Humanities

22 pages, 287 KB

Open AccessArticle

Reframing the Iraq War Through Verbatim Theatre: A Lyotardian Postmodern Rendering of Jonathan Holmes’s Fallujah

by Ihsan Alwan Muhsin Al-Sweidi

Humanities 2026, 15(4), 62; https://doi.org/10.3390/h15040062 - 21 Apr 2026

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Fallujah, by Jonathan Holmes (2007), is one of the archetypal examples of verbatim theatre, which addresses the truths of the Iraq War through dramatised eyewitness accounts and documentation reconstructions. Sketched in the Second Battle of Fallujah, the play reveals moral, political, and [...] Read more.

Fallujah, by Jonathan Holmes (2007), is one of the archetypal examples of verbatim theatre, which addresses the truths of the Iraq War through dramatised eyewitness accounts and documentation reconstructions. Sketched in the Second Battle of Fallujah, the play reveals moral, political, and epistemological aspects of how modern warfare is presented. This article hinges on the postmodern theory of Jean-François Lyotard—especially the concepts of language games, paralogy, and the differend—to discuss the play Fallujah as a subversion of official grand narratives of the Iraq War. Through the use of testimonial intertextuality, irony and fragmentation, Holmes builds a multidimensional tableau of discourse contradictions in which truth is relative, and legitimacy is constantly deferred. The play turns into a meta-discursive critique of Western power dynamics, challenging the manner in which the knowledge is created, distributed, and twisted in the name of liberation and humanitarianism. Further, the article examines both dramaturgical and aesthetic techniques that lend truthfulness to Holmes’ concept of the verbatim approach as it dislocates the truth in relation to war and victimhood. The results help us comprehend the role of modern theatre in the reconstruction of the cultural memory and morality in the post-war era. The article concludes that Fallujah is a vivid example of postmodern theatrical resistance, an ethical and artistic response to commodity violence and the obliteration of lived suffering. Full article

(This article belongs to the Section Cultural Studies & Critical Theory in the Humanities)

11 pages, 230 KB

Open AccessArticle

Edna O’Brien’s Neglected Widows and Spinsters

by Maureen O’Connor

Humanities 2026, 15(4), 61; https://doi.org/10.3390/h15040061 - 21 Apr 2026

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Abstract

From the witch-like widow on the edges of civilisation to the retired spinster who, after an active but disappointing sexual past, chooses to continue her single life, the celibate women of Edna O’Brien’s fiction have as much to contribute to the author’s career-long [...] Read more.

From the witch-like widow on the edges of civilisation to the retired spinster who, after an active but disappointing sexual past, chooses to continue her single life, the celibate women of Edna O’Brien’s fiction have as much to contribute to the author’s career-long examination of the damage done by Irish patriarchy as any of the miserable housewives, resentful mothers, and abused girls who dominate critical analyses of her work. Unlike the many admirable nun characters in O’Brien’s fiction, the women in this study are not consciously renouncing society or deliberately retreating from the world. While they can be vulnerable characters who risk disapproval and even violence, they can also offer alternative models of Irish womanhood, subtle and complex, alternatives not always recognised when the narrator is a young girl and sometimes appreciated too late by more mature narrators and characters. Full article

(This article belongs to the Special Issue Celibacy in Irish Women’s Writing)

24 pages, 335 KB

Open AccessArticle

Title Lurianic Fable: A Messianicity of Choice in Derrida and Philip K. Dick

by Agata Bielik-Robson

Humanities 2026, 15(4), 60; https://doi.org/10.3390/h15040060 - 20 Apr 2026

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Abstract

This essay conducts a comparative analysis of the literary use of kabbalistic motives in the two seemingly very distant authors: Jacques Derrida and Philip K. Dick. It shows how the Lurianic “fable,” conceived in the Derridean terms as a literary récit, shapes [...] Read more.

