Journal Description
Humanities
Humanities
is an international, peer-reviewed, open access journal on the meaning of cultural expression and perceptions as seen through different interpretative lenses. Humanities is published bimonthly online by MDPI.
- Open Access— free for readers, with article processing charges (APC) paid by authors or their institutions.
- High Visibility: indexed within Scopus, ESCI (Web of Science), ERIH Plus, and other databases.
- Rapid Publication: manuscripts are peer-reviewed and a first decision is provided to authors approximately 30.4 days after submission; acceptance to publication is undertaken in 5.4 days (median values for papers published in this journal in the second half of 2023).
- Recognition of Reviewers: reviewers who provide timely, thorough peer-review reports receive vouchers entitling them to a discount on the APC of their next publication in any MDPI journal, in appreciation of the work done.
Impact Factor:
0.3 (2022)
Latest Articles
‘[M]en’s Dwellings Were Thin Shells’: Uncertain Interiors and Domestic Violence in Ford Madox Ford’s War Writing
Humanities 2024, 13(2), 54; https://doi.org/10.3390/h13020054 - 18 Mar 2024
Abstract
The standard image of First World War soldiers is of men in open trenches: waiting to attack or be attacked; walking, sitting, sleeping, dead. Ford’s Parade’s End includes such scenes. But it is a different kind of image which predominates in his war
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The standard image of First World War soldiers is of men in open trenches: waiting to attack or be attacked; walking, sitting, sleeping, dead. Ford’s Parade’s End includes such scenes. But it is a different kind of image which predominates in his war writings and often produces its most memorable passages: images of houses or house-like shelters. The mind seeks protection in such structures; but they offer little security against the destructiveness outside, against the bombardments, gas, shrapnel, bullets. Ford wrote that the experience of war revealed: ‘men’s dwellings were thin shells that could be crushed as walnuts are crushed. … all things that lived and moved and had volition and life might at any moment be resolved into a scarlet viscosity seeping into the earth of torn fields […]’. This realisation works in two ways. The soldier’s sense of vulnerability provokes fantasies of home, solidity, sanctuary, while for the returnee soldier, domestic architecture summons war-visions of its own annihilation: ‘it had been revealed to you’, adds Ford, ‘that beneath Ordered Life itself was stretched, the merest film with, beneath it, the abysses of Chaos’. It is now customary to read war literature through trauma theory. Building on analyses of Ford’s use of repression, but drawing instead on object relations theory, I argue that Ford’s houses of war are not screen memories but images of the failure of repression to screen off devastating experiences. The abysses of Chaos can be seen through the screen or projected upon it. Attending to Ford’s handling of this theme enables a new reading of his war writing and a new case for its coherence. The essay will connect the opening of No More Parades (in a hut, during a bombardment) with the war poem ‘The Old Houses of Flanders’; the postwar poem A House; the memoir It Was the Nightingale (quoted above); and the otherwise puzzling, fictionalised memoir No Enemy, structured in terms of ‘Four Landscapes’ and ‘Certain Interiors’.
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(This article belongs to the Special Issue Ford Madox Ford's War Writing)
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Sibling Rivalry, (Dis)Inheritance and Politics in Aphra Behn’s The Younger Brother and Susanna Centlivre’s The Artifice
by
Margarete Rubik
Humanities 2024, 13(2), 53; https://doi.org/10.3390/h13020053 - 15 Mar 2024
Abstract
Behn and Centlivre used their comedies about the rivalry between an elder and a younger brother concerning an inheritance to make a political statement. Primogeniture was customary in early-modern England, and if an estate was entailed (rather than held in fee simple), it
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Behn and Centlivre used their comedies about the rivalry between an elder and a younger brother concerning an inheritance to make a political statement. Primogeniture was customary in early-modern England, and if an estate was entailed (rather than held in fee simple), it was difficult, though not impossible, to will it away to another person. The reasons meriting disinheritance were widely discussed, but in the two plays, the Tory fathers disinherit their Whig elder sons for political reasons. As The Younger Brother was staged posthumously and altered by Charles Gildon, it is arguable what Behn’s manuscript looked like, but there are indications that the elder brother was meant to be a downright republican and that Behn saw to it that the estate would go to the Tory younger brother, whose political stance she shared. In The Artifice, the father disinherits his upright elder son because he punished a Jacobite clergyman (whom the Whigs would have considered traitorous), but Centlivre—a zealous Whig herself—engineered an ending that reinstates the elder brother but also provides the younger with a comfortable income. Both dramatists also dealt with the inheritance prospects of women and the power of disposal they have over their portions.
