Subjects -> HUMANITIES (Total: 978 journals)
    - ASIAN STUDIES (155 journals)
    - CLASSICAL STUDIES (156 journals)
    - DEMOGRAPHY AND POPULATION STUDIES (168 journals)
    - ETHNIC INTERESTS (152 journals)
    - GENEALOGY AND HERALDRY (9 journals)
    - HUMANITIES (310 journals)
    - NATIVE AMERICAN STUDIES (28 journals)

HUMANITIES (310 journals)                  1 2     

Showing 1 - 71 of 71 Journals sorted alphabetically
Aboriginal and Islander Health Worker Journal     Full-text available via subscription   (Followers: 8)
Aboriginal Child at School     Full-text available via subscription   (Followers: 5)
About Performance     Full-text available via subscription   (Followers: 9)
Access     Full-text available via subscription   (Followers: 23)
ACCESS: Critical Perspectives on Communication, Cultural & Policy Studies     Full-text available via subscription   (Followers: 8)
Acta Universitaria     Open Access   (Followers: 4)
Adeptus     Open Access  
Advocate: Newsletter of the National Tertiary Education Union     Full-text available via subscription   (Followers: 1)
Afghanistan     Hybrid Journal   (Followers: 1)
African and Black Diaspora: An International Journal     Hybrid Journal   (Followers: 19)
African Historical Review     Hybrid Journal   (Followers: 23)
AFRREV IJAH : An International Journal of Arts and Humanities     Open Access   (Followers: 6)
Agriculture and Human Values     Open Access   (Followers: 25)
Akademisk Kvarter / Academic Quarter     Open Access   (Followers: 2)
Aleph : UCLA Undergraduate Research Journal for the Humanities and Social Sciences     Open Access   (Followers: 1)
Alterstice : Revue internationale de la recherche interculturelle     Open Access  
Amaltea. Revista de mitocrítica     Open Access   (Followers: 1)
American Imago     Full-text available via subscription   (Followers: 4)
American Journal of Humanities and Social Sciences     Open Access   (Followers: 11)
American Review of Canadian Studies     Hybrid Journal   (Followers: 7)
Anabases     Open Access   (Followers: 1)
Angelaki: Journal of Theoretical Humanities     Hybrid Journal   (Followers: 19)
Anglo-Saxon England     Hybrid Journal   (Followers: 30)
Antik Tanulmányok     Full-text available via subscription  
Antipode     Hybrid Journal   (Followers: 64)
Anuario Americanista Europeo     Open Access  
Arbutus Review     Open Access  
Argumentation et analyse du discours     Open Access   (Followers: 7)
Ars & Humanitas     Open Access   (Followers: 8)
Artefact : Techniques, histoire et sciences humaines     Open Access   (Followers: 1)
Artes Humanae     Open Access  
Arts and Humanities in Higher Education     Hybrid Journal   (Followers: 36)
Asia Europe Journal     Hybrid Journal   (Followers: 5)
Astra Salvensis     Open Access   (Followers: 1)
Australasian Journal of Popular Culture, The     Hybrid Journal   (Followers: 4)
Behaviour & Information Technology     Hybrid Journal   (Followers: 32)
Behemoth     Open Access   (Followers: 3)
Belin Lecture Series     Open Access   (Followers: 1)
Bereavement Care     Hybrid Journal   (Followers: 12)
BMC Journal of Scientific Research     Open Access   (Followers: 2)
Borderlands Journal : Culture, Politics, Law and Earth     Open Access   (Followers: 1)
Bulletin of the School of Oriental and African Studies     Hybrid Journal   (Followers: 25)
Cahiers de praxématique     Open Access   (Followers: 1)
Child Care     Full-text available via subscription   (Followers: 6)
Chinese Studies Journal     Open Access  
Choreographic Practices     Hybrid Journal   (Followers: 1)
Ciencias Sociales y Humanidades     Open Access   (Followers: 1)
Claroscuro     Open Access   (Followers: 1)
Co-herencia     Open Access  
Coaching: An International Journal of Theory, Research and Practice     Hybrid Journal   (Followers: 10)
Cogent Arts & Humanities     Open Access   (Followers: 2)
Colloquia Humanistica     Open Access  
Communication and Critical/Cultural Studies     Hybrid Journal   (Followers: 25)
Con Texte     Open Access  
Congenital Anomalies     Hybrid Journal   (Followers: 1)
Creative Industries Journal     Hybrid Journal   (Followers: 8)
Critical Arts : South-North Cultural and Media Studies     Hybrid Journal   (Followers: 10)
Cuadernos de historia de España     Open Access   (Followers: 3)
Cultural History     Hybrid Journal   (Followers: 27)
Cultural Studies     Hybrid Journal   (Followers: 61)
Culturas : Debates y Perspectivas de un Mundo en Cambio     Open Access   (Followers: 1)
Culture, Theory and Critique     Hybrid Journal   (Followers: 29)
Daedalus     Hybrid Journal   (Followers: 23)
Dandelion : Postgraduate Arts Journal & Research Network     Open Access   (Followers: 1)
Death Studies     Hybrid Journal   (Followers: 21)
Digital Humanities Quarterly     Open Access   (Followers: 54)
Digitális Bölcsészet / Digital Humanities     Open Access   (Followers: 2)
Diogenes     Hybrid Journal   (Followers: 8)
Dorsal : Revista de Estudios Foucaultianos     Open Access  
E+E : Estudios de Extensión en Humanidades     Open Access  
e-Hum : Revista das Áreas de Humanidade do Centro Universitário de Belo Horizonte     Open Access  
Early Modern Culture Online     Open Access   (Followers: 36)
East Asian Pragmatics     Full-text available via subscription   (Followers: 1)
EAU Heritage Journal Social Science and Humanities     Open Access   (Followers: 1)
Égypte - Monde arabe     Open Access   (Followers: 4)
Eighteenth-Century Fiction     Full-text available via subscription   (Followers: 20)
Éire-Ireland     Full-text available via subscription   (Followers: 9)
En-Claves del pensamiento     Open Access   (Followers: 1)
Enfoques     Open Access  
Esclavages & Post-esclavages     Open Access   (Followers: 1)
Ethiopian Journal of the Social Sciences and Humanities     Full-text available via subscription   (Followers: 6)
Études arméniennes contemporaines     Open Access   (Followers: 2)
Études canadiennes / Canadian Studies     Open Access   (Followers: 2)
Études de lettres     Open Access   (Followers: 2)
European Journal of Cultural Studies     Hybrid Journal   (Followers: 28)
European Journal of Social Theory     Hybrid Journal   (Followers: 21)
Expositions     Full-text available via subscription  
Fa Nuea Journal     Open Access  
Fields: Journal of Huddersfield Student Research     Open Access  
Frontiers in Digital Humanities     Open Access   (Followers: 7)
Fudan Journal of the Humanities and Social Sciences     Hybrid Journal   (Followers: 1)
GAIA - Ecological Perspectives for Science and Society     Full-text available via subscription   (Followers: 2)
German Research     Hybrid Journal   (Followers: 1)
German Studies Review     Full-text available via subscription   (Followers: 32)
Germanic Review, The     Hybrid Journal   (Followers: 5)
Globalizations     Hybrid Journal   (Followers: 11)
Gruppe. Interaktion. Organisation. Zeitschrift für Angewandte Organisationspsychologie (GIO)     Hybrid Journal   (Followers: 1)
Habitat International     Hybrid Journal   (Followers: 8)
Hacettepe Üniversitesi Edebiyat Fakültesi Dergisi     Open Access   (Followers: 1)