This essay conducts a comparative analysis of the literary use of kabbalistic motives in the two seemingly very distant authors: Jacques Derrida and Philip K. Dick. It shows how the Lurianic “fable,” conceived in the Derridean terms as a literary récit, shapes their understanding of time as an open-ended game whose outcome remains unknown. It thus wants to prove that Derrida’s essay Given Time, based on the little prose by Charles Baudelaire called “The False Coin,” and the penultimate book by Philip K. Dick, The Divine Invasion, tell the same story which is also a meta-story: a speculative meditation on the nature of temporality and story-telling, which involves the messianic “theology of risk.” In both cases we deal with what the essay terms as an “inverted Gnosticism”: while the traditional Gnostic doctrine envisions time as the factor of the world’s decay and imperfection, Derrida and Dick, inspired by the Lurianic kabbalah, see it as the chance of the world to verify itself, that is, to make itself real and true in the process of “unprejudiced becoming.” Full article

(This article belongs to the Special Issue Comparative Jewish Literatures)

15 pages, 258 KB

Open AccessArticle

Powers for the People: Social Complexity, Luke Cage, and Civil Discourse

by Justin F. Martin

Humanities 2026, 15(4), 59; https://doi.org/10.3390/h15040059 - 20 Apr 2026

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Abstract

Since his inception, Luke Cage’s superhero mission has explored themes related to justice, interpersonal relations, and institutional integrity. This paper draws on examples from comics and his television series to explicate these themes through the lens of social and moral development. In doing [...] Read more.

Since his inception, Luke Cage’s superhero mission has explored themes related to justice, interpersonal relations, and institutional integrity. This paper draws on examples from comics and his television series to explicate these themes through the lens of social and moral development. In doing so, it suggests lessons for improving the recent landscape of American civil discourse. The Overview introduces the character against the backdrop of the social role of superheroes, moral development scholarship, and recent polling data related to civil discourse. The Heroic Journey examines his superhero mission further, highlighting his attempts to promote a sense of mutual trust and shared obligations across varied social interactions. Lastly, the Super Takeaway discusses the potential of Luke Cage narratives to keep disagreeing persons “at the table” long enough to come to some (civil) agreement. Full article

(This article belongs to the Special Issue The Power of Superhero Literature: Applying the Lessons of Superheroes to Real Life)

12 pages, 239 KB

Open AccessArticle

Forgotten Austerities: Kate O’Brien’s Queer Nuns

by Michael G. Cronin

Humanities 2026, 15(4), 58; https://doi.org/10.3390/h15040058 - 17 Apr 2026

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Abstract

This is a study of the nun as a queer archetype of femininity across Kate O’Brien’s fiction and non-fiction. Alongside characters who are actual nuns, the fiction includes characters who can be described as ‘nun-like,’ especially in their renunciation of sexual desire. In [...] Read more.

This is a study of the nun as a queer archetype of femininity across Kate O’Brien’s fiction and non-fiction. Alongside characters who are actual nuns, the fiction includes characters who can be described as ‘nun-like,’ especially in their renunciation of sexual desire. In the fiction, this secular renunciation is aligned with religious celibacy as actively chosen and ethically purposeful and situated as similar to artistic creativity. The study argues that O’Brien’s nuns are paradoxical and queer figures, undermining the temporality, class politics and models of human subjectivity central to O’Brien’s own ideological commitments. Attending to these nun figures prompts significant questions about the liberal feminist politics underpinning contemporary O’Brien studies and the prevailing critical reception of O’Brien as an exemplary Irish woman writer. Full article

(This article belongs to the Special Issue Celibacy in Irish Women’s Writing)

21 pages, 1779 KB

Open AccessArticle

Between Flesh and Miracle: Phenomenological Dimensions of Pain and Healing in The Green Mile

by Ulugbek Ochilov, Shuhrat Sirojiddinov, Muhabbat Baqoyeva, Feruza Khajieva, Otabek Fayzulloyev, Bakhtiyor Gafurov, Kakhramon Tukhsanov, Dilnoza Sharipova, Makhmud Babaev, Gulrukh Bobokulova, Shahnoza Kholova and Shahnoza Tuyboeva

Humanities 2026, 15(4), 57; https://doi.org/10.3390/h15040057 - 9 Apr 2026

Cited by 1 | Viewed by 1091

Abstract

This article examines the interaction between phenomenological illness theory and magical realism in Stephen King’s The Green Mile. It uses ideas from phenomenological psychopathology and illness narrative theory to explain how King presents supernatural events through a restrained and matter-of-fact narrative register. [...] Read more.

