Humanities doi: 10.3390/h13020054
Authors: Max Saunders
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’.
]]>Humanities doi: 10.3390/h13020053
Authors: Margarete Rubik
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.
]]>Humanities doi: 10.3390/h13020052
Authors: Michelle L. Rushefsky
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.
]]>Humanities doi: 10.3390/h13020051
Authors: Adam Burgos Khalil Saucier
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.
]]>Humanities doi: 10.3390/h13020050
Authors: Zahi Zalloua
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.
]]>Humanities doi: 10.3390/h13020049
Authors: Kari Korolainen
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.
]]>Humanities doi: 10.3390/h13020048
Authors: Isabelle Brasme
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.
]]>Humanities doi: 10.3390/h13020047
Authors: Kristian Shaw
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.
]]>Humanities doi: 10.3390/h13020046
Authors: Lola Geraldes Xavier João Viana Silvie Špánková
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.
]]>Humanities doi: 10.3390/h13020045
Authors: Domietta Torlasco
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”.
]]>Humanities doi: 10.3390/h13020044
Authors: Tirza Meyer
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”.
]]>Humanities doi: 10.3390/h13020043
Authors: Ursula K. Heise
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.
]]>Humanities doi: 10.3390/h13020042
Authors: Subarna Mondal Anindya Sen
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.
]]>Humanities doi: 10.3390/h13020041
Authors: Sara Soler i Arjona
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.
]]>Humanities doi: 10.3390/h13020040
Authors: Nancy Pedri
“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.
]]>Humanities doi: 10.3390/h13020039
Authors: Pedro Miguel Carmona-Rodríguez
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.
]]>Humanities doi: 10.3390/h13010038
Authors: Sarah Raymond Sarah E. Perkins Greg Garrard
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.
]]>Humanities doi: 10.3390/h13010037
Authors: Natasha Fijn
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.
]]>Humanities doi: 10.3390/h13010036
Authors: Carmen Lara-Rallo
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.
]]>Humanities doi: 10.3390/h13010035
Authors: Maria Jennifer Estevez Yanes
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.
]]>Humanities doi: 10.3390/h13010034
Authors: María Alonso Alonso
Kristen Sandrock (2020) connects John Lanchester’s 2019 Brexit novel The Wall with what she refers to as ‘British border epistemologies’; that is, a radical process of re-bordering due to global warming and its impact on human mobility. The literary phenomenon that is now referred to as ‘BrexLit’ bears witness to the way in which borders and the fear to the other seem to impinge on contemporary British fiction. BrexLit is framed by an increasing global interest in exploring interdisciplinary bordering practices. Primarily, BrexLit manifests through realist and/or speculative long fiction, although there are numerous short stories and poetry that deal with this seismic political event. This article proposes to focus on different samples of speculative long fiction born from Brexit before highlighting Lanchester’s The Wall. Posthuman studies offer a convenient theoretical framework with which to approach this specific text where the British border, refugees and the fear of the other are the drivers of the plot. Thus, this contribution will explore alien configurations of refugees in contemporary British speculative fiction and the way in which these texts question Brexit rhetoric in an eye-opening and thought-provoking way, assisting readers to understand the context and consequences of such a profound political event.
]]>Humanities doi: 10.3390/h13010033
Authors: Teodoro Katinis
Emanuele Tesauro’s Il cannocchiale aristotelico (The Spyglass of Aristotle) is widely considered a masterpiece of the Baroque, mainly because of his theory of metaphor as a cognitive tool. But this work is much more than that. Tesauro presents his volume as the ultimate interpretation of Aristotle’s rhetorical art, which is clearly not the case. Indeed, his work is a polycentric discourse on a revolutionary theory of rhetoric that goes beyond any previous treatise written on the subject, including Aristotle’s Rhetoric. Despite his relevance in the history of rhetorical theories, Tesauro’s work is still waiting for a comprehensive study of its own as well as investigations of some of its specific aspects. Furthermore, the majority of the existing studies of Tesauro are in Italian (with only very few in English), which makes it difficult for this text to reach an international public. This essay explores what seems to be a specific aspect that has so far been almost completely neglected: the role played by the ancient sophists in the Cannocchiale aristotelico and in the history of rhetoric that Tesauro redesigns. Tesauro proclaims his fidelity to Aristotle but actually contradicts Aristotle’s anti-sophistic approach. During this analysis, we will discover even more about Tesauro’s pro-sophistic attitude: he grounds the climax of Latin rhetorical tradition in Greek sophistry. This positive assessment of the ancient sophists, especially Thrasymachus and Gorgias of Leontini, coexists with a critique of Socrates. Except for Sperone Speroni, no other early modern Italian author—or European author—has proposed this radical inversion of the canon established by Plato. This reversal makes Tesauro a relevant case study in the on-going exploration of the legacy of ancient sophists in Western literature.
]]>Humanities doi: 10.3390/h13010032
Authors: Monika Šavelová
To completely understand Dante’s work, we would need to perfectly comprehend the foundations on which it is built, as well as Dante’s own “constructs” and reinterpretations of earlier texts—the transformations of these texts and the whole ideological superstructure of the work built on them. The goal of this essay is to introduce, for the first time in English-language scholarship, a discussion of Pavol Koprda’s Slovak translation of Dante’s Paradise (2020), the result of extensive Slovak academic research on this topic, based on key sections in which Dante’s philosophical background is revealed, and focusing on an interpretation of the third canticle and a reconciliation of the intellectual debates of Dante’s time.
]]>Humanities doi: 10.3390/h13010031
Authors: Andrea Martinez Teruel
Central American writers have perceptively engaged with the concept of world literature from their minor positionality. For instance, as implied in the mocking undertone of its title, Roberto Quesada’s Big Banana (2000) deals with being at the edge of the periphery, following a Honduran migrant in the Latin American community in New York. Quesada explores how the protagonist channels his “deseo de mundo”, to use Mariano Siskind’s words, into a strategy of performing distinction to carve out a place for himself in a cosmopolitan society. Compounding “banana republic”—an expression coined by O. Henry, inspired by Honduras—with “The Big Apple”, Big Banana’s title underscores the book’s play with cultural registers and national and worldly identities. The growing scholarship on Central American and U.S. Central American literature has analyzed the novel through the lens of coloniality, the limits of solidarity, the experience of the Central American diaspora, and as “denuncia social”. My article instead traces how cultural productions acquire different valences each time they cross the center–periphery border in the performance of distinction that Big Banana and its protagonist carry out in response to their doubly peripheral position. In other words, this essay is concerned with the novel’s problematic instrumentalization of Western hegemonic culture—both highbrow and commercial popular culture—to make claims of worldliness and carve a space for itself in world literary circuits.
]]>Humanities doi: 10.3390/h13010030
Authors: Carmen Costanza
In this paper, I discuss Dante’s conception of theology and rational thinking through a reading of the cantos of the Heaven of the Sun. I address the hermeneutical challenge of understanding the meaning of the peace which Dante identifies as the main feature of divine science, and I do so by employing liturgical hermeneutics, a methodological approach characteristic of the celebration of Mass. This hermeneutical approach looks simultaneously at the constative content of a text and its performative dimension and emphasises the importance of not concealing but taking into account the unavoidable personal dimension of any hermeneutical or intellectual activity. In this way, I challenge the conclusion that the reconciliation of the Wise Spirits is merely and only a textual reality and therefore a beautiful, poetic lie, and I instead show how Dante’s poetic depiction has serious implications for our use and understanding of rational thought. His representation does not rest on the application of the principle of non-contradiction as the ultimate foundation of reality and rational thinking: in Dante’s Paradiso, this abstract principle is replaced by a living reality, and the inner life of the Trinity is shown as being the true foundation for any possible knowledge and reality.
]]>Humanities doi: 10.3390/h13010029
Authors: Bethany Jordan Webster-Parmentier
In the process of adapting a written narrative for the silver screen, there is much that can be lost (or gained) in translation. Arrival, Denis Villeneuve’s adaption of Ted Chiang’s Story of Your Life, is no exception. Often analyzed as a work of science fiction, this article argues that understanding Arrival as a work of the frontier gothic renders the attempted erasure of Indigenous presence in the film visible. The frontier gothic elements of Arrival, most prominently the transformation of Chiang’s protagonist, Louise, into a frontier hero(ine), and the looming Montana setting, both evoke and attempt to erase the Indigenous presence in this “frontier”. As a frontier hero, Louise ultimately supersedes the aliens of Arrival, absorbing and appropriating their knowledge and language to save the world (and the superiority of the United States).
]]>Humanities doi: 10.3390/h13010028
Authors: Jeff Wimble
Historicizing the musical genre known as “Chicago blues,” I further complicate Richard Wright’s already complicated attitudes toward “the folk” and modernity. Utilizing close readings of 12 Million Black Voices, I show how Wright’s apparent denigration of the blues as an outmoded, pre-modern artistic form is dependent on his historical situation writing before the advent of a new electrified form of blues that developed in Chicago shortly after the book’s publication. Utilizing biographical details of the life of Muddy Waters, I show how his work as a musician in Mississippi, then in Chicago, and his development of an electrified blues style, parallels and personifies the shift from an African American perspective rooted in an agrarian, pre-modern south to an industrial, modern north documented so effectively by Wright. Furthermore, the Chicago blues musicians’ transmogrification of the rural Delta blues into an electrified, urban expression manifests the vernacular-modernist artistic conception which Wright seems to be envisioning and pointing toward in 12 Million Black Voices.
]]>Humanities doi: 10.3390/h13010027
Authors: Ada Malcioln Martin
Studies show that diverse representation in children’s literature can positively impact the self-perceptions of marginalized children. To promote feelings of self-worth, children must see their cultural identities authentically portrayed in a manner that does not promote stereotypes in stories that affirm and support their world experiences. This essay focuses specifically on Afro-Latin@ identity in the United States and the role Afro-Latin@ representation in children’s and young adult literature can play in shaping Afro-Latin@ feelings regarding race and cultural heritage, and in constructing and affirming self-identity and feelings of self-worth.
