Search Results (174)

Women’s football represents the convergence of the history of sport, the history of women, and the history of women’s participation in ball games. From Classical antiquity, literary and archeological evidence highlights a long-standing association between spherical objects and the female sphere. While ancient physical cultures primarily celebrated male athleticism, records from various Classical civilizations indicate that women occasionally engaged in ball games and recreational exercises. In ancient Greece and Rome, these activities were often socially framed around themes of youth, grace, and courtship rituals, rather than structured competitive sport. Over the centuries, women continuously negotiated their access to physical play, transitioning from these early symbolic associations to more organized activities by the late Middle Ages. It was only at the end of the nineteenth century, alongside broader movements for female emancipation, that women’s football began to emerge in Great Britain, marking the entry of women into an exclusively male sporting domain. In recent decades, women’s football has undergone substantial professionalization and global expansion, accompanied by growing scientific interest in understanding the determinants of performance. This narrative review synthesizes current evidence on the multidimensional factors influencing performance in women’s football, integrating physical and match demands, physiological and anthropometric characteristics, psychological and emotional components, menstrual cycle-related influences, and contextual variables. The literature published between 2008 and 2024 was examined across major scientific databases. Findings indicate that while total match distance has remained relatively stable (averaging 9500–10,500 m), high-speed running distances, sprint frequencies, and peak intensity demands have escalated by 15–30% over the tracked decade. Psychological resilience and team dynamics contribute meaningfully to performance outcomes, whereas menstrual cycle phases appear to exert limited and inconsistent effects on objective physical performance. Overall, performance in women’s football emerges from the dynamic interaction of multiple domains, underscoring the need for integrated and individualized performance management strategies. Full article

Due to its brilliant literary narrative and profound ideas, Xiao Hong’s Tales of Hulan River has had a profound influence on the history of Chinese modern literature. Academia has conducted in-depth discussions on Tales of Hulan River, but these have largely overlooked the folk shamanic rituals and their crucial significance in this novel. The expression of literary narrative ideas cannot be studied independently without the folk shamanic ritual’s survival resilience. Starting from the dimensions of material, spiritual, and cultural resilience, this article discusses the folk shamanic rituals in Tales of Hulan River, and is dedicated to constructing the mechanism of survival resilience. Material resilience is reflected in the most reasonable choice under limited material conditions, the cultivation of critical thinking, and the understanding of contingency and eternity; spiritual resilience is reflected in the pursuit of transcendence, the provision of psychological comfort, and the emphasis on the motivation of goodness; cultural resilience is reflected in establishing the common goal of the community, cultivating pragmatic cultural values, and maintaining the sustainability of folk shamanic rituals. Full article

This article examines Heather Marshall’s Looking for Jane as a literary engagement with the history of reproductive control in postwar Canada. It contends that the novel redefines trauma as a structurally generated condition, influenced by institutional and social constraints. Through its fragmented, multi-generational narrative, comprising letters, testimonies, and disjointed timelines, the text reconstructs a history that survives only in partial, mediated, and often unstable traces, foregrounding the difficulties of rendering reproductive trauma historically visible. By contextualising individual experiences within a broader framework of institutional oversight and referencing documented practices such as forced adoption and restricted access to abortion, the novel links literary form to historical realities. Its concluding paratext extends this dialogue into the present, engaging the reader directly and emphasising the ongoing significance of reproductive trauma in contemporary discourses on responsibility and recognition. Full article

This article considers the literary exploration of women’s celibacy through the prism of science fiction, beginning with an overview of the genre’s often-retrograde engagements with the subjects of marriage, reproduction and heteronormative ideology. Alongside this genre context, a 19th-century Irish historical context is outlined, juxtaposing genre history with the ‘matrimonial’ rhetoric that arose following the 1801 Act of Union, which framed the merging of Ireland into the United Kingdom as a ‘marriage’ between Ireland and Great Britain, with Ireland represented as the bride. In the overlap between these two contexts, this article identifies several future-set Irish novels that address this rhetoric directly, while also tracing its (perhaps unconscious) impact in other texts, before moving on to consider one novel in particular: Mercia, the Astronomer Royal (1895) by Amelia Garland Mears. The article concludes by arguing that science fiction’s past missteps with regard to marriage and sex can be explained by the fact that traditional, patriarchal marriage is in fact fundamentally unsuited to a genre primarily concerned with the future, resulting in reactionary overcompensation. Full article

