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 34.6 days after submission; acceptance to publication is undertaken in 4.6 days (median values for papers published in this journal in the first half of 2026).
- Recognition of Reviewers: Reviewers whose reports are timely and of high quality receive an APC discount voucher for a future publication in an MDPI journal. Become a reviewer.
- Journal Cluster of Human Thought and Cultural Expression: Culture, Histories, Humanities, Languages, Literature and Religions.
Impact Factor:
0.3 (2025)
Latest Articles
Please Read Carefully: The Pharmacology of Fiction
Humanities 2026, 15(9), 138; https://doi.org/10.3390/h15090138 - 11 Sep 2026
Abstract
This contribution offers a close reading of a painting by Swiss artist Albert Anker (1831–1910). The painting—‘Grandfather’s Devotion’—pictures a reading scene in which a young boy (the grandson) reads aloud to an old man (the grandfather). In Anker’s original conception of the scene,
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This contribution offers a close reading of a painting by Swiss artist Albert Anker (1831–1910). The painting—‘Grandfather’s Devotion’—pictures a reading scene in which a young boy (the grandson) reads aloud to an old man (the grandfather). In Anker’s original conception of the scene, the book that the young boy holds in his hands would in all likelihood have been a religious volume, the reading of which evokes the devotional practice to which the title of the work alludes. In my analysis of the painting, however, I want to shift the scene slightly and imagine that the book is a novel. In doing so, I want to reflect on the relationship between reading and care that underlies many contemporary discussions of the importance of literature to medical and health humanities. By means of a comparison of the scene that Anker pictures with that underlying Marcel Proust’s essay ‘On Reading’, I want to suggest that we see ‘Grandfather’s Devotion’ as the representation of a form of ‘vulnerable reading’ (Arthur Frank). At the same time, I want to suggest that we keep open the possibility that in this case the object of the old man’s devoted attention is a pharmakon and that, therefore, the act of reading may do harm as well as bring relief.
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(This article belongs to the Special Issue Literature and Health in the 21st Century)
Open AccessEditorial
Introduction to the Humanities Special Issue on Shakespearean Performance
by
Cynthia Lewis
Humanities 2026, 15(9), 137; https://doi.org/10.3390/h15090137 - 11 Sep 2026
Abstract
From the outset, my goal for this collection of essays has been to assemble a collage of snapshots that portray current thinking about and practices in the field of Shakespearean performance [...]
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(This article belongs to the Special Issue Shakespearean Performance: Contemporary Approaches, Findings, and Practices)
Open AccessArticle
When Nanshan Becomes “Southern Hills”: Cultural Memory in Four English Translations of the Shijing
by
Yongping Wang and Changping Guan
Humanities 2026, 15(9), 136; https://doi.org/10.3390/h15090136 - 10 Sep 2026
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Cultural memory in classical poetry is carried not by isolated words but through textual relations, interpretive traditions, and paratextual frames. Taking “Nanshan” (南山) in the Shijing (詩經) as a mnemonic node, this study examines how its cultural memory is reconstructed in four English
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Cultural memory in classical poetry is carried not by isolated words but through textual relations, interpretive traditions, and paratextual frames. Taking “Nanshan” (南山) in the Shijing (詩經) as a mnemonic node, this study examines how its cultural memory is reconstructed in four English translations by James Legge, Arthur Waley, Bernhard Karlgren, and Xu Yuanchong. A small corpus of eleven Shijing poems containing these mountain expressions was compiled, yielding forty-four poem–translator records. The analysis combines manual coding, checked through independent second coding of a subset of records, with descriptive statistics and close case studies across five dimensions: naming strategy, spatial function, cultural memory strategy, poetic reconstruction, and paratextual mediation. The results show that geographical renderings such as “southern hill(s)” and “Southern Mountain” predominate, but they do not necessarily erase cultural memory; conversely, phonetic or proper-name retention does not automatically preserve it. More specifically, the visibility of Nanshan’s affective, political-ritual, auspicious, and agrarian associations depends on the interaction of translated names with poetic context, titles, notes, classification, selection, and verse form. Translating classical poetic imagery, the study argues, involves not merely retaining culture-specific names but rebuilding the interpretive conditions under which cultural memory can be recognized in the target language.
