Suchergebnisse

AbstractHow might our analysis of fascism be enriched if we turn our attention to how contemporary supremacist movements self‐fashion themselves as more‐than‐human formations? How is fascist politics naturalized through claims that it is fueled by the agency and vitality of not just humans but also other‐than‐humans? How do right‐wing supremacists' assertions that theirs is an indigenous more‐than‐human politics that suffered but endured the violence of colonialism support the framing of fascism as a decolonizing project? In this article, we ground these questions in an ethnographic analysis of what we call the more‐than‐human turn in contemporary Hindu‐supremacist politics in the northwestern Himalayan region, focusing specifically on two political projects: the Hindu right‐wing's rediscovery of "ancient" Hindu rivers and communities in Ladakh and cow protection in Uttarakhand. In contrast to ontological anthropologists who suggest that cosmopolitics is plural and liberatory, we demonstrate how the inclusion of nonhuman entities in political life can serve to naturalize a fascist politics that seeks the extermination of those who are not part of the natural order of life. We urge anthropologists to make room for skepticism and critique in their analysis of cosmopolitical formations instead of prematurely celebrating "ecopolitics" as anti‐Western and anticolonial.

Summary
This article explores the role of materiality in space diplomacy through the example of orbital docking technology by tracing its evolution from the early days of the space age to the International Space Station — and beyond. Drawing on the use of assemblage theory in political geography, this article argues for a 'more-than-human' approach to space diplomacy to supplement and provide an alternative to conventional approaches to diplomacy studies. By conceptualising the International Space Station as a diplomatic assemblage with which the multinational partners become enmeshed, we investigate how materials, specifically androgynous orbital docking technology, fostered co-operation and peace in the wake of the Cold War and which continues today.

Integrating performing arts research into the environmental humanities frame, the aim of this paper, firstly, is to uncover theoretical ideas of posthumanist thinkers about species interdependency [Tsing 2012; Haraway 2015] in context of the environmental issues and, secondly, to integrate these perspectives into practices of the ecotheatrical performances in Latvia.
As it is no longer possible to separate nature from culture in a world outside humans [Haraway 2003], ecotheatre serves as a form of environmental imaginary [Woynarski 2015; May 2021] reshaping human and more-than-human relations, shifting from anthropocentric paradigm towards ecocentric worldview. Theatre of species rearranges the usual anthropocentric hierarchy and includes new actors in the theatre – non-human entities and the more-than-human world [Chaudhuri 2017].
The article provides close reading of three ecotheatrical performances, including Bee Matter (Iveta Pole, 2021), Mushroom Picking Championship (Ilze Bloka, 2021), Last Night of the Deer (Jānis Balodis, Nahuel Cano, 2022), looking how ecotheatre practitioners discursively, physically, and visually represent non-human species and their relationship with humans in the context of urgency of the environmental issues.
In ecotheatrical performances, physicality as embodiment comes to the fore, alongside with invitation to the spectator not to think about but already to think with nature resonating posthumanism and postmodern shamanism ideas.