Humanities — Open Access Journal

This essay explains the modernist montage rhetoric of Nordahl Grieg’s 1935 drama Vår ære og vår makt in the context of the playwright’s interest in Soviet theater and his Communist sympathies. After considering the historical background for the play’s depiction of war profiteers in Bergen, Norway, during the First World War, the article analyzes Grieg’s use of a montage rhetoric consisting of grotesque juxtapositions and abrupt scenic shifts. Attention is also given to the play’s use of incongruous musical styles and its revolutionary political message. In the second part, the article discusses Grieg’s writings on Soviet theater from the mid-1930s. Grieg embraced innovative aspects of Soviet theater at a time when the greatest period of experimentation in post-revolutionary theater was already ending, and Socialist Realism was being imposed. The article briefly discusses Grieg’s controversial pro-Stalinist, anti-fascist position, before concluding that Vår ære og vår makt represents an important instance of Norwegian appropriation of international modernist and avant-garde theater. Full article

This article focuses on the Palestinian Bedouin village of Susiya in the West Bank of the Occupied Palestinian Territories and the multi-agency efforts to save the village after the Israeli Civil Administration issued a full demolition order to all existing structures in 2012. By analysing a range of creative visual responses to the demolition order, including social media campaigns and video appeals, the paper examines the problematic nature over who and how to produce the ‘right image’ of the village and its struggle. Based upon fieldwork and interviews undertaken between 2013–2014 with activists and community workers, I identify how in an effort to overcome the separation between audience and distant spectator, a number of Non-Governmental Organisations (NGOs) and Human Rights Organisations (HROs), acting on behalf of the village, ultimately weakened rather than strengthened the representation of the villagers. Full article

In 1955, the Ljubljana Biennial of Graphic Arts was founded. It was the first curatorial initiative that aimed to link graphic artists working around the world and with those divided by the Cold War. The Ljubljana Biennial became a major success and its model quickly spread worldwide, augmenting the international circulation of prints and exchanges of artistic concepts. Over the next twenty years similar exhibitions were established in Krakow, Tallinn, San Juan, Santiago de Chile, Cali, Tokyo, Cairo, Fredrikstad, Frechen, Sofia and Bradford. The Ljubljana Biennial of Graphic Arts offered an opportunity for artists from Yugoslavia, Eastern Europe and Latin America, such as Andrzej Lachowicz, Mauricio Leib Lasansky, Adolfo Quinteros and Aleš Veselý, to exhibit their works alongside the protagonists of the western contemporary graphic art circuit such as Robert Rauschenberg, Antonio Segui, Yozo Hamaguchi, Max Bill and Victor Vasarely. The network of exhibitions that followed the example set by Ljubljana Biennial of Graphic Arts became a window into the world not only for printmakers, but also for a number of artists who were affected by Cold War cultural exclusion. The network of dedicated international print exhibitions created favourable conditions for an emerging third space, which became a platform for communication between the cultures divided by the Iron Curtain. This article focuses on the curatorial assumptions that brought the Biennial of Graphic Arts in Ljubljana to life and questions its position as a cultural cornerstone for the Non-Aligned geopolitical order. Full article

This article focusses the reception of William Faulkner in Sweden from the first introduction in 1932 until the Nobel Prize announcement in 1950. Through reviews, introductory articles, book chapters, forewords, and translations, the critical evaluation of Faulkner’s particular brand of modernism is traced and analysed. The analysis takes theoretical support from Hans Robert Jauss’ notion of ‘horizon of expectations’, Gérard Genette’s concept of ‘paratext’, and E.D. Hirsh’s distinction between ‘meaning’ and ‘significance’. To pinpoint the biographical and psychologizing tendency in Swedish criticism, Roland Barthes’s notion of ‘biographeme’ is introduced. The analysis furthermore shows that the critical discussion of Faulkner’s modernism could be ordered along an axis where the basic parameters are form and content, aesthetics and ideology, narrator and author, and writer and reader. The problematics adhering to these fundamental aspects are more or less relevant for the modernist novel in general. Thus, it could be argued that the reception of Faulkner in Sweden and Swedish Faulkner criticism epitomize and highlight the fundamental features pertaining to the notion of ‘modernism’, both with regard to its formal and content-based characteristics. Full article