From the early Middle Ages, but mostly the late twelfth century, the love story involving Tristan and Isolde (also Yseut) attracted much attention, originating in the Celtic world but fully developed first by the Old French poet Béroul (ca. 1160) and Thomas of England, of Britain, or of Brittanny, around 1170. It was rendered into virtually every European language since then and has also appealed to artists and musicians throughout time. We know, for example, of tiles, tapestry, sculptures, paintings, musical tunes, manuscript illuminations, and other visual representations of the intense but highly problematic relationship between these two young people. In essence, while Yseult is married to the King of Cornwall, Mark/Marke, a love potion, a metaphorical symbol of their deep feelings, bonds her with Tristan for the rest of their lives (a limited number of years in the earlier versions). Ultimately, at least in most versions, they are destined to die because of their love, which is incompatible with the social norms of their time, and this Romantic theme has hence also played a huge role in the nineteenth and twentieth centuries, and is perhaps highly important also today, as expressed by modern movies and music engaging with this love story. This study first traces in rough brushstrokes the history of the reception of this literary theme from the twelfth to the twenty-first century; then, it returns to the various medieval versions to investigate the critical issues contained in this highly popular story, which has never lost its relevance and attraction for audiences throughout time. Since the focus rests on the history of reception, less on comparative literature, the main tradition to be traced will be the German one. Full article

In her final novel, Daniel Deronda (1876), George Eliot (1819–1880) repeatedly stages moments in which gentile characters project expectations onto Jewish women, drawing on inherited cultural representations from literature, history, and the performing arts. These moments reveal how limited their real-world knowledge of Jews—particularly Jewish women—was, and how readily they relied on cultural templates rather than lived experience. George Eliot herself, however, had undertaken extensive study of Jewish history, religion, and culture in preparation for the novel, including research into the Talmud, Mishna, kabbalah, and halacha (Jewish law). Yet this knowledge is purposefully not afforded to her characters. This article examines George Eliot’s increasing understanding of Jewish society, and her shifting attitudes towards Judaism, and explores how allusions to Jewish women in history, literature, and performance shape the gentile characters’ othering of Mirah Lapidoth, a young Jewish woman fleeing enforced familial exploitation, whom Daniel rescues from drowning in the Thames. Two significant conceptual terms underpin my argument. Objectification refers here not only to eroticisation or aestheticisation, but to the broader process by which Mirah is perceived as a symbolic figure—as an image, a type, or role—rather than a fully realised person. Othering denotes the interpretative habit by which gentile characters position Mirah through pre-existing stereotypes or literary precedents, instead of understanding her as a subject with her own history and interiority. Rescue describes the narrative mechanisms by which Mirah is brought into focus, first through Daniel’s intervention, then through her placement within the Meyrick household, and finally through marriage, though always within structures that continue to idealise, discipline, or contain her. I argue that George Eliot’s deployment of familiar stereotypes does not reinforce them; instead, she exposes them as cultural constructions that must be deconstructed or exorcised before she reconstructs her own version of Jewish culture and identity, which she referred to as “the inner life of modern Judaism” in her notebooks. I also argue that Daniel’s rescue of Mirah, rather than an act of pure benevolence, becomes a further site of objectification, othering her as an idealised model of Jewish womanhood rather than acknowledging her as an autonomous individual. Full article

This article explores how historic avant-garde works can be considered as aesthetic technologies or time machines conditioning an audience to experience the future differently. Rather than revisiting well-known Western scholars, it turns to perhaps lesser known “Cold War” theorists and critics: Polish art scholar Andrzej Turowski, Yugoslavian–Croation literary scholar Aleksandar Flaker, and Russian–Estonian semiotician Juri Lotman. In rather different ways, these thinkers considered avant-garde works as artefacts that, in an audience’s phenomenological encounter with them, model and yield different experiences of the future. In the closing section of the article, Gerrit Rietveld’s model for the Rietveld Schröder House in Utrecht is discussed. Rietveld’s model reminds us that theoretical speculation should always be accompanied also by historical contextualization, in part because many of the historic avant-garde’s projected futures are now also futures anterior, the history of which might further shed light on the avant-garde’s actual futurity. Full article