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(This article belongs to the Section Literature in the Humanities)
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Bloody Petticoats: Performative Monstrosity of the Female Slayer in Seth Grahame-Smith’s Pride and Prejudice and Zombies
by
Michelle L. Rushefsky
Humanities 2024, 13(2), 52; https://doi.org/10.3390/h13020052 - 14 Mar 2024
Abstract
In 2009, Seth Grahame-Smith published Pride and Prejudice and Zombies, sparking a subgenre that situates itself within multiple genres. I draw from the rebellious nature of nineteenth-century proto-feminists who tried to reclaim the female monster as an initial methodology to analyze Grahame-Smith’s
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In 2009, Seth Grahame-Smith published Pride and Prejudice and Zombies, sparking a subgenre that situates itself within multiple genres. I draw from the rebellious nature of nineteenth-century proto-feminists who tried to reclaim the female monster as an initial methodology to analyze Grahame-Smith’s Elizabeth Bennet. I argue that the (white) women in this horror rewriting inadvertently become the oppressors alongside contextualized zombie theory. This article also explores Grahame-Smith’s Charlotte Lucas as a complex female monster, as she is bitten and turned into a zombie, which reflects in part Jane Austen’s Charlotte’s social status and (potential) spinsterdom. It is the mythos of the zombie that makes Grahame-Smith’s Elizabeth Bennet’s feminist subversion less remarkable. And it is Charlotte’s embodiment of both the rhetorical and the religio-mythic monster that merges two narratives: the Americanized appropriated zombie and the oppressed woman. Grahame-Smith’s characters try to embody the resistance of twenty-first feminist sensibilities but fail due to the racial undertones of the zombie tangentially present in Pride and Prejudice and Zombies.
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(This article belongs to the Special Issue Re-imagining Classical Monsters)
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Antiracism and Black Self-Defense in the Face of (Juridical) Catastrophe
by
Adam Burgos and Khalil Saucier
Humanities 2024, 13(2), 51; https://doi.org/10.3390/h13020051 - 13 Mar 2024
Abstract
In this paper we analyze the relationship between antiracism and black self-defense. We draw a distinction between liberal and political black self-defense and argue that antiracism can at most sanction a juridical and individualistic notion of self-defense rather than a communal one. We
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In this paper we analyze the relationship between antiracism and black self-defense. We draw a distinction between liberal and political black self-defense and argue that antiracism can at most sanction a juridical and individualistic notion of self-defense rather than a communal one. We argue that any and all theoretical conceptions of contestation, resistance, or revolution need to seriously grapple with the necessity of theorizing black self-defense. In doing so, we thematize antiblack violence through accounts of self-defense given by black radicals. Together, these arguments outline a perpetual conditional threat of violence against any and all black freedom projects, which in turn justifies enunciative black counterviolence.
