Humanities

20 pages, 324 KiB

Open AccessArticle

Decadent Echoes: Arthur Machen, M. John Harrison, K.J. Bishop, and the Ends of Mystery

by Matthew Cheney

Humanities 2025, 14(8), 169; https://doi.org/10.3390/h14080169 - 11 Aug 2025

Although he first published fiction during the fin de siècle with John Lane, publisher of The Yellow Book, Arthur Machen denied a Decadent heritage for his work; nonetheless, echoes of Decadent interests and imagery carried through his fiction long after the 1890s, [...] Read more.

Although he first published fiction during the fin de siècle with John Lane, publisher of The Yellow Book, Arthur Machen denied a Decadent heritage for his work; nonetheless, echoes of Decadent interests and imagery carried through his fiction long after the 1890s, through to his final novel, The Green Round. Decades later, M. John Harrison’s Viriconium series of novels and stories nodded to and wrestled with the Decadent legacy, while his interest in Machen became explicit with the short story “The Great God Pan” (the title taken from one of Machen’s most famous tales) and the novel The Course of the Heart, built from the earlier story. Harrison was an initiator of the New Weird literary tendency at the turn of the millennium, and one of the books central to that tendency is K.J. Bishop’s 2003 novel The Etched City, which openly drew on Decadent writings and on Harrison’s own use of Decadent material. Attending to writings by Machen, Harrison, and Bishop, we can see ways that Decadent aesthetics and imagery carried forward, finding a home a century later, not in the literary mainstream but in an experimental corner of the science fiction, fantasy, and horror genres. Full article

(This article belongs to the Special Issue The Use and Misuse of Fin-De-Siècle Decadence and Its Imagination)

13 pages, 291 KiB

Open AccessArticle

Blind Spots: Feminist Memory, Gendered Testimony, and Cultural Trauma in Holocaust Memoirs

by Xiaoxue (Wendy) Sun

Humanities 2025, 14(8), 168; https://doi.org/10.3390/h14080168 - 8 Aug 2025

Abstract

This article examines how gender shapes Holocaust memory through close analyses of two canonical women’s memoirs: Charlotte Delbo’s Auschwitz and After and Ruth Klüger’s Still Alive (2001), a considerably rewritten and culturally reinterpreted version of her earlier German book Weiter leben (1992). Delbo, [...] Read more.

This article examines how gender shapes Holocaust memory through close analyses of two canonical women’s memoirs: Charlotte Delbo’s Auschwitz and After and Ruth Klüger’s Still Alive (2001), a considerably rewritten and culturally reinterpreted version of her earlier German book Weiter leben (1992). Delbo, a French political deportee, and Klüger, an Austrian Jewish survivor, provide testimonies that challenge the male-centered paradigms that have long dominated the Holocaust literature. Although pioneering feminist scholars have shown that women experienced and remembered the Holocaust differently, gender-based analysis remains underused—not only in Holocaust studies but also in broader memory studies, where it is often assumed to be already complete or exhausted. This view of theoretical saturation reflects a Eurocentric bias that equates critical maturity with Western academic prominence, thereby masking the ongoing influence of gender on the production, circulation, and reception of testimony worldwide. Drawing on trauma theory, concepts of multidirectional memory and postmemory, systems theory of media, and ethical approaches to testimony, this article argues that gender is not merely descriptive of Holocaust experience but also constitutive of how trauma is narrated, circulated, and archived. Testimony, as a cultural form, is inherently mediated, and that mediation is fundamentally gendered. This analysis illustrates how Delbo and Klüger create gendered testimonial forms through unique aesthetic strategies. Delbo’s writing focuses on seeing by invoking a feminist aesthetics of voir as imagined and ethical visualization, while Klüger’s narrative emphasizes voice, utilizing rhetorical sharpness and ambivalent narration to challenge postwar silencing. Instead of equating gender with femininity, the article understands gender as a relational and intersectional system—one that includes masculinity, non-binary identities, and structural power differences. It also questions Eurocentric assumptions that feminist critique has been fully explored within memory studies, urging renewed engagement with gender in transnational contexts, such as the often-overlooked testimonies from wartime Shanghai. Ultimately, this article argues that feminist approaches to Holocaust testimony expose the gendered structures of grievability that determine which kinds of suffering are preserved—and which remain unspoken. Full article

