Journal Description
Humanities
Humanities
is an international, peer-reviewed, open access journal on the meaning of cultural expression and perceptions as seen through different interpretative lenses. Humanities is published monthly online by MDPI.
- Open Access— free for readers, with article processing charges (APC) paid by authors or their institutions.
- High Visibility: indexed within Scopus, ESCI (Web of Science), ERIH Plus, and other databases.
- Rapid Publication: manuscripts are peer-reviewed and a first decision is provided to authors approximately 33.4 days after submission; acceptance to publication is undertaken in 4.6 days (median values for papers published in this journal in the second half of 2025).
- Recognition of Reviewers: reviewers who provide timely, thorough peer-review reports receive vouchers entitling them to a discount on the APC of their next publication in any MDPI journal, in appreciation of the work done.
- Journal Cluster of Human Thought and Cultural Expression: Culture, Histories, Humanities, Languages, Literature and Religions.
Impact Factor:
0.3 (2024)
Latest Articles
A Study of Male Characters in the Assamese Novel Through the Lens of Eco Masculinity
Humanities 2026, 15(5), 67; https://doi.org/10.3390/h15050067 (registering DOI) - 10 May 2026
Abstract
This paper examines male characters in Nilakshi Chaliha Gogoi’s Assamese novel Oiya Mor Dibru-Saikhowa (Oh, My Dibru-Saikhowa) through the lens of Eco Masculinity, drawing primarily on Hultman and Pulé’s tripartite typology of industrial, eco-modern, and ecological masculinities. The study reads the novel’s two
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This paper examines male characters in Nilakshi Chaliha Gogoi’s Assamese novel Oiya Mor Dibru-Saikhowa (Oh, My Dibru-Saikhowa) through the lens of Eco Masculinity, drawing primarily on Hultman and Pulé’s tripartite typology of industrial, eco-modern, and ecological masculinities. The study reads the novel’s two principal male characters—Bakul Bora and Seuj—as contrasting masculine trajectories shaped, respectively, by socio-economic deprivation, displacement, patriarchal conditioning, and legal criminalization on the one hand, and by maternal ecological ethics, generational mentorship, and affective formation on the other. The analysis proceeds through three connected registers. First, it attends to the novel’s narrative form, arguing that its principal focalizing consciousness is Dr. Irina Baruah, a physician through whose perception the male characters are largely presented. Second, it develops the political ecology of the Dibru-Saikhowa region—its colonial and postcolonial conservation history, the institutional gap between the Wildlife (Protection) Act 1972 and the Forest Rights Act 2006, and the slow violence visited on the Mising villagers of Laika and Dadhiya. Third, it engages intersectional critiques of eco-masculinity and confronts the structural tension of applying a male-centered framework to a female-focalized novel. The paper argues that Eco Masculinity, applied with due attention to narrative form, historical specificity, and eco-feminine agency, offers a productive tool for South Asian ecocritical scholarship, and it suggests two modifications to the framework that follow from this application.
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(This article belongs to the Topic Human–Environmental Relations: Ecotourism and Sustainability)
Open AccessArticle
The Exchanges of The Good Story
by
Katherine Hallemeier
Humanities 2026, 15(5), 66; https://doi.org/10.3390/h15050066 - 7 May 2026
Abstract
This contribution to the Special Issue on epistolary form in the work of J. M. Coetzee examines the form of the “exchanges” in The Good Story (2015). These exchanges extend Coetzee’s longstanding interest in the methods and limitations of psychoanalysis. They stand as
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This contribution to the Special Issue on epistolary form in the work of J. M. Coetzee examines the form of the “exchanges” in The Good Story (2015). These exchanges extend Coetzee’s longstanding interest in the methods and limitations of psychoanalysis. They stand as an iteration of self-reflexive meditation on his writing’s imbrication in these methods and limitations. At the same time, the exchanges strive to enact methods—the sympathetic, the erotic, the intimated—that Coetzee’s writing associates with the literary and would bring into productive dialogue with psychoanalytic practices.
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(This article belongs to the Special Issue Uses and Forms of Epistolarity in J.M. Coetzee’s Work)
Open AccessArticle
The Call of the Ocean: Blue Humanities and Ecological Ethics in Chingiz Aitmatov’s The Mark of Cassandra
by
Gülsüm Tuğçe Çetin
Humanities 2026, 15(5), 65; https://doi.org/10.3390/h15050065 - 24 Apr 2026
Abstract
This article examines The Mark of Cassandra by Chingiz Aitmatov through the emerging framework of Blue Humanities. While most prior studies have approached Aitmatov’s ecological concerns from a land-based ecocritical perspective, this article shifts the focus to his engagement with oceanic themes and
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This article examines The Mark of Cassandra by Chingiz Aitmatov through the emerging framework of Blue Humanities. While most prior studies have approached Aitmatov’s ecological concerns from a land-based ecocritical perspective, this article shifts the focus to his engagement with oceanic themes and marine environments. By combining literary interpretation with ecological philosophy, the study suggests that The Mark of Cassandra goes beyond the limits of traditional environmental fiction. It presents the ocean not only as a setting but as a source of knowledge and ethical reflection. In this way, Aitmatov’s work seems to anticipate current global discussions on climate change, biodiversity loss, and environmental justice. The novel encourages readers to reconsider the human-centered worldview and adopt a more ecocentric approach. Through its marine symbolism and critical stance on human exploitation of nature, the text offers valuable insights into ecological ethics that cross both national and species boundaries. Overall, this article argues that The Mark of Cassandra is an important literary contribution that challenges the usual borders of ecocriticism and calls for a more integrated and holistic understanding of environmental issues.