]]>Humanities doi: 10.3390/h13010026
Authors: Rich Paul Cooper
This article historicizes the character of Bouki in the context of Creole Louisiana, showing how the story of Bouki has evolved to become the story of Kouri-Vini, Louisiana’s native and endangered Creole language. This historicization takes place in three distinct periods; those periods are defined by their relation to Kouri-Vini. The first period aligns with the Antebellum period; the second aligns with the early 20th century; and the final coincides with the present day. Moving across these periods, Bouki finds himself demoted, at which point he enters the ‘creolized folkloresque.’ The folkloresque is a larger mosaic of folkloric forms detached from the material conditions of their production and available to popular culture; for the folkloresque to be creolized designates the same process but under vastly unequal social and material conditions. In short, Bouki enters the creolized folkloresque, becoming a folkoresque figure available to all who find themselves subject to creolized conditions. In the pre-American part of Louisiana’s history, creolized conditions included slavery and colonization; post-Americanization, linguistic discrimination plays an outsized role. Where such conditions persist in Louisiana, there Bouki can be found.
]]>Humanities doi: 10.3390/h13010025
Authors: Ana Satiro Isabel Gomes de Almeida Cristina Brito
Diachronically, Mesopotamian data pertaining to the religious spheres point to a transversal notion that deities were considered responsible for every cause–effect event observed/experienced by humans in their natural/cosmic surroundings. Such notion is especially visible on texts pertaining to the restoration of human health, where such an aspect was ultimately considered as a divine prerogative. Yet, these textual data also show how natural elements were basilar to the success of healing practices when thoroughly manipulated by specialists. Their examination through a perspective that intertwines the apparatus of History of Religions and Environmental History thus reveals great potential for contributing to the topic of human/nonhuman entanglements in the longue durée. With this paper, we propose to revisit the uses of aquatic fauna as displayed in Babylonian and Assyrian healing texts dated to the second half of the 2nd millennium and the first half of the 1st millennium BC. Although at a preliminary stage, our research has been guided by the combined theoretical-methodological perspective above-mentioned, aiming at highlighting the great importance conferred to these animals. Ultimately, we aim at stressing the importance of addressing the dependence of Mesopotamian specialists and patients on such elements of Nature to better understand this ancient context.
]]>Humanities doi: 10.3390/h13010024
Authors: Lisa Hopkins
Few plays make such varied or such bravura use of soliloquies as Shakespeare’s Richard III. The opening forty-one-line monologue by Richard himself allows an actor to show what he can do and to capture his audience and offers a view on processes of historical causation: having started with six uses of the word ‘our’, Richard not only moves on to say ‘I’ nine times (supplemented by ‘my’ and ‘me’), but also explains that his plans are going to affect the future of others, too. His plot to set his brothers against each other is going to change the course of history; moreover, it will do so by using the stalking-horse of a prophecy, a form of speech which presumes that the future is already unalterably fixed. Other soliloquies in the play also offer insights into historical process. This paper examines the differing tonality of the play’s soliloquies and the kind of information offered in them to argue that while Richard III officially subscribes to Tudor myths of the past, it not only implicitly urges the audience to a more sceptical take, but in fact raises questions about whether we can ever be sure about how history was made.
]]>Humanities doi: 10.3390/h13010023
Authors: Francisco Fuentes-Antrás
Shatila camp in Beirut was founded in 1949 and now houses up to 40,000 refugees. In 2017, the Peirene Press publisher Meike Ziervogel and London-based Syrian editor Suhir Hedal travelled to the camp to hold a three-day creative writing workshop in which nine Syrian and Palestinian refugees participated. The result is Shatila Stories (2018), a brilliant piece of collaborative fiction translated from Arabic to English by Naswa Gowanlock. It is a hybrid between a novel and a short story collection, in which refugee voices are given the chance to speak up, share their stories, and negotiate their identities. This article examines Shatila Stories (2018) as a book that highlights Shatila as a campscape (Diana Martín). These stories show that the camp, as Adam Ramadan argues, is not empty of law and political life, but rather it is a meaningful space produced by who and what is in it, and how they interrelate and interact. Shatila Stories is, indeed, an effective platform that allows readers to understand how refugees’ conflicts and thoughts are processed and the ways in which refugees in Shatila accept and embody the camp’s liminality and their border subject identity to gain agency and resist the restrained passivity to which they are often relegated. Ultimately, my analysis pays attention to how these stories encourage the renegotiation of the refugees’ selfhood and counter Agamben’s perception of refugees as “bare lives” by portraying them as autonomous, active and humanized individuals in the eyes of the international reader.
]]>Humanities doi: 10.3390/h13010022
Authors: Dhrupadi Chattopadhyay Samrita Sengupta Sinha
Food has been an enduring presence in the construction of collective identities of migrant communities. From honing cooking techniques and selecting ingredients and tools to developing cultures of consumption and appreciation, diasporic communities seem to hold food as one of the primary markers of identity. Women writers from the diaspora not only emblematized their identities by writing about food but also opened feminist methodological opportunities for writing resistance. These ‘culinary fictions’ have since been mined to delve into the gendering of migrant identities. The genre of cookbooks shares a significant overlap with ‘culinary fiction’ in terms of its scope by stabilizing ‘authentic’ identities. However, it surgically punctures the romantic appeal of food imagination, shifting its focus instead to the labor that produces the sensory stimulation of culinary memory. This article uses this overlap and this gap as incentives to read select cookbooks published in the heydays of culinary fiction. Reading cookbooks against the metrics of labor provides a certain intimacy of engagement that offers entry into complex negotiations of uncertain migrant identities. Affective labor and its postcolonial entanglements have been used as catalysts in the article to read into the multilayered understanding of the politics of women writing about food in the diaspora. To this extent, it will challenge the stabilized ways of reading culinary identities and open food writing to more robust negotiations of gendered writings of food.
]]>Humanities doi: 10.3390/h13010021
Authors: Laura-Jane Devanny
This article will critically appraise the extent to which new developments in the fields of reproductive technology are shown to impact female bodily autonomy and reproductive choice in Eva Hoffman’s novel The Secret. The Secret pushes its readers towards the more pressing and urgent questions arising from ongoing developments within the field of NRT and human cloning in a neoliberal climate. The novel cautions that, ultimately, the individual right to reproductive choice is never completely free; an awareness of external influences and a consideration of possible repercussions is integral to responsible decision-making in the context of NRT and cloning. However, the novel moves towards a possible reconceptualization of NRTs as part of the evolutionary progress of humankind. In returning to the body and biopolitical figurations, this article sees the novel’s protagonist, Iris, and her emergent cyborg identity as a manifestation of Haraway’s monstrous cyborg replete with possibility.
]]>Humanities doi: 10.3390/h13010020
Authors: JSA Lowe
Since the late 1990s, Chinese internet publishing has seen a surge in literary production in terms of danmei, which are webnovels that share many of the features of Anglophone fanfiction. Thanks in part to recent live-action adaptations, there has been an influx of new Western and Chinese diaspora readers of danmei. Juxtaposing these bodies of literature in English in particular enables us to examine the complexities of how danmei are newly circulating in the Anglophone world and have become available themselves for transformative work, as readers also write fanfiction based on danmei. This paper offers a comparative reading of the following three such texts, which explore trauma recovery through the arc of romance: Tianya Ke, a danmei novel by Priest; Notebook No. 6 by magdaliny, a novella-length piece of fanfiction based on Marvel characters; and orange_crushed’s Strays, a fanfiction based on the live-action drama that was, in turn, based on Tianya Ke. The space described by Lotman’s semiosphere offers an additional model in which these texts reflect on one another; furthermore, along the porous digital border between fanfiction, danmei in translation, and fan novels based on danmei, readers and writers negotiate and vex contemporary culture.
]]>Humanities doi: 10.3390/h13010019
Authors: Pronami Bhattacharyya
In Posthuman Ecology, anthropocentrism, based on the binary division between the privileged human and the ‘other’, gets deconstructed, leading to an acknowledgment of humans as essentially tangled in an intricate web of the natural world. In such ecologies, boundaries between the human and the more-than-human (non-human) worlds become porous, creating fluid identities and conditions of being within a framework of active interplay between the human and the non-human world. The ecology of folktales is replete with Posthumanism, as their narratives consistently break the unbridgeable gap between the human, non-human, and the spiritual and/or supernatural worlds and present certain non-naturalist ontologies that are mostly at odds with naturalism or modern empirical science. Such tales provided much-needed templates for sustainable development in the time of the Anthropocene. This paper attempts to study Easterine Kire’s When the River Sleeps (2014) as a posthumanist narrative where Vilie (a hunter) goes on a fantastical journey to find a fabled magical stone from the bottom of the ‘sleeping river’. Vilie’s journey comes out as a playground for both mundane and fantastic elements. He grows as a human being, and this happens as he transacts with the non-human and the supernatural world and comes across deep metaphysical questions and presents keys to understanding balance-in-transcendence.
]]>Humanities doi: 10.3390/h13010018
Authors: Ilan Kapoor Sheila L. Cavanagh
This article carries out a psychoanalytic and political critique of recent attempts at fighting racism, focusing on antiracist “unconscious bias training” at universities and in international development. It claims that these regimes of institutional training depend on knowledge- and awareness-based education of university staff and international cooperants, thereby not only negating the significant psychoanalytic dimensions of racism, but also disavowing any meaningful or collective engagement precisely with the unconscious. The political consequence is the treatment of racism as both symptom and individualized responsibility, thereby depoliticizing the struggle against global/structural racism. The article concludes by considering what a psychoanalytic antiracist politics might look like.
