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Recent discussions of critical geopolitical ecology provide both a theoretical framework and a methodological approach to the dialogue between state territoriality and the Gaia politics. Specifically, I highlight the intersection of terrestrial territories and critical geopolitical ecology with three key terms, partition, share, and multiple materialities, to reposition the state territoriality in the Gaia politics. Based on the discussions, I argue for an alternative territorial subjectivity for the future Earth. [ABSTRACT FROM AUTHOR]

While borders traverse both land and sea, current research has mostly concentrated on issues concerning terrestrial borders. Simultaneously, a new body of scholarship has shown how the seemingly boundless oceans are in actuality subject to a variety of bordering forces. As such, we review current research on maritime borders in geography and other related disciplines in three categories: oceanic resource extraction and environmental conservation, volume geography and wet ontology, and concepts of ocean frontiers and voluminous states. Conclusively, we propose land-ocean inter-bordering, multiple materialities, and mobile state power as three future issues to respond to the rapid-changing maritime borders. [ABSTRACT FROM AUTHOR]

Yuanshengtai, a term derived from Chinese idea of ecotourism to indicate the pristine condition of environment, has been connected to an imagined authentic indigenous culture in China. With the mark of Zhang Yimou—one of the most famous film director in China, the show Impression Lijiang has strived for exploiting the symbols and icons of ethnic minority culture in order to invent an imaginary space for tourists to experience a yuanshengtai borderland in southwest China. A UNESCO site, Lijiang is known for its geographic imagery of cultural and natural landscape and as the brightest prospect for expressing Chinese nationalism and cultivating modern Chinese tourists. As such, it has been gradually transformed into a stage for displaying and (dis)locating the spatial imagery of home for Chinese tourists in post-socialist China. This article illustrates how yuanshengtai performances are a cultural mechanism of the Chinese state to spark a yearning for home. We will proceed with a theoretical approach relating home and homemaking in China's cultural politics. After noting the research methods, we contextualize the development of yuanshengtai performances in Southwest China. [ABSTRACT FROM AUTHOR]