Harvard Journal of Asiatic Studies     Full-text available via subscription   (Followers: 16)
Heritage & Society     Hybrid Journal   (Followers: 14)
Heritage, Memory and Conflict Journal     Open Access   (Followers: 4)
History of Humanities     Full-text available via subscription   (Followers: 8)
Hopscotch: A Cultural Review     Full-text available via subscription  
Horizontes LatinoAmericanos     Open Access  
Human and Ecological Risk Assessment: An International Journal     Hybrid Journal   (Followers: 3)
Human Nature     Hybrid Journal   (Followers: 19)
Human Performance     Hybrid Journal   (Followers: 7)
Human Remains and Violence : An Interdisciplinary Journal     Full-text available via subscription  
Human Studies     Hybrid Journal   (Followers: 10)
humanidades     Open Access  
Humanidades em diálogo     Open Access  
Humanités Numériques     Open Access   (Followers: 2)
Humanities     Open Access   (Followers: 11)
Humanities and Social Science Research     Open Access   (Followers: 5)
Humanities and Social Sciences     Open Access   (Followers: 3)
Humanities and Social Sciences Communications     Open Access   (Followers: 4)
Humanities and Social Sciences Journal     Open Access   (Followers: 1)
Humanities and Social Sciences Journal of Graduate School, Pibulsongkram Rajabhat University     Open Access  
Humanities and Social Sciences Journal, Ubon Ratchathani Rajabhat University     Open Access   (Followers: 1)
Humanities Diliman : A Philippine Journal of Humanities     Open Access  
Humanities, Arts and Social Sciences Studies (HASSS)     Open Access   (Followers: 1)
Hungarian Cultural Studies     Open Access  
Hungarian Studies     Full-text available via subscription  
Hybrid : Revue des Arts et Médiations Humaines     Open Access   (Followers: 3)
Ibadan Journal of Humanistic Studies     Full-text available via subscription  
Inkanyiso : Journal of Humanities and Social Sciences     Open Access  
Insaniyat : Journal of Islam and Humanities     Open Access   (Followers: 1)
International Journal of Business, Humanities, Education and Social Sciences     Open Access   (Followers: 1)
International Journal of Cultural Studies     Hybrid Journal   (Followers: 29)
International Journal of Heritage Studies     Hybrid Journal   (Followers: 17)
International Journal of Humanities and Arts Computing     Hybrid Journal   (Followers: 11)
International Journal of Humanities and Cultural Studies     Open Access   (Followers: 9)
International Journal of Humanities and Social Science Research     Open Access  
International Journal of Humanities of the Islamic Republic of Iran     Open Access   (Followers: 6)
International Journal of Humanity Studies     Open Access   (Followers: 2)
International Journal of Listening     Hybrid Journal   (Followers: 4)
International Journal of Research and Scholarly Communication     Open Access  
International Journal of the Classical Tradition     Hybrid Journal   (Followers: 14)
International Research Journal of Arts & Humanities     Open Access  
Interventions : International Journal of Postcolonial Studies     Hybrid Journal   (Followers: 16)
ÍSTMICA. Revista de la Facultad de Filosofía y Letras     Open Access  
Iztapalapa : Revista de ciencias sociales y humanidades     Open Access  
Jaunujų mokslininkų darbai     Open Access  
Jednak Książki : Gdańskie Czasopismo Humanistyczne     Open Access  
Jewish Culture and History     Hybrid Journal   (Followers: 19)
Journal de la Société des Américanistes     Open Access  
Journal des africanistes     Open Access   (Followers: 1)
Journal for Cultural Research     Hybrid Journal   (Followers: 14)
Journal for General Philosophy of Science     Hybrid Journal   (Followers: 7)
Journal for Learning Through the Arts     Open Access   (Followers: 6)
Journal of Aesthetics & Culture     Open Access   (Followers: 20)
Journal of African American Studies     Hybrid Journal   (Followers: 10)
Journal of African Cultural Studies     Hybrid Journal   (Followers: 6)
Journal of Arts & Communities     Hybrid Journal   (Followers: 4)
Journal of Arts and Humanities     Open Access   (Followers: 23)
Journal of Arts and Social Sciences     Open Access  
Journal of Bioethical Inquiry     Hybrid Journal   (Followers: 2)
Journal of Burirum Rajabhat University     Open Access  
Journal of Cultural Economy     Hybrid Journal   (Followers: 8)
Journal of Cultural Geography     Hybrid Journal   (Followers: 18)
Journal of Data Mining and Digital Humanities     Open Access   (Followers: 39)
Journal of Developing Societies     Hybrid Journal   (Followers: 1)
Journal of Family Theory & Review     Hybrid Journal   (Followers: 6)
Journal of Franco-Irish Studies     Open Access   (Followers: 1)
Journal of Happiness Studies     Hybrid Journal   (Followers: 21)
Journal of Humanities and Social Sciences     Open Access  
Journal of Humanities and Social Sciences Studies     Open Access   (Followers: 1)
Journal of Humanities and Social Sciences Surin Rajabhat University     Open Access  
Journal of Humanities and Social Sciences, Rajapruk University     Open Access  
Journal of Intercultural Communication Research     Hybrid Journal   (Followers: 11)
Journal of Intercultural Studies     Hybrid Journal   (Followers: 13)
Journal of Interdisciplinary History     Hybrid Journal   (Followers: 22)
Journal of Labor Research     Hybrid Journal   (Followers: 20)
Journal of Medical Humanities     Hybrid Journal   (Followers: 22)
Journal of Medieval and Early Modern Studies     Full-text available via subscription   (Followers: 46)
Journal of Modern Greek Studies     Full-text available via subscription   (Followers: 4)
Journal of Modern Jewish Studies     Hybrid Journal   (Followers: 17)
Journal of Open Humanities Data     Open Access   (Followers: 2)
Journal of Population and Sustainability     Open Access  
Journal of Semantics     Hybrid Journal   (Followers: 13)
Journal of the Musical Arts in Africa     Hybrid Journal   (Followers: 1)
Journal of University of Babylon for Humanities     Open Access  
Journal of Visual Culture     Hybrid Journal   (Followers: 29)
Jurisprudence     Hybrid Journal   (Followers: 17)
Jurnal Sosial Humaniora     Open Access  
L'Orientation scolaire et professionnelle     Open Access  
Lagos Notes and Records     Full-text available via subscription  
Language and Intercultural Communication     Hybrid Journal   (Followers: 22)
Language Resources and Evaluation     Hybrid Journal   (Followers: 4)
Law and Humanities     Hybrid Journal   (Followers: 8)
Law, Culture and the Humanities     Hybrid Journal   (Followers: 13)
Le Portique     Open Access   (Followers: 1)
Leadership     Hybrid Journal   (Followers: 30)
Legal Ethics     Hybrid Journal   (Followers: 16)
Legon Journal of the Humanities     Full-text available via subscription  
Letras : Órgano de la Facultad de Letras y Ciencias Huamans     Open Access   (Followers: 1)
Literary and Linguistic Computing     Hybrid Journal   (Followers: 5)
Lwati : A Journal of Contemporary Research     Full-text available via subscription  
Manusya : Journal of Humanities     Open Access  