]]>Humanities doi: 10.3390/h13010017
Authors: Nitza Davidovitch Aleksandra Gerkerova Natalia Kerdivar
In recent times, global events have starkly illuminated the disturbing absence of ethnic tolerance, thrusting interethnic conflicts into the spotlight and casting shadows over both individual and collective identities. This research focuses on the Holocaust, delving into the annals of history through the lenses of recollection, personal identification, and genetic memory, as portrayed within the pages of the novel Echoes: From the Dead Grandfather to the Deceased. The primary aim is to fathom the gradual erosion of collective historical memory over time and discern its profound significance for future generations. Within this study, an examination of the interplay between the ‘collective unconscious’ and the ‘personal unconscious’ is undertaken. Additionally, the novel’s utilization of symbols and details is scrutinized. The research employs a multifaceted approach, encompassing historical-genetic, interpretative, narrative, and psychoanalytic methodologies. Through the protagonist’s transformative journey, the novel highlights the importance of preserving historical memory and recognizing its lasting impact on individual and collective consciousness.
]]>Humanities doi: 10.3390/h13010016
Authors: Annalisa Guzzardi
This article places the question of the presence of the Averroist philosopher Siger of Brabant in Dante’s Paradiso within the debate concerning Dante’s relationship with Averroistic philosophy throughout his works, particularly in the Commedia. The purpose of this research is to initially query the issue of Dante’s potential retraction of previously adopted Averroistic positions in the Commedia, and then to examine in greater detail the relationship between the Florentine poet and the Brabantian philosopher. United by the thematic and autobiographical thread of knowledge persecuted by power, embodied in the history of both figures, the proposed viewpoint is that Dante finds a model of intellectual honesty and freedom in Siger’s thought, ready to question even the authority of Aristotle, a model that Dante admires, places in Paradise, and upon which he structures his poema sacro. In conclusion, this work suggests a reading of some paradigmatic and antithetical pairs in the Commedia, linked by common principles yet opposite destinies, including Dante himself.
]]>Humanities doi: 10.3390/h13010015
Authors: Sandra Sousa
While discourse surrounding decolonization is not new, in recent years it has gained significant momentum with many advocating for its implementation as a means to address historical injustices. However, Olúfẹ́mi Táíwò’s thought-provoking book, coupled with the movie “Mortu Nega”, invites us to critically examine the concept of decolonization. This article aims to present an argument that challenges decolonization narratives by exploring the potential limitations and unintended consequences of embracing decolonization as an absolute solution for humanitarian issues in African societies. To accomplish this, I will begin by providing historical context on Guinea-Bissau, the former Portuguese colony that serves as the focal point of the film. Furthermore, this article will provide a comprehensive description of Flora Gomes’ film, followed by a discussion addressing the trope of decolonization theory. I will use the persistent lack of women’s emancipation and their ongoing struggle for genuine liberation and gender justice in Guinea-Bissau as an example of the need, following Táíwò’s thought, to rethink the uses of decolonization as a tool for analyzing Africa’s issues.
]]>Humanities doi: 10.3390/h13010014
Authors: Julia González Calderón
This article examines how trauma, crime, violence, and masculinity are connected in the novel Moronga (2018) by Honduran–Salvadoran author Horacio Castellanos Moya. The novel highlights the ways in which, thirty years after the signing of the Peace Accords, war trauma continues to oppress survivors of the civil war and determine their daily lives, beyond temporal and geographical borders. The novel points out how the transition into the neoliberal economy has transnationalized all aspects of the Salvadoran economy, including that of organized crime, which has undergone globalization, as have trauma and Salvadoran communities. Through the novel’s depiction of violence and crime, the author suggests that only those who perpetuate patriarchal violence in postwar diasporic communities will thrive, whereas those who aspire to carry out memory labor and peacefully heal the emotional wounds of the past will be defeated by the perverse logic of the system.
]]>Humanities doi: 10.3390/h13010013
Authors: Alexander Eliot Schmid
The digital humanities are rapidly expanding access to scholarly and literary materials once largely confined to the university. No more: now, with free digital resources, like Giuseppe Mazzotta’s lecture series available for free through Open Yale Courses on YouTube, or Teodolinda Barolini’s 54-lecture long “The Dante Course”, also available for free through her Digital Dante website, academic discussions of difficult masterpieces are available to any person with enough bandwidth to handle it. I, too, made a brief foray into the digital humanities, and prior to turning to academic work, I provided a 42-lecture Dante-in-translation course which itself covered the entirety of Dante’s Comedy and sought to offer a less academic, and more accessible series of lectures on Dante than its more academic and more popular predecessors.
]]>Humanities doi: 10.3390/h13010012
Authors: Emanuele Ciarrocchi
In this article, I will highlight how Dante’s clear separation between heretics and schismatics is radical compared to contemporary thought and can, therefore, tell us a great deal about his conception of these two sins and about the nature of the characters condemned in Cantos X and XXVIII. In fact, the heresy of disobedience, a political weapon created ad hoc to favor the imposition of the hierocratic model, tended, in the reflection of jurists, to bring together these two sins so well-separated by Dante. The proposal of a new interpretation of these concepts that is more adherent to their historicity, with a specific and radical meaning, can open up interesting reflections on Dante’s possible desire to affect this historical process. It also brings new interpretations to questions that still lack a convincing answer, such as the silence on the numerous heretical movements that had characterized the decades preceding the writing of the Commedia, the presence of Dolcino among the schismatics, and the selection of Epicurus as an exemplum of heresy.
]]>Humanities doi: 10.3390/h13010011
Authors: Heidi Marjaana Kukkonen
Participation has become the keyword in museum and gallery education during the past decades. However, the focus on participation might contain neoliberalist tendencies, creating more entertainment and consumerism than art. In this study based on practice-based research, I explore a gallery educational method to mediate contemporary art to primary and high school students inspired by Gilles Deleuze and Félix Guattari’s process philosophy and new materialist theory–practice. What kind of roles can the method of Concept Play Workshop create for the participating body and how can it challenge neoliberal tendencies in museum and gallery education? In the workshops, children and young people create philosophical concepts with contemporary art, dialogue-based practices and artistic experiments in the exhibition space of Kunsthall 3,14 in Bergen, Norway. I argue that the method can create philosophizing, critical, uncomfortable, resting, dictatorial and protesting bodies. Representational logic becomes challenged, and discomfort and resistance become educational potential. The method creates multiple and overlapping roles for the participating body, shifting the focus towards multiplicities instead of the passive/active binary. Humans are not the only participating bodies, but attention is given to agential matter, contesting human-centeredness. The study is a contribution to the field of post-approaches in gallery and museum education.
]]>Humanities doi: 10.3390/h13010010
Authors: John Bodner
The article argues that where secrecy and secrets are key aspects of conspiracy theory narratives and practice, the genealogies of the/a secret have not been well understood. We argue that two forms of the secret, one a premodern notion of the secret as truth and revelation, the other a post-Derridean non-secret, inform two distinct forms and functions of contemporary conspiracy practice.
]]>Humanities doi: 10.3390/h13010009
Authors: Mireia Ludevid Llop Jonathan Martin Ben McDonnell Sara Ortolani Molly Pardoe Clare Stanhope Ana Vicente Richards
This practice-based paper explores the methods of answering the question: what is our collective body? This article offers a case study of collaborative research and seeks to enact a collective body as a means of transgressing and occupying individuated neoliberal spaces of higher education. Understanding the processes through which knowledge is collectively built highlights the in-becoming nature of practice-based research and the enabling forces of this inquiry. The methods enacted access a particular rendering of how we understand ourselves as a collective; we answer the question through doing together. The ways we encounter the collective enable understanding around the shifting boundaries of the individual–collective connection, made palpable by a string. Through playful forms of dissent, such as embodied, remembered, and writing encounters, enable connections with others and inspire a refocusing of our individual practices.
]]>Humanities doi: 10.3390/h13010008
Authors: Paolo La Marca
The objective of this contribution is to create a first, ideal mapping of a “category” of manga that has experienced and is still experiencing a very successful season. Although they are generically identified with the term “horror manga” or “horror comics,” these manga should be placed within a narrative universe so magmatic as to escape, however, any univocal representation. When we speak of Japanese horror, in fact, we tend to imagine well-defined scenarios and stereotypes, often conveyed by some novels, manga and, perhaps even more so, some films that have bewitched the West, such as The Ring (1998) and Ju-on (2000). Despite the success in Italy, too, of authors such as Umezu Kazuo (楳図かずお, b. 1936), Hino Hideshi (日野日出志, b. 1946) and Itō Junji (伊藤潤二, b. 1963), knowledge of horror manga is limited to a number of works and authors who represent, however, only a small percentage of a far more polychrome and multifaceted narrative universe. In other words, the tip of an iceberg just waiting to be brought to light. This preliminary contribution is intended to trace a path, thematic/narrative in nature, from which the route of “horror” manga can emerge in a diachronic, dynamic and evolutionary perspective. It goes without saying that, dealing with nearly seventy years of horror comic book publications, it will be impossible to make an exhaustive examination that takes into account all publishing realities, large and small. That is why the field of investigation will be narrowed down and focus exclusively on a specific historical period, from its beginnings in 1958 to the boom of the 1980s, examining the most recurrent themes and stylistic features of this time segment.
]]>Humanities doi: 10.3390/h13010007
Authors: Martin Holtz
The Western is, in many respects, the essential American film genre, “a cornerstone of American identity” (Kitses). Yet, despite its distinctly American character, the genre has exerted a fascination all over the world. This contribution examines the Western as a site of transnational cultural exchange and as an illustration of what Stephen Greenblatt calls cultural mobility. In the work of Akira Kurosawa’s Seven Samurai (1954) and Yojimbo (1961), Western elements are evoked, which provide complex comments on the influence of American culture on Japan in the post-WWII years. While Seven Samurai appears to embrace the promise of class eradication as a result of Westernization, its American remake The Magnificent Seven (1960) shows a particular fascination for the decidedly Japanese aspects of the material, namely the idea of a warrior class dissociated from society. The Italian remake of Yojimbo, Fistful of Dollars (1964), shows how the Western can function not only as an external comment on American culture, in its cynical redefinition of the cowboy hero, but also as an amalgam of cultural practices and symbols, reaching from Japanese samurai codes to Christian Catholic redeemer imagery, that through their stylization expose the performativity of culture as such.
