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Humanities, Volume 6, Issue 3 (September 2017) – 31 articles

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4058 KiB  
Article
Insects and the Kafkaesque: Insectuous Re-Writings in Visual and Audio-Visual Media
by Damianos Grammatikopoulos
Humanities 2017, 6(3), 74; https://doi.org/10.3390/h6030074 - 16 Sep 2017
Cited by 88 | Viewed by 15519
Abstract
In this article, I examine techniques at work in visual and audio-visual media that deal with the creative imitation of central Kafkan themes, particularly those related to hybrid insects and bodily deformity. In addition, the opening section of my study offers a detailed [...] Read more.
In this article, I examine techniques at work in visual and audio-visual media that deal with the creative imitation of central Kafkan themes, particularly those related to hybrid insects and bodily deformity. In addition, the opening section of my study offers a detailed and thorough discussion of the concept of the “Kafkaesque”, and an attempt will be made to circumscribe its signifying limits. The main objective of the study is to explore the relationship between Kafka’s texts and the works of contemporary cartoonists, illustrators (Charles Burns), and filmmakers (David Cronenberg) and identify themes and motifs that they have in common. My approach is informed by transtextual practices and source studies, and I draw systematically on Gerard Genette’s Palimpsests and Harold Bloom’s The Anxiety of Influence. Full article
(This article belongs to the Special Issue Animal Narratology)
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277 KiB  
Article
Looking at Animals without Seeing Them: Havelock Ellis in the “Circe” Episode of Ulysses
by Ronan Crowley
Humanities 2017, 6(3), 73; https://doi.org/10.3390/h6030073 - 08 Sep 2017
Cited by 19 | Viewed by 5076
Abstract
Taking wing from Joyce’s reading of Havelock Ellis’s Studies in the Psychology of Sex, in which the Irish writer found an account of cross-species sexual contact, this essay explores Leopold Bloom’s animal metamorphosis in the “Circe” episode of Ulysses. It argues [...] Read more.
Taking wing from Joyce’s reading of Havelock Ellis’s Studies in the Psychology of Sex, in which the Irish writer found an account of cross-species sexual contact, this essay explores Leopold Bloom’s animal metamorphosis in the “Circe” episode of Ulysses. It argues that this encounter with the nonhuman animal is subordinated to the cause of working through barriers of human difference. In the process, the animal that enables this reconciliation disappears. Unable to represent animal interiority, “Circe” settles for merely probing their interiors. Full article
(This article belongs to the Special Issue Joyce, Animals and the Nonhuman)
209 KiB  
Article
“We Are All Animals:” James Joyce, Stephen Dedalus, and the Problem of Agriculture
by Caitlin McIntyre
Humanities 2017, 6(3), 72; https://doi.org/10.3390/h6030072 - 08 Sep 2017
Viewed by 5349
Abstract
This article will position James Joyce’s novels A Portrait of the Artist as a Young Man (1916) and Ulysses (1922) as literary works that are concerned with ecological issues associated with agriculture; here, this concern is traced through Stephen Dedalus’s awareness of land [...] Read more.
This article will position James Joyce’s novels A Portrait of the Artist as a Young Man (1916) and Ulysses (1922) as literary works that are concerned with ecological issues associated with agriculture; here, this concern is traced through Stephen Dedalus’s awareness of land and animals beyond and outside Dublin. Specifically, Joyce frequently depicts the colonization of Ireland as centered on the control of nonhumans in the form of agriculture, which he brings into the novels’ political foreground. I will argue further that Joyce is equally critical of the violent nationalist rhetoric and insurrections of early 1900s Ireland, as a movement, which perpetuated the agricultural control of land. Joyce illustrates the violence of this agricultural aporia through the lives of nonhumans, the world of “filthy cowyards” and cannibalistic sows. Yet, this paper will also find in Stephen’s relations with animals an effective aesthetic rebellion to this aporia, for example, his self-styling as the “Bous Stephanoumenos”, as well as his interactions with dogs and swallows as fellow Dubliners, artists, and sufferers. These examples point to a kind of queer ecology as a form of resistance to agricultural violence. Full article
(This article belongs to the Special Issue Joyce, Animals and the Nonhuman)
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Article
Figures of the Earth: Non-Human Phenomenology in Joyce
by Ruben Borg
Humanities 2017, 6(3), 71; https://doi.org/10.3390/h6030071 - 07 Sep 2017
Cited by 14 | Viewed by 4725
Abstract
My paper addresses the non-human turn in Joyce’s work from the perspective of genetic phenomenology. I begin by commenting on Joyce’s characterization of Molly Bloom as a non-human apparition. I unpack the notion of a non-human apparition in light of Joyce’s interest in [...] Read more.