16 pages, 265 KiB

Open AccessArticle

Exile Beyond Geography: Bilingualism, Self-Alienation, and the Poetics of Silence in Samuel Beckett

by Erinda Papa

Humanities 2025, 14(8), 167; https://doi.org/10.3390/h14080167 - 8 Aug 2025

Abstract

This article focuses on the experience of internal exile in Samuel Beckett’s work, focusing on two fundamental axes: bilingualism and silence. Beckett’s conscious switch from English to French after World War II is not an aesthetic or practical choice, but an act of [...] Read more.

This article focuses on the experience of internal exile in Samuel Beckett’s work, focusing on two fundamental axes: bilingualism and silence. Beckett’s conscious switch from English to French after World War II is not an aesthetic or practical choice, but an act of linguistic self-exclusion, through which he repositions himself in the face of word and meaning. Drawing on Derrida’s concept of the “monolingualism of the other” and Kristeva’s definition of the foreigner, this study treats bilingualism not as an expressive enrichment, but as a sign of a deep division within the creative subject. Meanwhile, silence is not seen as an absence of speech, but as the most sincere form of expression, a way of giving voice to what cannot be said. Analyzing works such as The Unnamable, Not I, and Krapp’s Last Tape, the article argues that Beckett does not write about exile, but from a permanent state of exile, conditioned not by geographical space, but by separation from language, identity, and meaning. The article aims to bring a new approach to the literature of exile, considering it as a fundamentally linguistic and existential experience, beyond the usual framework of national identity or cultural affiliation. Full article

29 pages, 4224 KiB

Open AccessArticle

The “Harold Theme” as a Byronic Microcosm: Structural and Narrative Condensation in Berlioz’s Harold in Italy

by Lola Abs Osta

Humanities 2025, 14(8), 166; https://doi.org/10.3390/h14080166 - 8 Aug 2025

Abstract

Lord Byron’s life and poetic works have inspired musical compositions across genres even during his lifetime. The English author’s fictional characters and themes impressed nineteenth-century European composers, especially since his Byronic heroes were often conflated with their creators’ own melancholy and revolutionary personas. [...] Read more.

Lord Byron’s life and poetic works have inspired musical compositions across genres even during his lifetime. The English author’s fictional characters and themes impressed nineteenth-century European composers, especially since his Byronic heroes were often conflated with their creators’ own melancholy and revolutionary personas. In contrast to Byron-inspired songs and operas, instrumental programme music has raised doubts towards a direct correlation with its poetic sources. While epigraphs help direct listeners to specific ideas, their absence has prompted dismissals of intermedial relationships, even those proposed by the composers themselves. This essay explores major connections between Hector Berlioz’s Harold in Italy, a Symphony in Four Parts with Viola Obbligato (premiered 1834), and Byron’s semi-autobiographical narrative poem Childe Harold’s Pilgrimage: A Romaunt (published 1812–1818). Although Berlioz’s titles and memoirs partially identify Byron’s Childe Harold as his inspiration, other references, including his visits to the Abruzzi mountains, his fascination with Italian folk music, his reuse of earlier material, and his reflections on brigands and solitude, have fuelled ongoing debates about the work’s programmatic content. Combining historical-biographical research, melopoetics, and musical semiotics, this essay clarifies how indefinite elements were transmitted from poetic source to musical target. Particular focus is placed on the “Harold theme”, which functions as a Byronic microcosm: a structural, thematic, and gestural condensation of Byron’s poem into music. Observing the interactions between microcosmic motifs and macrocosmic forms in Berlioz’s symphony and their poetic analogues, this study offers a new reading of how Byron’s legacy is encoded in musical terms. Full article

(This article belongs to the Special Issue Music and the Written Word)

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15 pages, 362 KiB

Open AccessArticle

Radegund of Poitiers in Modern Scholarship: Recurrent Themes and Portrayals

by Giacomo Evangelisti

Humanities 2025, 14(8), 165; https://doi.org/10.3390/h14080165 - 7 Aug 2025

Abstract

Radegund of Poitiers (520–587) was a princess of the Thuringian kingdom, wife to the Merovingian king Clothar I, and ultimately domina of the abbey of Sainte-Croix in Poitiers. The literary persona of Saint Radegund, as constructed by the poet-hagiographer Venantius Fortunatus and, a [...] Read more.