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(This article belongs to the Special Issue Global Antiracism)
Open AccessArticle
Against Exceptionalism
by
Zahi Zalloua
Humanities 2024, 13(2), 50; https://doi.org/10.3390/h13020050 - 12 Mar 2024
Abstract
In this article, I question the logic informing paradigms of trauma that ontologize and essentialize events, such as the Holocaust and chattel slavery, making them unique, incomparable exceptions that encapsulate or inaugurate the violence of Western modernity, while standing outside and above the
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In this article, I question the logic informing paradigms of trauma that ontologize and essentialize events, such as the Holocaust and chattel slavery, making them unique, incomparable exceptions that encapsulate or inaugurate the violence of Western modernity, while standing outside and above the order they found. In an effort to avoid the urge to rank that follows almost effortlessly from such ontologization, I mobilize the appeal to the universal undergirding the works of Slavoj Žižek and that of Frantz Fanon. Both Fanon and Žižek read racial trauma and racist violence in light of the eviscerating ontological effects of an imperialist capitalism that divides the world and segregates its peoples. Rather than opting for identity politics, however, these thinkers argue against ontologizing and exceptionalizing victims, in favor of elaborating a politics based on their concrete universality.
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(This article belongs to the Special Issue Global Antiracism)
Open AccessArticle
The Ordinary Looks behind the Horrifying Screams: The Secrecies of Border Spirits in 20th Century Finnish Belief Narratives
by
Kari Korolainen
Humanities 2024, 13(2), 49; https://doi.org/10.3390/h13020049 - 12 Mar 2024
Abstract
This paper discusses the secrecies of border spirits within 20th century Finnish belief narratives. The aim is to explore how and in which contexts the imaginary aspects of border spirit narratives link to the idea of the “power of storytelling”. The following study
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This paper discusses the secrecies of border spirits within 20th century Finnish belief narratives. The aim is to explore how and in which contexts the imaginary aspects of border spirit narratives link to the idea of the “power of storytelling”. The following study touches on areas such as the suspension of the fantasy and sociopolitical aspects within the narratives. The folklore materials focus mainly on the Finnish heartland and partly on the national borders. Especially, narrative research methods were used to analyse what is heard and seen of the border spirits and what contexts these narratives involve. Moreover, the results touch on the dynamics of belief narratives without limiting them to the territorial aspects of borders. Hence, the study also explores interpretative bridges between folklore and border studies.
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(This article belongs to the Special Issue Seen and Unseen: The Folklore of Secrecy)
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The Pragmatics, Poetics, and Ethics of Pronouns in Ford Madox Ford’s War Prose
by
Isabelle Brasme
Humanities 2024, 13(2), 48; https://doi.org/10.3390/h13020048 - 08 Mar 2024
Abstract
This essay adopts a stylistic approach to delineate the various—and varying—pragmatic effects inherent in the use and interactions of pronouns in Ford’s war prose. Ford’s singular use of pronouns is shown to be instrumental in his practice of literary impressionism. In particular, the
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This essay adopts a stylistic approach to delineate the various—and varying—pragmatic effects inherent in the use and interactions of pronouns in Ford’s war prose. Ford’s singular use of pronouns is shown to be instrumental in his practice of literary impressionism. In particular, the omnipresent second person is granted a variety of referents that coexist along a “continuum of reference” (as defined by Bettina Kluge), from a “you” that is speaker-oriented to one that is addressee-oriented. Sorlin’s intersection of Kluge’s continuum with a gradient from personalisation to generalisation (2022) is illuminating when examining the manifold significance of Ford’s use of the second person, as it brings to light its ethical impact. Ford’s war essays shift from the general to the particular and from the collective to the individual in a manner that opposes propaganda rhetorics. Furthermore, the gradient established by Sorlin to account for the pragmatic effect of “you” also proves remarkably useful when applied to the pronoun “one”. Scrutinising the interplay between these various pronouns allows us to investigate the multifarious relationships that Ford establishes in his war essays between the persona, the reader, those he often called “my men”, and the collective ethos of wartime Britain.
