Humanities — Open Access Journal

This introduction takes as its central armature Karen Barad’s agential realism to provide a framework for understanding the essays brought together in this Special Issue under the rubric of pictures of conflict. The intention is to move the discussion with regard to picture making forward to more fully embrace the pictorial and the physical, the historical and institutional processes within apparatuses of picture-making. The attempt in ‘Ghost stories’ through the concept of a visual apparatus, is to shed new light and thinking on pictures as material objects; how they act and feed into our subjectivities, experiences and realities and to account for their currency, duration, affectivity and authority beyond transparent representation or symbolic meaning. In order to achieve this, Barad’s agential realism is inflected by insights from Malafouris’s (2013) material engagement theory; W.J.T. Mitchell’s (2005) image theory; Jens Eder and Charlotte Klonk’s (2017) image operations; Mondzian’s (2005) understanding of the economy of the image, as well as the ontological concerns of new German art history and image science exemplified in the work of Hans Belting (1996, 2011) and Horst Bredekamp (2017), for example. In this framework, the worlds pictures create, and the subjectivities they produce, are not understood to precede the phenomena they depict. The picture, as the outcome of the apparatus which produces it, makes an ‘observational cut’ that simultaneously excludes and includes certain elements from its frame. As such, it has to be comprehended as party to processes which are both ethical and political. A fact which is particularly important during times of conflict and war. Full article

The narratives in Captain Charles Johnson’s General History of the Pyrates (1724–1728) have often been regarded as reliable accounts of pirate activity between 1690 and 1726, in part because the book’s long-held attribution to Daniel Defoe has, until recently, granted it some measure of journalistic integrity. A closer examination of one of General History’s narratives, that of the Scottish pirate, John Gow, reveals a story filled with contradictions, loose ends, possible fabrications, and simple errors, to the point where a definitive account of Gow’s activities becomes almost impossible to determine. This paper compares the two Gow narratives found in the 1725 and 1728 editions of General History with naval reports, newspaper accounts, and pamphlet narratives, all of which offer vastly differing versions of Gow’s story. As the general outlines of the story become fixed in various tellings, we can see how the focus of these narratives shifts from being a simple record of criminal activity to a drama in which the pirate must satisfy the expectation of being hostis humani generis—the enemy of all humanity—to the point where violence, rape, murder, and other anti-social acts overshadow the maritime plundering of goods and money as the pirate’s chief defining characteristic. Full article

This article examines the notion of “Desintegration” (de-integration), as introduced by German Jewish authors Max Czollek and Sasha Marianna Salzmann, against the backdrop of ongoing re-negotiations of identity, belonging, and “Heimat” (sense of home) in contemporary Germany. While many artistic contributions to the debates around “Desintegration” have come from the realm of performance art, I will pay special attention to Salzmann’s prize-winning novel Außer Sich (Beyond Myself) (2017), as a literary approximation of the “Desintegration” paradigm, which showcases what I call a “non-authoritative” poetics of non-belonging. I will conclude by showing that the notion of “Desintegration” and its connection to a broader “postmigrant” trajectory enable novel perspectives on three of the central issues discussed in this article: the current location of German Jewish literature and culture; contemporary German-language contestations of “Heimat” and belonging; and the relationship between art and politics. Full article

This paper seeks to address the value of a humanities-based education, specifically focusing on a critical race theory course taught within a prison classroom. The perspectives shared are from three incarcerated students as well as their course instructor regarding the continued debate over whether vocational or academic courses are more beneficial in prison spaces. The case for vocational training has always been supported. Yet, the value of academic courses for incarcerated students, particularly within the humanities, is still questioned. Thus, this paper nuances and explains the value of a humanities-based course within a carceral setting. The voices and experiences of the three incarcerated co-authors are centered in providing the rationale for what courses like critical race theory can offer them besides just a basic focus on rehabilitation or recidivism. From their experiences with course material and discussions, a case is made that the intellectual and personal agency gained from humanity-based courses are both meaningful and relevant for incarcerated students. Full article