        1 2     

Similar Journals
Journal Cover
Humanities
Number of Followers: 11  

  This is an Open Access Journal Open Access journal
ISSN (Print) 2076-0787
Published by MDPI Homepage  [84 journals]
  • Humanities, Vol. 11, Pages 59: Memory Traces in The Reign of King Edward
           III

    • Authors: Jonathan Baldo
      First page: 59
      Abstract: Indirectly addressing the authorship question in the anonymous The Reign of King Edward III, this paper focuses on a signature of Shakespeare’s treatment of English history, a concern with the political implications of remembering and forgetting. Multiple ironies attend the unstable relation of remembering and forgetting in the play. The opening of Edward III gives the impression that England’s forgetful enemies, Scotland and France, require schooling by a nation that appears to own memory. However, initial appearances prove to be deceiving, as three early Shakespearean scenes prominently feature lapses of English memory, causing the early alignment of England with faithful memory to slip away. There are traces of a distinctly Shakespearean approach to history—one that interrogates the mixed effects of historical memory itself and the values commonly assigned to remembering and forgetting—in The Reign of King Edward III. A consideration of the scenes that share the practice of Shakespeare’s histories—of not simply reviving the past but also reflecting on the motivations and conflicts associated with recollection—accords well with previous attributions of those scenes to Shakespeare on stylistic grounds.
      Citation: Humanities
      PubDate: 2022-04-25
      DOI: 10.3390/h11030059
      Issue No: Vol. 11, No. 3 (2022)
       
  • Humanities, Vol. 11, Pages 60: Marvel Presents a Global Utopia and
           Confronts Nationalism: Eternals as a New Mythology Forged from Western
           Roots

    • Authors: Emma de Beus
      First page: 60
      Abstract: Marvel’s 2021 film Eternals presents a new mythology for a new century, for an audience grappling with the complexity of postcolonialism and concerned about resurging white nationalism. Its mythology, while rooted in Western narratives, presents a utopia in the form of a multicultural pantheon, presented by a carefully selected, diverse class. While Marvel undoubtedly has commercial concerns, its careful construction of this new mythology and the considered adaptation process show a moral vision for the future. Importantly, this vision presents a direct contrast to the resurgence of the appropriation of classical mythology as justification for white supremacy. Marvel’s Eternals therefore can be seen as utopian: it offers the perfection of moral predictability, of good triumphing over evil. However, it simultaneously undercuts its story by couching it in the genre of a comic book superhero fantasy adventure–the reality Eternals offers, even fictionally, is beyond ordinary, mortal humans.
      Citation: Humanities
      PubDate: 2022-05-14
      DOI: 10.3390/h11030060
      Issue No: Vol. 11, No. 3 (2022)
       
  • Humanities, Vol. 11, Pages 31: A World with Many Ends: Eschatology and
           Perspectivism

    • Authors: Mårten Björk
      First page: 31
      Abstract: In this article, the relation between crisis, dying, and apocalypse is examined from the vantage point of Franz Rosenzweig’s philosophy of revelation. Following Rosenzweig’s suggestion that truth—for finite and temporal beings like us—can only be found in time, the article suggests that there exists an intrinsic relation between truth and death. Truth is not only or even primarily logical or mathematical truth according to Rosenzweig. Truth is the reality of our finite lives and implies an eschatological understanding of death as that which gives life unity by eternalising it as that which it forever was in the past. Life, Rosenzweig argues, is polytheistic by entailing manifold perspectives and possibilities, while death is monotheistic by endowing living beings with the unity and completion they lack in life. All death, even the most horrid death, is, if not a completion, at least an end, which gives the living the possibility to judge and verify the meaning of the past once and for all. Yet, if we believe Rosenzweig, the dead are not gone in the past but rather the eternal ground that makes present and future time possible. The dead, by literally being the past, reveal that all time exists after itself, as something that already was, and that the world is nothing but a world with many ends by dying away into the “life outside life” that Rosenzweig called God.
      Citation: Humanities
      PubDate: 2022-02-24
      DOI: 10.3390/h11020031
      Issue No: Vol. 11, No. 2 (2022)
       