My paper addresses the non-human turn in Joyce’s work from the perspective of genetic phenomenology. I begin by commenting on Joyce’s characterization of Molly Bloom as a non-human apparition. I unpack the notion of a non-human apparition in light of Joyce’s interest in the idea of the earth as a generative matrix, and I relate this idea to a genetic enquiry into problems of passive synthesis and the givenness of objects to sense perception. I then trace the elaboration of this theme in a cluster of rhetorical figures from the later novels—puns, clichés, and metonymic associations—that play on the senses of matrix, materiality, and the sex of the mother. The second part turns to representations of the earth in Finnegans Wake. Focusing on scenes of interment and becoming one with the landscape, descriptions of tombs as echo chambers, and of geological sites as giant human bodies, I read Joyce’s earth as the crowning expression of his experiments with a radical (pre- and post-human) phenomenology. Full article
(This article belongs to the Special Issue Joyce, Animals and the Nonhuman)
2273 KiB  
Creative
A Narrative of Resistance: A Brief History of the Dandara Community, Brazil
by Beatriz Ribeiro, Fernando Oelze and Orlando Soares Lopes
Humanities 2017, 6(3), 70; https://doi.org/10.3390/h6030070 - 05 Sep 2017
Cited by 19 | Viewed by 4694
Abstract
This paper presents a brief report on the history of the Dandara Occupation, in the city of Belo Horizonte, Brazil. Through a general panorama of the strategies and resistance of the residents and movements involved; this paper shows the importance of the occupied [...] Read more.
This paper presents a brief report on the history of the Dandara Occupation, in the city of Belo Horizonte, Brazil. Through a general panorama of the strategies and resistance of the residents and movements involved; this paper shows the importance of the occupied territory in the struggle for the right to housing in the city. Through the narratives of the residents, references and photographic remnants of the initial years of the occupation, a temporal line is developed to the present day that reveals the challenges and opportunities for the people of Dandara in the making of their community. Full article
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1777 KiB  
Article
Soundwalking: Deep Listening and Spatio-Temporal Montage
by Andrew Brown
Humanities 2017, 6(3), 69; https://doi.org/10.3390/h6030069 - 31 Aug 2017
Cited by 14 | Viewed by 6388
Abstract
The bicentenary of the 1817 Pentrich Revolution provided an opportunity for the composition of a series of soundwalks that, in turn, offer themselves up as a case study in an exposition of spatial bricolage, from the perspective of an interdisciplinary artist working with [...] Read more.
The bicentenary of the 1817 Pentrich Revolution provided an opportunity for the composition of a series of soundwalks that, in turn, offer themselves up as a case study in an exposition of spatial bricolage, from the perspective of an interdisciplinary artist working with the medium of locative sound. Informed by Doreen Massey’s definition of space as ‘a simultaneity of stories so far’, the author’s approach involves extracting sounds from the contemporary soundscape and re-introducing them in the form of multi-layered compositions. This article conducts an analysis of the author’s soundwalking practice according to Max van Manen’s formulation of four essential categories of experience through which to consider our ‘lived world’: spatiality, temporality, corporeality, and relationality. Drawing upon theorists whose concerns include cinematic, mobile and environmental sound, such as Chion, Chambers and Schafer, the author proposes the soundwalk as as an expanded form of cinema, with the flexibility to provoke states of immersion was well as critical detachment. A case is made for the application of the medium within the artistic investigation into ecological and socio-political issues alongside aesthetic concerns. Full article
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988 KiB  
Creative
Private Citizenship: Real Estate Practice in Palestine
by Athar Mufreh
Humanities 2017, 6(3), 68; https://doi.org/10.3390/h6030068 - 31 Aug 2017
Cited by 35 | Viewed by 3301
Abstract
What is the function of the new towns and real estate developments in Palestine?[...] Full article
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Article
Improvised Performances: Urban Ethnography and the Creative Tactics of Montreal’s Metro Buskers
by Nick Wees
Humanities 2017, 6(3), 67; https://doi.org/10.3390/h6030067 - 30 Aug 2017
Cited by 1 | Viewed by 7223
Abstract
Buskers—street performers—evince the creative tactics of self-conscious agents who are both produced by and productive of the social and material conditions within which they carry out their practices. In this article, I discuss my ethnographic research among buskers in Montreal’s underground transit system—the [...] Read more.