Nostalgia for steam trains in the late twentieth and twenty-first centuries offers a further example of the varying responses to railways evident ever since their first development in the nineteenth century. Several of these responses contributed to, and illustrate, the changing roles of temporality, memory and nostalgia in the literature of the modern period. In particular, though modernist literature is often critical of the contribution railways and their timetabling made to the mechanisation of the modern age, the writers concerned also develop affirmatively the new possibilities of momentary, memorable vision which rapid travel offered to the imagination. The development of this kind of vision in modernist writing allows certain forms of intense memory to be recognized as historically specific, though also, as always, shaped by nostalgia’s idiosyncratic, personal aspects. Full article

This paper presents the values, knowledge and beliefs of the environment that are inscribed in the Oromo folksongs with particular reference to Eastern and Western Hararghe zones of Oromia regional state. The paper discusses the various contributions of the Oromo folksongs in conserving the environment. The paper is based on the qualitative data produced through face-to-face interviews, non-participant observations and document analysis of both published and unpublished sources. The data used in this paper were collected from 24 individuals of the community leaders, elders and sheekaas by using purposive and snowball sampling techniques. The analysis of the paper is employed in functional, contextual and ecocritical theoretical models. In order to arrive at the various ideas of folksongs connected to the environmental conservation, some selected folksongs were carefully designated. The paper attempts to address the contexts in which the folksongs reflect the viewpoints of environment. It also tries to explore the role of Oromo folksongs and their implications in the efforts of wide-reaching environmental views. The position of this paper is that indigenous knowledge (Oromo folksongs) is an effective vehicle in supplementing the existing efforts of conserving the environment through imagery, metaphoric, and symbolic description. Based on the analysis, this paper addresses the association that the Oromo people have strong reflections of environmental conservation through its folksongs. On the basis of the contextual analysis, we classified the folksongs that have environmental implication into four sub-divisions: (1) for utilitarian reason, (2) for visualization, (3) for aesthetic values and (4) for morality purpose. Full article

It is time that universities reexamine what is meant by globalization. Contemporary scholars in the humanities, such as Peter Critchley, Noam Chomsky, Lewis Mumford, Elinor Ostrom, Charles Eisenstein, David Orr, Vandana Shiva, Naomi Klein, Lynn Margulis, Mustafa Tolba, Martha Nussbaum, Henry Giroux, Carolyn Merchant, Paulo Freire, Fritjof Capra, and Pier Luigi Luisi have aptly redefined the concept of “world” as a biological and cultural ecosystem. This paper seeks ways to integrate the theory and practice of eco-citizenship into various cross-disciplinary aspects of higher education, with a focus on curricular adjustments steered by World Languages and Cultures programs. It vests universities with a mission to engage themselves both as places of resistance against the neoliberal privatization of the commons and as the interactive, practical, analytical, and creative grounds needed for a healthy rebuilding of our global community. Through an assertive commitment in favour of eco-citizenship, universities will help clarify and resolve the strong conflict we are witnessing today between neoliberal orientations and an ecological exigency clearly delineated by scientific and humanistic scholarship. Full article

The interpretation of early Buddha images with a crown has long been a source of debate. Many scholars have concluded that the iconography of the crown is intended to denote Śākyamuni as a cakravartin or universal Buddha. A few have suggested it represents a sambhogakāya Buddha in Mahāyāna Buddhism. This art historical and Buddhological study examines the visual record of early crowned Buddhas along the Silk Road, focusing on the iconographic signifiers of the crown, silk items, and ornaments, and interprets them within a broader framework of Buddhist theoretical principals and practice. Not only is this a visual analysis of iconography, it also considers contemporary Buddhist literary evidence that shows the development of the iconography and ideology of the crowned Buddha. As a result of this examination, I propose that the recurring iconographic evidence and the textual evidence underscore the intention to depict a form of sambhogakāya Buddha as an early esoteric meditational construct. Moreover, many Buddhas perform one of the two mudrās that are particular to the esoteric form of Vairocana Buddha. Therefore, the iconography also signifies the ideology of the archetypal Ādi Buddha as an esoteric conception. Full article