]]>Humanities doi: 10.3390/h13010006
Authors: Marlene Wurfel
An orange shirt is synonymous with truth and reconciliation in Canada. How did this symbol spread from a personal story about surviving a residential school, to a children’s book by author Phyllis J. Webstad, to a national symbol of Indigenous solidarity and allyship? This paper examines the work of Webstad as a Canadian story luminary, using historical and textual analysis to explore the power of “The Orange Shirt Story” to decolonize, resist, refuse, and transform. The orange shirt reveals the deep connectedness between storytelling, social justice, resilience, and activism.
]]>Humanities doi: 10.3390/h13010005
Authors: Justin Sprague
In this article, I explore the ways that women of the Korean diaspora engage in cultural meaning-making through material culture in efforts to redefine what it means for people, things, and ideas to be considered “authentically Korean”. Using the case study of famous internet chef Maangchi, I examine one of her best-selling cookbooks and her digital presence to identify the tactics she uses to exert agency in the meaning-making and community-building process, using Korean food and her role as a maternal figure as vehicles for analysis. Due to her roles as a mother and her positioning as a quintessential immigrant subject in the US context, I argue that Maangchi challenges colonial and Eurocentric models of cultural authenticity as part of a long history of women of color that actively disrupt social perceptions of value, expertise, and knowledge production. By exploring her business ventures, I consider how embedded pieces of knowledge, racialization, perceived expertise, and cultural assumptions are all connected to challenge the historical concepts and applications of authenticity in favor of a more inclusive, radical, and politically potent understanding of what truly makes something “Korean”.
]]>Humanities doi: 10.3390/h13010004
Authors: Samuel Weber
This essay reconsiders the Freudian notion of the Uncanny/Unheimlich by focusing on the attempt of the ego to project and maintain a coherent and consistent view of the world and of itself—an attempt that is intrinsically subverted by the very process of repetition that both conditions and disrupts all forms of identity and of identification.
]]>Humanities doi: 10.3390/h13010003
Authors: Alicia Inge Peng
Silent cinema acted as a bridge between early motion pictures and today’s film industry, playing a transformative role in shaping feminist film history and American society. This article explores pioneering American women in the silent film industry who ventured into technology, film culture, marginalized communities, and social movements. Despite the prevalence of racist and sexist propaganda, American silent films were a frontier for innovation, filmmaking, and exploring the New Women concept. This study examines 23 American silent films that have often been overlooked and rarely studied, whereby film analysis generally aligns with established feminist silent film theories. By shedding light on a previously overlooked film directed by May Tully, this study challenges the widespread belief that there existed “no women directors in 1925”. The examination of databases reaffirms American women directors’ contributions to silent films, especially during the early years of the silent film era. The results modify the previous scholarly notion that “influential women directors’ involvement was over by 1925”. Following an initial surge in their active leadership during the early years, influential women directors’ participation was over after 1922, rather than 1925.
]]>Humanities doi: 10.3390/h13010002
Authors: Lorenzo Veracini Rebecca Weaver-Hightower
Can one colonise or liberate cyberspace, space that is not actually space [...]
]]>Humanities doi: 10.3390/h13010001
Authors: David J. Puglia
North America is steeped in legends of cryptids, (mostly) unseen creatures woven into the fabric of its folklore. From legends told by early explorers to contemporary legends told today, these enigmatic beings shape societal perceptions and reflect communal anxieties. Monsters have long fascinated scholars, from ancient luminaries such as Pliny the Elder to modern researchers in “monster theory”. Plodding along diligently since before monster studies became a formalized thematic field, folklorists remain hot on the trail of these secretive creatures and their hidden cultural meanings. Through a conceptual exploration of North American cryptids, this essay seeks to bridge the gap between the unseen and the seen, spotlighting the significant role of legendary monsters in community narratives and urging a resurgence in their academic exploration.
]]>Humanities doi: 10.3390/h12060149
Authors: Jamil Mustafa
Jacques Derrida’s theory of deconstruction provides an ideal means of appreciating and interrogating the duality central to both Robert Louis Stevenson’s Strange Case of Dr Jekyll and Mr Hyde and its adaptations. Moreover, because deconstruction exposes binary oppositions as artificial and constrictive, it enables us to advance beyond them toward multiplicity, a term used by Gilles Deleuze for a complex, ever-changing, multipart structure that transcends unity. Roy Ward Baker’s Dr Jekyll and Sister Hyde (1971) and episodes of Showtime’s Penny Dreadful (2014–2016) offer fresh ways to think about—and beyond—the duality of culture’s most famously divided pair. The binary oppositions that organize each text are innovative, as are the ways in which these oppositions are reversed and conflated. Ultimately, these adaptations employ triangulation to deconstruct themselves, thereby demonstrating the limitations and instability of duality, as well as the possibilities of multiplicity.
]]>Humanities doi: 10.3390/h12060148
Authors: Catherine Palmer
This article provides an anthropologically derived philosophy of the nature of experience in relation to the lifeworld of virtual tourism. Framed around Martin Heidegger and Tim Ingold’s concept of dwelling, I interrogate what the implications of a virtually derived experience of tourism might be for how we understand what experience means and by extension the experience of being human-in-the-world; in effect, what it means to ‘experience’ virtual tourism. I illustrate my argument by focusing on extended reality (XR) technology within the context of three museums, since museum experiences are increasingly mediated by varying forms of XR. I am interested in what the virtual-tourism-world of a museum might reveal about the experience of being human, experience that I refer to as virtual dwelling. The museums are the Muséum National d’Histoire Naturelle and the Louvre, both of which are located in Paris, France, and the Kennedy Space Centre Visitor Complex in FL, USA. These examples provide a snapshot into the merging, blending or overlaying of the physical with the virtual. In other words, the inseparability of virtual, person and world. Drawing from Heidegger, I argue that the significance of technology does not lie in its instrumentality as a resource or as a means to an end. Its significance comes from its capacity to un-conceal or reveal a ‘real’ world of relations and intentions through which humans take power over reality. The nature of experience, as virtual dwelling revealed, concerns the relationship between humans and the natural world, understandings of cultural value and cultural wealth and notions of human exceptionalism. Ultimately, what technologically modified experiences of a virtual-tourism-world reveal is experience as virtual dwelling, experience of the embeddedness of being human-in-the-world.
]]>Humanities doi: 10.3390/h12060147
Authors: Carolina Sánchez-Palencia
Just as necropower discriminates between those who can and those who cannot live, post-mortem circumstances are explicitly affected by an irrefutable gentrification of memory and grievability. Drawing on the political dimension of mourning and on the concept of slow death, this paper proposes a necropolitical reading of All They Will Call You (2017), where Tim Z. Hernandez revisits the 1948 plane crash that killed 28 Mexican deportees at Los Gatos (California) and the subsequent oblivion that prevented their memorialisation except for a mass grave containing their remains and a protest song (“Deportees”) composed by Woody Guthrie. My analysis focuses on Hernandez’s attempts at dismantling the tropes of criminality and expendability that Latino immigrants are associated with as a result of their racialised vulnerability, which are distinctively aggravated in border contexts. Excavating in the background stories of these deportees seems to me an ironic contestation to the failed forensic work that left them unnamed and unritualised for seven decades. And, at the same time, I contend that, in line with the work of many activists and artists in the US–Mexico border, Hernandez mobilises solidarity while transforming our perception of migrant bare lives into one of migrant agency.
]]>Humanities doi: 10.3390/h12060146
Authors: Jean-Michel Rabaté
Starting from a recent book on Derrida and psychoanalysis, I return to the controversy between Lacan and Derrida in the 1970s. Its focus was the letter as interpreted by Lacan in a commentary of Poe’s “Purloined Letter”. While agreeing with some of Derrida’s objections, I conclude that Lacan makes stronger points about the destination of the letter. I give my own example, Kafka’s “Letter to the Father” in order to argue that one can state that “a letter always reaches its destination” even if it has not been delivered.
]]>Humanities doi: 10.3390/h12060145
Authors: Shreyansh Jain Smita Jha
Bildungsroman is a genre that concerns the formation of individual identity and particularly focuses on the moral and psychological growth of the protagonist in a novel. This article aims to analyze the bildungsroman process in a dystopian context, primarily focusing on the significance of emotions in the dystopian society of Clone (2018) by Priya Sarukkai Chabria. This study scrutinizes the emotive structure of the novel based on two kinds of emotional movements: firstly, the psychic and textual movement of emotions is explored using Bharata’s rasa theory and, secondly, the spatial significance of emotions in social spaces is probed through phenomenological inquiry into the anatomy of shared emotions in the text. Through this theoretical approach, this article addresses the following questions: (a) How does a dystopian context problematize the identity formation of the protagonist in Clone? (b) How does the dystopian genre treat emotions in its structure and how instrumental are they to the identity formation of the bildungsheld in the selected novel? (c) How does Chabria manifest rasa theory and emotional movement in the structure of the novel?
]]>Humanities doi: 10.3390/h12060144
Authors: Jason Michael Collins
Recent scholarship on Pier Paolo Pasolini has put into focus many of the Italian intellectual’s lesser-known works. Among these is his screenplay for an unrealized film on the topic of the apostle Paul, San Paolo. Analyses of the film address Pasolini’s portrayal of Paul as dichotomic, as a representation of both revolutionary and conformist. In examining the criticism that addresses the duality of Saint Paul’s, this representation proves essential to understanding the role Pasolini intended the apostle to play. Paul, one of the architects of the Christian religion, is in fact the katechon that he names in 2 Thessalonians. Paul as the katechon is thus the force that holds back evil and annihilation. In doing so, however, he also prevents Man’s final redemption. As such, his portrayal of Paul is blasphemy, and Pasolini sent this screenplay to Don Emilio Cordero, head of Sampaolo Films, a Catholic film company charged with making religious movies in line with Church doctrine. This depiction of Paul proves one reason the film remains unmade and not solely the astronomical costs evident from the screenplay, as has been generally accepted until now.