Buskers—street performers—evince the creative tactics of self-conscious agents who are both produced by and productive of the social and material conditions within which they carry out their practices. In this article, I discuss my ethnographic research among buskers in Montreal’s underground transit system—the metro—and examine their highly variable and improvisational practices (musical and spatial). I detail how buskers work with and against the constraints and possibilities posed by the material characteristics of those spaces (especially in terms of acoustics) as well as formal regulations and prevailing social norms. This suggests understanding busking as a relational process of “cobbling together” that is never entirely fixed or bounded, but dispersed and always in-the-making. Further, I demonstrate how the research process in this context is itself a creative, improvisational approach, guided as much by the conditions at hand as by an overarching research design. By drawing parallels between the busker-performer and my role as researcher and creative producer, particularly in my use of audio-visual production, I argue that ethnographic research is, itself, a form of assemblaging, of bricolage—an embodied, relational process that involves multiple participants (human and material) of varying influences, bound together by the tactical activities of the researcher. Full article
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Creative
Refugee Heritage. Part III Justification for Inscription
by Alessandro Petti
Humanities 2017, 6(3), 66; https://doi.org/10.3390/h6030066 - 29 Aug 2017
Cited by 9 | Viewed by 4181
Abstract
In order to inscribe a site in the World Heritage list, the property should have outstanding universal values, defined as “cultural and/or natural significance which is so exceptional as to transcend national boundaries and to be of common importance for present and future [...] Read more.
In order to inscribe a site in the World Heritage list, the property should have outstanding universal values, defined as “cultural and/or natural significance which is so exceptional as to transcend national boundaries and to be of common importance for present and future generations of all humanity.[...] Full article
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247 KiB  
Article
Animal Dystopia in Marie Darrieussecq’s Novel Truismes
by Päivi Koponen
Humanities 2017, 6(3), 65; https://doi.org/10.3390/h6030065 - 25 Aug 2017
Cited by 17 | Viewed by 5412
Abstract
The article focuses on the contemporary French author Marie Darrieussecq’s dystopian novel, Truismes (1996), that contemplates the differential boundaries between human and non-human existence within the scope of contemporary Western metaphysics. The novel challenges the anthropocentric conception of dystopia on the grounds that [...] Read more.
The article focuses on the contemporary French author Marie Darrieussecq’s dystopian novel, Truismes (1996), that contemplates the differential boundaries between human and non-human existence within the scope of contemporary Western metaphysics. The novel challenges the anthropocentric conception of dystopia on the grounds that it is not only a human dystopia; the story centres on a female protagonist whose body begins to turn into a sow. In the novel’s dystopian reality, non-human nature has only capitalistic value in relation to human needs, which has caused a large-scale ecological crisis. For the heroine, the dystopian cityscape is the antagonist that she struggles against; the story represents the sow-woman looking for a better place to live. By giving a narrative voice to an animal, Darrieussecq’s novel urges the reader to identify with the non-human world. The article aims to come to an understanding of the agency beyond the human species. Further, it argues that agency constitutes an entanglement of intra-acting agencies; it is not an attribute of (human) subject or (non-human) object as they do not pre-exist as such separately. Consequently, human and non-human agencies are related to one another; humans are not only affecting the non-human world, but they affect each other in a very profound way. In this, the article contributes to the ongoing interrogation of human relations with non-human agency that is being actively conducted in contemporary Western scientific discourse. The concept of agency also allows participation in discussion about the current ecological crisis. Full article
(This article belongs to the Special Issue Animal Narratology)
274 KiB  
Article
Sounding the Nonhuman in Joyce’s “Sirens”
by Rasheed Tazudeen
Humanities 2017, 6(3), 64; https://doi.org/10.3390/h6030064 - 24 Aug 2017
Cited by 23 | Viewed by 5154
Abstract
This essay explores Joyce’s attempt, in “Sirens”, to give articulation to the sounds made by objects and nonhuman beings, with the ultimate goal of destabilizing the boundary separating the human voice (and other forms of human expression) from nonhuman sound. The episode itself [...] Read more.
This essay explores Joyce’s attempt, in “Sirens”, to give articulation to the sounds made by objects and nonhuman beings, with the ultimate goal of destabilizing the boundary separating the human voice (and other forms of human expression) from nonhuman sound. The episode itself can be read as a catalogue of sounds, nonhuman and human, that interact with one another in the absence of a qualitative standard of judgment that would separate the human voice from nonhuman sound, music from “noise”, or conceptual language from sonic expression. Human characters in the episode become what Vike Martina Plock has called “soundboards”, or resonating bodies through which the sounds of their material environment achieve expression. Additionally, human bodies are fragmented metonymically into their sounding body “parts” detached from the unity of the human subject, which allows for new forms of sonorous collaboration between sounding objects and sounding body parts. Nonhuman sounds persist in contrapuntal relation with the voices and sounds of the human characters (and their sounding body parts), a phenomenon which forces us to expand our conception of the fugal form of the episode to include nonhuman entities as collaborators, or “voices”, within it. In this way, “Sirens” asks us to consider sound, and by extension music, not simply as the purely intentional product of a human consciousness, but also as a collective composition between human bodies (and body parts) and the sonic materials of their environment. Full article
(This article belongs to the Special Issue Joyce, Animals and the Nonhuman)
239 KiB  
Article
“It always Takes a Long Time/to Decipher Where You Are”: Uncanny Spaces and Troubled Times in Margaret Atwood’s Poetry
by Eleonora Rao
Humanities 2017, 6(3), 63; https://doi.org/10.3390/h6030063 - 18 Aug 2017
Cited by 9 | Viewed by 5935
Abstract
The focus is on Atwood’s most recent poetry collections; Morning in the Burned House (1995) and The Door (2007), in addition to the prose poems volume The Tent (2006). They have in common, albeit with a different emphasis, a preoccupation with mortality and [...] Read more.