Full article
(This article belongs to the Section Literature in the Humanities)
Open AccessArticle
Moralized Parental Violence and the Ethics of Reconciliation in Sinophone Family Cinema
by
Haoyuan Gao and Sunghoon Cho
Humanities 2026, 15(5), 64; https://doi.org/10.3390/h15050064 - 23 Apr 2026
Abstract
This article examines how the discourse of “for your own good” functions as a moral framework through which parental violence is reinterpreted as care in Sinophone family cinema. Focusing on family-centered films as a key site of representation, we analyze how reconciliation is
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This article examines how the discourse of “for your own good” functions as a moral framework through which parental violence is reinterpreted as care in Sinophone family cinema. Focusing on family-centered films as a key site of representation, we analyze how reconciliation is constructed not merely as a narrative resolution but as an ethical expectation. Drawing on theoretical perspectives from Michel Foucault and Louis Althusser, we develop the concept of “moralized parental violence” to describe how authority, discipline, and emotional control are legitimized through moral discourse. Through a typological analysis, identify three recurring models of reconciliation: deathbed reconciliation, retrospective understanding, and silent reconciliation. The study further explores works that resist reconciliation, arguing that such narratives suspend ethical closure and challenge normative expectations of forgiveness. By examining narrative structure, visual emphasis, and affective strategies, we demonstrate how cultural texts guide audience responses and shape moral interpretation. Rather than rejecting family values, this study reconsiders how ethics, power, and care are intertwined in cultural narratives and how the refusal of reconciliation opens a critical space for rethinking the limits of moral obligation.
Full article
(This article belongs to the Section Film, Television, and Media Studies in the Humanities)
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The Dark-Side “Apprentice-Wives” of Emperor Palpatine: Ruling the Galaxy Like Henry VIII in the Star Wars Universe
by
Rachel L. Carazo
Humanities 2026, 15(5), 63; https://doi.org/10.3390/h15050063 - 22 Apr 2026
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The world of Star Wars may seem far removed from Renaissance England, but through an examination of the regnal aspects of Henry VIII and (Emperor) Sheev Palpatine (Darth Sidious), it is evident that their ruling styles, concerns, and personal characteristics are quite similar.
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The world of Star Wars may seem far removed from Renaissance England, but through an examination of the regnal aspects of Henry VIII and (Emperor) Sheev Palpatine (Darth Sidious), it is evident that their ruling styles, concerns, and personal characteristics are quite similar. Specifically, they share (1) a connection to the arts through visual, architectural, and political themes, making them ‘Renaissance men’; (2) a fixation with male (Force-sensitive) bloodlines, whether through biological children or Sith Apprentices; and (3) a legacy of having their most powerful and ‘best’ heirs being women—Elizabeth I (r. 1558–1603) and Rey (Palpatine/Skywalker). Hence, these case studies, which rely on the trait approach of leadership, demonstrate the utility of comparing leaders from different times, cultures, and realities in an effort to understand not only good and bad leadership elements, but also the nature of leaders’ downfalls.
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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
Abstract
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
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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 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.
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(This article belongs to the Section Cultural Studies & Critical Theory in the Humanities)
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
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
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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.
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(This article belongs to the Special Issue Celibacy in Irish Women’s Writing)
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
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
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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.”
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(This article belongs to the Special Issue Comparative Jewish Literatures)
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
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
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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.
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(This article belongs to the Special Issue The Power of Superhero Literature: Applying the Lessons of Superheroes to Real Life)
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
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
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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.
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(This article belongs to the Special Issue Celibacy in Irish Women’s Writing)
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
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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.
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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.
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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
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
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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.
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(This article belongs to the Special Issue The Power of Superhero Literature: Applying the Lessons of Superheroes to Real Life)
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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
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
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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.
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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
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
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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.
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(This article belongs to the Section Literature in the Humanities)
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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
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
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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.
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(This article belongs to the Section History in the Humanities)
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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
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
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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.
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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
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
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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.