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Open AccessArticle
From Classification to Convergence: Transformations of Literary Genre in the Transmedia Ecosystem
by
Francesca Medaglia
Humanities 2026, 15(9), 135; https://doi.org/10.3390/h15090135 - 4 Sep 2026
Abstract
This article examines the evolution of literary genres within the contemporary media ecosystem shaped by convergence culture and participatory practices. Traditionally understood as classificatory and normative frameworks, genres are increasingly challenged by transmedia storytelling, digital platforms, and collaborative forms of cultural production. Contemporary
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This article examines the evolution of literary genres within the contemporary media ecosystem shaped by convergence culture and participatory practices. Traditionally understood as classificatory and normative frameworks, genres are increasingly challenged by transmedia storytelling, digital platforms, and collaborative forms of cultural production. Contemporary narratives often expand across multiple media environments, where each platform contributes differently to the construction of meaning and audience engagement. In this context, genres become fluid and dynamic structures negotiated among authors, industries, and audiences. The essay combines theoretical reflection with the analysis of transmedia narratives, online literary platforms, and fanfiction communities to investigate how digital participation reshapes literary forms and modes of reception. Particular attention is devoted to the intermedial and collective dimensions of contemporary storytelling and to their implications for genre theory. Rather than simply arguing that genres have become increasingly fluid, the article proposes that convergence culture transforms the analytical function of genre itself. Through three complementary case studies, it argues that genre should be understood less as a stable classificatory taxonomy than as an interpretative and discursive framework continuously negotiated across media, platforms, industries, and participatory audiences.
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Open AccessArticle
Toward a Neuro-Yijing Model: Musical Imagery, Affect, and Reflective Experience in Chinese Programmatic Music
by
Dingyuan Zhang
Humanities 2026, 15(9), 134; https://doi.org/10.3390/h15090134 - 4 Sep 2026
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Neuroaesthetic research has often examined aesthetic experience through measurable categories such as beauty, pleasure, preference, prediction, and reward. Although these approaches have produced important insights, they do not fully explain how culturally situated musical experience may be organized around sound-induced scene formation, atmosphere,
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Neuroaesthetic research has often examined aesthetic experience through measurable categories such as beauty, pleasure, preference, prediction, and reward. Although these approaches have produced important insights, they do not fully explain how culturally situated musical experience may be organized around sound-induced scene formation, atmosphere, temporal openness, emotional restraint, memory, and reflective awareness. This article brings the Chinese aesthetic concept of yijing into dialogue with neuroaesthetics and music cognition and proposes a preliminary Neuro-Yijing Model as a conceptual and hypothesis-generating framework. The model comprises three interrelated and recursive dimensions: perceptual–imaginal formation, affective resonance, and reflective integration. Through a conceptually guided analysis of Xiyang Xiaogu (Evening Drum and Flute at Sunset), anchored in a publicly available 1999 pipa performance by Wu Man and its programmatic notes, the article distinguishes between sound-based affordances and verbal–cultural framing in the formation of imagined scene and affective meaning. The term “Neuro” is used here not to claim an identified neural basis for yijing, but to position yijing as a cultural–aesthetic framework for refining questions about imagery, embodied listening, affect, memory, and self-referential cognition. The model’s added value lies in treating sound–scene transformation, culturally mediated affect, and contemplative completion as a unified but testable process rather than as isolated perceptual, emotional, or self-related components.