Jonathan Glazer’s 2013 film Under the Skin is a Gothicized science fictional narrative about sexuality, alterity and the limits of humanity. The film’s protagonist, an alien female, passing for an attractive human, seduces unwary Scottish males, leading them to a slimy, underwater/womblike confinement where their bodies dissolve and nothing but floating skins remain. In this paper, I look at the film’s engagement with the notions of consumption, the alien as devourer trope, and the nature of the ‘other’, comparing this filmic depiction with Michael Faber’s novel on which the film is based. I examine the film’s reinvention of Faber’s novel as a more open-ended allegory of the human condition as always already ‘other’. In Faber’s novel, the alien female seduces and captures the men who are consumed and devoured by an alien race, thus providing a reversal of the human species’ treatment of animals as mere food. Glazer’s film, however, chooses to remain ambiguous about the alien female’s ‘nature’ to the very end. Thus, the film remains a more open-ended meditation about alterity, the destructive potential of sexuality, and the fear of consumption which lies at the heart of the Gothic’s interrogation of porous boundaries. Full article

The tuatara or New Zealand “spiny-backed lizard” (Sphenodon punctatus) is the sole surviving member of an order of reptiles that pre-dates the dinosaurs. Among its characteristics and peculiarities, the tuatara is renowned for being slow-breathing and long-lived; it possesses a third eye on the top of its skull for sensing ultraviolet light; and the sex of its progeny is determined by soil temperatures. This article unravels a tuatara’s-eye view of climate change, considering this creature’s survival across geological epochs, its indigenous lineage and its sensitivities to the fast-shifting conditions of the Anthropocene. This article examines the tuatara’s evolving role as an icon of biodiversity-under-threat and the evolving role of zoos and sanctuaries as explicators of climate change, forestallers of extinction, and implementers of the reproductive interventions that are increasingly required to secure the future of climate-vulnerable species. It is also interested in the tuatara as a witness to the rapid and ongoing human-wrought climate change which has secured the lifeworld reconstruction that is foundational to the settler colonial enterprise in Aotearoa/New Zealand. Linking this to the Waitangi Tribunal’s Wai 262 report (Ko Aotearoa Tēnei, 2011), the article considers what the tuatara teaches about kaitiakitanga (guardianship) and climates of change. Full article

The relationship between Harriet Beecher Stowe and George Eliot, widely recognized as one of the most significant literary friendships in the 19th century, yet rarely focused on in scholarship beyond mutual literary influence, took place entirely through the communicative media available then: mass print, the Victorian post, and the social network of parlor literature and transatlantic literary community. The article analyzes the beginning of the correspondence, both similar to and different from fan mail exchange, with extensive quotes from Stowe’s unpublished second letter, to demonstrate an innovative theoretical point that novels can function as part of a communicative continuum between a writer and an individual reader, becoming instruments of what may be seen as a proto-virtual relationship. Full article

My response to Susanne Lachenicht’s thought-provoking article is a brief attempt to take up her call to write histories that lead not to absolute certainties but to more understanding of the complexities of the past. I focus on documentation, border control, and citizenship in the Early Roman Empire to illustrate some of the radically different ways these were conceptualized and practiced in a premodern multiethnic empire like Rome than in a contemporary nation-state today. Passports, for example, and border control as we know it, did not exist, and migration was not tied to citizenship status. But the account I offer is deliberately tentative and full of qualifications to emphasize the real methodological challenges the study of this subject poses on account of fragmentary literary and material records and the numerous difficulties of interpreting these. I conclude by pointing out both the benefits and the limitations of framing history as a discipline from which one can learn. On the one hand, understanding how seemingly universal categories such as ‘citizen’ and ‘migrant’ are dynamic and constructed rather than static and natural can nuance public debates in nation-states which receive high numbers of migrants (like Germany, Lachenicht’s starting point) by countering ahistorical narratives of a monolithic and sedentary identity. On the other hand, knowledge of the past does not necessarily lead to moral edification. Full article