In 167/6 BCE, the Roman senate granted a request from Athens to control the island of Delos. Subsequently, the Delians inhabiting the island were mandated to leave and an Athenian community was installed. Polybius, who records these events, tells us that the Delians left and resettled in Achaea in the Peloponnese. Scholars have tended to focus on Rome’s motivations for siding with the Athenians rather than on what happened to the Delians. Furthermore, translations have tended to use the broad terminology of ‘migration’ to describe the Delians’ movement. Comparatively, this contribution suggests that modern categories connected to ‘displacement’ can help us recover aspects of the Delians’ experience. Particularly, a shift to the vocabulary of ‘displacement’ highlights the creative agency of the Delians in holding the Athenians accountable for their expulsion and in seeking recognition from Rome of their integration into the Achaean state. The application of these modern categories necessitates reflection on differences in the political, institutional landscapes that have shaped the experience of displacement in the ancient Hellenistic and modern contexts, as well as on variations in experience amongst the Delians. Ultimately, recognizing what these individuals experienced within the evolving third-party arbitration system of the ancient world leads us to think about the indirect violence of expanding political institutions in ‘globalising’ worlds, both ancient and modern. Full article

This essay proposes a narrative of the Nordic countries’ relationship to modernism and other major literary trends of the late 19th and 20th centuries, that situates them in conjunction with the rest of Europe. “Masterpieces of Scandinavian Literature: the 20th Century” is a course that has been taught to American college students without expertise in literature or Scandinavia for three decades. This article describes the content and methodologies of the course and how Nordic modernisms are explained to this particular audience of beginners. Simple definitions of modernism and other related literary movements are provided. By focusing on this unified literary historical narrative and highlighting the pioneers of Scandinavian literature, the Nordic countries are presented as solid participants in European literary and cultural history. Further, the social realism of the Modern Breakthrough emerges as one of the Nordic countries distinct contributions to world literature. Full article

While some war poets amplify the concept of anonymity for enemy soldiers, projecting an “us vs. them” mentality, other defining voices of war counter this militaristic impulse to dehumanize the enemy. This pivot toward describing the World Wars more like humanitarian crises than an epic of good and evil is most notable in poems that chronicle both real and imagined close-range encounters between combatants. The poem “Strange Meeting” by British First World War soldier Wilfred Owen uses the vision of two enemy soldiers meeting in hell to reinforce his famous notion that war is something to be pitied. As a result of technological advancements in the Second World War and the increasing distance of combat, the poems “Vergissmeinnicht” and “How to Kill” by British Second World War soldier Keith Douglas wrestle with dehumanizing the enemy and acknowledging their humanity. “Protocols” by American Second World War soldier Randall Jarrell is an imagined view of civilian victims, and is a reckoning with the horrors human beings are capable of committing. Full article

This paper discusses artistic documentary photography from the German Democratic Republic (GDR) from the mid-1970s until the fall of the Berlin Wall, and suggests that it functioned as a substitute public–Ersatzöffentlichkeit–in society. This concept of a substitute public sphere sometimes termed a counter-public sphere, relates to GDR literature that, in retrospect, has been allocated this role. On the whole, in critical discourse certain texts have been recognised as being distinct from GDR propaganda which sought to deliver alternative readings in their coded texts. I propose that photography, despite having had a different status to literature in the GDR, adopted similar traits and also functioned as part of a substitute public sphere. These photographers aimed to expose the existing gap between the propagandised and actual life under socialism. They embedded a moral and critical position in their photographs to comment on society and to incite debate. However, it was necessary for these debates to occur in the private sphere, so that artists and their audience would avoid state persecution. In this paper, I review Harald Hauswald’s series Everyday Life (1976–1990) to demonstrate how photographs enabled substitute discourses in visual ways. Hauswald is a representative of artistic documentary photography and although he was never published in the official GDR media, he was the first East German photographer to publish in renowned West German and European media outlets, such as GEO magazine and ZEITmagazin, before the reunification. In 1990, he founded the ‘Ostkreuz–Agency of Photographers’ with six other East German documentary photographers. Full article

This paper addresses the paradoxes and possibilities for academic feminism in the Third Millennium drawing on feminist linguistics. It targets the role of language in the construction of social gender, focusing on data from Greek, and shows that gendering discourse can effect cultural change. It is suggested that academic feminists can be agents of cultural change when they promote feminist language reform in the service of challenging the dominant gender order. Full article