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Open AccessArticle
Towards a Trans Narrative Medicine
by
Anders Juhl Rasmussen and Anton Kragh Paaskesen
Humanities 2026, 15(9), 133; https://doi.org/10.3390/h15090133 - 4 Sep 2026
Abstract
This article explores the lived experiences of transgender persons, with particular attention to how their gender identities are narrated and perceived in encounters with the healthcare system. Research consistently shows that transgender people experience substantially higher rates of health challenges than the general
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This article explores the lived experiences of transgender persons, with particular attention to how their gender identities are narrated and perceived in encounters with the healthcare system. Research consistently shows that transgender people experience substantially higher rates of health challenges than the general cisgender population. Drawing on gender theories developed by Michel Foucault, Judith Butler and Paul B. Preciado, which are rarely known within healthcare, we demonstrate how medical institutions often impose rigid expectations on the stories of transgender people that fail to capture the nature of transgender lives. Inspired by Eve Kosofsky Sedgwick’s mode of reparative reading, two literary works by young Danish trans authors show how transgender people in Denmark are compelled to perform a biomedical narrative of suffering to access gender-affirming care. We thus argue for a more open-minded approach in medical discourse to transgender healthcare that recognizes the variability of gender identity. One way forward may be to integrate courses such as narrative medicine—including reading literary texts about and by transgender persons—into medical education and continued learning.
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(This article belongs to the Special Issue Literature and Health in the 21st Century)
Open AccessArticle
Framing Tricksterhood: Linguistic and Cultural Characterizations of Badɛre the Spider in Dagaare Folktales
by
Alexander Angsongna, Hasiyatu Abubakari, Rahaina Tahiru and Adams Bodomo
Humanities 2026, 15(9), 132; https://doi.org/10.3390/h15090132 - 3 Sep 2026
Abstract
This study examines the linguistic construction and cultural framing of tricksterhood in Dagaare folktales through an analysis of five narratives centered on the character of Badɛre (Spider). Drawing on discourse analysis and ethnopragmatics, the study investigates three main research questions: (i) how Badɛre
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This study examines the linguistic construction and cultural framing of tricksterhood in Dagaare folktales through an analysis of five narratives centered on the character of Badɛre (Spider). Drawing on discourse analysis and ethnopragmatics, the study investigates three main research questions: (i) how Badɛre is linguistically and semantically constructed in the narratives; (ii) what cultural meanings and values are embedded in his behavior; and (iii) how tricksterhood functions within Dagaare society. Data were collected through fieldwork conducted in February 2025 in the Dagaaba communities of Sombo and Guree in the Upper West Region of Ghana. The study employed qualitative methods, including semi-structured interviews, focus group discussions, and storytelling sessions, all of which were audio-visually recorded. The findings show that Badɛre is lexically constructed as clever, cunning, deceptive, greedy, opportunistic, and sometimes foolish, while semantically functioning as a figure of irony, reversal, social critique, and moral ambiguity. The analysis further reveals that tricksterhood in Dagaare folklore operates through four interconnected dimensions: moral agency, wisdom and intelligence, social critique, and ambivalence. Overall, the study demonstrates that Dagaare trickster narratives are not merely entertaining stories, but culturally embedded forms of moral instruction, social commentary, and indigenous knowledge transmission.
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(This article belongs to the Section Literature in the Humanities)
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Breach the Peace: Revisiting Spiral Tribe’s Utopian Techno Future
by
Fraser Mann
Humanities 2026, 15(9), 131; https://doi.org/10.3390/h15090131 - 3 Sep 2026
Abstract
This article explores the complexities of revisiting, remembering and revising the cultural philosophies and aesthetics associated with the free festival and rave scenes of the early 1990s. The analysis here examines and comments on the rave sound system Spiral Tribe and the moral
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This article explores the complexities of revisiting, remembering and revising the cultural philosophies and aesthetics associated with the free festival and rave scenes of the early 1990s. The analysis here examines and comments on the rave sound system Spiral Tribe and the moral panic that resulted from their activities during the infamous rave on Castlemorton Common in May 1992. Informed by scholarship from figures such as Mark Fisher, Danny Cookney and Graham St John, the article engages in a close reading of archive footage found on YouTube. From this, a discussion regarding the complex interplay of mediation, techno aesthetics, memory and narrative emerges and develops. Viewing the footage now is both curious and uncanny. The clear and optimistic vision of the future offered by Spiral Tribe clashes and contrasts with our atomized and passive relationship with technology in the twenty-first century. As such, watching these faded versions of a potential future is a hauntological experience full of ghosts and spectres.