]]>Humanities doi: 10.3390/h12060143
Authors: Michael Grant Kellermeyer
This paper analyzes themes of male insecurities and distrust of the exclusive culture of female sexuality and reproduction in E. T. A. Hoffmann’s Vampirism, one of the earliest psychologically sophisticated female vampires in Western literature. The doomed heroine, Aurelia, escapes a life of maternal abuse and sexual trauma by marrying the wealthy Count Hippolytus, but his attraction warps into suspicion when she becomes pregnant and loses her appetite for his food. Worried that losing her virginity has activated promiscuity inherited from her late mother, he begins following her and thinks he sees her conspiring with a coven of female ghouls who train her to satisfy her pregnancy cravings by feeding on a male corpse. Real or imagined, this vision confirms his suspicions and leads to their mutual destruction. In my analysis, I explore vampire literature’s early history, its place within Gothic literature, the prominent role of female vampires, their relationship to gender anxieties exacerbated by the Romantic Era’s subversive political movements, and the way in which Hoffmann’s cynical story operates as a misogynistic conspiracy theory aimed at the secret female space of reproduction, symbolized by Aurelia’s cannibalistic pregnancy cravings. As such, it contributes to the destructive folklore of social distrust.
]]>Humanities doi: 10.3390/h12060142
Authors: Liora Bigon Edna Langenthal
This article expands on a poem written by one of the central figures in modern Hebrew literature, Nathan Alterman (1910–1970), entitled “About a Senegalese Soldier” (1945). Providing the first English translation of this poem and its first (academic) discussion in any language, the article analyzes the poem against contemporary geopolitical, historical, and literary backgrounds. The article’s transdisciplinary approach brings together imperial and colonial studies, African studies, and (Hebrew) literature studies. This unexpected combination adds originality to mainstream postcolonial perspectives through which the agency of the Senegalese riflemen [Tirailleurs sénégalais] has been often discussed in scholarly research. By using a rich variety of primary and secondary sources, the article also contributes to a more elaborated interpretation of Alterman’s poetry. This is achieved through embedding the poem on the tirailleur in a tripartite geopolitical context: local (British Mandate Palestine/Eretz-Israel), regional (the Middle East), and international (France-West Africa). The cultural histories and literary traditions in question are not normally cross-referenced in the relevant research literature and are less obvious to the anglophone reader.
]]>Humanities doi: 10.3390/h12060141
Authors: Katrín Anna Lund
This article examines tourism nature photography as a creative and sensual activity. Based on a collection of photographs gathered from tourists in the Strandir region in northwest Iceland, I demonstrate how photographing nature is a more-than-human practice in which nature has full agency. Much has been written about tourist photography since John Urry theorised about the tourist gaze in the early 1990s; this view has been criticised, especially in the light of the performance turn in tourism studies.It has, for example, been noted that tourist photography is not just about the gazing tourist, but also about social relations that the surrounding landscape partly directs and stages. It has also been argued that, as photographing tourists, we become ‘concerned with the artistic production of ourselves’. Photography is thus a practise that is relational and sensual and that cannot be reduced to the seeing eye. However, whilst emphasising the tourist as a creative being, the surrounding landscape has been left out as a stage and its active agency ignored. I address the complex, more-than-human relations that emerge in the photographs collected in Strandir. I argue that the act of photographing, as a performative practice, is improvisational and co-creative, and the material surroundings have a direct and active agency. As has been demonstrated, photography communicates ‘not through the realist paradigm but through lyrical expressiveness’ and, thus, it may be argued that tourist photography is a poetic practice of making, as it weaves together the sensing self and the vital surroundings in the moving moment that the photograph captures.
]]>Humanities doi: 10.3390/h12060140
Authors: Rebecca Weaver-Hightower
This paper enters into a debate of how new and potentially more accessible technologies might affect freedom of expression for heretofore disenfranchised peoples and postcolonial social and political development. This essay examines short films produced on camera phones by amateur African filmmakers for one of the many existent mobile phone film festivals: Mobile Film Festival Africa held in 2021. Mobile Film Festival, an annual and international festival of short-length movies, was founded in 2005 based on the principle “1 Mobile, 1 Minute, 1 Film”. Because of the highly destructive mining in Africa required to obtain the minerals necessary for mobile phone production, because of the Western narratives of progress mobile phone sales build upon, and because of the fact that mobile phones are instruments of capitalism that largely feed big Western countries, mobile phones are themselves tools of neocolonialism and digital colonialism. Thus, a film festival that markets itself as a means of social progress but that relies upon mobile phones in Africa provides an interesting and quite complicated case study. Two of the award-winning films from this festival recognize in different ways the complicated relationship between mobile phones and postcolonial activism.
]]>Humanities doi: 10.3390/h12060139
Authors: Molly McPhee
In this article, I explore performances of letter writing within the archives of the London-based theatre company Clean Break, who work with justice-experienced women and women at risk. Clean Break’s archive at the Bishopsgate Institute in London contains an extensive collection of production ephemera and letters. Charting the company’s development across forty years of theatre productions, public advocacy, and work in prisons and community settings, these materials of the archive—strategic documents, annotated playscripts and rehearsal notes, production photography and correspondence—reveal the acute importance of the letter to people living on the immediate borderlands of the prison. Despite these generative resonances, however, the epistolary form is very rarely used in Clean Break’s theatre: as the archive reveals, since the company was founded by two women in HM Prison Askham Grange in 1979, stagings of letters have occurred in only a handful of instances. In this archival exploration of the epistolary in three works by Clean Break—a film broadcast by the BBC, a play staged at the Royal Court, and a circular chain-play written by women in three prisons—I investigate what lifeworlds beyond prison epistolary forms in performance propose.
]]>Humanities doi: 10.3390/h12060138
Authors: Celia Vara Martín
This article investigates the corporeal practices by the Catalonian artist Fina Miralles (b.1950) in some of her performances during the 1970s. I specifically focus my analysis on the manner in which the artist verifies the existence of her body under the acute political restrictions on the body during the last years of Francoism (1939–1975). I argue that she does this by a process of sensorial investigations, which include painting, filming and touching natural elements, and moving them and leaving different types of tracks, which lead to generating corporeal scores and body mapping. I elaborate on the way that producing corporeal sensorial knowledge generated from her body mapping and kinaesthetic knowledge is a transgressive and emancipatory feminist intervention. My argument is that kinesthesia generates a process of body-mapping awareness within the body and its movement, which reinforces a sensorial way of knowledge that leads to a reconstitution of the body that function as corporeal agency. Based on feminist theories of embodiment and agency, taking the Carrie Noland concept of kinesthesia (2009) as a central analytical tool, and with a background as a psychologist, I approach this research with embodied methodologies (conversations with the artist, recreation of her actions, etc.) and draw mainly from research-creation methods and kinaesthetic empathy.
]]>Humanities doi: 10.3390/h12060137
Authors: Ecaterina Pavel
The objective of the present study is to analyze the operational methods employed by the secret police agency (Securitate) in exerting influence and control over individuals within the Romanian communist society, as depicted in the film Metronom directed by Alexandru Belc. Through an analysis of the dialogue between the protagonist and a Securitate officer, this research explores the tactics used by the Romanian secret police to manipulate and deceive citizens, preserve power, and maintain social control. Drawing on critical discourse analysis and theories of power, this study reveals the subtle and insidious ways in which the Securitate operated within the Romanian society to silence opposition, spread propaganda, and maintain a stranglehold on society. In this line of work, a set of elements has been delineated, aimed at evaluating the manipulative nature of communist discourse strategies. The findings provide insights into the cinematic portrayal of the Securitate in Romanian communist society, highlighting the use of language and discourse as tools for controlling and manipulating both the population and individuals.
]]>Humanities doi: 10.3390/h12060136
Authors: Dominik Zechner
The article reads Robert Musil’s debut novel Die Verwirrungen des Zöglings Törleß (The Confusions of Young Törless) (1906) as a novel of the institution (Campe) in which diverse forms of violence are intertwined. Contrary to the assumption that Musil’s novel aims at the depiction of sado-masochistic transgressions, my argument focuses on a reading scene that mediates the novel’s various potentials of violence: only when Törleß reads Kant does it become clear which violence and which pain are meant by Musil’s text. The experience of reading becomes a masochistic act in the course of which the pleasure of the text is recast in terms of a negative textual jouissance. Musil’s novel, in turn, becomes readable not as an exhibition of schoolboys in disgrace, but as an exploration of the violent structure of practical reason itself.
]]>Humanities doi: 10.3390/h12060135
Authors: Maddalena Castellani
This paper investigates the narratives involved in the becoming public of an ecological, relational, and culinary culture through artistic mediums. Specifically, the question posed is this: how do food and cooking feature in some selected design and architecture exhibitions? The argument is developed through a series of thematic case studies that aim to affirm the presence in contemporary design, architecture, and exhibition-making of an ecological paradigm. The examples blur the lines of food and art by being proposed as processes of collective authorship happening in atmospheres of conviviality and hospitality. I bring forth the argument that developing exhibitions through the lines of hospitality can improve the quality of public engagement, and amplify a relational model which calls for the collective and entangled nature of all things. Alongside the potential of the arts of sparking a cognitive restructuring and shift in perspective, some risks associated with the mainstream model of society are considered. The final aim is to affirm the importance of relationships to oppose the neoliberal geopolitics of power which foster object-oriented perspectives.
]]>Humanities doi: 10.3390/h12060134
Authors: Kristoffer S. Ekroll
This paper looks at the representation of Bly Manor across different adaptations of Henry James’s The Turn of the Screw (1898). The focus is on adaptations that emphasize Bly as an intricate space that limits the possibilities of actions that the main characters have. The theory of affordance states that places “afford” different uses of the space. Locked inside a place with uneasily determined affordances and clearly established rules, the main characters of these adaptations experience how different intersections of identities are afforded differently within the stately home. The paper traces the intertextual conversation through adaptations such as Jack Clayton’s film The Innocents (1961), the readaptation of James’s premise in Ruth Ware’s novel The Turn of the Key (2019), before ending with the intertextual and temporal dimensions of haunted space in Mike Flanagan’s streaming miniseries The Haunting of Bly Manor (2020). These iterations of the story showcase the voyeuristic elements of Bly as the characters are repeatedly watched by those who have come before them. At the same time, they show the ongoing appeal of James’s story as its legacy continues into the twenty-first century.