Radegund of Poitiers (520–587) was a princess of the Thuringian kingdom, wife to the Merovingian king Clothar I, and ultimately domina of the abbey of Sainte-Croix in Poitiers. The literary persona of Saint Radegund, as constructed by the poet-hagiographer Venantius Fortunatus and, a few years later, by the nun Baudonivia, underpins the historical figure. The saint exerted a significant cultural influence across Frankish territories, and over the ages her image has been continuously received, reinterpreted, and expanded. The purpose of this study is to provide a survey of the critical reception of Radegund’s character, in order to explore how modern scholarship has interpreted and reimagined her persona over time. Full article

(This article belongs to the Special Issue The Interpretation of Fictional Characters in Literary Texts: History of Literary Criticism, Philosophy and Formal Ontologies)

17 pages, 293 KiB

Open AccessArticle

“The Language of the Digital Air”: AI-Generated Literature and the Performance of Authorship

by Silvana Colella

Humanities 2025, 14(8), 164; https://doi.org/10.3390/h14080164 - 7 Aug 2025

Abstract

The release of ChatGPT and similar applications in 2022 prompted wide-ranging discussions concerning the impact of AI technologies on writing, creativity, and authorship. This article explores the question of artificial writing, taking into consideration both critical theories and creative experiments. In the first [...] Read more.

The release of ChatGPT and similar applications in 2022 prompted wide-ranging discussions concerning the impact of AI technologies on writing, creativity, and authorship. This article explores the question of artificial writing, taking into consideration both critical theories and creative experiments. In the first section, I review current scholarly discussions about authorship in the age of generative AI. In the second and third sections, I turn to experiments in literary co-creation that combine the affordances of technology with the human art of prompting and editing or curating. My argument has three prongs: (1) experiments that frame artificial writing as literature (memoir, poetry, autobiography, fiction) are accompanied by enlarged paratexts, which merit more attention than they have hitherto received; (2) paratexts provide salient clues on the process of co-creation, the reconfiguration of authorship, and the production of value; and (3) in the folds of paratextual explanations, one can detect the profile of the author as clever prompter, navigating a new terrain by relying at times on the certainties of conventional authorship. My analyses show that while AI-generated literature is a novel phenomenon worthy of closer scrutiny, the novelty tends to be cloaked in a familiar garb. Full article

21 pages, 1748 KiB

Open AccessArticle

Between Text and Form: Expanded Textuality in Contemporary Architecture

by Manuel Iglesias-Vázquez

Humanities 2025, 14(8), 163; https://doi.org/10.3390/h14080163 - 6 Aug 2025

Abstract

This article explores the concept of textuality as embedded within contemporary architecture, understood as the capacity of buildings to generate meanings, narratives, and interpretations that transcend their physical and functional dimensions. An interdisciplinary approach is adopted, integrating architectural theory, semiotics, hermeneutics, and cultural [...] Read more.