This article examines the interaction between phenomenological illness theory and magical realism in Stephen King’s The Green Mile. It uses ideas from phenomenological psychopathology and illness narrative theory to explain how King presents supernatural events through a restrained and matter-of-fact narrative register. Instead of considering magical realism as a genre or a mere literary device, the article views magical realism as a stylistic mode that is produced by the tension between realistic descriptions and unexplained supernatural moments. Through a close reading of King’s prose, especially his diction, narrative voice and bodily descriptions, this study shows that John Coffey’s healing acts represent the otherwise incommunicable experience of suffering. These supernatural events make visible forms of institutional violence such as prison brutality, racial injustice and execution, which are often invisible in traditional realist narratives. This article also argues that magical realism is not limited to Latin American literature but can function effectively in American popular fiction. Finally, the findings suggest that, while magical realism may be helpful in exposing injustice and suffering, it may also have the danger of aestheticizing pain rather than fully transforming it into political critique. Full article

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13 pages, 214 KB

Open AccessArticle

The Black Panther (1973–1976): Rewriting “The Black Experience” in Panther’s Rage and The Black Panther Takes on the Klan

by Michael T. Williamson

Humanities 2026, 15(4), 56; https://doi.org/10.3390/h15040056 - 8 Apr 2026

Viewed by 1030

Abstract

Produced at a point of significant change in literary representations of what was called “the black experience,” the comic book series Panther’s Rage and The Black Panther Takes on the Klan each represent an ambitious collaboration between Don McGregor, the white writer of [...] Read more.

Produced at a point of significant change in literary representations of what was called “the black experience,” the comic book series Panther’s Rage and The Black Panther Takes on the Klan each represent an ambitious collaboration between Don McGregor, the white writer of the series, and Billy Graham, the black series artist. As a revision of “black experience” novels published by Holloway House during the early 1970s, this comic book series significantly alters the ways in which mourning, memory, and mental fortitude are represented in a world of almost entirely black characters. Fighting villains who create phantasmic illusions that evoke self-doubt, The Black Panther, one of three black superheroes introduced by Marvel comics during the 1960s and 1970s, brings to light and then revises traumatic historical memories. The hero’s journey around the provinces of Wakanda, a black kingdom in Western Africa, requires the Panther to defeat a variety of villains and their proxies and to posit an alternative to revolutionary self-hatred. We learn from this journey that tradition and modernity can coexist and that traumatic memories need not repeat themselves endlessly. Instead, they can be revised and incorporated into narratives that celebrate the power of the disciplined imagination to imagine a better future. Full article

(This article belongs to the Special Issue The Power of Superhero Literature: Applying the Lessons of Superheroes to Real Life)

18 pages, 375 KB

Open AccessArticle

Frankenstein: Children, Duties, and the (In)Justice of Rights

by Enit Karafili Steiner

Humanities 2026, 15(4), 55; https://doi.org/10.3390/h15040055 - 7 Apr 2026

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Abstract

This essay explores Mary Shelley’s contribution to the political philosophy of children’s rights and its connection to duties-based justice by establishing a dialogue between Frankenstein and The Rights of Infants (1797). A little-studied treatise by Thomas Spence, Rights of Infants advances a proto-feminist [...] Read more.