]]>Humanities doi: 10.3390/h12060133
Authors: Cipriano López Lorenzo
Faced with the exaltation of sight as a perfect divine creation, so evident in the Uso de los antojos (1623) by Daza de Valdés, and faced with the satirical–burlesque tone of popular literature, dogmatic theology considered it inappropriate to praise a sense that deviated human understanding and made it difficult to comprehend the sacramental mysteries in depth. Through different fragments of literature produced in seventeenth-century Seville, we will see how the Church constructed, parallel to the scientific and popular discourses, a catechetical rhetoric that sought to deny physical sight and any device intended to enhance or restore it. The idea was to promote a knowledge of God guided by faith, allegorized as a blindfolded woman. Thus, we will see how the glasses and the blindfold capitalized two discourses that could feed back on each other and at the same time evidence the porosity of baroque literature towards the new advances in physics.
]]>Humanities doi: 10.3390/h12060132
Authors: Silvana Colella
In the field of elderly care, robot caregivers are garnering increased attention. This article discusses the robotisation of care from a dual perspective. The first part presents an overview of recent scholarship on the use of robots in eldercare, focusing mostly on scientific evidence about the responses of older adults and caregivers. The second part turns to narrative evidence, providing a close reading of Andromeda Romano-Lax’s Plum Rains (2018), a speculative novel set in Japan in 2029, which explores the implications—ethical, affective, social—of communities of care that include non-human agents. My argument is twofold: (1) although science and fiction operate according to different models of knowledge production, considering narrative insights alongside scientific ones can enlarge our understanding of the complexities of robotic care; (2) hitherto overlooked in literary studies, Plum Rains deserves attention for its nuanced representation of a hybrid model of care, which does not discard robotic assistance on the basis of humanist arguments, nor does it endorse techno-solutionism, reminding readers that the fantasy of robots that care is fuelled by the reality of devalued human care work.
]]>Humanities doi: 10.3390/h12060130
Authors: Alice Payne
In the Odyssey, Homer’s Penelope and Circe have fundamentally important roles in ensuring the progression and success of the hero’s, Odysseus, journey home. Their actions in the Odyssey invite complex readings of the two women. Despite this, onscreen Penelope is often depicted as the “good, faithful” wife, and Circe as the “temptress”. Whilst these interpretations are not wrong, they are limited, cultivating a diminutive cultural understanding about Homer’s women. In this article I will use The Simpsons episode ‘Tales from the Public Domain’ as the foundation of my analysis, whereby I argue that screen adaptations perpetuate these gendered tropes further by relying on what is “known” about these women, instead of investigating their roles in ways that are significantly more complex. To achieve this, I will analyse how gender roles are presented in The Simpsons’ adaptation of the Odyssey, with a special focus on Penelope’s and Circe’s interaction with, and relationship to, the story’s hero, Odysseus. I will compare these representations to examples from other screen adaptations from the twentieth and twenty-first centuries, including Mario Camerini’s Ulysses, Andrei Konchalovsky’s The Odyssey, and Joel and Ethan Coen’s O Brother, Where Art Thou?.
]]>Humanities doi: 10.3390/h12060131
Authors: Karin Gunnarsson
The aim of this paper is to explore the affective implications of working with participatory methodologies within the context of sexuality education. For this exploration, a feminist posthumanist approach is put to work, building on a relational ontology and the notions of affectivity, assemblage and environmentality. Drawing from a practice-based research project concerning sexuality education conducted together with teachers in Swedish secondary schools, the analysis puts forward how the research assemblage navigates and manages affective conditions in ways that produce, allow and exclude certain feelings. With (dis)trust, uncertainty, frustration, laughter and shame, the assemblage made bodies act and become in specific ways. Thus, the analysis shows how participatory and practice-based research become moulded by power relations and intense flows of desire working together. This raises questions about how participatory methodologies within an ontological view of interdependence afford to manage affective intensities to move in certain directions of socially just sexuality education.
]]>Humanities doi: 10.3390/h12060129
Authors: Hannah Lauren Murray
This article examines the Gothic trope of White racial transformation in Robert Montgomery Bird’s Sheppard Lee (1836) and Jordan Peele’s Get Out (2017). These seemingly disparate texts both feature White men who turn Black via supernatural body hopping or experimental surgery. In these texts, Blackness acts as an emotional and material resource for White characters that perversely bolsters Whiteness by escaping it. Little-known outside of antebellum specialisms, Sheppard Lee enhances our understanding of race in the Gothic by considering why Whiteness may be rejected in the early nation. Written in the context of blackface minstrelsy, the novel transforms downwardly mobile Sheppard into an enslaved man as a respite from the pressures of economic success. Get Out builds on its nineteenth-century precursors by showing the Black body as a desired and necessary vessel for the “post-racial” White American self, who swaps their physical Whiteness for Blackness to extend or enhance their own life, turning Black men into extensions and enforcers of White middle-class culture. In uniting these texts through the lens of critical Whiteness studies, this article argues that White racial transformation is a long-held tradition in the US Gothic that not only expresses White desires and anxieties, but itself transforms in each specific historical racial context.
]]>Humanities doi: 10.3390/h12060128
Authors: Koji Toba
This paper investigates largely unexplored aspects of the postwar Japanese media industry by tracing the cross-media developments that bloomed from a single poem written by an elementary school girl. Tomo Fusako, a poor elementary school student, wrote the poem “Outage” in 1951 as part of her schoolwork. Tomo’s teacher, Bessho Yasoji, selected Tomo’s work to be published in an original poetry journal featuring children’s writing. Her poems and essays were eventually reprinted in magazines, collected volumes, and even published in textbooks. In 1958, Fujimoto Giichi, an unknown university student at the time, adapted “Outage” into a radio drama and stage play. These works were then further adapted for TV dramas. Children’s essays and poems made for attractive content for the publishing industry and the emerging fields of commercial radio and television media. Fujimoto himself became a famous television host, though it impeded his literary career. Examining Tomo and Fujimoto’s relationship with literary production and media adaptation reveals a cultural world far removed from the literary establishment’s (that is, the bundan’s) view of literature.
]]>Humanities doi: 10.3390/h12060127
Authors: Judith Kasper
The topic of the article is the status of translation and homophony in philosophy, psychoanalysis and philology. The article focuses on the question of how translation is carried out using the basic principle of equivalence of meaning by homophony and what effects this can produce. The analysis of two case studies by Freud and Lacan shows that homophonic transfer from one language to another can be extremely productive for the subjective traversal of a phantasm. It is then shown that this is not, however, of purely subjective interest. Werner Hamacher has sketched the future of philology starting from such homophonic translations; Lacan has tried to advance to another theory of language through homophonic formations.
]]>Humanities doi: 10.3390/h12050126
Authors: Maddalena Borsato
The inquiry into whether food can be classified as “art” has long been a subject of debate. From its roots tracing back to Plato, this question has attracted the attention of both artistic movements and philosophers, especially throughout the twentieth century. In this paper, I aim to revisit this contentious issue by exploring the realm of pastry making as a form of art. Within the broader discourse on this topic, pastry emerges as a distinctive medium. Since sweets have historically transcended their mere nutritive functions, pastry may establish an immediate connection between art and food. Simultaneously, it reiterates the persistent challenges of encompassing the edible domain within conventional aesthetic theories. Throughout various contexts and periods, confectionery has evolved through the reproduction or imitation of visual arts, often reflecting the prevailing artistic climate of its flourishing periods. Moreover, due to its intimate association with rituals and celebratory occasions, pastry carries a profound cognitive and metaphorical framework that enhances its expressive potential, capturing the attention of many artists. By exploring the intersection of pastry and various artistic genres, drawing on illustrative examples ranging from modern European pièce montées to American cake design and Japanese wagashi, I critically examine the possibility and potential aesthetic qualities of this marginal genre, thereby opening up broader inquiries into the loose categorizations and fluctuations within the intricate domain of art.
]]>Humanities doi: 10.3390/h12050125
Authors: Michel Feith
An oeuvre as redolent with the spirit of satire and humor as Percival Everett’s can be said to represent, at the same time, an anthology of humorous devices—a “humorology,” so to speak—and a self-reflexive meditation on the existential, philosophical and/or metaphysical implications of such an attitude to language and life. The Trees (2021) is a book about lynching, in which a series of gruesome murders all allude to the martyrdom of Emmett Till. Even though such subject matter seems antinomic to humor, the novel is rife with it. We propose an examination of the various guises of humor in this text, from wordplay and carnivalesque inversion to the more sinister humour noir, black or gallows humor, and an assessment of their dynamic modus operandi in relation to political satire, literary parody and the expression of the unconscious. The three axes of our analysis of the subversive strategies of the novel will be the poetics of naming, from parody to a form of sublime; the grotesque, macabre treatment of bodies; and the question of affect, the dual tonality of the novel vexingly conjugating the emotional distance and release of humor with a sense of outrage both toned down and exacerbated by ironic indirection. In keeping with the ethos of Menippean satire, humor is, therefore, both medium and message.
]]>Humanities doi: 10.3390/h12050124
Authors: Magdalena Pycińska
Israeli settler colonialism, in time, became highly linked to the idea of a state, culminating in an institution that defends the past, present, and future practises maintaining the relations between the “native” and “settlers”. Settler colonial ideas and practises sustaining binary opposition between the “native” and the “settler” are reproduced not only by Israeli state broadcasters, but also by settler colonial social media. This article proposes media analysis that goes beyond the usual national and conflict narrative and links “settler colonial common sense” with social media impacts and state ideas/sovereign ideas of property that strive to eliminate native people or transfer them outside Israel’s perceived land ownership and sovereignty. This article also shows how Israeli settler colonial politics and narratives are supported by other settler colonial states (especially the United States). New media and settler common sense cannot be disassociated from the Israeli state and global politics, even though some settlers may have their own strategies regarding the relations with native Palestinians. The State of Israel, through massive surveillance technologies and support from other states that view militarisation and population management as crucial to maintaining its power, holds a great deal of influence over how it frames the “conflict” with Palestinians. We witness how both state violence and institutionalised Jewish privilege are recreated on the ground and globally through the new media. This issue is analysed through the “Roots” (a grassroots movement for understanding among Israelis and Palestinians) case study.
