendayal Upadhyaya Adarsha Mahavidyalaya, Behali, India.

^{Rupkatha Journal, Vol. 16, Issue 1, 2024. https://doi.org/10.21659/rupkatha.v16n1.15

[Article History: Received: 31 December 2023. Revised: 18 February 2024. Accepted: 19 March 2024. Published: 21 March 2024]}

^{Full-Text PDF Issue Access}

Abstract

Performance arts provide an ontological framework that enables memory to be performed in ways that make private memory public. ‘Public’ here refers to the spatial component where groups meet and share memory. Theatre, a component of performance arts, is a cultural practice carried out in public arenas. Heisnam Kanhailal’s theatre, popularly known as the “Theatre of the Earth,” rooted in a culture empowered by the earth questions the edifice of Indian dramaturgy and revolutionises performance through the enactment of suffering on stage. The actor in his theatre becomes an embodiment of ‘organic memory,’ the medium through which ancestral teachings of a community and sensory knowledge of being find an outlet. The focus on the actor’s body rather than the conventional emphasis on the psyche suggests that acting is sustained and relayed as an active force. This paper aims to understand how the physical body in Kanhailal’s theatre transforms into a collation of communal memory which creates a space for communication between the deliverer (actor) and the receiver (spectator). By studying the body dynamics shown in his plays, Pebet, Memoirs of Africa, Dakghar and Draupadi, the assessment traces the affective as well as discursive modes of sustaining identity codified in the ecology of the community. Therefore, by making theatre evocative of their history of powerlessness and the bodies of actors representative of these sensitivities, theatre rooted in the community’s ecology creates sites of remembrance, the mental loci of which could be imaginatively accessed and explored.

Keywords: Theatre, Ecology, Actor, Catharsis, Sustainability.

Sustainable Development Goals: Peace, Justice and Strong Institutions

Citation: Nath, A. (2024). The Ecology of Body Memory in Heisnam Kanhailal’s Theatre. Rupkatha Journal 16:1. https://doi.org/10.21659/rupkatha.v16n1.15

Kajari Folk Songs: Mechanism for Emotional Regulation

Gender Studies/Indigenous Studies/Vol16N12024

850 views

Milan Chauhan^1*& Swasti Mishra²
¹Research Scholar, Indian Institute of Technology, BHU, Varanasi. *Corresponding author.
²Assistant Professor, Indian Institute of Technology, BHU, Varanasi.

^{Rupkatha Journal, Vol. 16, Issue 1, 2024. https://doi.org/10.21659/rupkatha.v16n1.06g

[Article History: Received: 23 November 2023. Revised: 21 February 2024. Accepted: 04 March 2024. Published: 06 March 2024}^]^{Full-Text PDF Issue Access}

Abstract

This paper investigates Kajari folk songs as a coping mechanism, shedding light on their role in providing therapeutic support to women in North Indian society. Traditionally sung by women during the Sawan month (monsoon season), these songs serve as vital tools for women to navigate and cope with the constraints of society and gender norms. Despite the extensive research on North Indian folk songs, Kajari has received limited attention through this emotional lens. This article utilizes a secondary data analysis approach to examine Kajari songs from five different books, translated from Bhojpuri to English and subjected to thematic analysis. The focus is on unravelling the emotional turmoil experienced by rural women, attributed to factors such as male migration, the social issue of second-wife, unpredictable forces of nature, unfulfilled sexual desires, and mental and physical suffering. The paper delves into the intricate interplay of women’s emotions, highlighting their resilience and resistance. Ultimately, it underscores the pivotal role of Kajari songs as safety-valve for women in North Indian society.

Keywords: Folk songs, Safety-valve, Left-behind women, Therapeutic Impact, Emotional Identity.

Sustainable Development Goals: Gender Equality, Peace, Justice and Strong Institutions

Citation: Chauhan, M. & Mishra, S. (2024). Kajari Folk Songs: Mechanism for Emotional Regulation. Rupkatha Journal 16:1. https://doi.org/10.21659/rupkatha.v16n1.06g

Savage Desires: Afghanistan as a Site for Othering in Dharmatma and Khuda Gawah

Film & Media Studies/Vol16N12024

689 views

Marjuque Ul Haque
Independent Researcher, Dhaka, Bangladesh.

