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- Convenors:
-
Csaba Mészáros
(Hungarian Research Network, Research Centre for the Humanities)
Tatiana Argounova-Low (University of Aberdeen)
Kyunney Takasaeva (University of Warsaw (Poland))
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Short Abstract
The panel invites researchers for collaborative exploration of traditional and contemporary forms of storytelling about ongoing ecological degradation, precarity of traditional lifestyles, adaptations, and visions of the future in the (sub)-Arctic emerging through narratives and narrative objects.
Long Abstract
The permafrost landscape is one of the most fragile ecosystems in the Northern Hemisphere, exposed to the impacts of human intervention and climate change. Loss of traditional hunting grounds and pastures, deterioration of regular environmental patterns, waterlogged meadows – these are only a few examples of such drastic ecological change. Environmental anomalies and climate change related detrimental effects create an increasing feeling of disconnection from the living landscapes many communities in the Arctic and sub-Arctic have historically been attached to.
These environmental transformations not only reshape local lifestyles and engagements with the environment but also impact the tradition of storytelling, social life of local narratives, and knowledge derived from these narratives. Some stories are forgotten, while others emerge rapidly and quickly gain popularity. These new narratives emerge employing both traditional storytelling framework, as well as various contemporary forms of narration, such as festivals, movies, animation, social media, art installations, and use of objects.
The panel invites researchers for collaborative exploration of traditional and contemporary forms of storytelling about continuing ecological degradation, precarity of traditional lifestyles, adaptations, but also visions of the future in the Arctic and sub-Arctic emerging through narratives and narrative objects
Accepted papers
Session 1 Sunday 14 June, 2026, -Paper short abstract
This paper analyses True Detective: Night Country (HBO, 2024) as eco-noir storytelling in the Arctic, where nature acts as a narrative agent. It examines how the series depicts the climate crisis as a lived, haunting entanglement using ecocinema and ecofeminism.
Paper long abstract
Set in the fictional town of Ennis, Alaska, True Detective: Night Country (HBO, 2024) is an American anthology crime drama that situates human drama within a landscape of perpetual night, melting ice, and extractive industry. The narrative unfolds through the investigation of the disappearance of eight men from a polar night research station and unveils insidious connections to the unsolved murder of an Iñupiaq activist and a polluting mining company. The show also serves as a contemporary example of ecocinema and eco-noir, where narrative form, setting, and atmosphere are inseparable from the ecological crisis of the Arctic.
Within this framework, this paper probes the series’ engagement with climate change discourse and narrative ecologies by examining how it presents the Arctic as a “sentient landscape” that blurs boundaries between the natural and the supernatural, the human and the nonhuman, the living and the dead. From a feminist ecocritical perspective, Night Country is distinctive for centring women detectives whose investigation is entangled with ecological collapse and community memory. Their search for truth becomes inseparable from a reckoning with the land itself.
The paper draws on ecocinema theory, ecofeminism and critical discourse analysis to elucidate how visual and sonic strategies, darkness, icy soundscapes, and lingering shots of frozen bodies construct an “eco-noir” aesthetic that renders climate change as a lived, haunting entanglement rather than an abstract threat. Ultimately, the paper argues that popular television can serve as a vital site of ecological storytelling.
Paper short abstract
By examining the changing narrative representations of meadows in Yakutia, this paper demonstrates how permafrost landscapes are equally exposed to ecological and climatic changes, as well as to an emerging polyphonic ontological context, which has distanced them from the local community.
Paper long abstract
Central Yakutia's permafrost soil supports the formation of meadows with herbaceous vegetation amidst the vast taiga forests. These meadows are vital for the Sakha herders, providing summer pastures for cattle and horses, as well as hayfields and winter fodder during the stabling period. Known as alaas to the Sakha, these meadows hold significant economic, emotional, and spiritual importance for the locals. They are viewed as sentient beings with unique personalities, which means they are considered part of the larger, more-than-human local community. This perspective is mirrored not only in the rich narrative knowledge preserved in historical legends but also in the way daily practices are carried out, such as fishing, mowing, and hunting.
However, this understanding of the meadows began to shift during the Soviet era and subsequent federal periods. With the influence of public education and state media, new viewpoints emerged, portraying meadows, landscapes, and animals as increasingly separate entities from the human world—mere components of nature. In my presentation, I aim to illustrate how contemporary narrative-driven works—such as films, memorats, and literary works—that depict these complex, coexisting, and conflicting ontologies are gaining popularity. I will highlight that the permafrost landscape, exposed to rapid ecological and climatic changes, is now embedded in a narrative context in which the status of these landscapes is debated.
Paper short abstract
Ice carving is a form of contemporary art in Sakha Sire. Popularity of ice carving is driven by availability, accessibility, and affordability of material. Ice is flexible. We analyse prevalent narratives presented in contemporary ice carvings: mythology, history, politics, environmental concerns.
Paper long abstract
During the cold months the city of Yakutsk, capital of the Republic of Sakha (Yakutia), transforms into a stage for popular ice sculptures. The streets, squares, parks, and even entrances to offices in the city become decorated with beautifully carved ice installations. Lit up with colourful lights in the evenings, these sculptures create special attraction for the city residents. Ice carving is a relatively recent form of art in Sakha Sire, although ice has always been an important and valued material here. Ice traditionally has been used for economic and practical purposes: as insulation, as improvement of infrastructure, a source of fresh water in winter, and more. Popularity of ice carving is driven by traditional knowledge of ice as material, as well as by its availability, accessibility, and affordability. Ice carving competitions ran in the region, in Russia, annual ice art championships and festivals around the world demonstrate the growing appreciation of this form of art. In addition, ice is a flexible material to be used as a medium for storytelling. In this paper we analyse prevalent narratives presented in contemporary ice carvings from mythological and historical to moralistic and political. We argue that the increased interest to ice carving reflects the growing environmental concerns over climate change and melting permafrost in Sakha Sire, a topical narrative of our time.