Search Results (79)

This essay explores how sanctity at Helfta was defined not by the perfection of song but by its interruption. The Book of Special Grace and the Herald of Divine Love praise Mechthild of Hackeborn and Gertrude the Great as singers of surpassing sweetness yet linger on the migraines, collapses, and illnesses that silenced their voices in the choir. These moments of suspension disclose muteness as more than absence: they reveal it as the paradoxical condition through which divine presence most fully resounds. Bringing sound studies into dialogue with disability studies, I argue that faltering breath, broken chant, and enforced silence function as theological and literary form. At Helfta, impairment itself becomes a hermeneutic structure, the hinge through which sanctity is revealed and narrative meaning is generated. In this framework, muteness operates as a form of narrative prosthesis—an interruption that both structures the hagiographical imagination and unsettles it by refusing cure or closure. By highlighting the fragility of voice as the very medium of divine disclosure, these texts testify that the sweetest music of Helfta lies not in unbroken chant but in silence transfigured into revelation. Full article

Fractured fairy tales are adaptive retellings of traditional stories that employ humor, irony, and narrative innovation to transform established meanings. As a distinctive literary genre, these works combine entertainment with subversion, reshaping familiar plots, characters, and morals to engage readers in both imaginative and critical reflection. The genre gained prominence in the mid-twentieth century, when classic tales began to be rewritten to reflect modern cultural values and shifting audience expectations. Through techniques such as parody, reversal, and alternative endings, fractured fairy tales challenge inherited norms while offering renewed interpretive possibilities. Beyond their literary appeal, they have been recognized for their pedagogical importance: their familiarity lowers barriers to reading, while their inventive variations foster creativity, analytical reasoning, and language development. Collectively, these attributes affirm fractured fairy tales as a genre of lasting significance, uniting artistic reinterpretation with educational relevance in ways that continue to enrich both literary and literacy learning. Full article

We can trace the convergence of electronic literature and narrative games through a focus on critical methods and experiential frameworks rather than relying on typologies or ontologies. This article offers examples of digital literary works that we experience across a literary–ludic continuum. The first section traces some historical markers of convergence between electronic literature and narrative games with reference to conference keynotes from the institutional history of the Electronic Literature Organization (ELO). The next sections will present two case studies. The first, Kentucky Route Zero by Cardboard Computer is a narrative game that benefits from a literary-critical method and rewards interpretative insights. The second, This is a COVID-19 Announcement by Peter Wills, is an analysis of a playable simulation that indulges the pleasures of iterative ludic engagement against a backdrop of narrative (yet not plot-centric) comforts. Just as literature enriches games and games enrich literature, the critical methodologies and imaginative experiences they engender can be mutually productive when understood across a continuum of literary and ludic practice. Full article

In the twenty-first century, academic approaches to mysticism often risk reducing the Mystery to an object of erudition and historical distance, as if mystical experience belonged solely to a pre-modern past. Yet, when one encounters the “natural metaphors” that emerge within mystical writings—images of rivers, gardens, fire, and wind—it becomes almost impossible to silence the invitation to perceive the sacred as still unfolding in the present. This article proposes an embodied and associative reflection that brings into conversation the poetry of John of the Cross (1542–1591), the intimate diaries of Etty Hillesum (1914–1943), and the musical and visual work of the contemporary artist Björk Guðmundsdóttir (b. 1965). Through this triadic encounter, I argue that natural metaphors are not mere literary ornaments but symbolic languages that articulate the ineffable through the elemental languages of the earth. They sustain a theology of embodiment, relationality, and transformation that traverses epochs and artistic media. The study also seeks to fracture rigid and hegemonic readings that have confined mystical texts within colonial geographies of interpretation—readings that domesticate spiritual experience through rigid doctrinal frameworks. In contrast, this essay advocates for a decolonial hermeneutics of the mystical imagination, one that recognizes how the natural, the esthetic, and the spiritual interweave in the polyphony of the world. By reading John of the Cross, Hillesum, and Björk together, I suggest that mystical experience continues to unfold today through poetry, diary, and sound—where theology becomes not only a matter of thought but of vibration, beauty, and embodied openness to the Mystery. Full article

