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This paper considers the role of nonhuman animals in the thought of Donna Haraway, going from her critique of the animal as model/mirror for the evolution of the human body politic to her proposal for a “compost” society. It demonstrates her changing positions in relation to the social role of animals and the deepening of her critique of intersectional relations that subordinate nonhuman animals and animalized people.

The paper intertwines a loosely historical approach and a thematic one, focusing on key issues of sociological theory, such as work, agency and kinship, and the way these relate to the animal question in Haraway's writings. Her texts are discussed both broadly and in-depth, and her positionality in terms of both feminism and antispeciesism is foregrounded.

The paper shows how the progressive abandonment of a posthuman approach in favor of a compostist one brings Haraway nearer to intersectional ecofeminism and to a fuller consideration of nonhuman agency at a material level, as well as to a deeper critique of instrumental relations of domination and issue that had been problematic in critiques of her earlier work.

The paper highlights the role of nonhumans in the evolution and constitution of societies and advocates a response-able multispecies politics.

This paper offers a comprehensive analysis of the social role of animals in Haraway's thought and the deepening antispeciesism of her feminist approach that sheds a different light on her positionality in relation to ecofeminism.

This paper aims to the precise critical interpretation of gender roles portrayed in the three selected TV advertisements shown in Bangladesh.

The analysis begins with the theoretical framework of gender roles analysis here in this paper: Goffman’s gender stereotypes hypothesis which is used to identify and analyse the thematic features present in the ads. After critically examining the hypothesis, Kress and Van Leeuwen’s systemic functional analysis framework is used to analyse the semiotic feature to interpret the signs and symbols. After that, Fairclough’s stylistic analysis of discourse analysis is used to find out these features in the advertisements to search the cultural, political implications. Finally, the paper uses Pope’s The Rape of the Lock and it is Cultural-Ecofeminist Analysis of Francois d’Eaubonne.

This paper tries to connect with the above-mentioned frameworks from a contextual point of view to predict the future progression of the gender representations and their implications in the coming years to check whether the changes in gender roles are reflected in the society or not.

Both in houses and workplaces, women empowerment, more female entrepreneurs in the working forces will bring out a change in the minds of people about the stereotypes and make more women inclusive and the women-friendly environment in Bangladesh and South Asian Countries.

The purpose of this study is to examine whether there is a unidirectional or a bidirectional relationship between women and the environment, and to further study the effect of women on environmental quality.

To achieve this purpose, a Granger causality test and a random effects panel data model are used to study women–environment relationship in developing countries. Error correction model (ECM) is the chosen estimation technique. A Granger causality test is used because of its frequent use in examining the existence of a unidirectional or a bidirectional relationship between two or more variables. A random effects panel data model is used as it has proven to be more efficient than the fixed-effects panel data model.

Women Granger-cause environmental quality while the opposite is not true in developing countries in the long run. This indicates the existence of a unidirectional relationship between women and the environment when the long-run relationship is considered. However, when considering the long- and short-run relationship together, the results indicate the presence of a bidirectional relationship. The empirical results of the random effects panel data model through ECM estimation indicate the positive effect of women on improving environmental quality as illustrated by the coefficient of the current change of women. This shows that women are concerned about environmental degradation. In addition, the empirical results highlight the persistence of CO₂ emissions. Results also confirm that foreign direct investment inflows lead to further environmental degradation. However, education and trade openness coefficients are found insignificant at the current period.

The research results have great implications on women empowerment, the reduction of gender bias and the increase in government expenditure on women’s education and health because of women’s positive effect in improving environmental quality.

To the best of the author’s knowledge, this is the first paper that examines the two-way relationship between women and the environment and, hence, it fills the gap present in the literature.

The purpose of this study/paper Manipulating Golden Wombs’ (2017) is to show the author’s non-site intervention of authoritarian – undemocratic maneuvering of both women’s and earth’s “golden” wombs. The burning fossil fuels in myriads of flame colors, signal the power and distress of Earth’s wounded womb, memories of war, environmental destruction and human fatality, and descend to decline as extinguished Oil Drops (2017), creating a void. Global warming poses a problem for fossil fuel systems and those who profit from them.

The title of this paper has been inspired by Cara New Dagget’s book, The Birth of Energy (2019), posited in the nascent realm of energy “mortalities.” Now, confronting a world warmed by sweltering fossil fuels, the book provides us with a direction to thinking energy beyond the “Calvinist view” of everlasting work. Spellbound by Manipulating Golden Wombs’ (2017), the audience canter around the outer surface of the centrally positioned, circulating luminous “acrylic” oil drops highlighted by hundreds of mono-frequency lamps impregnated with desert biodiversity. A closer look takes spectators through a fiery desert, across the fossil fuel fields into the depths of its scorching oil wells, its womb, as they sense the “real-time” catastrophe that had occurred beyond the gallery wall.

These artists’ objective with their interventions is to “root it to the contour of the […] land, so that it’s permanently there and subject to the weathering,” so the audience is “sort of curious to see what will happen to this” (Schmidt, 1996, 225) through the course of time. The works resists the resistance of nature and social culture, as well as of body and intellect by emphasizing the intransience, however complex, of human beings with the ecosphere in which they survive (Novak 2002, 23). The surfacing of the under-surface of the land and ocean life triggers the idea of the private space, which involves role-play, gender norms and the control over women's lives in the capitalist and Gulf societies. Authoritarianism, fossil fuel capital, high-energy use and militarism make the climate politics critical to planetary security. This combustible convergence gave birth to Manipulating Golden Wombs’ (2017).