The focus is on Atwood’s most recent poetry collections; Morning in the Burned House (1995) and The Door (2007), in addition to the prose poems volume The Tent (2006). They have in common, albeit with a different emphasis, a preoccupation with mortality and with the writing of poetry itself. They also share a special concern for space. This reading considers space and landscape to function as metonyms. Space here is far from being passive; instead it is constantly in the process of being constructed. The disorientation that the poetic personae experience in these texts follows a labyrinthine pattern where heterogeneity and multiplicity in the sense of contemporaneous plurality prevail. In this perspective, the identity of a place becomes open and provisional, including that of a place called home. Full article
780 KiB  
Creative
On the Slab, Our Architecture under Construction
by Ligia Nobre and Anderson Kazuo Nakano
Humanities 2017, 6(3), 62; https://doi.org/10.3390/h6030062 - 17 Aug 2017
Cited by 3 | Viewed by 3790
Abstract
The 1950s and 60s was marked by the developmentalism, industrialization, and modernization of peripheral capitalism of Brazil and by the demographic explosion and unprecedented urban expansion in the country. Throughout these decades, São Paulo became the political, cultural, and economic epicenter of Brazil, [...] Read more.
The 1950s and 60s was marked by the developmentalism, industrialization, and modernization of peripheral capitalism of Brazil and by the demographic explosion and unprecedented urban expansion in the country. Throughout these decades, São Paulo became the political, cultural, and economic epicenter of Brazil, Full article
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1608 KiB  
Creative
Uncovering Culture and Identity in Refugee Camps
by Ayham Dalal
Humanities 2017, 6(3), 61; https://doi.org/10.3390/h6030061 - 16 Aug 2017
Cited by 12 | Viewed by 5879
Abstract
Refugee camps, especially in their emergency phases, are places where everything seems to be similar, repetitive, and modular. This impression is not only due to the unified shelter unit that is usually distributed by UNHCR1 (traditionally a tent, and recently caravans, prefabs, and [...] Read more.
Refugee camps, especially in their emergency phases, are places where everything seems to be similar, repetitive, and modular. This impression is not only due to the unified shelter unit that is usually distributed by UNHCR1 (traditionally a tent, and recently caravans, prefabs, and developed T-Shelters), but is also due to the camps’ ordered layout and hierarchical plan (Figures 1–3).[...] Full article
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4405 KiB  
Creative
‘Space of Refuge’: Negotiating Space with Refugees Inside the Palestinian Camp
by Samar Maqusi
Humanities 2017, 6(3), 60; https://doi.org/10.3390/h6030060 - 16 Aug 2017
Cited by 11 | Viewed by 5388
Abstract
‘Space of Refuge’ is a spatial installation directly addressing issues of inhabitation within Palestinian refugee camps in different host countries. It does so by illustrating the various modes of spatial production and subsequent evolution of Palestinian refugee camps, with particular focus upon unofficial [...] Read more.
‘Space of Refuge’ is a spatial installation directly addressing issues of inhabitation within Palestinian refugee camps in different host countries. It does so by illustrating the various modes of spatial production and subsequent evolution of Palestinian refugee camps, with particular focus upon unofficial acts of “spatial violation” that have emerged because of the increasingly protracted nature of the refugee situation. Full article
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2630 KiB  
Creative
Collaborations on the Edge
by Katharina Rohde
Humanities 2017, 6(3), 59; https://doi.org/10.3390/h6030059 - 07 Aug 2017
Cited by 25 | Viewed by 3644
Abstract
Since 2005 I have been working with mobile communities in the cities of Berlin, Germany and Johannesburg, South Africa.[...] Full article
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228 KiB  
Article
The Bestial Feminine in Finnegans Wake
by Laura Lovejoy
Humanities 2017, 6(3), 58; https://doi.org/10.3390/h6030058 - 04 Aug 2017
Cited by 17 | Viewed by 5870
Abstract
Female characters frequently appear as animals in the unstable universe of James Joyce’s a Finnegans Wake. What Kimberly Devlin terms “the male tendency to reduce women to the level of the beast” is manifest in Finnegans Wake on a large scale. From [...] Read more.