In the winter of 1991, the frenzied scandal around Bret Easton Ellis’s serial killer smash American Psycho overshadowed another, no less serious literary controversy. Published less than two months after Ellis’s blockbuster, Dennis Cooper’s transgressive queer classic Frisk may have been largely ignored in mainstream cultural outlets, but in the queer community the scandal was deadly serious. Seemingly connecting queer sexuality with serial murder and pedophilia, the novel incited intensely angry demands for censorship. The controversy culminated in a very public death threat against Cooper from members of Queer Nation, a gay rights group known for its shock tactics. The critical response has mostly dismissed the scandals surrounding the novels as based on a particular kind of misreading or misinterpretation. Both works use similar narrative strategies to shock and scandalize their audience but aim to mitigate this response through the strategic use of unreliable narration. While scholars have often made the argument that the violence in the novels should be interpreted as mere fantasies of their unreliable narrators, this kind of nuanced interpretation was wholly absent in the scandalized response to the novels. The common critical defense, however, is itself based on a misunderstanding of the scandals. Fictionality and narrative reliability as such have little to do with the responses of imaginative resistance and moral disgust prompted by the representation of extreme violence. In this article, I analyze and compare the public and scholarly receptions of the novels, highlighting how scholarly discourse has often overlooked how the novels anticipated and aimed to incite the scandalized public response they ultimately provoked. Full article

John Updike’s In the Beauty of the Lilies has often been interpreted as a lament for the decline of institutional Christianity in twentieth-century America. Instead, in this essay, it is argued that the novel dramatizes the metamorphosis of the sacred across four generations of the Wilmot family. Based on Updike’s conviction that divine presence endures beyond the walls of the church and through literary and cultural analysis grounded in sociological theory, the narrative shows that what appears to be the retreat of institutional religion is in fact a return to its primal ground in private faith. From Clarence’s crisis of belief to Teddy’s communal–private devotion, Essie’s narcissistic yet spiritualized stardom, and Clark’s restless searching, the novel traces diverse expressions of private religion in modern life. Film, above all, emerges as the communicative form that replaces the authority once vested in institutional churches, becoming the most pervasive medium through which transcendence is imagined and experienced. Far from depicting religion’s disappearance, Updike presents its reconfiguration into subtler and more pervasive forms of grace. In doing so, In the Beauty of the Lilies becomes a literary meditation on how religious meaning persists, adapts, and finds new representatives in a modern, media-saturated world. Full article

Hydroelectric power projects were an integral part of twentieth-century postcolonial modernisation in Ireland. In 1925, the Cumann na nGaedheal government began the Shannon Scheme, which created the then-largest dam in Europe at Ardnacrusha. Hydroelectric power stations have since emerged across Ireland, from Poulaphouca and Ballyshannon to Inniscarra and Carrigadrohid. Despite the importance of hydropower in shaping Irish environments, ecocritical scholars like Matthew Henry and Sharae Deckard have shown that depictions of hydropower are generally understudied in the environmental and energy humanities and in Irish studies. This article traces twentieth-century hydroelectric power projects in Ireland through three plays: Denis Johnston’s The Moon in the Yellow River (1931), Frank Harvey’s Farewell to Every White Cascade (1958), and Conor McPherson’s The Weir (1997). Depictions of hydropower in these stage and radio dramas reveal an ongoing cultural awareness of one of modernity’s more insidious pollutants, namely, noise pollution. Exploring sound elements in representations of hydropower across diverse media and genres requires grappling with the legacy of colonialism on material environments in technocratic solutions to postcolonial national development and to planetary crises like climate change. Using postcolonial ecocritical and ecomedia studies lenses, this article analyses aural environments in Johnston, Harvey, and McPherson’s plays to elucidate intersections of medium, energy extraction, and hydropower that continue to resonate across Ireland. Besides providing historical insight into changing relationships with material environments, these plays also expose environmental and multispecies injustices caused by energy extraction projects on Ireland’s rivers. The aural environments in these plays also raise questions about what kind of modernisation and infrastructure projects would support multispecies modernities for more just and decolonial futures. Ultimately, this article demonstrates how these twentieth-century literary representations of hydroelectric energy extraction imagine alternative possibilities to anthropocentric modernisation through attending to multisensory and multispecies attachments to place. Full article

