سارة هادي رزاق القيسي

This research aimed to examines the novella The Word for World is Forest by Ursula K. Le Guin of 1972 using the dualistic approach of Val Plumwood on the ecofeminist logic of domination and Freya Mathews on autopoietic ecological theory. It assumes that the story anticipates ecological psychosis as the symptomatic future of colonial exploitation and gives a model of arboreal kinship based on mutual ecological awareness. The hierarchy between the two dualisms as criticized by Plumwood explains an anthropocentric, colonial stance of Captain Davidson, the Terran logging agenda, and the autopoietic model by Mathews offers a strict ontology concerning the relationship between Athsheans and their forest settings. Through a contrast between these views, the article shows how Le Guin dramatizes the dialectic between extractive domination and ecological reciprocity. This article will serve as a contribution to the current academic discussions on ecocriticism and speculative fiction in relation to environmental ethics, cultural survival, and the future of eco-relational futures.

This paper is a Lacanian-Foucauldian critical analysis of the 2025 South Korean chamber Murder Report that explores how spatial confinement as a structural agent triggers the disintegration of professional identity and the destabilization of narrative authority. The movie introduces a forensic psychiatrist who goes about doing away with people who abuse his patients in a methodical way: a character the viewers hate at first but eventually find themselves sympathizing with. This paper uses the principles of Jacques Lacan of the Mirror Stage and the Other as well as the ideas of Power/Knowledge and Discourse of Michel Foucault as arguing that the closed interrogation-interview space is a psychic space where both the journalistic ego of the reporter and the moral certainty of the audience are systematically dismantled. The article goes on to address how the hierarchical reason of journalistic reportage is destroyed throughout the narrative structure of the film, shifting epistemic power, in the process, off the interviewer onto the perpetrator. In conclusion, the article finds that when there are physical and psychological trapping, the narration becomes a kind of collective transgression, and turns the seemingly neutral reporter into an accomplice of structure and the audience into an unintended accomplice in a revisionary ethics of violence

This article is a posthumanist analysis of Saint-Exupéry's The Little Prince (1943), which critiques the idea of human dominance. Previous scholarly work focuses on existential, psychoanalytic, or ecological perspectives; this article attempts to place The Little Prince in the realm of posthumanism through transformed ethics of care, interdependence, and relationality. Through thematic analysis, this article presents the rose, the fox, and the snake as significant non-human characters that deconstruct an anthropocentric perspective to reveal the socio-ethical significance and philosophy of the novella. The non-human characters are crucial to the little prince's ethical decision-making, challenging the primacy of humanity and advocating for a more symbiotic and harmonious coexistence. This article aims to analyse these non-human posthumanist entities of the novella and their importance to The Little Prince. Posthumanism theory emphasises the interconnectedness of all life forms and the ethical consideration of non-human entities. This article argues that The Little Prince is a posthumanist critique of anthropocentrism with contemporary concerns for socio-ethical treatment and purposeful connectedness to all beings.