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(This article belongs to the Special Issue Media, Cultural Memory and Hauntology)
Open AccessEditorial
Crossing Boundaries: Transdisciplinarity in the Humanities and the Essential Foundation and Development of Our Field in the Twenty-First Century
by
Albrecht Classen
Humanities 2026, 15(9), 130; https://doi.org/10.3390/h15090130 - 1 Sep 2026
Abstract
In preparation for a MDPI-sponsored workshop on the topic of transdisciplinarity in the Humanities (23 May 2026), we put together a list of possible questions, issues, approaches, and contributions linking traditional Humanities with related disciplines in order to determine what we might conceive
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In preparation for a MDPI-sponsored workshop on the topic of transdisciplinarity in the Humanities (23 May 2026), we put together a list of possible questions, issues, approaches, and contributions linking traditional Humanities with related disciplines in order to determine what we might conceive of as the widest-possible concept of human-related topics, especially in an age when AI and posthumanism have gained much in traction, whether to our advantage or disadvantage [...]
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(This article belongs to the Special Issue Crossing Boundaries: Transdisciplinarity in the Humanities)
Open AccessArticle
Charity Under a Leaking Roof: Moral Discourse and the Child’s Eye in Dickens and McCourt
by
Akram H. Shalghin
Humanities 2026, 15(9), 129; https://doi.org/10.3390/h15090129 - 1 Sep 2026
Abstract
This comparative study examines the interplay between moral rhetoric and material deprivation in Charles Dickens’s Oliver Twist and Frank McCourt’s Angela’s Ashes. Focusing on scenes in which authority figures articulate ideals of charity, order, or progress while children endure immediate neglect, the
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This comparative study examines the interplay between moral rhetoric and material deprivation in Charles Dickens’s Oliver Twist and Frank McCourt’s Angela’s Ashes. Focusing on scenes in which authority figures articulate ideals of charity, order, or progress while children endure immediate neglect, the article argues that the irony resides not in individual dishonesty but in the structural failures of the institutions they represent. Through close reading of Dickens’s workhouse boardroom and McCourt’s leaking classroom, the analysis demonstrates how the child’s perspective exposes the chasm between abstract care and tangible neglect. Drawing on theories of spatial irony, ethics of care, and child narratology, the study suggests that literary representations of this contradiction offer a critical lens for understanding how poverty is managed through language rather than material intervention. By tracing this pattern from Victorian fiction to late-twentieth-century memoir, the article proposes that the leaking roof functions as an enduring symbol of social hypocrisy, wherein the discourse of compassion coexists with the architecture of decay.
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(This article belongs to the Section Literature in the Humanities)
Open AccessArticle
Scripture in the Vernacular: Biblical Intertextuality, Poetic Re-Creation, and Literary Authority in Pjetër Budi’s Christian Doctrine
by
Sarë Gjergji
Humanities 2026, 15(9), 128; https://doi.org/10.3390/h15090128 - 1 Sep 2026
Abstract
This article reconsiders Pjetër Budi’s Christian Doctrine as a formative work of early Albanian literature in which biblical reception, vernacular writing, and communal address become mutually constitutive. Rather than treating Budi’s poetry as a derivative versification of Scripture or as a document whose
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This article reconsiders Pjetër Budi’s Christian Doctrine as a formative work of early Albanian literature in which biblical reception, vernacular writing, and communal address become mutually constitutive. Rather than treating Budi’s poetry as a derivative versification of Scripture or as a document whose religious purpose excludes literary analysis, the article argues that biblical material is transformed through poetic re-creation in Albanian. Budi receives Scripture as a narrative sequence, moral pattern, image, voice, and rhetorical authority. His retellings of the Fall, Cain and Abel, the Flood, the Passion, and Resurrection preserve recognizable biblical structures while changing their mode of address through rhythm, compression, repetition, dramatic speech, and collective exhortation. The article further argues that vernacularization is itself a literary event. Budi’s insistence that prayer must be understood in the language of the community, together with his invocation for divine illumination so that he may sing a “new song” in Albanian, makes language part of the work’s theology and poetics. Scripture thus becomes more than a source behind the poems: it becomes a medium through which Albanian acquires spiritual, poetic, and public authority. Budi’s work offers a significant case for biblical literary studies because it shows how a small vernacular literary culture with limited institutional infrastructure can convert inherited sacred forms into an instrument of literary formation and communal self-recognition. Note on translations: Unless otherwise indicated, English translations of quotations from Albanian sources are the author’s.