This essay explores Mary Shelley’s contribution to the political philosophy of children’s rights and its connection to duties-based justice by establishing a dialogue between Frankenstein and The Rights of Infants (1797). A little-studied treatise by Thomas Spence, Rights of Infants advances a proto-feminist stance that is not unlike Godwin’s and Wollstonecraft’s model in that it foregrounds duties from which rights can be extrapolated. Two points made by Spence inform this reading of Frankenstein. First, Spence’s text spotlights a neglected line of thought during the French Revolution, which, contrary to social contract theory, posits the child as the paradigmatic recipient of justice and familial life as the cornerstone for deliberations on justice. Second, Spence identified acts of conquest camouflaged as a fabled, non-existent consent between people and government by social contract theorists like Hobbes and Locke. Shelley’s novel dramatizes these two points by taking infancy as the ground zero on which to think of justice, and then, incrementally exposing a logic of conquest through the concatenated deaths of William and Justine and the destruction of the inanimate female creature. The essay concludes that the novel stages a far-reaching interrogation of rights-based justice, thus extending a view of justice that has gained prominence in critiques of neoliberalism over the last half-century. Full article

12 pages, 218 KB

Open AccessArticle

The Architecture of Harm: Rumour, Routine, and Spatial Constraint in Anna Burns’ No Bones

by Ubaid Khursheed, Rayees Ahmad Bhat and Anudeep Kaur Bedi

Humanities 2026, 15(4), 54; https://doi.org/10.3390/h15040054 - 2 Apr 2026

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Abstract

Anna Burns’ No Bones has extensively documented its depiction of trauma during the Troubles; less attention has been paid to the systematic mechanisms through which pervasive psychosocial harm is quietly administered and normalised. This article moves beyond readings of individual suffering to diagnose [...] Read more.

Anna Burns’ No Bones has extensively documented its depiction of trauma during the Troubles; less attention has been paid to the systematic mechanisms through which pervasive psychosocial harm is quietly administered and normalised. This article moves beyond readings of individual suffering to diagnose a collective condition, arguing that Burns constructs a veritable architecture of harm: a meticulously designed system operating not through overt aggression alone, but through the mundane, yet powerfully insidious, interplay of social forces governing everyday life. This synthesis reveals how these forces converge to produce what Achille Mbembe terms a death-world: a state of being where populations are subjected to conditions that confer upon them the status of the living dead. Within this necropolitical landscape, the protagonist Amelia’s routines are dictated by shrinking spatial affordances, while incessant rumour functions as a policing mechanism that enforces social death long before physical death is a threat. This analysis demonstrates that harm is not an atmospheric byproduct of conflict, but the very logic of this architecture, which compels the community to participate in its own subjugation. Ultimately, by mapping this architecture, this article reframes Burns’ novel from a historical text of the Troubles into a trenchant meditation on the governance of populations under duress. It offers a vital framework for understanding how quiet harm is spatially engineered, a dynamic with profound relevance for contemporary studies of carceral geographies, algorithm-driven social control, and the politics of atmospheric violence. It posits Burns’ work as a crucial resource for theorising the invisible structures that shape and constrain modern life. Full article

(This article belongs to the Section Literature in the Humanities)

16 pages, 2633 KB

Open AccessArticle

A Korean Captive-Turned-Monk (Nichiyō) in Japan and Longing for Family Reunion in the 1620s

by Nam-lin Hur

Humanities 2026, 15(4), 53; https://doi.org/10.3390/h15040053 - 28 Mar 2026

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Abstract

Honmyōji Temple in Kumamoto preserves copies of four letters exchanged in the early 1620s between a father, Yŏ Ch’ŏn’gap, in Chosŏn, and his son, Yŏ Taenam (Nichiyō), in Japan, although one of the letters was never delivered. Both father and son were abducted [...] Read more.