This article considers the relationship between photojournalism and literature about HIV/AIDS in Romania from the late 1980s and the 1990s to examine the ways in which photo-textual relations localize and perpetuate a specific ideological understanding of the AIDS epidemic. The pictures taken by Frank Fournier in Bucharest won the Word Press Photo’s first prize in 1990 and established the AIDS epidemic’s image in and about Romania. Using Diana Taylor’s concept of percepticide to think about what the photographs simultaneously reflect and obscure through an active training of the audience’s gaze, in tandem with Lynn Mie Itagaki’s theorization of visuality of vulnerability as a biopolitical heuristic, I examine the photographs performative erasure of AIDS alongside Rodica Mătușa’s (semi) autobiography, Nobody’s Angels. My Life Alongside Children Living with AIDS. The close-up pictures of malnourished children in a dilapidated hospital have a gritty, abrasive texture that perform a defacing function and dehumanize the central subject. The short descriptions accompanying Fournier’s work, alongside Mătușa’s book, present the images as illustrations and consequences of the Romanian communist regime’s biopolitical measures and tie the medical emergency to the communist ideology. The texts and the photographs impose a methodology of looking, of reading and seeing as evidence of Nicolae Ceaușescu’s austerity measures in the late 1980s in Romania, while the centrality of infants’ naked, malnourished bodies fabricate a causal relationship that obscures larger medical and cultural networks. I claim that image-text interrelations instrumentalize and localize the AIDS epidemic by visually emphasizing vulnerability as a direct result of communism, while dehumanizing and effacing the infants’ and children’s bodies. Full article

This article critiques a certain psychoanalytic approach both to the genre of “Vampire Fiction” and the “anxiety” it induces. Joan Copjec’s claim is that these are founded on “nothing”, genre and affect being defined by the “overwhelming presence of the real”, for which all “interpretation […] is superfluous and inappropriate.” It follows that Copjec does not understand the encounter with “the real” staged within Dracula through the words on the page, genre and affect being located instead of either within the bare bones of the textual structure or in an unreadable “aura” surrounding the text. This article counters this understanding through a focus on precise textual formulations within Dracula. It begins by reading in detail linguistic constructions of gendered identities, and the identity “child”; moves to question Copjec’s wider claim that genre transcends textual considerations; and closes with a comparative analysis of Dracula and Rousseau’s Émile, a text that Copjec takes to be its “precise equivalent”, but not because of language. What is finally at stake in this article is whether a detailed engagement with language can be jettisoned when considering constructions of genre and gender. It argues that reintroducing textuality problematises Copjec’s arguments, and the empty identities upon which they are founded. Full article

In Robinson’s Gilead, one of Ames’ greatest hopes is for his son to place himself “in the way of the gift.” What is this gift, and what does it mean to place oneself in its way? The gift, I will argue, is what Charles Taylor has described as a moral source that is mediated by interpretive frameworks, and empowers us toward ideals otherwise difficult or impossible to sustain. Gilead enacts the necessary condition of having narratives of the gift, of having been in its way, in order to mediate its reception again. But if restoration is the great potential of the gift’s reception for Ames, it also points to the condition of impossibility for Jack, who is never given such a gift, despite having always been in its way. Although there is no guarantee the gift will be given, what Gilead explores are the postsecular conditions necessary for the gift to be received. Full article

This article explores the often normative and idealist notion of the public sphere at its possible breaking point by analysing the online reactions to two tabloid articles about a 2016 performance of Dancing with Strangers: From Calais to England by Instant Dissidence. It first looks at how a comment platform could be perceived as a subaltern public sphere and as a substitute for a live audience in order to reconsider the notion of the counterpublic. For this, it examines the dialectical tension between politics and aesthetics within a subaltern online public sphere not immune to all kinds of extremism. This leads to an attempt to consider online hostile lay critics as a potentially legitimate public to address the dilemma faced by contemporary artists when engaging with society in an all-inclusive manner. Finally, this article offers a different reading of Instant Dissidence’s performance and of the possible reasons for the commentators’ rage and alienation and proposes syncopolitics as a way out of both online polarisation echo chambers and the public engagement conundrum. Full article

In Restless Secularism (2017), Matthew Mutter points out that Wallace Stevens described three related techniques that could be used to attempt to purge secular life of its religious residue: adaptation, substitution, and elimination. Marilynne Robinson pushes back against such secularizing strategies by employing three related techniques of her own: negotiation, grafting, and invitation. She does so to attempt to bridge the gap between religious and humanistic perspectives and—in the process—mounts a spirited defense of religious faith and practice. Robinson uses a fourth technique as well: jérémiade. In its usual sacred form, jérémiade is a lamentation that denounces self-righteousness, religious hypocrisy, and social injustice. Much of what Robinson says about the Christian Right is essentially jérémiade. Robinson’s critique of parascientists is jérémiade as well, although its grounding assumptions are secular rather than sacred. While Robinson’s jérémiades against the Christian Right and against parascientists are effective in isolation, in aggregate they sometimes undercut her more generous and inclusive attempts at negotiation, grafting, and invitation. This may be because Robinson’s essays do not undergo the moderating influence of what Louis Althusser called the aesthetic effect of art, which in Housekeeping (1980), Gilead (2004), Home (2008), and Lila (2014) helps counterbalance the flashes of anger and tendencies toward judgement that periodically surface elsewhere in Robinson’s work. Taking into account the presence—or absence—of the aesthetic effect in Robinson’s work helps explain the sometimes startling differences between Robinson’s fiction and nonfiction and helps provides a new perspective from which to rethink two of the most influential postsecular readings of Robinson’s work to date: Amy Hungerford’s Postmodern Belief (2010) and Christopher Douglas’s If God Meant to Interfere (2016). Full article