  • Humanities, Vol. 11, Pages 32: Stranger Things, Plant Life, and Posthuman
           Endgames: Reading Beckett with Others

    • Authors: Jesper Olsson
      First page: 32
      Abstract: This essay reads work by Samuel Beckett, especially his prose, with a focus on vegetal ontology and plant life, soil, mud, and dirt. By juxtaposing Beckett with recent fiction, e.g., the Netflix series Stranger Things, contemporary plant theory, and the general ecology of Erich Hörl, posthuman entanglements and relations are discussed as part of an ontological infrastructure in the texts, which can also be linked to Beckett’s interest in prosthetics and technical media. It is suggested that an approach of this kind might offer new perspectives on the dispersed subjectivity in Beckett’s texts.
      Citation: Humanities
      PubDate: 2022-02-25
      DOI: 10.3390/h11020032
      Issue No: Vol. 11, No. 2 (2022)
       
  • Humanities, Vol. 11, Pages 33: Objects That Object, Subjects That Subvert:
           Agency in Exeter Book Riddle 5

    • Authors: Jonathan Wilcox
      First page: 33
      Abstract: A sequence of Old English riddles from the Exeter Book allow an implement to speak. This article focuses on one example, Riddle 5, generally solved as either a shield or a cutting board, to show how each interpretation gives voice not just to an inanimate object but also to a non-elite member of early medieval English society—either a foot-soldier or a kitchen hand. The two solutions come together because the two answers are captured in a single Old English word—“bord”—and also because the two interpretations resonate in parallel ways, creating sympathy for down-trodden members of society who rarely get so much attention in the surviving poetic record. This article argues that Old English riddles provide an enduring legacy of social critique crafted through humor.
      Citation: Humanities
      PubDate: 2022-02-25
      DOI: 10.3390/h11020033
      Issue No: Vol. 11, No. 2 (2022)
       
  • Humanities, Vol. 11, Pages 34: Old English Enigmatic Poems and Their
           Reception in Early Scholarship and Supernatural Fiction

    • Authors: Patrick Joseph Murphy
      First page: 34
      Abstract: The scholarly reception history of the Old English riddles and adjacent “enigmatic poems” of the Exeter Book reveals a long process of creating intelligibility and order out of a complicated and obscure manuscript context. Understanding this history of reception allows us to see the influence of Old English poetry on modern creative medievalism, including the unexpected influence of medieval “enigmatic” poetry on the modern genre of supernatural fiction. Specifically, it is argued that the scholarly reception of folios 122v–123v of the Exeter Anthology was instrumental in inspiring one of the acknowledged classic ghost stories of the twentieth century, M.R. James’s “Oh, Whistle, and I’ll Come to You, My Lad”.
      Citation: Humanities
      PubDate: 2022-02-28
      DOI: 10.3390/h11020034
      Issue No: Vol. 11, No. 2 (2022)
       
  • Humanities, Vol. 11, Pages 35: Wyrd Poetics: Collapsing Timescapes and
           Untimely Desires in The Ruin

    • Authors: Lisa M. C. Weston
      First page: 35
      Abstract: John Niles suggests that Old English poems often “demand […] attention not only to the possible nuances of meaning of every word, but also to the spaces where no words are written and no story told”. Such spaces, he argues, invite readers into a kind of intellectual “play” that constitutes, in fact, participation, even collaboration, in the creation of meaning. However, what of more literal spaces in texts, not perceptual gaps composed by a poet, but rather material gaps “crafted” by manuscript damage' What more radical, “veered” reading follows if we pay attention to the physical damage, neither to lament the loss nor to restore what might have been there once, but rather to collaborate with its void' The damage to the final folios of the Exeter Book manuscript means that we read a different poem from any “intact” or “original” text we may try to (re)create; we read something that not only responds to, but also reifies the material effects of time and wyrd, the powerful other-than-human force that plays so prominent a role in the poem. This essay seeks to unsettle the text by engaging with both the poem’s extant words and the silent spaces of wyrd’s traces “inscribed” upon the material manuscript.
      Citation: Humanities
      PubDate: 2022-03-01
      DOI: 10.3390/h11020035
      Issue No: Vol. 11, No. 2 (2022)
       
  • Humanities, Vol. 11, Pages 36: Beowulf and the Hunt

    • Authors: Francis Leneghan
      First page: 36
      Abstract: The presence of hunting imagery in Beowulf has often been noted, but the significance of the figures of the stag and the wolf to the thematic design of the poem has yet to be fully explored. In this article, I first analyse the sustained presentation of the Danish royal hall as a stag, before exploring how the Beowulf poet exploited the various traditional associations of the wolf in the development of the figures of Grendel and Grendel’s mother. Finally, I consider the elaboration of the hunting imagery in the final section of the poem, which focuses on the Geatish Messenger’s account of the pursuit and killing of King Ongentheow by Eofor and Wulf, and the beasts-of-battle motif. The article concludes that the Beowulf poet made extensive use of animal and hunting imagery in order to ground his work in the lived experiences and fears of his audience.
      Citation: Humanities
      PubDate: 2022-03-03
      DOI: 10.3390/h11020036
      Issue No: Vol. 11, No. 2 (2022)
       
  • Humanities, Vol. 11, Pages 37: Poetics of Expulsion in UK Narratives of
           the New Galician Diaspora