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(This article belongs to the Special Issue New Approaches to Biblical Literary Studies)
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Splintered Selves: Writing Singleness and Widowhood in the Fiction of Mary Lavin and Janet McNeill
by
Anne Fogarty
Humanities 2026, 15(9), 127; https://doi.org/10.3390/h15090127 - 1 Sep 2026
Abstract
Single women and widows predominate in the short stories of Mary Lavin and the novels of Janet McNeill. Lavin and McNeill endow these figures with an unusual centrality and deploy their contrarian views of society and thwarted existences to explore unwieldy female lives
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Single women and widows predominate in the short stories of Mary Lavin and the novels of Janet McNeill. Lavin and McNeill endow these figures with an unusual centrality and deploy their contrarian views of society and thwarted existences to explore unwieldy female lives that are frequently occluded and discounted and to experiment with the form of the naturalist short story and the realist novel. The stereotypical associations of the spinster and widow come under scrutiny in these narratives and are in part dismantled. These awkward protagonists may be seen as belonging to the overlooked and indeterminate sexual category of the celibate but also reveal affinities with an unacknowledged history of queerness. They also are connected to a muted but ongoing history of feminist struggle. Yet, such radical aspects aside, they exist ultimately in a marginal domain that resist easy identification and hover uneasily between the traditional, the regressive, and the modern.
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(This article belongs to the Special Issue Celibacy in Irish Women’s Writing)
Open AccessArticle
No Official Foundation: UAP, Hauntology, and the Spectral Life of Disclosure from Tintin to The X-Files
by
Christian Wilken
Humanities 2026, 15(9), 126; https://doi.org/10.3390/h15090126 - 1 Sep 2026
Abstract
This article argues that Unidentified Aerial Phenomena, together with the older flying-saucer and UFO formations only partially displaced by the contemporary acronym, should be read as a hauntological media formation. Through it, modern culture registers recurrent appearances that remain difficult to dismiss and
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This article argues that Unidentified Aerial Phenomena, together with the older flying-saucer and UFO formations only partially displaced by the contemporary acronym, should be read as a hauntological media formation. Through it, modern culture registers recurrent appearances that remain difficult to dismiss and equally difficult to stabilise within a public ontology. Drawing on Jung, Derrida, Fisher, Greg Eghigian, Jodi Dean, Timothy Melley, and recent work on The X-Files, the essay approaches UAP culture less as a problem to be solved than as a zone in which mediation, secrecy, historical fantasy, and political feeling become newly legible. The genealogy begins with Jung’s modern myth of things seen in the skies and Eghigian’s reconstruction of UFO culture as a historical world. It then moves through Hergé’s Flight 714 to Sydney and the countercultural extraterrestrial utopianism of Easy Rider before turning to the original and revival runs of The X-Files. The article argues that UAP function as an ontological vanishing point internal to modern media culture, where appearance persists without settling into ordinary knowledge, and where damaged institutions continue to mediate the relation between truth, authority, and futurity.