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(This article belongs to the Special Issue Ford Madox Ford's War Writing)
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Reframing the Refugee: Jenny Erpenbeck’s Compassionate Politics
by
Kristian Shaw
Humanities 2024, 13(2), 47; https://doi.org/10.3390/h13020047 - 07 Mar 2024
Abstract
Countless polls, studies and surveys conducted prior to and following the 2016 UK Referendum on Membership of the European Union confirmed immigration to be the key emotive issue for not only the British electorate, but several Western European nations. By critiquing key pieces
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Countless polls, studies and surveys conducted prior to and following the 2016 UK Referendum on Membership of the European Union confirmed immigration to be the key emotive issue for not only the British electorate, but several Western European nations. By critiquing key pieces of EU legislation, Go, Went, Gone (2015) by Jenny Erpenbeck offers a humanising, caustic warning of the troubling politicisation of EU and non-EU migration in Germany, suggesting the ways by which literature can destabilise institutional optics of power and counteract myths surrounding the process of racial othering.
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(This article belongs to the Special Issue Border Politics & Refugee Narratives in Contemporary Literature)
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Mabata-Bata in Motion: The Transformation of Mia Couto’s Narrative in Sol de Carvalho’s Film
by
Lola Geraldes Xavier, João Viana and Silvie Špánková
Humanities 2024, 13(2), 46; https://doi.org/10.3390/h13020046 - 05 Mar 2024
Abstract
This paper analyzes Mia Couto’s short story “O dia em que explodiu Mabata-bata” [The day Mabata-bata exploded] and its adaptation by Sol de Carvalho’s film Mabata Bata. Through an analysis of both versions, this study aims to understand how Couto’s
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This paper analyzes Mia Couto’s short story “O dia em que explodiu Mabata-bata” [The day Mabata-bata exploded] and its adaptation by Sol de Carvalho’s film Mabata Bata. Through an analysis of both versions, this study aims to understand how Couto’s narrative was recreated and transfigured in the film adaptation. The film adaptation of the story employs a blend of images and additional text to extend the verbal dimensions of the original story, thus creating a new experience. It establishes affinities with the original story and introduces new elements that add to the narrative’s depth and complexity. The adaptation of the story in the film provides an opportunity to examine the decolonial perspective of the nation’s history, portraying the symbolic metamorphosis during the civil war (1977–1992). By analyzing both the short story and the film, this study highlights the pivotal role of literature and cinema in fostering a Mozambique “de-linking” identity through language, religion and traditions.
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(This article belongs to the Special Issue Decolonization in Lusophone Literature)
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For a Psychoanalysis of the Flesh
by
Domietta Torlasco
Humanities 2024, 13(2), 45; https://doi.org/10.3390/h13020045 - 05 Mar 2024
Abstract
This essay takes the notion of “flesh” as the point of departure for exploring the viability and contemporary relevance of what Maurice Merleau-Ponty has called an “ontological psychoanalysis”. Primary interlocutors will be Octavia Butler’s novel Kindred and Hortense Spillers’s essay, “Mama’s Baby, Papa’s
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This essay takes the notion of “flesh” as the point of departure for exploring the viability and contemporary relevance of what Maurice Merleau-Ponty has called an “ontological psychoanalysis”. Primary interlocutors will be Octavia Butler’s novel Kindred and Hortense Spillers’s essay, “Mama’s Baby, Papa’s Maybe: An American Grammar Book”.