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(This article belongs to the Special Issue Celibacy in Irish Women’s Writing)
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The Dual Interpretations of the Millennial Kingdom in Early Modern Christian Apocalypticism
by
Yixiao Sun
Humanities 2026, 15(3), 50; https://doi.org/10.3390/h15030050 - 21 Mar 2026
Abstract
Millenarianism originated from apocalyptic literature in Judaism, emphasizing that the “Messiah” would establish a “millennial kingdom” on earth ruled by the Jews. This ideology became a theoretical weapon for Jews to resist imperial tyranny during classical antiquity and was later embraced by early
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Millenarianism originated from apocalyptic literature in Judaism, emphasizing that the “Messiah” would establish a “millennial kingdom” on earth ruled by the Jews. This ideology became a theoretical weapon for Jews to resist imperial tyranny during classical antiquity and was later embraced by early Christian theology. By the early modern period, with the intense unfolding of the Reformation and social upheavals, the theory of the “millennial kingdom” re-emerged as a mainstream topic in Christian theology. Regarding the nature of the “millennial kingdom” and how it would be realized, early modern Christian factions split into two interpretive camps. One emphasized the spiritual attributes of the “millennial kingdom”, while the other stressed its material aspects, advocating the violent establishment of a political entity on earth ruled by Christians. These two distinct interpretive models ultimately converged on the issue of colonial expansion, transforming millenarianism into a theoretical tool to justify overseas expansion.
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Perspicuity, Acuity, and Illuminating Vision: Medieval and Early Modern Optics, Religion, and Literary Reflections of the Gaze in Hrotsvit of Gandersheim, Walter Map, Hartmann von Aue, the Melusine Romances (Jean d’Arras), and Froben Christoph von Zimmern
by
Albrecht Classen
Humanities 2026, 15(3), 49; https://doi.org/10.3390/h15030049 - 20 Mar 2026
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Medieval literature often seems to be a remote, irrelevant, incomprehensible world of narrative texts lost in heroic, religious, or courtly themes, limited to stories about King Arthur, courtly lovers, military heroes, and religious martyrs, saints, and prophets. In reality, as any expert can
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Medieval literature often seems to be a remote, irrelevant, incomprehensible world of narrative texts lost in heroic, religious, or courtly themes, limited to stories about King Arthur, courtly lovers, military heroes, and religious martyrs, saints, and prophets. In reality, as any expert can easily confirm, when we turn our full attention to pre-modern literature from across Europe (and also other parts of the world), we can often recognize the true extent to which poets utilized their narratives for spiritual, philosophical, religious, scientific, and medical explorations that have much to tell us today and prove to be deeply meaningful in a timeless manner. One key aspect, which was shared among virtually all medieval artists, poets, and theologians, consisted of the unique experience by an individual who is entitled through a physical opening to see into the depth or the height of all existence and can thus discover a wholly different world. Through this motif of the gaze, an entire epiphanic realization can set in, which thus quickly transforms the purely entertaining narrative medium into a narrative catalyst of profound spiritual experiences, helping the individual to gain inspiration from the Godhead (e.g., mysticism). Indeed, numerous times, medieval poets employed the motif of the visionary gaze, developed in very concrete terms, to trace and explain the process of perspicuity and accompanying acuity which ultimately leads to new intellectual, emotional, and religious understandings and experiences. While many intellectuals already embraced this notion of a visionary concept of spiritual comprehension, it might come as a surprise that secular and religious poets also operated quite intentionally with the concept of a hole in the wall or some other opening as a springboard for intellectual and spiritual experiences, directly drawing from the concepts of the optical sciences as understood at that time. Oddly but highly significantly, Christian and pagan notions tend to intersect in those narrative moments, particularly in late medieval literature, merging the visionary experience with the monstrous within human society, associating the gaze with the erotic and religious dimension.
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Open AccessArticle
The Transformation of Islamic Discourse in Turkish Novels: Social Change, Identity, and Narrative Aesthetics
by
Nesrin Mengi
Humanities 2026, 15(3), 48; https://doi.org/10.3390/h15030048 - 20 Mar 2026
Abstract
Through the process of modernization, Turkish literature transcends aesthetics to reflect sociological and cultural changes. The tensions between the individual and society, tradition and modernity, and religion that emerged with Westernization are particularly reflected in the novel. Religious discourse takes different forms at
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Through the process of modernization, Turkish literature transcends aesthetics to reflect sociological and cultural changes. The tensions between the individual and society, tradition and modernity, and religion that emerged with Westernization are particularly reflected in the novel. Religious discourse takes different forms at each historical threshold during the modernization process. During the Tanzimat, Servet-i Fünûn, Milli Edebiyat and Socialist Realist periods, it served as a defensive or critical reference point in the face of debates on modernization and Westernization. With the secular policies of the Republic, its public function transformed, evolving into an arena for cultural and moral debate, and it increased its visibility within the multiparty political structure after 1950. From the 1980s onwards, Islamic discourse became an artistic and ideological force in both the social and literary spheres. This article examines the stages of Islamic discourse in Turkish novels within a historical framework, arguing that religious representations are not merely elements reflecting social change, but also play an active role in the reconstruction of identity formation and narrative aesthetics. The study analyzes the functions of religious elements using a text-centered approach. The findings show that religion is not merely a theme in literary texts, but a living element that transforms alongside society, influences identity formation, and shapes narrative aesthetics.
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(This article belongs to the Section Literature in the Humanities)
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