Female characters frequently appear as animals in the unstable universe of James Joyce’s a Finnegans Wake. What Kimberly Devlin terms “the male tendency to reduce women to the level of the beast” is manifest in Finnegans Wake on a large scale. From the hen pecking at a dung heap which we suppose is a manifestation of matriarch Anna Livia Plurabelle, to the often lascivious pig imagery (reminiscent of Bloom’s experience with brothel-keeper Bella in the “Circe” episode of Ulysses) associated with juvenile seductress Issy, the lines between animal and human are frequently blurred when it comes to representing the feminine in the Wake. As scholars such as Devlin have highlighted, such constellations of images have their roots in blatantly misogynistic iconographies. Indeed, the reinscription of female characters into bestial roles in the Wake echoes a religious history of the dehumanisation of women. Yet, while this gendered representational tendency has been noted in Joycean and, more recently, wider modernist studies, its deployment and impact as a cultural and literary trope has not yet been interpreted according to the sociohistorical and cultural contexts which shaped the composition of Finnegans Wake. In particular, the culturally-specific sexual politics of Free State Ireland (1922–1937), against which Joyce arguably pushes throughout the entirety of the Wake, offer a suggestive lens through which to view the text’s interconnected representations of the feminine and the bestial. This article suggests that, in Finnegans Wake, the nonhuman is a mode through which Joyce explores the fraught sexual politics of early twentieth-century Ireland. Specifically, the bestial feminine becomes an avenue to inspect, expose, and satirise prevalent contemporary fears over female sexual licentiousness and national moral decline. Historicising the text’s grappling with themes of carnality and baseness, the article discusses the ways in which the woman-as-animal is deployed in Finnegans Wake as a grotesque symbol of an unbridled and threatening female sexuality—an extreme embodiment of 1920s and 1930s Ireland’s worst fears surrounding the perceived degeneration of Irish women’s modesty. Unearthing the Wake’s social contexts in order to interpret its sexual politics, this article ultimately asks whether the trope of the woman-as-animal stages a complete resistance against the conservatism of early twentieth-century Ireland’s sexual politics, or whether Joyce’s invocation of a historically misogynistic and patriarchal construction risks reinforcing the dehumanisation of women, moving the text’s sexual politics further away from the liberatory. Full article
(This article belongs to the Special Issue Joyce, Animals and the Nonhuman)
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Article
De Anima: Or, Ulysses and the Theological Turn in Modernist Studies
by David Ayers
Humanities 2017, 6(3), 57; https://doi.org/10.3390/h6030057 - 04 Aug 2017
Cited by 8 | Viewed by 4171
Abstract
Focusing on Joyce’s use of Aristotle’s De Anima, and on Aquinas’s response to Aristotle, this essay takes, as its starting point, the recourse to two areas of enquiry in recent work on modernism: animal studies and phenomenology. In this essay we examine the [...] Read more.
Focusing on Joyce’s use of Aristotle’s De Anima, and on Aquinas’s response to Aristotle, this essay takes, as its starting point, the recourse to two areas of enquiry in recent work on modernism: animal studies and phenomenology. In this essay we examine the intersection within Ulysses of the concept of the soul in Aristotle and Aquinas, show how this relates to questions of animality, and open the way to asking what implication the theological reflection on the soul at the centre of Ulysses might have for a process of uncovering theological contents in the concept of “life” in modernist studies more generally. Full article
(This article belongs to the Special Issue Joyce, Animals and the Nonhuman)
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Article
A Portrait of the Animal as a Young Artist: Animality, Instinct, and Cognition in Joyce’s Early Prose
by John S. Rickard
Humanities 2017, 6(3), 56; https://doi.org/10.3390/h6030056 - 03 Aug 2017
Cited by 323 | Viewed by 6574
Abstract
This essay situates James Joyce within the competing discourses of Catholic theology, evolutionary biology, and Nietzsche’s philosophy, with emphasis on their attitudes towards the body and the animal-human boundary. Joyce’s use of “instinct” in his early works (Dubliners, Stephen Hero, [...] Read more.