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(This article belongs to the Special Issue Literature, Philosophy and Psychoanalysis)
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Ghosts of the Techno-Fix Ocean? A Short History of Periphylla periphylla in the Norwegian Fjords
by
Tirza Meyer
Humanities 2024, 13(2), 44; https://doi.org/10.3390/h13020044 - 04 Mar 2024
Abstract
In 1980, reports of deep-sea jellyfish blooms in Norwegian fjords led researchers to investigate the problem. The helmet jellyfish, Periphylla periphylla, has since migrated far north into Arctic waters. This paper examines what happened when the jellyfish blooms were noticed in 1980
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In 1980, reports of deep-sea jellyfish blooms in Norwegian fjords led researchers to investigate the problem. The helmet jellyfish, Periphylla periphylla, has since migrated far north into Arctic waters. This paper examines what happened when the jellyfish blooms were noticed in 1980 from a historical and ethnographic perspective. It traces four research projects and business ideas that proposed solutions to the jellyfish problem and asks how they are representative of the ways in which humans meet the challenges of anthropogenic climate change. The paper concludes that the jellyfish problem was met with a “techno-fix” attitude that sought to “turn a problem into a resource”, which eventually leads to what Julia Livingston has termed “self-devouring growth”. In a final outlook, the article asks how we can engage with questions of conservation from a humanities perspective and concludes that the jellyfish story can help us to ask questions about “conservation for whom”.
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(This article belongs to the Special Issue Perspectives on Conservation Humanities)
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Conservation Humanities and Multispecies Justice
by
Ursula K. Heise
Humanities 2024, 13(2), 43; https://doi.org/10.3390/h13020043 - 01 Mar 2024
Abstract
This article argues that biodiversity conservation is primarily a social and cultural issue and only secondarily a scientific one. It explains the proxy logic of narratives about endangered species, which typically serve as proxies for community identities and the changes communities have undergone
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This article argues that biodiversity conservation is primarily a social and cultural issue and only secondarily a scientific one. It explains the proxy logic of narratives about endangered species, which typically serve as proxies for community identities and the changes communities have undergone through processes of modernization and colonization. Polar bears, whose endangerment is interpreted differently by North American and European audiences, on the one hand, and by Inuit communities, on the other, serve as an example of how endangered species narratives not only involve culture but also, more specifically, issues of multispecies justice. Conservation humanities needs to engage with the two central problems that multispecies justice has identified and grappled with: conflicts between the interests of disadvantaged human communities and nonhuman species and conflicts and trade-offs between the interests of different nonhuman species. The essay argues that adopting the framework of “multispecies justice” rather than “conservation” will help to overcome some of the impasses of interdisciplinary collaboration in environmental studies in the past.
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(This article belongs to the Special Issue Perspectives on Conservation Humanities)
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“Are Ye Fantastical?”: Shakespeare’s Weird W[omen] in the 21st-Century Indian Adaptations Maqbool, Mandaar and Joji
by
Subarna Mondal and Anindya Sen
Humanities 2024, 13(2), 42; https://doi.org/10.3390/h13020042 - 29 Feb 2024
Abstract
Shakespeare’s Macbeth has traveled a long way from its original milieu. This paper takes three major 21st-century Indian adaptions of Macbeth as its primary texts. The city of Mumbai in the west in Maqbool, an imaginary coastal Bengal village in the east
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Shakespeare’s Macbeth has traveled a long way from its original milieu. This paper takes three major 21st-century Indian adaptions of Macbeth as its primary texts. The city of Mumbai in the west in Maqbool, an imaginary coastal Bengal village in the east in Mandaar, and the suburbs of Kerala in Joji in the south of the subcontinent become sites of “creative mistranslations” of the play. In this paper, we take the ambiguity that Shakespeare’s witches evoke in the early 17th-century Scottish world as a point of entry and consider how that ambiguity is translated in its 21st-century Indian on-screen adaptations. Cutting across spaciotemporal boundaries, the witches remain a source of utmost significance through their presence/absence in the adaptations discussed. In Maqbool, Shakespeare’s heath-hags become male upper-caste law-keepers, representing the tyrannies of state machinery. Mandaar’s witches become direct agents of Mandaar’s annihilation at the end after occupying a deceptively marginal position in the sleazy world of Gailpur. In an apparent departure, Joji’s world is shorn of witches, making him appear as the sole perpetrator of the destruction in a fiercely patriarchal family. A closer reading, however, reveals the ominous presence of some insidious power that defies the control of any individual. The compass that directs Macbeth and its adaptations, from the West to the East, from 1606 to date, is the fatalism that the witches weave, in their seeming absence as well as in their portentous presence. We cannot help but consider them as yardsticks in any tragedy that deals with the age-old dilemma of predestination and free will.