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(This article belongs to the Special Issue Media, Cultural Memory and Hauntology)
Open AccessArticle
In the Break, in the Wake: Black Aliveness in Peace Peloton’s Draft
by
Julia Reade
Humanities 2026, 15(9), 125; https://doi.org/10.3390/h15090125 - 1 Sep 2026
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This article puts Christina Sharpe’s theories of “the wake” and “wake work” and Kevin Quashie’s theory of “Black aliveness” in conversation with Peace Peloton, a nonprofit organization promoting Black businesses and community through the activities of cycling and neighborhood events. The author reads
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This article puts Christina Sharpe’s theories of “the wake” and “wake work” and Kevin Quashie’s theory of “Black aliveness” in conversation with Peace Peloton, a nonprofit organization promoting Black businesses and community through the activities of cycling and neighborhood events. The author reads Peace Peloton’s gatherings and the draft of turbulent air produced by their pelotons, or groups of bicyclists in motion, as radical Black performances and what Sharpe calls “wake work.” Acts of resistance and resilience enacted in the aftermath—the wake—of the Transatlantic slave trade, Peace Peloton’s rides and gatherings as “wake work” reject the ontological othering of Black bodies and being and dynamize what it means to be in a wake. Enacting Quashie’s sense of “worldmaking,” Peace Peloton’s “wake work” challenges presumptions of the outdoors and road cycling as white spaces, for white people, and reclaims for Black worldmaking once majority Black, now gentrified spaces of commerce and leisure. An interdisciplinary look into a cultural expression that has heretofore gone unexamined, this chapter weaves into its application of contemporary Afrodiasporic theory the history of redlining, cycling physics, writing on Blackness and the outdoors, Alexis Pauline Gumb’s short story “Bluebellow,” and Fedeke N. Castor’s Spiritual Citizenship: Transnational Pathways from Black Power to Ifa in Trinidad. It is through this ambitious and innovative interpretative lens that the author illuminates Peace Peloton’s “wake work” and Black worldmaking and situates them within the broader corpus of Afrodiasporic literature and cultural expressions.
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Exploring Divine Lineages and Legitimacy: Hierogamy, Genealogical Memory, and Power Construction in Indonesian Folklore
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Edi Setiyanto, Riani Riani, Wiwin Erni Siti Nurlina, Wabilia Husnah, Erlinda Rosita, Pardi Pardi, Resti Nurfaidah, Afendy Widayat, Exti Budihastuti, Helmina Kastanya, Kustri Sumiyardana and Imelda Imelda
Humanities 2026, 15(9), 124; https://doi.org/10.3390/h15090124 - 1 Sep 2026
Abstract
Folklore narratives often function as cultural mechanisms through which societies construct memories of origin, authority, and identity. This article examines how hierogamy narratives in Indonesian folklore transform sacred ancestry into genealogical legitimacy and social authority. Employing a qualitative comparative folklore analysis with a
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Folklore narratives often function as cultural mechanisms through which societies construct memories of origin, authority, and identity. This article examines how hierogamy narratives in Indonesian folklore transform sacred ancestry into genealogical legitimacy and social authority. Employing a qualitative comparative folklore analysis with a genealogical reading approach, this study examines seven Indonesian folktales: Jaka Tarub, Rajapala, Pego dan Putri Petong, Bujang Bekurung, Putri Tujuh (Ternate), Sidang Belawan, and Putri Tujuh (Maluku). The analysis focuses on three dimensions: the transformation of social status following sacred unions, the transmission of legitimacy through genealogical relationships, and the narrative trials that validate authority. The findings demonstrate that hierogamy functions as a cultural mechanism through which celestial being origins are converted into political, social, and customary legitimacy. Sacred marriages establish extraordinary ancestry, genealogies preserve and transmit symbolic authority, and trials confirm the legitimacy of protagonists and their descendants. The study also reveals a gendered paradox: celestial women provide the foundation of sacred legitimacy, yet authority is frequently institutionalized through male-centered genealogical systems. By positioning hierogamy as a form of genealogical legitimation, this article contributes to folklore and genealogy studies by demonstrating how narratives construct, preserve, and negotiate authority across generations.