This article explores the concept of textuality as embedded within contemporary architecture, understood as the capacity of buildings to generate meanings, narratives, and interpretations that transcend their physical and functional dimensions. An interdisciplinary approach is adopted, integrating architectural theory, semiotics, hermeneutics, and cultural studies, positioning architecture as a form of symbolic production deeply intertwined with current social and technological contexts. The primary aim is to demonstrate how certain paradigmatic buildings operate as open texts that engage in dialogue with their users, urban surroundings, and cultural frameworks. The methodology combines theoretical analysis with an in-depth study of three emblematic cases: the Guggenheim Museum in Bilbao, the Centre Pompidou in Paris, and the Seattle Public Library. The findings reveal that these buildings articulate multiple layers of meaning, fostering rich and participatory interpretive experiences that influence both the perception and construction of public space. The study concludes that contemporary architecture functions as a narrative and symbolic device that actively contributes to the shaping of collective imaginaries. The article also identifies the study’s limitations and proposes future research directions concerning architectural textuality within the context of emerging digital technologies. Full article

(This article belongs to the Special Issue Beyond and in the Margins of the Text and Textualities)

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24 pages, 2029 KiB

Open AccessArticle

Avant-Texts, Characters and Factoids: Interpreting the Genesis of La luna e i falò Through an Ontology

by Giuseppe Arena

Humanities 2025, 14(8), 162; https://doi.org/10.3390/h14080162 - 6 Aug 2025

Abstract

This study introduces the Real-To-Fictional Ontology (RTFO), a structured framework designed to analyze the dynamic relationship between reality and fiction in literary works, with a focus on preparatory materials and their influence on narrative construction. While traditional Italian philology and genetic criticism have [...] Read more.

This study introduces the Real-To-Fictional Ontology (RTFO), a structured framework designed to analyze the dynamic relationship between reality and fiction in literary works, with a focus on preparatory materials and their influence on narrative construction. While traditional Italian philology and genetic criticism have distinct theoretical and editorial approaches to avant-text, this ontology addresses their limitations by integrating fine-grained textual analysis with contextual biographical avant-text to enhance character interpretation. Modeled in OWL2, RTFO harmonizes established frameworks such as LRMoo and CIDOC-CRM, enabling systematic representation of narrative elements. The ontology is applied to the case study of Cesare Pavese’s La luna e i falò, with a particular focus on the biographical avant-text of Pinolo Scaglione, the real-life friend who inspired key aspects of the novel. The fragmented and unstable nature of avant-text is addressed through a factoid-based model, which captures character-related traits, states and events as interconnected entities. SWRL rules are employed to infer implicit connections, such as direct influences between real-life contexts and fictional constructs. Application of the ontology to case studies demonstrates its effectiveness in tracing the evolution of characters from preparatory drafts to final texts, revealing how biographical and contextual factors shape narrative choices. Full article

(This article belongs to the Special Issue The Interpretation of Fictional Characters in Literary Texts: History of Literary Criticism, Philosophy and Formal Ontologies)

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16 pages, 297 KiB

Open AccessFeature PaperArticle

How to Disappear Completely

by Dominik Zechner

Humanities 2025, 14(8), 161; https://doi.org/10.3390/h14080161 - 4 Aug 2025

Abstract

This article investigates the paradox of disappearance as both an aesthetic and a political phenomenon. Taking inspiration from Radiohead’s song “How to Disappear Completely,” it argues that aesthetic representations of disappearance never achieve total erasure; instead, they give rise to new forms of [...] Read more.

This article investigates the paradox of disappearance as both an aesthetic and a political phenomenon. Taking inspiration from Radiohead’s song “How to Disappear Completely,” it argues that aesthetic representations of disappearance never achieve total erasure; instead, they give rise to new forms of visibility. A true aesthetics of disappearance does not exist. Through case studies such as H.G. Wells’s The Invisible Man and Guy Debord’s Society of the Spectacle, the article demonstrates that disappearance is always mediated: the invisible man becomes hyper-visible through his clothing, bandages, and mask, while the spectacle conceals marginalized lives only to expose them through mechanisms of institutional control (e.g., prisons, medical facilities, schools—as analyzed in Michel Foucault’s work). An investigation of the “novel of the institution” (Campe), especially as it appears in the works of Franz Kafka and Robert Walser, eventually explores the nexus between aesthetic representation and institutionalized forms of coerced visibility. Ultimately, the essay argues that disappearance, as an aesthetic and political event, destabilizes regimes of visibility—not by erasure alone, but by exposing the fragility of appearance itself. The tension between opacity and exposure suggests that resistance lies not in pure absence but in subverting the very mechanisms of representation. Full article