Ganz reminds us that devouring less energy appears to be almost unharmonious with the current politics of being “Modern.” Sacrificing energy resonances with abstinence at best, and widespread death and injustice at worst. But, consuming an overload of energy is incompatible with a multispecies existence on Earth. Scientists caution “a cascade of feedbacks could push the Earth System irreversibly onto a ‘Hothouse Earth’ pathway,” the consequence of which could be an uninhabitable, unsafe globe for beings (Steffen et al., 2018). Even though it sounds vivid, it is hard to overstate the crisis in the midst of what environmentalists and biologists term as a sixth extinction event (Kolbert, 2014), in line with a “biological annihilation” that paints “a dismal picture of the future of life, including human life” (Ceballos et al., 2017).

It is not only the land’s womb that we have hurt; we have miffed the hearts of the water network, and “Othered” and the wombs of many women and most surfaces of the Earth have been penetrated, unconsented! To sustain a biodiverse sphere, to pause the deaths of the planet’s flora and fauna and to thrive on Earth, we need to work on renewable sources of energy based on “new collectively shared values, principles, and frameworks” (Steffen et al., 2018). We need to stop Manipulating Golden Wombs’ (2017). Are we ready to accept the challenge? (Lau and Traulsen, 2016)

Petro-masculinity has multiple global dimensions and manifests in multiple and locally specific ways (Dagget, 2018). This encourages the geographically diverse artists discussed in this paper to embrace alternative visions, to make bold and explicit statements on gender and global diversity, equity and rights. Through history, women, in specific, embodied the entirety of the Ecocene and its life cycle and explored it in the context of their own relationships, health, sexuality, fertility, reproduction, childbirth, illness and inescapably death. The artists’ interventions’ visual physiognomies and intentions point toward a comprehensive agenda of action that leads to remedial courses toward reinstating the biome to a healthy condition.

Manipulating Golden Wombs’ (2017) enacts the historic all-consuming fires, penetrating the “shared environment,” burning the fossilized fuels exuding from Earth’s penetrated womb. The higher cone-shaped oil drops irradiate the intense dazzling images of oil wells in flames and the desert flora and fauna nestled within the scorching inner arena. This aligns with the private space provided to women. The wombs are smothered in the fuming fires of the Gulf war. The darker, narrower lower oil drops, iconic of the remnants of fossil fuel, are the residual sludge within which the land and water species are enmeshed and ensnared to death. The potency of the enactment of the drops “enables the viewer to see [him/]herself seeing, to become aware of how she perceives the world around [him/]her and in doing so participates in shaping it” (Eliasson, 2009, p. 25) as a form of engagement, which involves an “attention to time, movement and changeability” (pp. 18–21).

The purpose of this article is to collectively work towards understanding and resolving the COVID-19 pandemic issues based on Messersmith's (2018) song, We All Do Better When We All Do Better. Furthermore, Our Identity should not Remain Marked to understand and overcome the workings of a virus whose Identity [DOES NOT] Remain Marked!

Practice-based creation coalesced with analytical writing.

We All Do Better When We All Do Better! The COVID-19 pandemic corresponds to crucial fundamental assumptions which have appeared from adversity anthropology over the past epochs. First, that environmental catastrophes infrequently surface, because calamities are communal and reliant on trans-species relationships. Furthermore, they appear from a blend of threat and susceptibility, with susceptibility as the causal issue. Second, the disaster occurs at manifold ranks concurrently, with responses to a threat; it endangers all the weak issues along with the original threat (Kelman, 2020).

Throughout COVID-19 much of the media left cavernous time gaps, masks turned into tools of rebellion, and power and violence were exercised indirectly on the vulnerable. The virtual campuses of WhatsApp, Facebook and conventional broadcasting are disseminating specialist knowledge in pandemic science; now everyone is certified. They voice a nouveau-vindictive biopolitical language, so we rise towards COVID-19 denialism. And, we turn into unthinking puppets who speed up the transfer of misinformation that moves like an “asymptomatic” cough through an overcrowded bar or beach as all inhale-consume it.

Part of pandemic planning and dealing with the consequential calamity is to integrate instantly the disastrous aspects caused by lockdowns. In this surge of terror and apprehension, we cannot afford to isolate people, even more through shame and prejudice. Each one of us is accountable to support each other and advocate for an all-inclusive healthy community.

Unescapably, as an immigrant, I had never dreaded this “home away from home” and stay anyhow, and I always had something to write home about. But recently I have had “Nothing to Write Home About,” (Madan-Soni, 2019). Migrant employees in most countries including international students were not much more than uninvited guests positioned in a conventional neighbourhood. It is as if your every expatriate-neighbour was plague-ridden and waiting to infect you. But the virus required no genomic or national identity or visa rank, it could cut all lines to get to you. The virus's Identity Is [Not] Marked.

Our Identity Remains Marked (2020) is my probing visual description of how Our Identity Remains Marked, layered, and stratified in stone under authoritarian structures of patriarchy. I read and researched about how Our Identity Remains Marked when humans are othered through the colours of race, gender, national and immigrant status, including all Earth others. Crafting things, creating something engages with a developing field of ecofeminist research on visual and embodied approaches and creativity (VEM Network, n.d; Reynolds, 2021). Painting offered me a therapeutic way of thinking and of using my senses.