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(This article belongs to the Special Issue Shakespearean Performance: Contemporary Approaches, Findings, and Practices)
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“To Live Is a Matter of Time”: Memory, Survival and Queer Refugeehood in Ocean Vuong’s On Earth We’re Briefly Gorgeous
by
Sara Soler i Arjona
Humanities 2024, 13(2), 41; https://doi.org/10.3390/h13020041 - 26 Feb 2024
Abstract
In his novel On Earth We’re Briefly Gorgeous (2019), Ocean Vuong attempts to reweave the historical threads that have been brutally severed by American imperialism, forced migration and the imperatives of assimilation, as a practice of survival. Drawing on his own experience as
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In his novel On Earth We’re Briefly Gorgeous (2019), Ocean Vuong attempts to reweave the historical threads that have been brutally severed by American imperialism, forced migration and the imperatives of assimilation, as a practice of survival. Drawing on his own experience as a Vietnamese refugee, Vuong situates a Vietnamese American queer protagonist at the centre of his non-linear narrative, which excavates the boy’s family history to trace the multiple histories of displacement informing who he is today. The novel’s temporal disorientation becomes a formulation of queer temporality that activates a critical reorientation of how experiences of refuge are typically represented—a coming into consciousness known as “refugeetude”. Such a critical reorientation serves a dual purpose. Firstly, by foregrounding the protagonist’s—and his family’s—shattered recollections, Vuong challenges dominant accounts of the Vietnam War and recovers the voices of those that are effaced by Western representation, thus assembling a more inclusive “just memory” of the war. Secondly, the novel disrupts the teleological narrative of progressive assimilation that is prevalent in refugee discourse by revealing the enduring forms of violence that displaced subjects must still face in contemporary America. By queering the normative temporality of refugee experience, the novel demonstrates how the characters’ refugeehood is not finite but ongoing, necessitating a continuous search for healing and resilience.
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(This article belongs to the Special Issue Border Politics & Refugee Narratives in Contemporary Literature)
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Listing the Body: Embodied Experience and Identity in Autobiographical Graphic Illness Narratives
by
Nancy Pedri
Humanities 2024, 13(2), 40; https://doi.org/10.3390/h13020040 - 26 Feb 2024
Abstract
“Listing the Body: Embodied Experience and Identity in Autobiographical Graphic Illness Narratives” examines the popular use of lists in autobiographical graphic illness narratives to determine how they are used to address the subject’s embodied experience of illness. After a brief discussion of what
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“Listing the Body: Embodied Experience and Identity in Autobiographical Graphic Illness Narratives” examines the popular use of lists in autobiographical graphic illness narratives to determine how they are used to address the subject’s embodied experience of illness. After a brief discussion of what lists are and how they have been said to function in literary texts, attention is given to examining how the verbal and visual lists included in several autobiographical graphic illness narratives narrate identity as understood across the body, in the mind of the self, and in the mind of others. Asking how lists function within autobiographical graphic illness narratives to address the ill subject’s fluctuating understanding of self as an embodied being, the article concludes that lists narrate the subject’s lived experience of illness.