In his seminal book Zakhor: Jewish History and Jewish Memory (1982), renowned historian Yosef Hayim Yerushalmi argues that it is literature and culture, and not historiography, that shaped Jewish collective memory for generations. In Yerushalmi’s telling, the boundaries between historiography and literature, “truth” and “myth,” are set and strict. However, the reception of Yerushalmi’s work itself challenges this assumption and obscures the clear-cut distinctions between literature and historiography. This paper reads Yerushalmi’s book alongside its preface, written by Harold Bloom, in an attempt to understand Zakhor not only as a historiographic argument, but as a narrative of Jewish modernity, a literary meditation, embodying the very shift in collective memory that Yerushalmi himself lamented. The paper then explores the ways in which Yerushalmi’s work has inspired two prominent contemporary American Jewish writers: Joshua Cohen, in his novel The Netanyahus (2021), and Nicole Krauss, in her short story “Zusya on the Roof” (2013). In their literary work, one can hear echoes of Yerushalmi’s work, distinct and identifiable, yet incorporated in a fictional, imaginative world. Zakhor thus serves not only as an inspiration but as a catalyst for a deep, insightful rendering of Jewish history and one’s grappling with it. Full article

This study examines Sylvia Plath’s literary corpus through a biopolitical lens, analyzing how her representations of embodiment—particularly aging, decay, disease, and institutionalization—function as sites of contestation against institutional power. Moving beyond traditional biographical and psychoanalytic interpretations, this research study applies theoretical frameworks from Foucault, Agamben, and Esposito to illuminate how Plath’s work engages with and resists biopolitical structures. Through close readings of “The Bell Jar”, “The Colossus”, and “Ariel”, this study demonstrates how Plath’s aesthetic strategies transform embodied vulnerability into forms of resistance. The analysis explores four key dimensions: the institutionalized body and medical authority; aesthetic politics and the anxiety of aging; the biopolitics of reproduction and maternity; and death as both boundary and transcendence. This study reveals Plath’s corporeal poetics as a sophisticated engagement with the political dimensions of embodiment in the mid-twentieth century, establishing a literary tradition that influences contemporary understandings of bodies as sites of political contestation. Comparative analysis with other confessional poets highlights Plath’s distinctive and systematic approach to biopolitical themes, positioning her work as particularly significant for subsequent feminist theorizations of embodied resistance. Full article

This study examines al-Mufaḍḍaliyyāt anthology as a foundational corpus wherein pre-Islamic and early Islamic Arabic poetry emerged not only as a cultural artifact but as a generative locus for theological reflection. Through a close reading of selected poems and nuanced engagement with the figurative language specifically metaphor, personification, and symbolic narrative, the research situates poetry as a mode of epistemic inquiry that articulates religious meaning alongside Qurʾānic revelation. Drawing on ʿAbd al-Qāhir al-Jurjānī’s theory of semantic structure and metaphor, in dialogue with Paul Ricoeur’s conception of metaphor as imaginative cognition, the study proposes that poetic discourse operates as a site of “imaginative theology”, i.e., a space wherein the abstract is rendered sensorially legible and metaphysical concepts are dramatized in affective and embodied terms. The analysis reveals how key Qurʾānic themes including divine will, mortality, ethical restraint are anticipated, echoed, and reconfigured through poetic imagery. Thus, al-Mufaḍḍaliyyāt is not merely a literary corpus vis-à-vis Islamic scripture but also functions as an active interlocutor in the formation of early Islamic moral and theological imagination. This interdisciplinary inquiry contributes to broader discussions on the interpenetration of poetics and theology as well as on the cognitive capacities of literature to shape religious consciousness. Full article

This article explores the often-overlooked question of how literary reading might give rise to experiences that readers themselves identify as spiritual. Framed by William James’s account of “mystical susceptibility” and recent psychological models of spirituality as altered states of consciousness involving shifts in perception, affect, and cognition, the essay asks how engagement with narrative may occasion such states. Drawing from selected examples and critical traditions, it examines the conditions under which reading becomes spiritually resonant. Theologically, the piece considers the formation of attentiveness and imaginative receptivity in writers such as Teresa of Avila and Jessica Hooten Wilson. From affect theory, it engages Rita Felski’s language of enchantment; from cognitive studies, it draws on empirical approaches to literary studies and Tanya Luhrmann’s work on absorption and the cultivation of spiritual perception. By drawing attention to absorption as a psychological and aesthetic phenomenon, this article suggests a renewed interdisciplinary approach—one that connects empirical studies of attention and transformation with older theological and affective insights. In this way, literature may be examined not as a site of doctrinal meaning or subjective feeling alone, but as a form of engagement capable of opening readers to spiritual insight whose impact might be measured through qualitative means. Full article