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(This article belongs to the Section Literature in the Humanities)
Open AccessArticle
“The Denied Revolution”: Between Modernity and Tradition in Switzerland—On the Figure of the Peasant in the Swiss Identity Discourse
by
Dariusz Komorowski
Humanities 2026, 15(9), 123; https://doi.org/10.3390/h15090123 - 1 Sep 2026
Abstract
The text examines the formation and persistence of the Swiss national imaginary as a construct shaped by enduring symbols, narratives, and figurative images. Building on theories of collective identity and Charles Taylor’s concept of the social imaginary, it argues that Swiss national identity
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The text examines the formation and persistence of the Swiss national imaginary as a construct shaped by enduring symbols, narratives, and figurative images. Building on theories of collective identity and Charles Taylor’s concept of the social imaginary, it argues that Swiss national identity emerged through a long cultural process in which the Alps, the herdsman, and eventually the peasant became dominant symbolic figures. Through literary works, historical writing, visual culture, and political discourse, these images acquired normative force and provided a shared framework for interpreting collective experience. The study traces how eighteenth-century idealizations of Alpine life, reinforced by authors such as Haller, Rousseau, and Gessner, established a myth of origins that overshadowed later political transformations. It shows how the bourgeois elites of 1848 chose symbolic continuity over revolutionary rupture, allowing the peasant figure to become the central bearer of national distinctiveness. The analysis highlights tensions between modernity and tradition, progress and nostalgia, and urban and rural imaginaries. It concludes that despite attempts to introduce modern symbolic figures, the Alpine-pastoral tableau continues to dominate the Swiss imaginary, revealing a persistent divergence between Switzerland’s historical development and the symbolic field through which it understands itself.
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(This article belongs to the Special Issue Swiss Literature and Culture)
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Blogs as Dialogical Reparatory Work: A Theoretically Informed Analysis of Online Cancer Narratives
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Kaja Kvaale, Oddgeir Synnes and Hilde Bondevik
Humanities 2026, 15(9), 122; https://doi.org/10.3390/h15090122 - 1 Sep 2026
Abstract
Globally, the World Health Organization (WHO) estimates that there are 20.6 million new cancer cases each year, and its incidence is expected to rise as the global population ages. At the same time, new technologies and advanced treatments are increasing survival rates, particularly
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Globally, the World Health Organization (WHO) estimates that there are 20.6 million new cancer cases each year, and its incidence is expected to rise as the global population ages. At the same time, new technologies and advanced treatments are increasing survival rates, particularly in high-income countries. The need to understand cancer’s impact on psychosocial well-being and patients’ existential lifeworld is reflected in research, literature, pathographies, and other art forms. This article examines blogs as a distinctive arena for meaning-making, healing, and the articulation of cancer experiences. Through a close reading of three cancer blogs written by individuals with pelvic and colorectal cancers living in Norway, we examine illness narratives that often receive limited attention in private and public discourse. Drawing on Paul Ricoeur’s theory of narrative identity and configuration, we analyse how bloggers organise events, create meaning, and narrate their lives during potentially terminal illness. We also engage with Mikhail Bakhtin’s reflections on genre to explore blogs’ communicative character, heterogeneity of voices, and orientation towards anticipated responses. The findings suggest that cancer blogs function as intentional narrative and social resources during profound existential transformation. They also demonstrate that philosophical and literary concepts are valuable tools for analysing blogs as health humanities texts capable of capturing chaotic and disrupted illness stories.
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(This article belongs to the Special Issue Literature and Health in the 21st Century)
Open AccessArticle
“A little academe”: How Teaching through Performance Illuminated Love’s Labor’s Lost
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Cynthia Lewis
Humanities 2026, 15(9), 121; https://doi.org/10.3390/h15090121 - 31 Aug 2026
Abstract
In 2002, the students in my Performing Shakespeare seminar at Davidson College encountered many interpretive challenges when they mounted a full production of Love’s Labor’s Lost. Several cruces, they learned, came down to performance choices significant enough to determine either the audience’s
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In 2002, the students in my Performing Shakespeare seminar at Davidson College encountered many interpretive challenges when they mounted a full production of Love’s Labor’s Lost. Several cruces, they learned, came down to performance choices significant enough to determine either the audience’s engagement with a play that seems even more remote than most Shakespeare works or the larger interpretation of the play. Such cruces include the dense punning in 3.1 among Don Armado, Moth, and Costard; the verbal match among Berowne, the King, and the lords over Rosaline’s attractions and Berowne’s lengthy following speech rationalizing the men’s breaking of their oath (4.3.210 ff.); the Princess’s interaction with, first, the Forester and then Costard in 4.1.1-55; and the humbling of Don Armado in 5.2.666-710 and his response to it in 717-19 and 866-76. During the students’ rehearsal period, members of the Royal Shakespeare Company, in residence on campus at the time, worked with them on some of the challenges within such passages, several of which also claim attention in Shakespearean literary criticism. Excerpts from the students’ journals, as well as performance choices from selected professional productions, elucidate each crux, providing historical context. Ultimately, both performance and understanding of Love’s Labor’s come alive in these cruces, which continue over centuries to prompt readers’ and audiences’ thinking long after an individual production is past. If some of the cruces are insoluble, they are quintessentially theatrical.