This essay situates James Joyce within the competing discourses of Catholic theology, evolutionary biology, and Nietzsche’s philosophy, with emphasis on their attitudes towards the body and the animal-human boundary. Joyce’s use of “instinct” in his early works (Dubliners, Stephen Hero, and A Portrait of the Artist as a Young Man) helps us understand his movement from a view of animals and the human body as frightening or paralyzing to a more open acceptance of the body and its impulses. This transition from portraying the body as an impediment in Dubliners to a source of knowledge or cognition in A Portrait of the Artist as a Young Man helps us better understand Joyce’s early prose and his embrace of both animal and human bodies in his later works. Full article
(This article belongs to the Special Issue Joyce, Animals and the Nonhuman)
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Essay
Not Its Own Meaning: A Hermeneutic of the World
by Bernardo Kastrup
Humanities 2017, 6(3), 55; https://doi.org/10.3390/h6030055 - 02 Aug 2017
Cited by 6 | Viewed by 9955
Abstract
The contemporary cultural mindset posits that the world has no intrinsic semantic value. The meaning we see in it is supposedly projected onto the world by ourselves. Underpinning this view is the mainstream physicalist ontology, according to which mind is an emergent property [...] Read more.
The contemporary cultural mindset posits that the world has no intrinsic semantic value. The meaning we see in it is supposedly projected onto the world by ourselves. Underpinning this view is the mainstream physicalist ontology, according to which mind is an emergent property or epiphenomenon of brains. As such, since the world beyond brains isn’t mental, it cannot a priori evoke anything beyond itself. But a consistent series of recent experimental results suggests strongly that the world may in fact be mental in nature, a hypothesis openly discussed in the field of foundations of physics. In this essay, these experimental results are reviewed and their hermeneutic implications discussed. If the world is mental, it points to something beyond its face-value appearances and is amenable to interpretation, just as ordinary dreams. In this case, the project of a Hermeneutic of Everything is metaphysically justifiable. Full article
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Creative
Quantum Notes on Classic Places
by Diego Segatto
Humanities 2017, 6(3), 54; https://doi.org/10.3390/h6030054 - 31 Jul 2017
Cited by 2 | Viewed by 3349
Abstract
I would like to sing about an unstable, yet constant force that stresses and pushes imagination. It makes cultural and social transformations a process to experience in person. [...] Full article
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230 KiB  
Article
Rage and Anxiety in the Split between Freud and Jung
by Christine Doran
Humanities 2017, 6(3), 53; https://doi.org/10.3390/h6030053 - 27 Jul 2017
Cited by 41 | Viewed by 13756
Abstract
This article focuses on the period of the historic rupture between Sigmund Freud and Carl Jung, approximately the period from 1909 to 1913. It examines the relevance of rage and anxiety in the process of escalating conflict culminating in a definitive separation. Their [...] Read more.
This article focuses on the period of the historic rupture between Sigmund Freud and Carl Jung, approximately the period from 1909 to 1913. It examines the relevance of rage and anxiety in the process of escalating conflict culminating in a definitive separation. Their estrangement led to a theoretical parting of the ways, signified by the divergence between psychoanalysis and analytical psychology. This study begins from the understanding that, for both Freud and Jung, private life experiences, personal relationships and conflicts, and their emotional responses were deeply intertwined with the processes of theorising and writing. The rift and final split were accompanied by large amounts of rage and anxiety on both sides, which continued to have emotional reverberations on the two famous psychologists for the rest of their lives. This paper will look at how the emotional pressures generated by the feud influenced the theoretical work on the emotional life they produced during this period: Freud’s Totem and Taboo (1913) and “The History of the Psycho-analytic Movement” (1914), and Jung’s Psychology of the Unconscious (1912). Full article
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Article
Ulysses and the Signature of Things
by Hunter Dukes
Humanities 2017, 6(3), 52; https://doi.org/10.3390/h6030052 - 24 Jul 2017
Cited by 3 | Viewed by 4895
Abstract
James Joyce’s depiction of autographic signatures resembles the “doctrine of signatures”—a pre-modern system of correspondence between medicinal plants and parts of the body. Certain aspects of this episteme reappear in the late nineteenth century. This recurrence is due, in large part, to developments [...] Read more.
James Joyce’s depiction of autographic signatures resembles the “doctrine of signatures”—a pre-modern system of correspondence between medicinal plants and parts of the body. Certain aspects of this episteme reappear in the late nineteenth century. This recurrence is due, in large part, to developments in the technology of writing that threaten what Friedrich Kittler calls the “surrogate sensuality of handwriting.” Reading the “Nausicaa” episode of Ulysses against fin-de-siècle ideas about graphology, I argue that signature offers a unique perspective on Joyce’s taxonomic representation, which questions the boundaries between a body of text and (non)human bodies. Full article
(This article belongs to the Special Issue Joyce, Animals and the Nonhuman)
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Article
Two Walks with Objects
by Phil Smith
Humanities 2017, 6(3), 51; https://doi.org/10.3390/h6030051 - 22 Jul 2017
Cited by 24 | Viewed by 4773
Abstract
‘Two Walks With Objects’ attempts a tainted auto-ethnographic review of the affects and actions arising from reviewing the images remaining from two walks with objects, the first in 2013 and the second in 2017. The article sets out, within the context of a [...] Read more.