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(This article belongs to the Special Issue Trauma, Ethics & Illness in Contemporary Literature and Culture)
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Philip Huynh’s The Forbidden Purple City: New Canadian Refugee Narratives and the Borders of the Socio-Political Community
by
Pedro Miguel Carmona-Rodríguez
Humanities 2024, 13(2), 39; https://doi.org/10.3390/h13020039 - 23 Feb 2024
Abstract
This paper examines Philip Huynh’s short story collection The Forbidden Purple City in relation to its engagement with the nativity–territory–citizenship triad on which Western socio-political communities found the principles of affiliation of their members. First, the Canadian reaffirmation of a discourse of national
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This paper examines Philip Huynh’s short story collection The Forbidden Purple City in relation to its engagement with the nativity–territory–citizenship triad on which Western socio-political communities found the principles of affiliation of their members. First, the Canadian reaffirmation of a discourse of national benevolence is contextualised to later draw on how the collection is nurtured by boundary-crossing ethics that interrogates any sequential relation between past and present, Vietnam and Canada, which usually structures refugee narratives. It is argued then that disruptive and productive time/space interconnections delegitimate any simplistic representations of easily assimilated grateful refugees, fracturing the convenient narration of Canada as a benefactor concerned with old and new international humanitarian causes. The newness of Huynh’s stories relies on their mobilisation of the discourse of state citizenship through exceptional migrancy and its disruptive border nature. In contrast to premises of birth and geographical territory, which lose ground as backbones of any affiliation, citizenship appears incomplete and processual. The stories use the precarious performativity of collective homogeneity expected of a former settler colony, like Canada, to launch agency and resistance to state homogenisation, and de-institutionalise the refugee subject to critically intervene sovereignty and political subjectivity. Finally, the stories evince that Canada’s social spectrum is ideal to explore the threshold opened by the adjacency of sameness and otherness embodied by Huynh’s protagonists. Their condition as diasporic refugee subjects augments the transformative potential of new refugee narratives, in which literal and metaphorical polymorphous borders unveil the bases of the contemporary Canadian socio-political community.
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(This article belongs to the Special Issue Border Politics & Refugee Narratives in Contemporary Literature)
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The Species at Risk Act (2002) and Transboundary Species Listings along the US–Canada Border
by
Sarah Raymond, Sarah E. Perkins and Greg Garrard
Humanities 2024, 13(1), 38; https://doi.org/10.3390/h13010038 - 14 Feb 2024
Abstract
This paper is a collaborative interdisciplinary examination of the scientific, political, and cultural determinants of the conservation status of mammal species that occur in both Canada and the USA. We read Canada’s Species at Risk Act as a document of bio-cultural nationalism circumscribed
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This paper is a collaborative interdisciplinary examination of the scientific, political, and cultural determinants of the conservation status of mammal species that occur in both Canada and the USA. We read Canada’s Species at Risk Act as a document of bio-cultural nationalism circumscribed by the weak federalism and Crown–Indigenous relations of the nation’s constitution. We also provide a numerical comparison of at-risk species listings either side of the US–Canada border and examples of provincial/state listings in comparison with those at a federal level. We find 17 mammal species listed as at-risk in Canada as distinct from the USA, and only 6 transboundary species that have comparable levels of protection in both countries, and we consider several explanations for this asymmetry. We evaluate the concept of ‘jurisdictional rarity’, in which species are endangered only because a geopolitical boundary isolates a small population. The paper begins and ends with reflections on interdisciplinary collaboration, and our findings highlight the importance of considering and explicitly acknowledging political influences on science and conservation-decision making, including in the context of at-risk-species protection.
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(This article belongs to the Special Issue Perspectives on Conservation Humanities)
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Entangled Plumwoods: Stewardship as Grassroots Conservation Humanities
by
Natasha Fijn
Humanities 2024, 13(1), 37; https://doi.org/10.3390/h13010037 - 08 Feb 2024
Abstract
Hundreds of thousands of hectares of bushland and accompanying biodiversity were lost over a few short weeks during the Black Summer fires of 2019–2020 along the east coast of Australia. On the night of 19 December 2019, fire swept up the escarpment from
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Hundreds of thousands of hectares of bushland and accompanying biodiversity were lost over a few short weeks during the Black Summer fires of 2019–2020 along the east coast of Australia. On the night of 19 December 2019, fire swept up the escarpment from the coast, slowed down with the thick understory of temperate rainforest and burnt through the lower dry sclerophyll forest on Plumwood Mountain. The aftermath of the bare, burnt landscape meant a significant change in the structure and diversity of vegetation, while the consequences of the fire also brought about fundamental changes to Plumwood as a conservation and heritage organisation. Plumwood Mountain as a place, the individual plumwood tree as an agentive being, Val Plumwood as a person and Plumwood as an organisation are all an entangled form of natureculture and indicative of a practice-based conservation humanities approach. Conservation as part of the environmental humanities can offer an alternative to mainstream models of conservation with the potential to instigate active participation on the ground, engaging in a different form of stewardship.