Romantic poetry is known to have engendered a potent discursive space in 19th-century Europe, wherein national aspirations, personal tragedies, and mythic narratives coalesced. This study examines the recurring images of the “galloping horse” and the “self-sacrificing cavalryman” in 19th-century Romantic poetry in the context of a common poetic myth shaped around the themes of national identity, spiritual transcendence, and historical destiny. The present study focuses on Adam Mickiewicz’s “Faris” and Nikoloz Baratashvili’s “Merani”, employing a comparative literary and philosophical approach to analyze these two works. This study reveals that “Faris” presents a messianic call around the ideal of freedom of the Polish nation, while “Merani” is structured as an individual tragedy and inner journey. Both poems are positioned within a broader poetic paradigm that can be called the “Faris” Cycle, and they can be compared thematically and imaginatively with the works of Goethe, Petőfi, Sully Prudhomme, and Vazha-Pshavela. This study explores the aesthetic and intellectual dimensions of intercultural interaction by analyzing the poetic transitions between the two poles of the Romantic paradigm: collective hope and individual melancholy, action, and inner intuition. By tracing the interplay between national poetics and universal archetypes, this manuscript investigates how such interaction facilitates the symbolic transformation of historical traumas. Full article

This article explores Greco-Roman mythology through the lens of ecocriticism, focusing on how sacred landscapes and natural elements were imagined as animate, divine, and morally instructive forces. In ancient Mediterranean cultures, nature was not merely a passive setting for human action but a dynamic presence—rivers that judged, groves that punished, and mountains that sheltered or revealed. Texts such as Ovid’s Metamorphoses, Virgil’s Georgics, and Homer’s epics present nature as both sacred and sentient, often intervening in human affairs through transformation, vengeance, or protection. Forests, springs, and coastlines functioned as thresholds between human and divine, civilization and wilderness, mortal and eternal. By analyzing these representations, this article reveals a rich tradition in which nature teaches, punishes, guides, and transforms, long before ecological consciousness became a formalized discipline. Drawing connections between classical literary landscapes and contemporary environmental concerns, the article argues that myth can inform today’s ecological imagination, offering an alternative to extractive, anthropocentric paradigms. Recovering the reverence and narrative agency once granted to nature in classical thought may help us rethink our ethical relationship with the environment in the age of climate crisis. Full article

Autofiction often interweaves the (phenomenologically) real and the unreal. It is definitionally in some way about the author as a real-life person but also frequently features elements that are impossible by real-life standards, or at least seem highly unlikely. This article argues that autofiction provides a training ground for imaginative acts and has the potential to change our understanding of what is possible, not only in literature but also in life. This article substantiates this hypothesis by integrating models from Text World Theory, Unnatural Narratology, and a Predictive-Processing account of reading, as well as neuroscientific research on the default mode network and on literary writing and reading. The article finally draws on reader responses from the platform “Goodreads” as tentative evidence for how autofictional texts affect intuitions about the (im)possible. Full article

Recent cognitive literary studies of fiction have begun to reveal patterns in the ways authors engage readers’ bodily and environmentally grounded imaginations. This study brings fiction writers’ craft knowledge into conversation with neuroscientific, cognitive, and literary studies of multimodal imagery and other embodied responses to fiction reading. Developed through years of literary experiments, craft knowledge involves using language not just to engage readers’ senses but to broaden their understandings of how senses work. A close analysis of Edwidge Danticat’s craft techniques in Breath, Eyes, Memory (1994) affirms some recent literary and scientific findings on how language can activate readers’ sensory and motor systems. Danticat’s cues to readers’ imaginations present a relational, environmentally engaged kind of sensorimotor experience that may widen scientific understandings of how sensory and motor systems collaboratively ground cognition. By helping diverse readers imagine a young Haitian American woman’s movements, sensations, and emotions, Danticat’s craft also does political work, depicting the inner lives of characters under-represented in widely published fiction. Full article