‘Two Walks With Objects’ attempts a tainted auto-ethnographic review of the affects and actions arising from reviewing the images remaining from two walks with objects, the first in 2013 and the second in 2017. The article sets out, within the context of a growing discussion about the agency of unhuman and nonhuman things and a refinement of neo-vitalist and object-based ontology, to narrate affect within an archive against the effects of memory, triangulating these not with a third human source, but with the absence of the things themselves, which are present only as written descriptions and photographic representations. By framing the walks as everyday performances, the article seeks then to use a critique of documentation of performance as transforming performance into something else as an efficacious model, identifying the ‘voids’ of mythogeographical practice as that “something else”, as potential spaces where human actors can learn to live with the agency of nonhuman objects. Full article
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Article
“Tatters, Bloom’s Cat, and Other Animals in Ulysses
by Margot Norris
Humanities 2017, 6(3), 50; https://doi.org/10.3390/h6030050 - 20 Jul 2017
Cited by 25 | Viewed by 5773
Abstract
Given how few animals appear in the stories of Dubliners and in A Portrait of the Artist as a Young Man, we may be surprised to find a dog and a cat playing small roles in the third and fourth chapters of [...] Read more.
Given how few animals appear in the stories of Dubliners and in A Portrait of the Artist as a Young Man, we may be surprised to find a dog and a cat playing small roles in the third and fourth chapters of Ulysses. Their appearance in adjacent episodes is neither coincidental nor entirely casual, however, if one takes a careful look at their presentations. The animals’ circumstances are very different. Stephen Dedalus has been walking along the strand at Sandymount, when he spots a dog running along the sand, followed by its owners, a man and a woman whom he assumes to be cocklepickers. In the next chapter, Leopold Bloom is preparing breakfast for his wife when he hears his cat meowing and pours her some milk in a small bowl. It is particularly worth looking at the narration of these two scenarios because the different human perceptions and responses to animals they present help us analyze the challenges of resisting animal anthropomorphizing and its implications for the limitations and boundaries of preserving the status of animal “otherness” in a work of fiction. Put differently, the narrative strategies in “Proteus” and “Calypso” manage to maintain animal identity as that of “actors” rather than “characters,” while demonstrating what is required to maintain this status for them. I will discuss these two animals, dog and cat, in the order in which they appear in Ulysses, as well as a number of other animals appearing later in the work. Full article
(This article belongs to the Special Issue Joyce, Animals and the Nonhuman)
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Article
The Search for Dog in Cervantes
by Ivan Schneider
Humanities 2017, 6(3), 49; https://doi.org/10.3390/h6030049 - 14 Jul 2017
Cited by 38 | Viewed by 6333
Abstract
This paper reconsiders the missing galgo from the first line in Don Quixote with a set of interlocking claims: first, that Cervantes initially established the groundwork for including a talking dog in Don Quixote; second, through improvisation Cervantes created a better Don [...] Read more.
This paper reconsiders the missing galgo from the first line in Don Quixote with a set of interlocking claims: first, that Cervantes initially established the groundwork for including a talking dog in Don Quixote; second, through improvisation Cervantes created a better Don Quixote by transplanting the idea for a talking dog to the Coloquio; and third, that Cervantes made oblique references to the concept of dogs having human intelligence within the novel. Full article
(This article belongs to the Special Issue Animal Narratology)
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297 KiB  
Article
Code and Substrate: Reconceiving the Actual in Digital Art and Poetry
by Burt Kimmelman
Humanities 2017, 6(3), 48; https://doi.org/10.3390/h6030048 - 14 Jul 2017
Cited by 17 | Viewed by 4103
Abstract
The quality of digital poetry or art—not merely as contained within our aesthetic reaction to digitally expressive works but as well our intellectual grounding in them—suggests that the digital’s seemingly ephemeral character is an indication of its lack of an apparently material existence. [...] Read more.