This article examines Caitlín R. Kiernan’s writing for the DC/Vertigo comic series The Dreaming, a spin-off of Neil Gaiman’s Sandman. It places Kiernan’s writing for the series in the wider context of both her prose fictional writings and representations of LGBTQI+ characters in American comics. It uses Moira Weigel’s concept of “sadomodernism” to characterize Kiernan’s writings, demonstrating how Kiernan’s use of this mode in The Dreaming anticipated signature characteristics of her later fictions. Close reading of selected excerpts from the published comics, as well as Kiernan’s scripts, emails, and editorial remarks alongside the work of queer and trans theorists, including Judith Butler and Jack Halberstam, reveal how groundbreaking Kiernan’s unsettling work with the series was and remains. Full article

Using available empirical data of Oromo Orature, particularly folksongs, obtained from the field through interview and observation in Oromia, central Ethiopia, in 2009 and 2010, and other sources in print, this study has two objectives to tackle. First, reflecting upon the questions of a native model of origin narratives in relation to ecology, this study examines some examples of Oromo ecopoetics to determine: (a) how ecology and creative process conspire in the production of folksongs and performance, and (b) how the veil of nature hidden in the opacity of songs is revealed through the rites of creative process and performance as the human and ecological realms intersect. When put in relation to ecology, I theorize, the ecocultural creative act and process go beyond the mundane life activities to determine the people’s use (of nature), perceptions, and implications. Second, damages to the ecology are, I posit, damages to ecoculture. Drawing on the notion of ecological archetypes, thus, the study makes an attempt to find a common ground between the idea of recurrent ecological motifs in Oromo orature and the people’s ecological identity. The findings show that the political and social attitudes the Oromo songs embody are critical of authorities and the injustices authorities inflict on peoples and the environment they live in. For the folksinger, singing folksongs is a form of life, and through performance, both the performance and the song sustain the test of time. In its language, critique, imagination, and cultural referents, Oromo Orature is a voice of the people who rely on traditional agricultural life close to nature along with facing challenges of the dominating religious, political and scientific cultures. Full article

A life-limiting illness brings about heightened awareness of mortality and reshapes close relationships. Couples must often negotiate and adjust their actions to sustain intimate bonds. Through analysis of two projects—Dorothea Lynch’s and Eugene Richards’s collaborative project Exploding into Life (1986) that documents Lynch’s experience living with breast cancer through photographs and text, and Angelo Merendino’s e-book The Battle we Didn’t Choose—My Wife’s Fight with Breast Cancer (2013), I explore how couples make sense of and communicate illness experience. Exploding into Life and Merendino’s project are not only explorations of Lynch’s and Jennifer’s experiences living with breast cancer; the works also question what it means to be seen through the eyes of the other. The projects share similar experiences; however, they are situated in two different historical moments. Taking Arthur Kleinman’s argument of illness experience as social and political as a starting point, I question the limits of experience and examine how the photographs and the accompanying text articulate and mediate private expressions of illness, and what motivates the participants of the photographic act to make their experiences public. The study is informed by Arthur W. Frank’s dialogical narrative analysis and some of the writings by Thomas G. Couser, Roland Barthes, and Michel Foucault. Full article

In her 1998 novel Another World, Pat Barker draws from a topic on which she has written previously with great success—the First World War and the experiences of its combatants—and yet approaches that topic from a completely different perspective. The novel returns to the Great War to consider notions of ‘shell shock’, attitudes towards WWI veterans, and the problems surrounding remembering past violence, but what is perhaps surprising about Another World is that it uses a Victorian storyline to address these concerns, and presents the First World War through the means of references to nineteenth-century culture. Full article