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(This article belongs to the Special Issue Shakespearean Performance: Contemporary Approaches, Findings, and Practices)
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Ekphrasis and the Feminine: Poetry That Moves Away from the Image
by
Patrick Wright
Humanities 2026, 15(9), 120; https://doi.org/10.3390/h15090120 - 26 Aug 2026
Abstract
This article will focus on three poets I consider as having practised innovative modes of writing with a visual artwork in mind: Anne Carson, Emily Berry, and Deryn Rees-Jones. In contrast to more traditional ekphrasis—exemplified by William Carlos Williams’s Pictures from Brueghel—the
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This article will focus on three poets I consider as having practised innovative modes of writing with a visual artwork in mind: Anne Carson, Emily Berry, and Deryn Rees-Jones. In contrast to more traditional ekphrasis—exemplified by William Carlos Williams’s Pictures from Brueghel—the poets I examine do not gesture to figures or narrative. Instead, the artwork they engage with generates their poem. This approach might involve an image that is formally analogous with the poem, where the latter takes on visual elements of the former; an image as a source of inspiration, sparking associations; or an image that functions as a metaphor for the poet’s lyric themes, to mention just a few possibilities. ‘Expanded ekphrasis’ will refer then to the ways in which these poets move away from description and dilate the word–image relationship. I also place Carson, Berry, and Rees-Jones in a lineage of female poets interested in a non-descriptive response to the image. The ekphrastic poems of Elizabeth Bishop, Denise Levertov, and Jorie Graham come to mind, and these also deserve acknowledgement. However, the three poets I analyse each demonstrate different ways ekphrasis has expanded over the last two decades. The significance of these poets as women will also be highlighted, and how they influence my own poems.
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(This article belongs to the Special Issue Gender and Otherness in the Humanities)
Open AccessArticle
Performing Potency: Masculine Pride and the Refusal of Decline in Drama in English
by
Akram H. Shalghin
Humanities 2026, 15(9), 119; https://doi.org/10.3390/h15090119 - 25 Aug 2026
Abstract
This article examines how drama in English portrays men who anchor their self-worth to sexual potency and masculine performance, particularly when that confidence faces direct challenge or the quiet pressure of ageing. Through sustained close reading of Macbeth, Antony and Cleopatra,
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This article examines how drama in English portrays men who anchor their self-worth to sexual potency and masculine performance, particularly when that confidence faces direct challenge or the quiet pressure of ageing. Through sustained close reading of Macbeth, Antony and Cleopatra, and Who’s Afraid of Virginia Woolf?, the analysis traces how characters negotiate pride, vulnerability, and the defence of manhood through dialogue, pacing, and silence. Existing criticism has often approached these moments through historical or ideological lenses; this reading instead attends to the psychological negotiation visible in the text itself. Drawing on established work on gender performance and narrative identity, the article treats masculine pride not as a fixed cultural pattern but as a dramatic act that characters repeat, defend, and sometimes surrender. The theoretical tools serve the text rather than dictate it, allowing the plays to reveal how men construct, protect, and adjust their sense of virility when it is called into question. The findings emerge from careful attention to scene structure, verbal exchange, and the unspoken tensions that shape dramatic portrayal.
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(This article belongs to the Section Literature in the Humanities)
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