The quality of digital poetry or art—not merely as contained within our aesthetic reaction to digitally expressive works but as well our intellectual grounding in them—suggests that the digital’s seemingly ephemeral character is an indication of its lack of an apparently material existence. While, aesthetically, the digital’s ephemerality lies in the very fact of the digitally artistic enterprise, the fact is that its material substrate is what makes the aesthetic pleasure we take in it possible. When we realize for ourselves the role played by this substrate, furthermore, a paradox looms up before us. The fact is that we both enjoy, and in some sense separately understand the artwork comprehensively and fully; we also allow ourselves to enter into an ongoing conversation about the nature of the physical world. This conversation is not insignificant for the world of art especially, inasmuch as art depends upon the actual materials of the world—even digital art—and, too, upon our physical engagement with the art. Digital poetry and art, whose dynamic demands the dissolution of the line that would otherwise distinguish one from the other, have brought the notion of embodiment to the fore of our considerations of them, and here is the charm, along with the paradoxical strength, of digital art and poetry: it is our physical participation in them that makes them fully come into being. Full article
(This article belongs to the Special Issue The Poetics of Computation)
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Article
Assembling the Assemblage: Developing Schizocartography in Support of an Urban Semiology
by Tina Richardson
Humanities 2017, 6(3), 47; https://doi.org/10.3390/h6030047 - 10 Jul 2017
Cited by 4 | Viewed by 5277
Abstract
Abstracts: This article looks at the formulation of a methodology that incorporates a walking-based practice and borrows from a variety of theories in order to create a flexible tool that is able to critique and express the multiplicities of experiences produced by moving [...] Read more.
Abstracts: This article looks at the formulation of a methodology that incorporates a walking-based practice and borrows from a variety of theories in order to create a flexible tool that is able to critique and express the multiplicities of experiences produced by moving about the built environment. Inherent in postmodernism is the availability of a multitude of objects (or texts) available for reuse, reinterpretation, and appropriation under the umbrella of bricolage. The author discusses her development of schizocartography (the conflation of a phrase belonging to Félix Guattari) and how she has incorporated elements from Situationist psychogeography, Marxist geography, and poststructural theory and placed them alongside theories that examine subjectivity. This toolbox enables multiple possibilities for interpretation which reflect the actual heterogeneity of place and also mirror the complexities that are integral in challenging the totalizing perspective of space that capitalism encourages. Full article
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Article
The Eyes of That Cow: Eating Animals and Theorizing Vegetarianism in James Joyce’s Ulysses
by Peter Adkins
Humanities 2017, 6(3), 46; https://doi.org/10.3390/h6030046 - 04 Jul 2017
Cited by 36 | Viewed by 8113
Abstract
At the end of the nineteenth century more than half of Ireland’s entire land surface was being used for the raising of livestock, most of which was transported through Dublin on its way to England to be slaughtered and eaten. The same period [...] Read more.
At the end of the nineteenth century more than half of Ireland’s entire land surface was being used for the raising of livestock, most of which was transported through Dublin on its way to England to be slaughtered and eaten. The same period saw the development of a new social phenomena of vegetarianism amongst Ireland’s intellectuals and literary figures. This article focuses on James Joyce’s portrayal of livestock, meat and vegetarianism in Ulysses, examining how the novel engages with the politics of cattle raising, the emergence of industrialized animal slaughter and the ethics of meat eating at the turn of the twentieth century. Attending to the ways in which Joyce both historicizes and theorizes the lives of animals and the production of meat, this article places Ulysses in dialogue with recent writings on animal ethics by Jacques Derrida and J. M. Coetzee and the emergence of what is being termed “vegan studies” to suggest a vegetarian reading of Joyce’s novel. Full article
(This article belongs to the Special Issue Joyce, Animals and the Nonhuman)
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Article
Joyce’s “Force” and His Tuskers as Modern Animals
by Yoshimi Minamitani
Humanities 2017, 6(3), 45; https://doi.org/10.3390/h6030045 - 03 Jul 2017
Cited by 8 | Viewed by 4434
Abstract
Focusing on those animals that have been overlooked in reading Joyce’s work opens up new perspectives for understanding his writing. One of his earliest essays, “Force” (1898), written at the age of sixteen, shows his so far unexplored concern about the domestication of [...] Read more.
Focusing on those animals that have been overlooked in reading Joyce’s work opens up new perspectives for understanding his writing. One of his earliest essays, “Force” (1898), written at the age of sixteen, shows his so far unexplored concern about the domestication of animals and extinction of species, and develops a theory of subjugation. The essay provides a useful mainstay for considering the “tuskers,” (the mammoth and mastodon, the elephants, their tusks, and ivory) in the context of the cultural discourses of modern society. The game-changer discovery of the notion of extinction; representation of mammoths and mastodons as fearful creatures; the novelty of elephants exposed to curious gaze on exhibition; the sculpture of Elvery’s Elephant House in Sackville street; a circus elephant and “terrible queer creature” episode in Stephen Hero; the forced labor perpetrated in the Congo Free State to exploit rubber and the ivory of wild elephants. These seemingly disparate topics deeply wedded to modernity will be interrelated with each other in “Force,” shaping a constellation of “Joyce’s tuskers.” Full article
(This article belongs to the Special Issue Joyce, Animals and the Nonhuman)
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