(This article belongs to the Section Cultural Studies & Critical Theory in the Humanities)

30 pages, 427 KiB

Open AccessArticle

From The Demon to the Secret Voice: Archetypal Echoes and Oral Culture in 19th Century Romantic Poetry

by Gül Mükerrem Öztürk

Humanities 2025, 14(8), 160; https://doi.org/10.3390/h14080160 - 31 Jul 2025

Abstract

The first half of the 19th century witnessed the rise of Romantic poetry, which focused in depth on individual consciousness, inner worlds, and metaphysical inquiries. This poetic orientation became particularly evident in works centred on themes such as solitude, alienation, and existential quests. [...] Read more.

The first half of the 19th century witnessed the rise of Romantic poetry, which focused in depth on individual consciousness, inner worlds, and metaphysical inquiries. This poetic orientation became particularly evident in works centred on themes such as solitude, alienation, and existential quests. Within this context, the present study aims to examine the archetypal and poetic resonances of the poetic voice in Mihail Lermontov’s poem The Demon, based on its sixth and final version dated 1841, in relation to Nikoloz Baratashvili’s poem Secret Voice. Lermontov’s poem is analyzed through the English translation by Charles Johnston, published in 1983, while Baratashvili’s poem is discussed based on the 24-line version included in the fifth edition (1895) of the anthology Poems and Letters (Leksebi da Tserilebi). This study explores the thematic and structural similarities between the two poems within the framework of comparative literature and psychoanalytic criticism, focusing on Romantic archetypes, the uncanny, the shadow figure, and ontological solitude. Furthermore, the dialogue established between Lermontov’s demonic narrator and Baratashvili’s introspective poetic voice reopens discussions on the boundaries of cultural memory, oral narrative patterns, and poetic identity. Ultimately, this comparative analysis reveals the implicit influences of The Demon on Georgian poetry and discusses the intercultural resonances of themes such as voice, self, and archetype in Romantic poetry. Full article

(This article belongs to the Section Literature in the Humanities)

9 pages, 159 KiB

Open AccessArticle

The Mask and the Giant: Shakespearean Acting and Reputation Management

by Darren Tunstall

Humanities 2025, 14(8), 159; https://doi.org/10.3390/h14080159 - 31 Jul 2025

Abstract

I use Shakespeare to teach acting to students. A key to my work is impression management: what Shakespeare called reputation. I view the management of reputation as a route into Shakespearean character, which I present to students as a mask attuned to sacred [...] Read more.

I use Shakespeare to teach acting to students. A key to my work is impression management: what Shakespeare called reputation. I view the management of reputation as a route into Shakespearean character, which I present to students as a mask attuned to sacred values. The physical basis from which the actor can discover the mask is what Hamlet calls ‘smoothness’, which I explain with an acting exercise. We discover the force of sacred values by noticing the ubiquity of keywords in the text such as honor, virtue, reason, shame and faith. By holding characters to the fire of their sacred values, I shift the actor’s attention from an individualist idea of authentic representation towards a sense of character as a battleground of mind-shaping. The resulting performance work is scaled up to a more expansive and energized degree than the actor may be used to delivering in a social media-saturated environment in which what is often prioritized is a quasi-confessional self-revelation. The revelation of an inner life then emerges through a committed exploration of antithetical relations, a strategy basic both to mask work and to Shakespeare’s poetics. The actor finds their personal connection to the material by facing the contradiction between the objective standards of behavior demanded of the character and the character’s attempt to control their status, that is, how they are seen. The final value of the performance work is that the actor learns how to manage their reputation so that they come to appear like a giant who is seen from a distance. Full article

(This article belongs to the Special Issue Shakespearean Performance: Contemporary Approaches, Findings, and Practices)

13 pages, 274 KiB

Open AccessArticle

Nautical Desires: Tourists, Stowaways and Other Travellers in Caribbean Fiction

by Conrad Michael James

Humanities 2025, 14(8), 158; https://doi.org/10.3390/h14080158 - 31 Jul 2025

Abstract

This article examines two Caribbean texts which use 20th-century journeys on passenger ships as opportunities to investigate ways in which colonial anxieties of race and gender are worked out through nautical desires. Mayra Montero’s erotic novel La última noche que pasé contigo (1991) [...] Read more.