    • Authors: David Miranda-Barreiro
      First page: 37
      Abstract: Since 2008, thousands of young Galician graduates have left their country looking for the job opportunities they cannot find at home, with the UK (particularly London) as their main destination. A noticeable feature of this movement is the increase of women migrants, who have sometimes occupied unskilled, low-paid jobs despite their university qualifications. Starting in the second decade of the 21st century, a corpus of narrative texts written by Galician women authors (Alba Lago, Anna R. Figueiredo, María Alonso, and Eva Moreda) has given visibility to these experiences. Lago’s, Figueiredo’s, and Alonso’s characters express anger and frustration as a way of denouncing the precariousness of their situation and the material conditions that led to their departure from Galicia. Combining different theoretical approaches from migration studies (Morokvasic; Nail; Kędra), criticism of global neoliberalism (Bourdieu; Bauman; Sassen), and affect theory (Ahmed), I propose an analytical framework for reading these texts as expression of a “poetics of expulsion” with four thematic axes: expulsion, exploitation, (dis)connection, and repossession. I finish by considering Moreda’s novel as illustrative of a different view of migration, focusing on the migrant’s agency and on migration as a personal choice (Silvey and Lawson).
      Citation: Humanities
      PubDate: 2022-03-03
      DOI: 10.3390/h11020037
      Issue No: Vol. 11, No. 2 (2022)
       
  • Humanities, Vol. 11, Pages 38: Virtudes (e Misterios) and The Inner
           Memory: Emigration and Return as Identity Fragmentation and an Exercise of
           Post-Memory in Galician Diaspora

    • Authors: Ana Garrido González
      First page: 38
      Abstract: In this paper, we will analyse how Xesús Fraga’s novel Virtudes (e misterios) (2020) and María Ruido’s audiovisual project The inner memory (2002), by creating memory and post-memory of Galician emigration in the 1960s and 1970s, reconfigure the symbolic image of the Galician nation, which has always been defined on the basis of the discourse of mobility and emigration. Both authors, from the fragmentation of intimate memories and through an ambiguous pact with the reader, between the documentary and the fictional, bring us the stories of emigrant women—narratives in which identities are inevitably hybrid, fragmentary and far removed from homesickness as a defining factor of the Galician identity. Emigrant women do not fit into the hieratical traditional identity, which marginalises them because they do not fit the archetype of ‘widows of the living’.
      Citation: Humanities
      PubDate: 2022-03-04
      DOI: 10.3390/h11020038
      Issue No: Vol. 11, No. 2 (2022)
       
  • Humanities, Vol. 11, Pages 39: Doubt, Havelock Ellis, and Bisexuality in
           Jacob’s Room

    • Authors: Christopher James Wells
      First page: 39
      Abstract: This essay examines Virginia Woolf’s experimental representations of bisexuality in her bildungsroman, Jacob’s Room (JR) (1922). This article suggests that we cannot appreciate Woolf’s complex modernist strategies of resistance to restrictive and reductive attitudes to sexual identities if we think only in binary terms of hetero- and homosexuality in Woolf’s work. I argue here that a contemporary gaze of queer theory, one informed by current ideologies on the spectrum of gendered and bi+ sexual identities, is required to unearth in full Woolf’s critique of sexology in her first substantive investment into experimental sexual realism. I aim to show how sexological bisexuality influenced Woolf’s developing aesthetic that was, at the time of writing Jacob’s Room, beginning to adopt a much more innovative and experimental form.
      Citation: Humanities
      PubDate: 2022-03-09
      DOI: 10.3390/h11020039
      Issue No: Vol. 11, No. 2 (2022)
       
  • Humanities, Vol. 11, Pages 40: Lucía Puenzo: Readings from the
           Margins of a Literary Film Universe

    • Authors: David García-Reyes, Marta Gallardo
      First page: 40
      Abstract: The writer and director Lucía Puenzo expresses herself in two different languages: literary prose and cinematographic narrative. Her work is characterised by a single ethical and aesthetic commitment. She highlights sensitive contemporary issues such as identity, gender, sexuality, marginality and the family, but also ethical concerns around eugenics, migration, exclusion and dangerous social elements. The paper looks at the differences between the novels XXY, El niño pez (The Fish Child) and Wakolda (The German Doctor) and their corresponding films, highlighting Puenzo’s stylistic and aesthetic constants. The notion of identity, the notion of family and different historical perspectives and their representations are analysed in her literary works and their subsequent adaptations in films. A comparative analysis of the literary and film texts help us to see how plotlines have been transposed, observing the differences and the reasons for these differences. She keeps her two creative sides separate and makes significant changes as she adapts the literary original to the film script. Her audiovisual approach is to reduce the plotlines and issues shown in the originals. The value of Puenzo’s artistic production is making visible characters who are on the edges or are socially marginalised, favouring their acceptance and integration in the society.
      Citation: Humanities
      PubDate: 2022-03-11
      DOI: 10.3390/h11020040
      Issue No: Vol. 11, No. 2 (2022)
       
  • Humanities, Vol. 11, Pages 41: Black Children’s Lives Matter:
           Representational Violence against Black Children

    • Authors: Neal A. Lester
      First page: 41
      Abstract: Black children have never been exempt from the violence and abuse that have beset Black adults. Any comprehensive attention to and understanding of systemic racism, anti-Blackness, and intergenerational Black trauma must consider the historical violence literally, representationally, and fictionally against Black children and youth. For each news story headline about violence against Black children, there is a comparable Black adult story, underscoring the interchangeability of Black adult and Black children subjected to racial violence. This essay is not a history of violence against Black children in literature but, rather, an effort to understand and demonstrate that Black children’s lives have not always mattered and that to address true racial justice in this country, systemic assaults on Black children and, by extension, on Black children’s families and communities, must be included in any justice conversation and work. This essay looks at representative children’s literature that normalizes violence against Black children.
      Citation: Humanities
      PubDate: 2022-03-14
      DOI: 10.3390/h11020041
      Issue No: Vol. 11, No. 2 (2022)
       
  • Humanities, Vol. 11, Pages 42: Pietas in Patriam: Milton’s
           Classical Patriotism

    • Authors: Paul Stevens
      First page: 42
      Abstract: The subject of this essay is the relation between Milton’s classical patriotism and his English nationalism. It has two principal aims. First, it sets out to examine the degree to which the affective or emotional quality of Milton’s patriotism was shaped by the classics, especially Cicero and Virgil. For all the energy that has gone into studying Milton’s classical republicanism, there has been relatively little interest in that political movement’s central concern with patriotism: few, for instance, have shown much interest in David Norbrook’s acknowledgment that “English republicanism emerged in part as a vehicle for English nationalism.” And second, through this focus on the classical aspect of Milton’s patriotism, it argues that far from being neutralized or undercut, Milton’s nascent nationalism was actually enabled and intensified by his internationalism, an internationalism that is most graphically illustrated by his engagement with Italy and its role in recovering the classics.
      Citation: Humanities
      PubDate: 2022-03-15
      DOI: 10.3390/h11020042
      Issue No: Vol. 11, No. 2 (2022)
       