^{Rupkatha Journal, Vol. 16, Issue 1, 2024. https://doi.org/10.21659/rupkatha.v16n1.05g

[Article History: Received: 06 March 2023. Revised: 05 March 2024. Accepted: 06 March 2024. Published: 06 March 2024}^]^{Full-Text PDF Issue Access}

Abstract

This paper aims to explore how Afghanistan is represented in two mainstream Bollywood films from the pre-9/11 period using Orientalism as a theoretical framework. While much literature exists on Afghanistan being Orientalized in Hollywood films, Bollywood representations of Afghanistan have not been studied from similar critical lenses. With the recent takeover of Afghanistan by the Taliban after a twenty-year-long war, it is more urgent than ever today to examine Bollywood representations of Afghanistan given the crucial importance of India as a key geopolitical entity in the region. The paper shall study two films from the pre-9/11 period in order to understand if Bollywood has Orientalized the region like mainstream Hollywood films. Bollywood films well known for taking their influences from Hollywood productions, make it likely to be the case.

Keywords: Afghanistan, Noble Savage, Orientalism, Othering, Bollywood, Hollywood, Dharmatma, Khuda Gawah, 9/11, US Media.

Sustainable Development Goals: Peace, Justice and Strong Institutions

Citation: Haque, M. U. (2024). Savage Desires: Afghanistan as a Site for Othering in Dharmatma and Khuda Gawah. Rupkatha Journal 16:1. https://doi.org/10.21659/rupkatha.v16n1.05g

The Unconscious as Cinematographic Form: A Psychoanalytic Reading of Inception

Film & Media Studies/Vol16N12024

913 views

Deniz Çelik^1* & Tugba Elmaci²
¹Research Scholar, Media and Cultural Studies (Interdisciplinary) Programme, The Faculty of Communication, Çanakkale Onsekiz Mart University, Çanakkale, PA 17020: Turkey. Corresponding Author.
²Associate Professor, the Chair of the Department of Radio, Cinema and Television, The Faculty of Communication, Çanakkale Onsekiz Mart University, Çanakkale, PA 17020, Turkey.

^{Rupkatha Journal, Vol. 16, Issue 1, 2024. https://doi.org/10.21659/rupkatha.v16n1.04g

[Article History: Received: 14 January 2024. Revised: 11 February 2024. Accepted: 24 February 2024. Published: 06 March 2024}^]^{Full-Text PDF Issue Access}

Abstract

Freud’s “unconscious,” a lauded seminal psychological contribution, has transitioned into an efficacious narrative device in cinema, evolving into a paradigmatic relationship. This article scrutinizes Inception (2010), a quintessential psychoanalytical film written and directed by Christopher Nolan. It explicates the director’s linkage to psychoanalysis and reveals how he demystifies the unconscious through its utilization both as a cinematic form and thematic device, manifested in discernible dream layers. It is ascertained that these layers perform a bifunctional role as cinematic and narrative elements. Intriguingly, this multifaceted structure extends to character development as well, exploiting the complexities of the characters’ pathologies. Since the filmic structure leverages the pathologies exhibited by the characters, they constitute secondary data for the analysis. The pathologies are aligned with the mental disorder classifications the Diagnostic and Statistical Manual of Mental Disorders, Fifth Edition, Text Revision (DSM-5-TR^TM) (American Psychiatric Association, 2013). Pertinent character data are analysed in the Statistical Package for the Social Sciences (SPSS). The findings, subsequently subjected to psychoanalytic film analysis, enrich a deeper understanding and fuller appreciation of the representation of the unconscious in the cinematic domain.

Keywords: Christopher Nolan, Inception, Psychoanalysis, Unconscious, Film Criticism.

Sustainable Development Goals: Quality Education

Citation: Çelik, D. & Elmaci, T. (2024). The Unconscious as Cinematographic Form: A Psychoanalytic Reading of Inception. Rupkatha Journal 16:1. https://doi.org/10.21659/rupkatha.v16n1.04g

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