This article examines two Caribbean texts which use 20th-century journeys on passenger ships as opportunities to investigate ways in which colonial anxieties of race and gender are worked out through nautical desires. Mayra Montero’s erotic novel La última noche que pasé contigo (1991) and Claude McKay’s Romance in Marseille (2020) both wrestle with the imagined and material consequences of pervasive anti-blackness. They also raise crucial questions about embodied practices of struggle for survival. My analysis seeks to answer the following questions. What happens when anti-blackness masquerades as desire? How do we read and represent an anti-blackness that seeks to consume parts of the Caribbean and then dispense as refuse with what it sees as superfluous? What reading practices might we adopt in order to make sense of Caribbean bodies dehumanized on their own shores, and what narrative solutions might Caribbean fiction propose that might begin to restore humanity and value to these bodies? Full article

(This article belongs to the Special Issue Rise of a New World: Postcolonialism and Caribbean Literature)

14 pages, 250 KiB

Open AccessArticle

“Macht das Ohr auf”: Anthropology and Functional Transformation of Sound Media in German Cosmic Music Between the 1960s and 1970s

by Gianluca Paolucci

Humanities 2025, 14(8), 157; https://doi.org/10.3390/h14080157 - 30 Jul 2025

Abstract

This article highlights the importance of the discourse on sound media for the development of so-called “cosmic music” in Germany in the late 1960s and early 1970s. Already the slogan of the Ohr record label “Macht das Ohr auf” (Open up your ears) [...] Read more.

This article highlights the importance of the discourse on sound media for the development of so-called “cosmic music” in Germany in the late 1960s and early 1970s. Already the slogan of the Ohr record label “Macht das Ohr auf” (Open up your ears) testifies to the awareness of Rolf-Ulrich Kaiser, the founder of the label, and the bands gathered around him about the impact of media on everyday practices and the reflection on the physiological effect of sound. In particular, this article focuses on the figure of Kaiser and his Buch der neuen Pop-Musik (1969), where the author stresses the emancipatory potential of popular music starting from the considerations put forward by H. Marcuse, T. W. Adorno and M. McLuhan. On the basis of these suggestions, Kaiser envisages the possibility of a ‘functional transformation’ of sound media, placing himself in a long German tradition of reflections on the relationship between man and technology, in which it is possible to identify a line that proposes a progressive and socialist use of technical reproduction apparatuses (Benjamin, Brecht, Enzensberger) and another line that questions the connection between media and mystical experience (Mann, Hesse). In this sense, this paper explores the intellectual and literary context of the media anthropology on which the sound aesthetics of German cosmic music was founded. Full article

(This article belongs to the Special Issue Literature and Sound)

34 pages, 492 KiB

Open AccessArticle

Who’s the Dude? A Historical Profile of the Critical Reception of Johannes De Hauvilla’s Architrenius

by Lorenzo Carlucci and Laura Marino

Humanities 2025, 14(8), 156; https://doi.org/10.3390/h14080156 - 25 Jul 2025

Abstract

Medieval and modern readers of Johannes de Hauvilla’s late XII-century Latin poem Architrenius have proposed an array of discordant interpretations of the eponymous protagonist. This paper offers a historical profile of the critical reception of this peculiar fictional character, tracing responses from the [...] Read more.