  • Humanities, Vol. 11, Pages 43: Loss and Life in the Andean Pluriverse:
           Slow Unravelings and suma qamaña in Óscar Catacora’s
           Wiñaypacha

    • Authors: Jamie de Moya-Cotter
      First page: 43
      Abstract: The impulse for development and modernization creates rifts between humans and nonhumans, dragging us deeper into the rhythms of capitalism and urban life. In the Peruvian Andes, this impulse has manifested in an intergenerational trend of rural out-migration that exacerbates the life-making struggles faced by those left behind. Óscar Catacora’s film, Wiñaypacha, reflects on these struggles and their impact on the lives of an elderly Aymara couple living isolated in the Peruvian highlands as they await, to no avail, the return of their son. The first section of this article examines how the aesthetics of Wiñaypacha emphasize the social–ecological unravelings that occur between the human and nonhuman beings that together construct the filmed Andean world. Catacora’s film represents migration as a gradual process of abandonment experienced by the Aymara elders that degrades their ability to sustain their lives and the lives of their animals. In the second section, I analyze the way Wiñaypacha makes visible the existence of the Andean pluriverse and worlds that have not disappeared in the wake of development. The film’s representation of time and suma qamaña (harmonious living) represents a departure from the universalizing tendencies of extractive capitalism and exemplifies the existence of alternative life-worlds.
      Citation: Humanities
      PubDate: 2022-03-16
      DOI: 10.3390/h11020043
      Issue No: Vol. 11, No. 2 (2022)
       
  • Humanities, Vol. 11, Pages 44: Regarding the Image of the Pain of Others:
           Caravaggio, Sontag, Leogrande

    • Authors: Francesco Zucconi
      First page: 44
      Abstract: Why were Caravaggio’s Sleeping Cupid (1608) and The Seven Works of Mercy (1607) requested for display at a number of humanitarian public events' And why did Caravaggio’s work inspire a series of photographic and journalistic reportages on contemporary migratory phenomena' This article surveys the main circumstances linking Caravaggio’s pictorial corpus to the so-called European migrant crisis. After critical reflection on the social construction of the “humanitarian Caravaggio,” the focus shifts onto a book that is at the same time a journalistic investigation of migratory phenomena, a literary work, and a theoretical reflection on the ways of looking: La frontiera (2015) by Alessandro Leogrande, which concludes with a reflection on the representation of suffering in Caravaggio’s Martyrdom of St. Matthew (1600). By following a path that connects Caravaggio’s painting, Susan Sontag’s thought, and Leogrande’s writing, what emerges is the critical and self-critical potentiality of a comparative approach to the arts and images.
      Citation: Humanities
      PubDate: 2022-03-17
      DOI: 10.3390/h11020044
      Issue No: Vol. 11, No. 2 (2022)
       
  • Humanities, Vol. 11, Pages 45: NO FUTURE: The Colonial Gaze, Tales of
           Return in Recent Latin American Film

    • Authors: Miguel L. Rojas-Sotelo
      First page: 45
      Abstract: The past is certain, the future an illusion. Contemporary films such as Ivy Maraey: land without evil (Juan Carlos Valdivia 2013), Embrace of the Serpent (Ciro Guerra 2015), The Fever (Maya Da Rin 2020), and Bacurau are border films, from the genre of contact films. They announce how coloniality maintains a grip on frontier territories in the Americas. These films also present particular indigenous visions that challenge western epistemes and confront audiences with particular ways of being in the world, where the modern subject finds its limit. The article introduces a critical perspective on cinema as a colonial tool, producing forms of capture that are part of the modern archive and the notion of linear time. These films also build on cinematic traditions such as tercer cine and afro-futurism, and are strong on concepts such as cosmopolitanism, resistance, and subalternity. They present forms of adaptation, reaction, return, and redemption while maintaining the status of cinema as a capturing device, entertainment, and capital investment (the triad of destruction in modernity/coloniality).
      Citation: Humanities
      PubDate: 2022-03-18
      DOI: 10.3390/h11020045
      Issue No: Vol. 11, No. 2 (2022)
       
  • Humanities, Vol. 11, Pages 46: Buddhism and Humanities Education Reform in
           American Universities

    • Authors: Jiang Wu, Robert Edward Gordon
      First page: 46
      Abstract: Using statistical data, scholarly research, institutional models from higher education, and highlighting key personages from the academy and the business world, we argue that including Buddhism-related content into the general education of students can offer a powerful avenue of reform for the humanities in American universities. The article shows how humanities-based skills are becoming more desirable in today’s business environment, and demonstrates how the skills that Buddhist Studies—and religion more broadly—provide are consistent with those needed in today’s global and integrated technological world. Utilizing the Universities of Harvard and Arizona to help frame the discussion, the paper outlines the history of the American general education system, the ongoing crisis in the humanities, how Buddhism fits within the humanities viz. religion, and specific ways to implement Buddhism-related content into the academy domestically and internationally.
      Citation: Humanities
      PubDate: 2022-03-24
      DOI: 10.3390/h11020046
      Issue No: Vol. 11, No. 2 (2022)
       
  • Humanities, Vol. 11, Pages 47: Unpunishable Crimes in Claire G.
           Coleman’s Futuristic Novel Terra Nullius

    • Authors: Iva Polak
      First page: 47
      Abstract: Aside from being part of a vibrant corpus of Indigenous futurism, Claire G. Coleman’s novel Terra Nullius (2017) can also be analysed as an eco-crime novel. Indigenous Australian authors of this genre (e.g., Philip McLaren, Steven McCarthy, Nicole Watson) often anchor the source of criminal acts in the theft, loss and devastation of traditional lands, which provides their crime novels with a heightened awareness of environmental issues. The same applies to Terra Nullius. This is, however, a novel that successfully conceals its futuristic framework until halfway through. Equally, this successfully disrupts the usual postulates of crime fiction by shifting the reader’s attention from the usual “whodunnit” to the more elusive “whoizzit” mode of crime fiction. This, as the discussion reveals, means that the criminal acts in Terra Nullius are rendered unpunishable. This paradox, as it is argued, is strengthened by introducing the so-called “noir detective” (Timothy Morton) in the character of Father Grark, who cannot investigate that which constitutes the crime and the alibi shaping the world of Coleman’s futuristic novel.
      Citation: Humanities
      PubDate: 2022-03-25
      DOI: 10.3390/h11020047
      Issue No: Vol. 11, No. 2 (2022)
       