One of the most famous and frequently analysed descriptions in literary and art history is undoubtedly Dostoevsky’s ekphrasis of Holbein’s painting The Dead Christ in the Tomb in his novel The Idiot (Part III. Chapter 6). The painting itself sparked a series of theological and aesthetic controversies with its unusual, non-canonical iconography depicting of the Passion of Christ. Most art historical analyses do not ignore the ekphrasis of that picture in The Idiot. In this study, we proceed from the premise that the “reading of the painting” leads to different results from the point of view of three main characters of the novel: Rogozhin, Myshkin, and Ippolit. Our goal is to prove that ekphrasis is an inseparable part of a speech act—not an objective description, but intentional speech. Therefore, it cannot be interpreted without understanding the speaker’s intention or the character’s situation. This explains the strong distortions and misreading in the ekphrasis. We can capture the meaning reconstructed in the character’s speech through the motifs of copy, epigonism, duplication and misquotation. Ippolit, the subiectum of ekphrasis, proves to be a truly “bad reader,” and his reading becomes devastating in the world of the novel insofar as it anticipates the destruction expressed in the motifs of the Apocalypse. In addition, we also reveal that there is a hidden intention behind Ippolit’s reading, which we can grasp by examining the signs in the text (metaphorical meaning). The most important motifs of ekphrasis (e.g., nature, the number six, actuality, darkness–light) weave through the entire text of the novel and are incorporated into the process of text production and meaning creation. Full article

This article examines the early formation of Confucian–Islamic synthesis during the Yuan dynasty, arguing that institutional and intellectual adaptations in this period laid the groundwork for the later systematic synthesis known as “Yi-Ru Huitong” (伊儒會通). Moving beyond narratives of assimilation or resistance, it analyzes how Muslim communities navigated China’s pluralistic sociopolitical landscape through a process of creative adaptation. Employing a multidisciplinary approach that integrates textual analysis, historical comparison, and transcultural theory, the study investigates three key dimensions: the development of hybrid religious institutions, legal-political negotiations, and mechanisms of social integration. Drawing on multilingual sources—including Persian Islamic manuals, Yuan administrative archives, and epigraphic evidence—it demonstrates how Yuan-era Muslims established patterns of selective adaptation that preserved Islamic identity while enabling meaningful engagement with Chinese cultural norms. These developments not only ensured the survival of Islam in China but also generated a range of transcultural achievements in astronomy, medicine, architecture, and the literary arts, thereby creating the necessary conditions for the profound philosophical syntheses of the Ming-Qing era. By positioning the Yuan period as a crucial incubator of Sino-Islamic civilization, this study offers insights for comparative philosophy and the global history of civilizational dialog, inviting reflection on the early Chinese Islamic experience as a significant case of sustainable cross-civilizational engagement. Full article

This article examines Max Nordau’s Entartung (Degeneration) (1892/93) at the intersection of fin-de-siècle cultural critique and contemporary psychopathology. It argues that Nordau did not simply denounce modern art, but transferred an established psychiatric vocabulary—centred on degeneration, hysteria, and neurasthenia—into the sphere of aesthetic judgement. Interpreting a range of literary and cultural phenomena as symptoms of pathological degeneration, Nordau sought to diagnose the psychological condition of modern culture through the works of contemporary writers and intellectuals. Situating Entartung within the broader nineteenth-century degeneration paradigm and within contemporary evolutionary debates, the article analyses how scientific discourse was mobilised to authorise cultural evaluation. Rather than assessing the validity of Nordau’s diagnoses, it reconstructs the epistemic logic through which psychiatric categories were transformed into instruments of cultural criticism. In doing so, it repositions Nordau within the history of the human sciences, highlighting his role in the consolidation of expert authority in late nineteenth-century cultural debates. By foregrounding the structural migration of psychiatric categories into cultural criticism, the article contributes to a more nuanced understanding of the alliance between scientific knowledge and normativity at the fin de siècle. Full article

Saudade is a cultural concept expressing a profound sense of longing, nostalgia, or melancholy associated with absence, loss, or unattainable experiences. Emerging in medieval Portugal and shaped by historical, social, and literary developments, it has evolved from an individual emotion into a collective cultural construct reflecting the identity, history, and aesthetic sensibilities of Lusophone communities. Drawing on peer-reviewed scholarship and interdisciplinary research in cultural studies, this entry examines how saudade is expressed in the literature, music, and philosophical discourse, and its role in national memory, emigration, and cultural imagination. While sometimes described as untranslatable, its uniqueness reflects deep historical and cultural embedding rather than a linguistic limitation. Saudade, therefore, functions as a multilayered symbolic category, revealing the interplay between emotion, language, and cultural identity in Lusophone contexts. Full article