Medieval and modern readers of Johannes de Hauvilla’s late XII-century Latin poem Architrenius have proposed an array of discordant interpretations of the eponymous protagonist. This paper offers a historical profile of the critical reception of this peculiar fictional character, tracing responses from the Middle Ages to the present day. Given the poem’s limited dissemination and the modest critical attention it has received in modern times, it is possible to provide a nearly comprehensive overview of the reception history of the Architrenius. We analyze and classify the terminology and the argumentative strategies used by critics in constructing their portrait of the hero of Johannes’ poem and observe how these choices interact with the overall critical assessment of the Architrenius. Our analysis identifies two principal families of readers—both philologically and thematically—suggesting a dual trajectory in the reception of the poem throughout the centuries. Full article

(This article belongs to the Special Issue The Interpretation of Fictional Characters in Literary Texts: History of Literary Criticism, Philosophy and Formal Ontologies)

6 pages, 185 KiB

Open AccessEditorial

Eco-Rebels with a Cause: Introduction to a Humanities Special Issue

by Nina Goga and Lykke Guanio-Uluru

Humanities 2025, 14(8), 155; https://doi.org/10.3390/h14080155 - 24 Jul 2025

Abstract

In a time when global environmental initiatives might lose traction in the face of armed conflicts and war, it is important to maintain focus on the long-term measures required to protect natural habitats, prevent species loss, and champion environmental justice [...] Full article

(This article belongs to the Special Issue Eco-Rebels with a Cause: Representations and Explorations of Politics and Activism in Children's and YA Literature)

13 pages, 232 KiB

Open AccessArticle

‘I Have Seen the Sea’: Caribbean Aquatic Poetics in Monique Roffey’s The Mermaid of Black Conch

by Leighan Renaud

Humanities 2025, 14(7), 154; https://doi.org/10.3390/h14070154 - 19 Jul 2025

Abstract

The polyvalent nature of water is one often explored in fiction by Caribbean writers, and this paper will consider the ways that the representations of mermaids act as an extension of this exploration. Mermaids are central to a number of folk traditions across [...] Read more.

The polyvalent nature of water is one often explored in fiction by Caribbean writers, and this paper will consider the ways that the representations of mermaids act as an extension of this exploration. Mermaids are central to a number of folk traditions across the Caribbean region and its diaspora. On islands, including Trinidad, Martinique, Carriacou, and Haiti, with names such as Fairymaid, Mama Glo, and La Siren, mermaids are often regarded as mothers and protectresses of both the sea and the creatures within it. This paper will analyse the representation of the mermaid in Monique Roffey’s The Mermaid of Black Conch (2020) and consider how the novel utilises the mermaid and an aquatic poetics to explore Kamau Brathwaite’s conceptualisation of a submarine unity for the Caribbean. Full article

(This article belongs to the Special Issue Rise of a New World: Postcolonialism and Caribbean Literature)

16 pages, 1839 KiB

Open AccessArticle

Crowds of Feminists: The Hybrid Activist Poetics of “No Manifesto” and Jennif(f)er Tamayo’s YOU DA ONE

by Becca Klaver

Humanities 2025, 14(7), 153; https://doi.org/10.3390/h14070153 - 18 Jul 2025

Abstract

This essay examines two hybrid poetic texts that emerged from a period of feminist activism in U.S. and global poetry communities from 2014 to 2017: the collaboratively, anonymously authored “No Manifesto” (2015) and the radically revised second edition of the book of poetry [...] Read more.

This essay examines two hybrid poetic texts that emerged from a period of feminist activism in U.S. and global poetry communities from 2014 to 2017: the collaboratively, anonymously authored “No Manifesto” (2015) and the radically revised second edition of the book of poetry and visual art YOU DA ONE by Jennif(f)er Tamayo. “No Manifesto” and YOU DA ONE embrace the hybrid tactics of collectivity, incongruity, and nonresolution as ways of protesting sexism and sexual violence in poetry communities. Synthesizing theories of hybridity from poetry criticism as well as immigrant and borderlands studies, the essay defines hybridity as a literary representation of cultural positions forcefully imposed upon subjects. Born out of the domination of sexual and state violence, hybridity marks the wound that remakes the subject, who develops strategies for resistance. By refusing to play by the rules of poetic or social discourse—the logics of domination that would have them be singular, cohesive, and compliant—Tamayo and the authors of “No Manifesto” insist on alternative ways of performing activism, composing literature, and entering the public sphere. These socially engaged, hybrid poetic texts demonstrate the power of the collective to disrupt the social and literary status quo. Full article