  • Humanities, Vol. 11, Pages 48: Engaging the Ethics of the Future: The
           Aftertimes as Emotional, Material and Temporal Accumulation in the Spanish
           Animation Film Birdboy: The Forgotten Children

    • Authors: Isabel Alvarez-Sancho
      First page: 48
      Abstract: In this essay I analyze the critically acclaimed movie, Birdboy: The Forgotten Children, a dystopic animated film based on the graphic novel Psiconautas. It takes place on an island populated by anthropomorphic animals, most of them young, who live in a time after an industrial accident destroyed the livelihood of its inhabitants. Birdboy and some of his friends try to escape their reality either by taking drugs or by attempting to abandon the island, but they are hunted by police, by the gang of rats that inhabits the dump, and by their hallucinations. In the end, although they do not achieve their goals, Birdboy and his friend Dinky reunite in an inner paradise. Drawing on various theoretical approaches, such as Hannah Arendt’s notion of new beginnings and Timothy Morton’s sustained project of ecological critique, I study the ways Birdboy represents time and engages with the ethics of the future. Birdboy’s universe is marked by emotional, physical, and temporal accumulation. The interconnection of sentient and non-sentient beings on the island shows the impact of legacies and the difficulty of creating radical new beginnings. Birdboy’s story is ultimately a call for responsibility for the future rooted in the awareness that everything leaves a trace.
      Citation: Humanities
      PubDate: 2022-03-27
      DOI: 10.3390/h11020048
      Issue No: Vol. 11, No. 2 (2022)
       
  • Humanities, Vol. 11, Pages 49: Do We Have a New Song Yet' The New Wave
           of Women’s Novels and the Homeric Tradition

    • Authors: Barbara Goff
      First page: 49
      Abstract: The relationship between women and classical antiquity, its texts, artefacts, and study, has been fraught to say the least; the discipline of Classics has often been defined by the exclusion of women, in terms of their education and their ability to contribute to debates more generally. However, we are currently in the middle of an astonishing period when women are laying more of a claim to the discipline than ever before. This article examines three recent novels by women which take on the cultural weight of the Homeric epics, Iliad and Odyssey, to explore the possibilities of a ‘new song’ that foregrounds female characters. The novels experiment with different narrative voices and are self-conscious about the practices of story-telling and of bardic song. Their awareness of their challenge to and contest with Homeric tradition renders their ‘new songs’ fragile as well as precious.
      Citation: Humanities
      PubDate: 2022-04-05
      DOI: 10.3390/h11020049
      Issue No: Vol. 11, No. 2 (2022)
       
  • Humanities, Vol. 11, Pages 50: Vernacular
           Sustainabilities—Multispecies Stories and Life-Death Entanglements
           of the Sertão Nordestino in Contemporary Brazilian Futurisms (The
           Film Bacurau and the Sertãopunk Comic Cangaço Overdrive)

    • Authors: Azucena Castro
      First page: 50
      Abstract: In northeastern Brazil, a region with extreme droughts and the smallest rainfall index in the whole country, water sources are crucial to ensure the survival of humans and nonhumans in this semi-arid region, known as sertão nordestino. Since the mid-twentieth century, classical cultural expressions focusing on this area have emphasized poverty in a desert of dry vegetation. Unlike romanticized portrayals of the backland in the 1990s, contemporary visual culture resorts to speculative and science fictional elements to reflect on possible futures amidst pressing socio-environmental challenges in the Capitalocene. This article examines how speculative and science-fictional elements in the film Bacurau (2019) by Juliano Dornelles and Kleber Mendonça Filho and the sertãopunk comic Cangaço Overdrive (2018) by Zé Wellington and Walter Geovani configure human–nonhuman and life–death entanglements to rearticulate both the representation of these communities as backward or picturesque and their historical de-futuring due to neo-colonialism and extractivism. These Brazilian visual productions problematize the notion of sustainability as a linear progression of human-centric futurity. In a dialogue between feminist posthumanist (Donna Haraway) and decolonial (T. J. Demos) works and the visual productions, I offer the notion of ‘vernacular sustainabilities’ that decenters the human while fashioning new conceptualizations of entangled and diverging futures in the sertão.
      Citation: Humanities
      PubDate: 2022-04-06
      DOI: 10.3390/h11020050
      Issue No: Vol. 11, No. 2 (2022)
       
  • Humanities, Vol. 11, Pages 51: Arcs of Fire: Pyrophilia in Iracema, O que
           arde and Huachicolero

    • Authors: John H. Trevathan
      First page: 51
      Abstract: This essay examines three films that express a particular affinity with fire: Ircaema: Uma Transa Amazônica (1974), O que arde (2019) and Huachicolero (2019). While focusing on disparate socio-political settings, all three share an improvised, amateur style, utilizing raw and vulnerable filmmaking, involving risks for the cast and crew. Each film’s arc of fire has its own tempo unique to a time and a place, constructing an idiosyncratic representation of a novel fire regime, characterizing flames in terms of pattern, frequency and intensity. The protagonists in all three films possess forms of pyrophilia as they negotiate life on the screen burning in front of our eyes. The fires these films show us are the feral spawn of extractive economic practices at the core of modernity: logging, monoculture farming and oil extraction. In this regard, the wildfires analyzed here do not carry out a vital metabolic function for biomes but rather harm or possibly erase ecosystems and the biodiversity they sustain. In turn, such pyrotechnics have enabled different forms of fugitivity, insofar as the protagonists in these films are in flight from their own entanglement within these combustible landscapes.
      Citation: Humanities
      PubDate: 2022-04-07
      DOI: 10.3390/h11020051
      Issue No: Vol. 11, No. 2 (2022)
       