Jewish thinkers and artists have used Midrash as a framework for exploring the entanglement of cultural inheritance and social justice projects. Marian D. Moore’s (1956–) poetry collection Louisiana Midrash (2019) exemplifies this dynamic. It blends Moore’s cultural landscape, Shreveport and New Orleans, Louisiana, African History and the Biblical and Midrashic literary traditions. Moore’s unique poetic voice, in the context of twenty-first century Midrash grounded in Jewish tradition, explores the intersection of African American history and Jewishness. Moore’s Midrashic poetry integrates African American and Jewish traditional biblical interpretation with the cultural reality of post—Katrina Louisiana. This article will discuss several of Moore’s poems in the context of her Black poetic Midrashic framework. The analysis illustrates how Louisiana Midrash shows the flexibility of Midrash as a creative genre and literary form, as it grows beyond a normative Jewish framework and becomes open to a multitude of voices and perspectives. Full article

This article examines the revival of the Romantic Ballad in contemporary anglophone writing through Vanavil K. Ravi’s The Ballad of the Warrior-Girl, which reimagines the Tamil folk figure, Kuyili and her role in the Sivagangai rebellion, a Romantic-era anti-colonial uprising in South India. In retelling this folk memory, Ravi mobilizes a Romantic-era form to recast an instance of a local uprising, rife with caste dynamics, into a national and globalized narrative aligned with neo-nationalist storytelling conventions. By transforming a lower-caste, female militant in a local language into a Hindu, pan-Indian icon of patriotic martyrdom, Ravi’s ballad participates in a larger trend of globalized translations. I situate the text within intersecting histories of Romanticisms, balladic traditions, and the global circulation of literary forms. Through this, I outline what I call the ‘global ballad’ as distinct from the ‘globalized ballad’. While the latter flattens cultural difference into consumable cosmopolitanism, the former centers opacity and untranslatability across rhizomatic relationalities. I show how reading literary texts alongside different critical traditions is a productive way to counter the exoticized, neoliberal circulation of literature in translation. Full article

The aim of this article is to provide a new theoretical and methodological framework for analyzing the ethical, relational, and normative dimensions of transgenerational memory work, taking a comparative close reading of two Norwegian second-generation Holocaust family memoirs, Irene Levin’s Vi snakket ikke om Holocaust (2020) and Bjørn Westlie’s Fars krig (2008), as its case in point. Both narratives are simultaneously biographies, autobiographies, and historiographies, and they mediate between family memory and national memory. The authors position themselves as second-generation descendants, addressing and being addressed by their parents, and as Holocaust researchers, addressing and being addressed by a public audience. Departing from the theoretical perspective of relational life writing and Judith Butler’s concepts “scene of address” and “frameworks of recognition”, this comparative literary analysis of rhetorical situations, genres, and modes of narrating discusses the author-narrators’ engagement with their parents’ silence and writings and reveals how personal histories intersect with collective reckoning. By attending to the relational and performative aspects of storytelling, this article highlights how postgeneration literature enacts ethical reflection, recognition, and accountability. Full article

Personal experiences, even when recounted as autobiographical novels, can deepen our understanding of the past, as they present a lived history of real events. In the novel De două mii de ani (For Two Thousand Years), Iosef Mendel Hechter, using the literary pseudonym Mihail Sebastian, recounts his experience as a young Jewish intellectual, born and raised in Romania, in a society divided by ethnic tensions driven by ultra-nationalism and anti-Semitism. Our study aims to critically examine, through a historical perspective, the socio-political realities depicted by the author, the collective mentality, and the typological stereotypes of his fictional characters. These reflect the actual choices and paths taken by Romanian Jews in their responses to the anti-Semitic pressures of the era. We believe that adopting this less frequently explored perspective will enrich both our understanding of that period and the depth of the novel itself. Thus, autobiographical literature and history engage in a meaningful dialogue, where microhistory, represented by the individual experience of the main character, Ștefan Valeriu, can verify or refine macrohistory, particularly the social, political, and economic context in which interwar Romanian society developed. Full article