(This article belongs to the Special Issue Hybridity and Border Crossings in Contemporary North American Poetry)

17 pages, 231 KiB

Open AccessArticle

“None of the Living Was Closed from His Soul”: A Translation of, and Commentary on, Hölderlin’s Poem “To My Venerable Grandmother. On Her 72nd Birthday”

by Mark W. Roche

Humanities 2025, 14(7), 152; https://doi.org/10.3390/h14070152 - 18 Jul 2025

Abstract

Amidst Hölderlin’s many well-known odes, elegies, and hymns, it is perhaps not surprising that Hölderlin’s occasional poem “To my Venerable Grandmother. On her 72nd Birthday” (Meiner verehrungswürdigen Grosmutter. Zu ihrem 72sten Geburtstag) has been translated into English only once and in an obscure [...] Read more.

Amidst Hölderlin’s many well-known odes, elegies, and hymns, it is perhaps not surprising that Hölderlin’s occasional poem “To my Venerable Grandmother. On her 72nd Birthday” (Meiner verehrungswürdigen Grosmutter. Zu ihrem 72sten Geburtstag) has been translated into English only once and in an obscure self-published edition. Yet the poem is rich in Hölderlin’s distinctive diction and syntax, it reveals much about Hölderlin’s aspirations for himself, and it contains one of his deepest sets of reflections on Christ. Still, the poem is often overlooked. But once one reflects on its content, with its multiple attempts to name Christ, including his friendship to the earth and his knowing no strangers, one can readily see why Pope Francis elevated this poem as one of his favorite literary works. This publication presents the first accessible translation of the poem (I), after which I offer some commentary on its form, individual lines, and the translation (II). I then turn to the period of his writing the poem (III). I conclude with a few additional thoughts on Hölderlin and religion (IV). Full article

(This article belongs to the Special Issue Hölderlin and Poetic Transport)

14 pages, 217 KiB

Open AccessArticle

Narration as Characterization in First-Person Realist Fiction: Complicating a Universally Acknowledged Truth

by James Phelan

Humanities 2025, 14(7), 151; https://doi.org/10.3390/h14070151 - 16 Jul 2025

Abstract

I argue that the universally accepted assumption that in realist fiction a character narrator’s narration contributes to their characterization needs to be complicated. Working with a conception of narrative as rhetoric that highlights readerly interest in the author’s handling of the mimetic, thematic, [...] Read more.

I argue that the universally accepted assumption that in realist fiction a character narrator’s narration contributes to their characterization needs to be complicated. Working with a conception of narrative as rhetoric that highlights readerly interest in the author’s handling of the mimetic, thematic, and synthetic components of narrative, I suggest that the question about narration as characterization is one about the relation between the mimetic (character as possible person) and synthetic (character as invented construct) components. In addition, understanding the mimetic-synthetic relation requires attention to issues at the macro and micro levels of such narratives. At the macro level, I note the importance of (1) the tacit knowledge, shared by both authors and audiences, of the fictionality of character narration, which means authors write and readers read with an interest in its payoffs; and of (2) the recognition that character narration functions simultaneously along two tracks of communication: that between the character narrator and their narratee, and that between the author and their audience. These macro level matters then provide a frame within which authors and readers understand what happens at the micro level. At that level, I identify seven features of a character’s telling that have the potential to be used for characterization—voice, occasion, un/reliability, authority, self-consciousness, narrative control, and aesthetics. I also note that these features have their counterparts in the author’s telling. Finally, I propose that characterization via narration results from the interaction between the salient features of the character’s telling and their counterparts in the author’s telling. I develop these points through the analysis of four diverse case studies: Mark Twain’s Huckleberry Finn, Robert Browning’s “My Last Duchess,” Nadine Gordimer’s “Homage,” and Ernest Hemingway’s A Farewell to Arms. Full article

(This article belongs to the Special Issue The Interpretation of Fictional Characters in Literary Texts: History of Literary Criticism, Philosophy and Formal Ontologies)

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Humanities

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