Honmyōji Temple in Kumamoto preserves copies of four letters exchanged in the early 1620s between a father, Yŏ Ch’ŏn’gap, in Chosŏn, and his son, Yŏ Taenam (Nichiyō), in Japan, although one of the letters was never delivered. Both father and son were abducted to Japan during the Imjin War (1592–1598), but while the father was able to return home, the son was not. In the late 1610s, upon learning that his son, now the abbot of Honmyōji, was alive in Kumamoto, the father sought to contact him by letter. His efforts eventually succeeded, leading to an exchange of correspondence. These four letters, the only known instance of overseas communication between family members separated by Japan’s invasion of Chosŏn, provide valuable insight into the tragic fate of a family divided by war. Drawing on these documents, this article examines how a Korean boy was abducted during the Imjin War and later became the abbot of his captor’s temple. It also explores the father’s efforts to bring his son home and the reasons their hopes for reunion were never realized. Together, the letters bear witness to the dramatic transformation in the life of a young Korean boy who became a victim of war. Full article

(This article belongs to the Section History in the Humanities)

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13 pages, 231 KB

Open AccessArticle

Collateral Damage: The Feminist Work of Joan Didion’s Last Novels

by Elizabeth Abele

Humanities 2026, 15(4), 52; https://doi.org/10.3390/h15040052 - 27 Mar 2026

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Abstract

In her fiction, Joan Didion crafted female protagonists who embodied the strange stirrings documented by Betty Friedan in The Feminine Mystique, as common among mid-century White, educated women. Didion’s protagonists are all daughters, wives, and mothers who come to realize their lives [...] Read more.

In her fiction, Joan Didion crafted female protagonists who embodied the strange stirrings documented by Betty Friedan in The Feminine Mystique, as common among mid-century White, educated women. Didion’s protagonists are all daughters, wives, and mothers who come to realize their lives are built on empty compromises. However, in her late 20th-century novels, their awareness leads to actual changes: the Didion Women who confront the void in Democracy and The Last Thing He Wanted find their lives impacted by the machinations of U.S. Cold War policies. These novels specifically trace the impact of American imperialism on wives and daughters at home—those that the policies claimed to protect. These protagonists, and their witnesses, refuse to be passive casualties. Their narration by an embedded professional female journalist adds weight to the journeys of these overlooked women. Through her protagonists of privilege, Didion unflinchingly documents the physical and psychological damages of patriarchy—both personal and political—presenting female models of awareness and resistance. This essay will examine Didion’s Democracy and The Last Thing He Wanted as the capstones of her woman-centered fiction, presenting detailed portraits of matrons who deliberately disentangle themselves from history. Full article

12 pages, 263 KB

Open AccessArticle

Weighing Up Celibacy: The Fat Virgin of Molly Keane’s Devoted Ladies

by Julyan Oldham

Humanities 2026, 15(4), 51; https://doi.org/10.3390/h15040051 - 24 Mar 2026

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Abstract

In Molly Keane’s 1934 novel Devoted Ladies, the young Irish character Piggy Browne is dismissed as a “fat, hungry virgin”, an insult that incites the text’s denouement. This article uses the figure of Piggy Browne to juxtapose virginity and fatness in Keane’s [...] Read more.

In Molly Keane’s 1934 novel Devoted Ladies, the young Irish character Piggy Browne is dismissed as a “fat, hungry virgin”, an insult that incites the text’s denouement. This article uses the figure of Piggy Browne to juxtapose virginity and fatness in Keane’s writing, asking how fat can inform our understanding of the single Irish woman in Keane. I set up both fat and virginity as relevant concerns to Keane’s work, drawing on a range of her fiction as well as writing about virginity, land, and time. Focussing on Piggy in Devoted Ladies demonstrates how the novel is interested in the emotional lives of women, however satirically. Moreover, ideas of virginity, fat, and hunger become useful ways of thinking about Piggy’s role in the ending of Devoted Ladies. Keane ultimately emphasizes a fall, not a culmination, concluding on a moment of agency, if not progress. Full article

(This article belongs to the Special Issue Celibacy in Irish Women’s Writing)

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Humanities, Volume 15, Issue 4 (April 2026) – 12 articles

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