]]>Humanities doi: 10.3390/h12050123
Authors: Antis Loizides Andreas Neocleous Panagiotis Nicolaides
During his final years, John Stuart Mill reportedly attempted to update the argument of On Liberty (1859). Published posthumously in 1907, ‘On Social Freedom’ represents the initial, unrefined draft of his reworked ideas. This article argues that John Stuart Mill was not the author of ‘On Social Freedom’. First, we revisit the question of the essay’s authorship traditionally: the emphasis is on the essay’s content and the historical context of the mid-twentieth-century debate on Mill as its author. We trace the disagreement to two broad reactions to Mill’s thought. Ultimately, the question of whether the manuscript’s substantial divergence from J. S. Mill’s renowned works is enough to refute his authorship depends on one’s interpretation of Mill as a systematic philosopher. Second, we tackle this task non-traditionally: the focus shifts to the tools of computer-assisted authorship identification and the use of machine learning (ML) techniques. Once we establish some key ideas, methods, and limitations of this field of studies, we present our attempts at a computer-assisted solution to the puzzle. The results of our experiments, using ML techniques, corroborate the conclusions reached via the traditional route.
]]>Humanities doi: 10.3390/h12050122
Authors: Thom van Dooren
We are living in the midst of a period of mass extinction. All around us, diverse species of animals and plants are disappearing, often largely unnoticed. However, this is also a period in which, on a daily basis, new and fascinating insights into animal life are emerging as we come to appreciate more about their remarkable perceptual, cognitive, social, and emotional lives. This article explores this strange juxtaposition of loss and knowledge-making and the many challenges and possibilities that it gives rise to. It focuses on the emerging field of Conservation Behaviour in which researchers are seeking to modify or manipulate animal behaviours to achieve conservation outcomes: for example, teaching lizards not to eat toxic prey, or birds to utilise a safer migratory route. The article seeks to bring this approach to conservation into dialogue with work in environmental humanities, including the emerging paradigm of conservation humanities. The article outlines an interdisciplinary environmental humanities approach to conservation behaviour, grounded in work in multispecies studies and philosophical ethology. It then explores four broad thematic areas—agency, identity, ethics, and loss—in which the dialogue between these two fields might prove to be particularly, and mutually, enriching.
]]>Humanities doi: 10.3390/h12050121
Authors: Andrew Phillip Young
While literature and popular culture have sought to understand Alzheimer’s Disease (AD) in terms framed by the loss of social relationships and the strain caregivers face, this arrangement articulates AD as “being lost”, a fragmentation of temporal experience, or as irrationality punctuated by moments of self-awareness (which often operate to dehumanize those with AD). This analysis seeks, as Stefan Merrill Block puts it, to “stop looking for the lost person” in our encounter with AD. As a contemporary case study, the interactive experience Always functions as a critical intervention by not prizing moments of clarity as narrative catharsis (which literature and popular culture tend to do in the form of what is known as the “love miracle”). Instead, it serves as an important gesture toward destabilizing these practices and bridging the gap between the representation of AD and its realities. Rather than acting as a simulator of AD, Always is an abstract piece that, through design and game mechanics, opens a space for users to consider the implications of having their senses destabilized. As a result, this analysis considers how design addresses issues of social stigma, representation, storytelling and navigability.
]]>Humanities doi: 10.3390/h12050120
Authors: Maria Holmgren Troy
African American science fiction writer Octavia E. Butler’s works have attracted a great deal of academic interest since the 1990s onwards. Clay’s Ark (1984), however, has not gained as much scholarly attention as some of her other novels, and the centrality of Gothic aspects, in particular those related to body horror, has not been addressed. By focusing on how these aspects inform the structure, setting, and characters’ actions and relationships in this novel about an extraterrestrial infection that threatens and changes humanity, this article demonstrates how Butler employs and adapts strategies and conventions of Gothic horror and body horror in order to explore various attitudes towards difference and transformation, paralleling these with a particular brand of antiblack racism growing out of American slavery. Although the 1980s are already receding into American history, and a few aspects of the imagined twenty-first century in this novel may feel dated today (while many are uncomfortably close to home), Clay’s Ark is a prime example of how aspects of popular culture genres and media—such as science fiction, the Gothic, and horror films—can be employed in an American novel to worry, question, and destabilize ingrained historical and cultural patterns.
]]>Humanities doi: 10.3390/h12050119
Authors: Silvia Arroyo
The complex mythological web of Miguel de Cervantes’s novella “El celoso extremeño” has been extensively explored by scholars. However, despite the fact that most conducting myths referenced in the novel revolve around themes of vigilance, clandestine gaze, and visual deceit, these topics have not been systematically addressed yet. This present essay intends to bridge this analytical gap by exploring the ways in which mythological parables in “El celoso extremeño” connect with contemporary scientific preoccupations regarding perception, optical illusions, the nature of images and sounds and the ways the human eye and ear perceive them.
]]>Humanities doi: 10.3390/h12050118
Authors: Anik Sarkar
Japan has a longstanding tradition of horror narratives that feature a variety of macabre embodiments. They draw upon ancient folklore, thereby providing a unique perspective on spirits specific to Japanese culture. The influence of these countless supernatural beings from Japanese mythology and folklore has molded many incarnations seen in popular culture, which have been commonly deemed “strange” and “weird”. This study seeks to demystify the ambiguity and “strangeness” surrounding three Japanese anime series, Another, Yamishibai, and Mononoke. It attempts to analyze how each of these anime employs folklore and traditional art-styles to portray a modern society plagued with sociocultural complications.
]]>Humanities doi: 10.3390/h12050117
Authors: Axel Nesme
In this paper I propose to examine several poems by Elizabeth Bishop through the prism of the concept of letter delineated in “Lituraterre”, where Lacan explores the connection between the literal and the littoral in order to draw a key distinction between signifiers which are the semblances involved in ordinary communication, and the letter as a precipitate resulting from their breakdown. Insofar as the letter causes “writing effects that are structured around moments of vacillation of semblances” (M-H Roche), such effects may be traced in poems where Bishop focuses on how meaning is set adrift by eliding, displacing or transforming graphemes and phonemes. Her observation that “the names of seashore towns run out to sea” points to the littoral/liminal space of the poetic signifier that straddles enjoyment and meaning. I analyze Bishop’s painterly treatment of mist through the prism of Lacan’s discussion of Japanese calligraphy where the unary brush stroke, which “is the means to clear original Chaos” (E. Laurent), operates as the equivalent of the median void, often represented by fog in Chinese painting, i.e., as an avatar of the littoral that separates knowledge from enjoyment. I conclude with a reading of a poem where the semiosis of mortality hinges on the (dis-)appearance of certain phonemes, inviting us to question the literal/literary destiny of letters when they turn into Joycean litter, and prompting us to revisit Lacan’s familiar aphorism that “a letter always reaches its destination”.
]]>Humanities doi: 10.3390/h12050116
Authors: Geoff G. Cole
During 2018, three academics employed what they referred to as “reflective ethnography” to examine the hypothesis that many disciplines (e.g., sociology, educational philosophy, and critical race theory) are motivated by extreme ideologies, as opposed to generating knowledge. The authors published, or had accepted, seven “hoax” articles in a number of peer-reviewed journals. When the story broke in the Wall Street Journal, the authors stated that the articles advocated a number of ludicrous, inhumane, and appalling ideas. For example, one argued that men should be trained like dogs with shock collars. Their acceptance for publication was therefore taken as evidence for the kind of ideas that many academic disciplines will advocate. In the present article, I will show that the central aspects of the hoax articles do not match with how they were later described by the hoax authors and many other commentators (e.g., journalists). Despite the vast amount of media coverage, this has (virtually) gone unnoticed. I will suggest that the widely accepted narrative of the so-called Grievance Studies affair is incorrect.
]]>Humanities doi: 10.3390/h12050115
Authors: Elisabetta Bellagamba
This paper focuses on a peculiar aspect of film viewing, specifically the way in which—interacting with the viewer and their own story—visual images create identifications that can make the viewing a more or less disturbing affective experience. Psychoanalysis and cinema have an indissoluble connection. In particular, the language of cinema comes very close to that of psychoanalysis, given that movies are made according to our psychism. On the basis of this relationship, filmic narration often becomes part of patients’ session, especially teenagers, allowing us to explore areas of the mind hitherto silent.
]]>Humanities doi: 10.3390/h12050114
Authors: Maureen Johnson
In Jane Austen’s last novel Persuasion (1817), embodiment and disability function metonymically to show the emotional suffering of its characters. Austen gives temporary impairments to the novel’s protagonists, Anne Elliot and Captain Frederick Wentworth, and physical disabilities to minor characters who suffer actual and metaphorical falls, such as Louisa Musgrove and Mrs. Smith. In Persuasion, Austen evokes pain and suffering in both mental and physical ways, with men, like Wentworth, experiencing mental impairments and women, like Anne, Louisa, and Mrs. Smith, experiencing physical impairments. Austen uses impairments, illness, and disability as prostheses to highlight the importance of a marriage of respect, affection, and rationality.
