Ecophilia and Ecophobia in Shakespeare’s Hamlet from the Global South
The difference between ecophilia and ecophobia lies in the contrasting attitudes towards nature and the environment. Ecophilia refers to a deep love and appreciation for the natural world, leading to a desire to protect and preserve it. On the other hand, ecophobia is characterized by a fear or aversion towards nature, often stemming from a lack of understanding or negative experiences. By exploring the intersection of ecophilia, ecophobia, and literary adaptations of Hamlet from the Global South, we can gain a deeper understanding of how cultural perspectives shape our relationship with the environment. While Metin Erksan’s Kadın Hamlet showcases nature as a claustrophobic entity, Vishal Bhardwaj’s Haider focuses on the destruction of nature by the forces of capitalism and terror, and Varouzh Karim-Masihi’s Tardid illustrates how nature resists human-made corruption. Therefore, this panel will explore how Turkish, Iranian and Indian adaptations confront the eco-crisis. This panel will try to explore the following questions:
1. How do the concepts of ecophilia and ecophobia manifest in contemporary film adaptations of Hamlet from the Global South?
2. In what ways does Shakespeare’s work serve as a platform for exploring ecological themes in adaptations from the Global South?
3. What role does nature play in shaping the characters’ identities in Metin Erksan’s Kadın Hamlet?
4. How does the portrayal of Kashmir in the film Haider challenge traditional notions of paradise and reflect the intersection of ecological destruction and socio-political turmoil?
5. How does nature affect the conceptualisation of human-made corruption in Tardid?
6. How can adaptations of Hamlet from different cultural contexts provide insight into global ecological issues?
7. What are the implications of the eco-crisis for the ways we interpret Shakespeare’s texts in modern adaptations?
8. How does Shakespeare’s adaptability across cultures highlight the universality of human experiences concerning nature?
9. What messages can be derived from the contrasting portrayals of nature in Kadın Hamlet, Haider and Tardid?
10. In what ways do the ecological themes in these adaptations prompt discussions about community and care?
11. How can the concept of ecophilia be seen in the actions of characters in these adaptations?
12. What significance does the setting hold in shaping the narrative of the said adaptations, and how does it reflect the characters’ emotional states?
13. How can the exploration of ecological themes in Shakespeare adaptations contribute to a broader understanding of the eco-crisis we face today?
All in all, when we examine adaptations of Shakespeare’s Hamlet from the Global South, conflicting and co-existing attitudes towards nature shed new light onto current studies on ecophilia and ecophobia.
Murat Öğütcü, Adıyaman University, Türkiye
Eco-claustrophobia in Erksan’s Kadın Hamlet
In Metin Erksan’s Kadın Hamlet (1976), also known as Female Hamlet or the Angel of Vengeance, nature is portrayed as a phenomenon that entraps individuals rather than offering solace. The film explores how the characters are confined by their natural surroundings, highlighting the claustrophobic nature of the forest. This surreal adaptation intertwines themes of intergenerational power struggles and questions of action and inaction within the upper class of rural society. Metin Erksan’s Kadın Hamlet delves into the complex relationship between humanity and the natural world, showcasing how individuals can disrupt the tranquillity of nature through their own conflicts and struggles.
Amrita Sen, University of Calcutta, India
Haider: Conflict and Ecological Crisis
The film Haider (2014) directed by Vishal Bhardwaj adapts Shakespeare’s Hamlet and is set against the backdrop of Kashmir, historically lauded as a paradise. While Kashmir was once celebrated for its natural beauty in literature and mainstream cinema, Bhardwaj’s portrayal starkly contrasts this idyllic image, revealing a landscape marred by terrorism and counter-insurgency. The film visually represents this transformation, showcasing once-romanticized locations now stained by violence and despair. The Jhelum river, once a symbol of beauty, is depicted as a site of horror. Through its narrative, Haider critiques the socio-political turmoil in Kashmir, illustrating how ecological destruction reflects broader themes of capitalism and terror.
Parviz Partovi, Independent Scholar, Iran
Nature and Corruption in Tardid
In Doubt (Tardid, 2009), the director Varouzh Karim-Masihi reimagines Shakespeare’s Hamlet within a contemporary Iranian context, featuring a distinctively proactive Ophelia named Mahtab. The narrative follows Siavash, the Hamlet figure, grappling with his father’s mysterious suicide and haunted by his father’s ghost during a Baluchi Zar ritual. As Siavash struggles with inaction and doubt, Mahtab intervenes, challenging the traditional portrayal of women in early modern English and contemporary Persian cultures by taking charge of her destiny and motivating Siavash to confront his challenges. Throughout the film, nature communicates via natural elements such as wind, and thunder, the character Mahtab (which means the light of the moon), and Baluchi people dressed in white whose tribal life directly involves nature. Nature is an active character throughout the film, symbolising truth and resistance against corruption, with the story beginning and ending in natural settings reflecting the characters’ emotional turmoil and eventual quest for balance.