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(This article belongs to the Special Issue Perspectives on Conservation Humanities)
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Border-Crossing Experience in Refugee Tales IV
by
Carmen Lara-Rallo
Humanities 2024, 13(1), 36; https://doi.org/10.3390/h13010036 - 08 Feb 2024
Abstract
The year 2021 witnessed the publication of the latest volume of Refugee Tales, which chronologically coincided with the seventieth anniversary of the adoption of the 1951 Refugee Convention by the UK and other countries. This collection is the fourth volume of the
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The year 2021 witnessed the publication of the latest volume of Refugee Tales, which chronologically coincided with the seventieth anniversary of the adoption of the 1951 Refugee Convention by the UK and other countries. This collection is the fourth volume of the Refugee Tales Project, which began in 2015 with a yearly meeting to walk and share stories by victims of detention, with the main goal of abolishing indefinite detention in the UK. The Refugee Tales Project, which exposes the humanitarian crisis involved in displacement, refugeehood, and detention, is primarily a spatial project that is concerned with borders and boundary crossings. The centrality of space can be seen reflected in the stories collected in Refugee Tales IV, which also reveal a sustained interest in the dimension of time. In this context, the present study addresses borders and border-crossing in the literary voicing of migrants’ experience as these migrants interact with spatial and temporal planes, with the aim of exploring such an interaction in a selection of narratives from Refugee Tales IV. This analysis examines the selected tales from the perspectives of the treatment of space, time, and the disoriented perception of both, considering how the articulation of these parameters contributes to the exposure of the injustices in detention and refugeehood.
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(This article belongs to the Special Issue Border Politics & Refugee Narratives in Contemporary Literature)
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Seeking Refuge, Resisting beyond Borders: On Security, Recognition and Rights in Dina Nayeri’s Refuge and The Ungrateful Refugee
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Maria Jennifer Estevez Yanes
Humanities 2024, 13(1), 35; https://doi.org/10.3390/h13010035 - 05 Feb 2024
Abstract
This article examines the nuanced discourse of hospitality in Dina Nayeri’s works Refuge (2017) and The Ungrateful Refugee (2019), attending to the ethics of interdependency that transcend beyond borders of different natures. By making the limits of hospitality evident, both texts bring forth
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This article examines the nuanced discourse of hospitality in Dina Nayeri’s works Refuge (2017) and The Ungrateful Refugee (2019), attending to the ethics of interdependency that transcend beyond borders of different natures. By making the limits of hospitality evident, both texts bring forth the ethical implications beyond borders that are present in opposing, yet equally significant paradigms: security and danger—depending on whose interests prevail; recognition and non-recognition—attending to the precarious conditions that potential guests are requested to endure or fulfil to be acknowledged and hosted; and rights and duties—considering borders as exclusive and independent rather than as contact zones. Following Jacques Derrida (2000) Jeffrey Clapp and Emily Ridge (2016), and Judith Butler (2009, 2015, 2016), among others, I will consider the complexities of locating home after forced displacement and the (dis)connection between belonging and identity. In both of Nayeri’s works, the direct experience of displacement becomes key to understanding the need for refuge in the recreation of a home-like experience beyond home and borders. This is particularly evident in the negotiated spaces of vulnerability and resistance that refugees inhabit.
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(This article belongs to the Special Issue Border Politics & Refugee Narratives in Contemporary Literature)
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