3. Applied Literature
Alireza Soleimani; Maghsoud Esmaili Kordlar; Bahloul Salmani
Abstract
Guin’s (1972) The Word for the World Is Forest was written when the social awareness against all forms of dystopian values such as rational dualistic values, patriarchal hierarchy, anthropocentric instrumentality, and all forms of oppression and exploitation was promoted by modern ecological ...
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Guin’s (1972) The Word for the World Is Forest was written when the social awareness against all forms of dystopian values such as rational dualistic values, patriarchal hierarchy, anthropocentric instrumentality, and all forms of oppression and exploitation was promoted by modern ecological movements and the new wave of feminism in the 1960s and 1970s. Guin’s speculative novella challenges the above-mentioned dystopian values and suggests an ecological ethics which include principles such as respect, care, love, mutuality, friendship, interdependency, equality, freedom, solidarity , responsibility, and the interrelationship between man and nature; it recognizes the differences and diversity of all the living and nonliving members of nature. To reach these ethical principles human beings need undergo a fundamental change and transformation in their way of thinking and their belief system all in all, which will result in a healthy society and ecosystem and a better place for life for the members of nature. This paper is a study of such a strategy in Guin’s (1972) The Word for the World Is Forest by benefiting from the theories set forth by ecofeminist philosophers Warren (2000), Plumwood (1993), and Merchant (1990) to show how the writer manifests the patterns of domination and oppression of nature and what kind of ecological ethics are emphasized in order to help man save life on Earth.
3. Applied Literature
Elham Mohammadi Achachelooei
Abstract
This article analyzes Orhan Pamuk’s The Red-Haired Woman (2017) (hereafter RHW) from Alicia Helda Puleo’s ecofeminist perspective. It discusses Gülcihan’s character in RHW as a cultural figure who, standing beyond the essentialist division of culture / nature, develops a constructive ...
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This article analyzes Orhan Pamuk’s The Red-Haired Woman (2017) (hereafter RHW) from Alicia Helda Puleo’s ecofeminist perspective. It discusses Gülcihan’s character in RHW as a cultural figure who, standing beyond the essentialist division of culture / nature, develops a constructive interaction with the masculine world of the novel, prefiguring the reestablishment of life. The novel reviews the process of modernization in Türkiye through detailing the confrontation of the old and new via references to the mythological stories of Oedipus Rex, and Rostam and Sohrab. The references highlight the notions of patricide and filicide, pointing to rising tension between Eastern and Western aspects of Turkish cultural identity. This investigation challenges the dominant reviews of the references as pessimistic illustrations of the disappearance of historical Türkiye along with her environment and argues that RHW offers an alternative vision of modernization via Gülcihan’s narration as an optimistic stand toward industrial formation through enhancing self-awareness and intercultural understanding.