This essay examines Byzantine military manuals created between the sixth to the tenth centuries for what they can reveal about Byzantine imperial attitudes toward the landscapes of war and those who inhabit them. Of foremost concern in these sources is the maintenance of ‘security’ (Greek: asphaleia) by commanders with the necessary quality of ‘experience’ (Greek: peira). Experience meant knowing how to best exploit the land, including the villages under Byzantine authority, in the prosecution of war. Exploitation in the name of security involved destroying villages, using villages and their inhabitants in ambushes, poisoning and seizing crops, evacuating villages, and using villages for the billeting of, at times undisciplined, soldiers. Villages were thus central to a Byzantine military strategy that is identified here as the ‘village war,’ a strategy that is analogous to security strategies evident in more recent conflicts. Through the juxtaposition of premodern and modern modalities of war, this essay intends to be a pointed reminder that the village war has deep roots in imperialist thought, and that the consequences of the village war profoundly reshape the lives of those caught up in its midst, particularly the peasantry. Full article

In this autoethnographic essay, the author argues for the use of poetic inquiry as a feminist methodology by showing her use of poetry as research method during the past 13 years. Through examples of her poetic inquiry work, the author details how poetry as research offers Women’s, Gender, and Sexuality Studies scholars a means of doing, showing, and teaching embodiment and reflexivity, a way to refuse the mind-body dialectic, a form of feminist ethnography, and a catalyst for social agitation and change. The author uses examples of her ethnographic poetry that critique middle-class White motherhood, address the problems of White feminism, and reflects the nuances of identity negotiation in research and personal life to show the breadth of topics and approaches of poetic inquiry as feminist research practice and feminist pedagogy. Full article

This paper explores the intersections between feminism and communication in an Inside-Out Prison Exchange Program course that is cross-listed with Social Justice and Women’s and Gender Studies. The paper focuses on the alignment of the Inside-Out curriculum with feminist pedagogical principles and explores, through the structure and content of the course, the ways in which these feminist principles interconnect with communication concepts. Full article

Song Yuan Huaya (the Huaya of the Song and Yuan Dynasties) is a type of seal featuring figurative patterns and sometimes decorated with ciphered or ethnic characters. Their origins are the Song and Yuan Dynasties, although their influence extends to the Ming (1368–1644 CE) and Qing (1644–1912 CE) Dynasties. Although it is based on the Chinese Han seal tradition, Song Yuan Huaya exhibits various elements from the influence of the Silk Road. This is thought to be the first time in Han seal history that the Steppe culture can be seen so abundantly on private seals. This paper takes an interdisciplinary approach to analyse, probably for the first time in the field, some cases of Song Yuan Huaya, in which a dialogue between the Han seal tradition and Silk Road culture occurs. The findings will hopefully advance the understanding of the complicated nature of the art history, society, peoples, and ethnic relationships in question, and will serve as the starting point for further studies of intercultural communication during specific historical periods. Full article

The rapid extension of what has become known as the Digital Humanities has resulted in an array of online resources for researchers within the subdiscipline of Victorian Studies. But the increasingly acquisitive nature of these digital projects poses the question as to what happens once all the information and material we have related to the Victorians has been archived? This paper is an attempt to anticipate this question with specific reference to future digital resources for the study of ‘Victorian murder culture’, and in particular, the essentially textual nature of the nineteenth-century experience of crime. It will argue that there is potential for new forms of digital-humanities archive that offer a more participatory user experience, one that nurtures a cognitively empathic understanding of the complex intertextuality of Victorian crime culture. Full article

Joanna Bourke’s account of the ways that changing ideas of rape reflect the gendered norms of the times, and Eric Reitan’s proposal that rape ought to remain a contested concept amenable to evolving principles of ethical sexual relationships, speak to the ways that social, cultural, and political contexts influence our understanding of sexual violence. Though the criteria that are used to define rape change, one thing remains constant: the raped person is shamed. As she is shamed, she is degraded. This paper argues that until we understand the role that shame plays in enabling sexual violence by humiliating, silencing, and stigmatizing its victims, changes in our depictions of rape will neither disable the personal devastation of being raped nor dismantle the social practices and political institutions that rely on rape to maintain misogynous inequalities. Following the Introduction (Section 1) it is divided into three parts. Section 2, The Shame of Being Human, discusses the psychological and phenomenological accounts of shame. It alerts us to the ways that shame defines us insofar as it reveals the truth of human intersubjectivity and mutual interdependency. Section 3, Debilitating Shame, describes the ways that shame has been exploited to enable and enforce sexed and gendered inequalities. Section 4, Shame: Demanding Justice, examines the ways that shame, in its role as the protector of the self, undermines the effects of debilitating shame and fosters a politics of sexual integrity by affirming the dignity of the interdependencies that tie us to each other. Full article