]]>Humanities doi: 10.3390/h12050113
Authors: Elizabeth Rottenberg
This essay sets out to explore the unexpected but amusing entanglement of three Jewish writers—Harry (“Heinrich”) Heine, Sigismund (“Sigmund”) Freud, and Jackie (“Jacques”) Derrida. You will not often find a reference to Heine in the work of Jacques Derrida, but you will find a Heine joke in Derrida’s discussion of forgiveness in Le parjure et le pardon (1998–1999), where the name Heine is invoked precisely in order to recall the scandalous automaticity, the machine-like quality of forgiveness. Beginning with Derrida’s surprising reference to the man George Eliot called a “unique German wit”, this essay will begin by arguing that there is something about Heine’s jokes, his Witze, his mots d’esprit, that not only plays up, but also paradoxically takes seriously, what Derrida, echoing Nietzsche in Of Grammatology, describes as the “play of the world.” The second part of this essay will engage Freud’s particular and quite special relation to Heine: Heine is the third most cited German writer in all of Freud’s work (after Goethe and Schiller). Neither Homer nor Sophocles is cited more often than Heine. Indeed, a bon mot from Heine is always ready-to-hand in the face of theoretical obstacles (e.g., “Observations on Transference Love”, “On Narcissism”, etc.). But perhaps nowhere is Freud’s affinity with Heine more apparent and more striking than in Jokes and Their Relation to the Unconscious (1905), where Heine’s witticisms offer the best and most canonical examples of jokes. In conclusion, this essay will argue that Heine’s wit can be read as a playbook—not only for psychoanalysis’s economic understanding of jokes, but also, more radically, for deconstruction’s thinking of play.
]]>Humanities doi: 10.3390/h12050112
Authors: Madi Day Bronwyn Carlson
The COVID-19 pandemic, and the social and economic instability that followed, has given new life to conspirituality and far-right ideology in so-called Australia. This article discusses how politico-spiritual communities invested in both conspiracy theories and New Age spirituality have pieced together settler narratives about a New World Order and external threats to Western society from far-right and white supremacist Christian ideology circulated via new media. Using anti-colonial discourse analysis, we elucidate the undercurrent of white supremacist ideology in the Australian anti-vax movement, and highlight the misuse of Indigeneity in far-right and anti-vax narratives. We discuss how these narratives are settler-colonial and how conspiritualists co-opt and perform Indigeneity as a form of settler nativism. As a case study, we analyse the use of the term sovereignty by settlers attached to Muckadda Camp—a camp of ‘Original Sovereigns’ occupying the lawn outside Old Parliament house from December 2021 to February 2022. Using Indigenous critique from both new media and academia, we argue that although settlers may perform Indigeneity, they are exercising white supremacist settler narratives, and not Indigenous sovereignty.
]]>Humanities doi: 10.3390/h12050111
Authors: Keith Moser
This article proposes a Debordian reading of Michel Houellebecq’s first work Extension du domaine de la lutte that would thrust him into the spotlight as France’s most popular and controversial writer. Specifically, this investigation demonstrates that Debord’s theories are a useful lens from which to analyze Houellebecq’s harsh critique of late capitalism. Owing to a radical paradigm shift in the capitalist paradigm, Debord and Houellebecq posit that we live in a brave new world in which millions of individuals no longer have a frame of reference for distinguishing between commonplace reality and its simulation on a screen. On the informational battlefield where simulations of the good(s) life have proliferated themselves to the brink of replacing the real in the collective imagination of consumer citizens, they illustrate that the timeless search for happiness also seems to be even more fraught with peril in the 21st century.
]]>Humanities doi: 10.3390/h12050110
Authors: Pujarinee Mitra
Anita Nair’s Ladies Coupé (2001) is about six women who meet in an express train’s compartment in southern India. One of these women, Akhila, is the narrator of the novel, while we hear the voices of the other women only when they narrate their stories in first person to Akhila. The way the women tell these stories one by one is in the spirit of empowering Akhila, who is portrayed as a woman bound within heteronormative ideas of coupledom and gender-based expectations of care labor within patriarchal families. The women also encourage her, by example, to question the accepted ethical model of feminist practice within an already unethical patriarchal structure of society. This encouragement happens, I argue, as they recount instances of the self-acknowledged unethical care practices through which they have affectively resisted different forms of violence within the upper caste, patriarchal, heteronormative family structure. These forms of violence are intersectional as they are based on overlapping identities of caste, age, and gender.
]]>Humanities doi: 10.3390/h12050109
Authors: Karen Sands-O’Connor
The Inner London Education Authority (ILEA) was founded in 1965 to manage education in London’s inner boroughs; by the early 1970s, it was held up as one of the most progressive education experiments in British history. One of the marks of this progressiveness was its attention to London’s Black child population and its attempts to connect with Black culture through multiculturalism. However, while the ILEA prided itself on its anti-racist, multicultural education methods, its publication arm often provided mixed messages about the value and place of Black students in the education system and society. Multiculturalism, which the ILEA used to guide the production of reading materials, often resulted in a lack of cultural specificity and an avoidance of issues facing Black students, such as racism. Partnering with Black educators allowed the ILEA to offer more culturally specific and anti-racist material, but doing so also brought the ILEA to the attention of critical governmental authorities, who would eventually disband the ILEA out of fear of Black radicalism.
]]>Humanities doi: 10.3390/h12050108
Authors: Francesca De Marino
With a psychoanalytic lens, this article will examine some forms of contemporary narration, which develop in the virtual world and appear as phenomena related to mythopoiesis in preadolescence. Such forms put the body at the heart of the identity transformation. The body becomes a staple of the metamorphosis of suffering and drives the elaboration of pain. While always on the edge of ambiguity, these stories nurture persecution, fear, a state of permanent and ruleless alert, and a flood of primordial affects questioning the boundaries between the organic and the inorganic, which is a problem that the common sense of our time seems to feel with greater urgency.
]]>Humanities doi: 10.3390/h12050107
Authors: Tapaswinee Mitra
This article looks at a set of anglophone form poetry that I wrote for a course I took while pursuing my master’s degree in Gender Studies at Ambedkar University, Delhi (2019–2021), during the second wave of the COVID-19 pandemic in India. The poems are a documentation of the life that I lived and experienced during this time. Using an auto-ethnographic method, this article simultaneously engages with poetic forms, such as the haiku, villanelle, sestina, and acrostic, and provides a self-reflexive analysis of the content and the South Asian context from which the poems emerged. Each poem, I argue, grapples with various gendered structures of interpersonal and state violence, exacerbated by the COVID-19 pandemic and the lockdown that followed in its wake. In this article, I explore the ways in which the everydayness of violence can be documented through art and creative practices. My primary question is: What is the form of the poem doing for the content of the poem; that is, in what ways do certain poetic forms assist in the documentation of personal experiences of violence during a pandemic? This article explores the political possibilities offered by the method of writing form poetry as a documentation of violence, as well as providing a ‘witness’ to it. Thinking more about the role of producing art vis-à-vis my academic research, I further ask: How can we expand the scope of the feminist research methods we use, and what role might form poetry play in this? I situate this article at the intersection of South Asian Studies, Women’s and Gender Studies, and Literary and Cultural Studies, particularly focusing on the South Asian anglophone poetics of the written word in a post-pandemic time.
]]>Humanities doi: 10.3390/h12050106
Authors: Livio Rossetti
Antilogies, or pairs of symmetrically opposed speeches or arguments, were generally ignored by Plato, Isocrates, Aristotle, Cicero, and Diogenes Laertius, and, later, by Eduard Norden, Hermann Diels, and most modern scholars of antiquity. As a consequence, until the end of the twentieth century CE, antilogies have been ignored or, at best, treated as a minor literary device to be mentioned only with reference to individual writings. Nevertheless, during the second half of the fifth century, antilogies were a crucially important form of argument and persuasion in ‘sophistic’ thought, philosophy, historiography, comedy and tragedy, and other fields. In order to redress the historical neglect of the art of antilogy, this essay provides an inventory (doubtless incomplete) of some 30 antilogies composed by playwrights such as Sophocles, Euripides, and Aristophanes, historians such as Herodotus and Thucydides, and, most importantly, ‘sophists’ such as Protagoras, Gorgias, Prodicus and Antiphon (in addition to a few other writers of the same period). Building on this inventory, the second part of the essay seeks to establish identifying features of antilogy and assess its cultural significance in the Athenian context (in the second half of the fifth century BCE).
]]>Humanities doi: 10.3390/h12050105
Authors: Naoki Yamamoto
Haniya Yutaka (1909–1997) was one of the leading figures in postwar Japanese literature and avant-garde art movements, chiefly remembered today for his unfinished metaphysical novel Dead Souls [Shirei, 1946–1997]. This essay, however, examines his hitherto unknown theoretical writings on film. Haniya and other writers gathering around the literary magazine Kindai bungaku [Modern Literature, 1946–1964] shared a keen interest in film’s unparalleled importance in twentieth-century modernity. And their collective efforts to transgress conventional boundaries between literature and film culminated in the 1957 publication of the anthology entitled Literary Film Theory [Bungakuteki eigaron]. Above all, Haniya’s film writing was clearly distinguished for its tendency to explicate film’s paradoxical mode of existence philosophically, an approach that the film critic Matsuda Masao later called an “ontological film theory” [sonzaironteki eigaron]. Looking closely at his essays and interviews collected in Literary Film Theory and two other volumes on this topic—Thoughts in the Darkness [Yami no naka no shisō, 1962] and Dreaming in the Darkness [Yami no naka no musō, 1982]—the present essay reads Haniya’s theorization of cinema in relation to both Martin Heidegger’s existential phenomenology and recent scholarly debates on non-Western film theory.
]]>Humanities doi: 10.3390/h12050104
Authors: Joe Weixlmann
This article explores Percival Everett’s multi-dimensional use of a concept he has termed the “slash” (i.e., the line that both separates and conjoins signifier/signified) in his novel American Desert. In effect, this slash is a trope Everett deploys to compel readers not to align themselves with what might otherwise be perceived as the author’s message but rather to explore a wide range of the possible ideas and provisional meanings his fiction might generate, challenge these perceived meanings, constructively play with his text, and eventually tease out some (inevitably contingent) concepts that may, upon further consideration, morph into newer, richer sets of understanding. Although Everett’s use of the slash is not unique to American Desert, it is arguably the novel in which he uses the trope most pervasively.
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