  • Humanities, Vol. 11, Pages 52: The Manuscripts of Solomon and Saturn: CCCC
           41, CCCC 422, BL Cotton Vitellius A.xv

    • Authors: Tiffany Beechy
      First page: 52
      Abstract: Reflecting John D. Niles’ recent codicological reading of the Exeter Book, this essay advances a comparative reading of the three manuscripts containing Old English Solomon and Saturn dialogues. These manuscripts attest that the Solomon and Saturn dialogues were “serious” texts, twice attending the liturgy and later (12th century) joining high pre-scholastic philosophy. They further reveal a shift in the use of poetry over time. The earlier dialogues evince an “Incarnational poetics” that is distinct from but nevertheless comparable to the “monastic poetics” of the Exeter Book, while the later, prose dialogue has taken a less performative and more encyclopedic form.
      Citation: Humanities
      PubDate: 2022-04-07
      DOI: 10.3390/h11020052
      Issue No: Vol. 11, No. 2 (2022)
       
  • Humanities, Vol. 11, Pages 53: Art and Land: Eucalyptus Plantations in
           Brazilian Documentaries

    • Authors: Santiago G. Gesteira
      First page: 53
      Abstract: In Brazil, since the early 2000s, different documentaries have raised awareness about the problematic issues that tree plantations, especially eucalyptus, provoke, as they are propagated across the country. By means of interviews and a mix of investigative and expository styles, these films address and denounce the controversial role and power of the timber industry. However, in the last few years, other works have approached the relationships between planted forests and local ecosystems, offering an alternative perspective. This essay analyzes two recent films on the issue, the short film Gerais, and the 78 min long Do pó da terra, released in 2015 and 2016, respectively, while looking at another short documentary, Desertos verdes: plantações de eucaliptos, agrotóxicos e água, released in 2017, a straightforward documentary that advocates against eucalyptus plantations, interviews specialists and activists, and shows data that work as a report about the situation. In Gerais and Do pó da terra, forest plantations are not central narratives, rather, the focus is on specific communities and their customs. Through testimonial, observational, and poetic modes, they discuss the challenges faced by local inhabitants as their unique lifestyles and sociocultural expressions are threatened. Thus, this essay explains how, instead of images of destruction and the specificities of eucalyptus environmental effects, these documentaries choose to show the connection of local people and their art with the land, their daily life, and the changes they face. By crucially emphasizing the different timelines in play, that of western modernity, and that of alternative understandings of life–nature, they differ from other approaches towards filming environmental conflict that stress the immediacy of the situation. These two films offer a more intimate perspective of human beings, in interplay with their ecosystem, which allows for reflection on how they cohabitate and look forward.
      Citation: Humanities
      PubDate: 2022-04-07
      DOI: 10.3390/h11020053
      Issue No: Vol. 11, No. 2 (2022)
       
  • Humanities, Vol. 11, Pages 54: Tearas Feollon: Tears and Weeping in Old
           English Literature

    • Authors: Hugh Magennis
      First page: 54
      Abstract: This contribution surveys the range of images of weeping in Old English literature, concentrating particularly on weeping due to suffering, grief and unhappiness, and on tears of compunction, but examining other types of weeping as well, including supplicatory and sympathetic weeping (these latter are found in prose but not in poetry). Taking account of contemporary theory, the study understands weeping to be a physical manifestation of distress, but also to function as a social gesture, as reflected in the circumstance that most weeping in Old English is public rather than private. It is noted that saints do not normally weep in the literature despite the suffering they typically endure, and also that in traditional Old English poetry weeping is seen as not appropriate for men, or at least for men in the prime of life. Some of the most interesting instances of weeping in Old English, however, are to be found in episodes that appear to contradict or problematize such expectations, as is illustrated by the examination of a number of relevant examples. The references to weeping cited in this study are in the majority of cases based on Latin models, and reflect the wider Christian literary tradition in the early Middle Ages, rather than being specific to Anglo-Saxon England; but, in both religious and secular works, Old English writers are shown to be thoughtful and imaginative in their treatment of weeping and to deploy images of it to forceful emotive effect.
      Citation: Humanities
      PubDate: 2022-04-12
      DOI: 10.3390/h11020054
      Issue No: Vol. 11, No. 2 (2022)
       
  • Humanities, Vol. 11, Pages 55: Future with a Past: Future Scenarios of
           Development in Yucatan in ¿Qué les pasó a las
           abejas'

    • Authors: Kata Beilin
      First page: 55
      Abstract: Since the Green Revolution, the development of agriculture has been measured by the relation between the chemical input (fertilizers and pesticides) and yield. Other factors, such as deforestation, water pollution, biodiversity loss and the loss of human health, were not part of these calculations. With the advent of genetically modified monocrops in the 1990s, GM soy in particular, plantations took over larger surfaces of land, accelerating these negative processes on a previously unknown scale. It has become clear that if this type of agriculture persists, toxic plantations will soon consume the planet. One of the phenomena prompting this awareness in different places of the world was the death of bees. ¿Qué les pasó a las abejas', directed by Adriana Otero and Robín Canul, relates the environmental conflict between GM soy growers in the Yucatan Peninsula, Mexico, and Mayan beekeepers. Not long after the arrival of GM soy to Yucatan, the bees began to die. When their honey was rejected by the EU authorities due to contamination with transgenic pollen, Mayan beekeepers realized that not only their bees, but also their water and their bodies were poisoned by GM soy agriculture, while their forests were cut for new plantations. The Maya demanded that the state prohibit the planting of GM soy on their land. ¿Qué les pasó a las abejas' is a character-driven documentary featuring leaders of the Maya beekeepers’ movement, including the recipient of the Goldman Environmental Prize 2020, Leydy Pech. Maya Land; Listening to the Bees, my own documentary, reflects on the same environmental conflict and asks what the future would look like if bee health was considered a criterion of sustainable development. A vision of an alternative future emerges in both films through a series of interviews with Mayan beekeepers, scientists, and policy makers; bees are healthy, water is clean, and agriculture incorporates a mixture of ancient techniques and cutting-edge technologies that assist humans in rethinking their relationships with land and plants.
      Citation: Humanities
      PubDate: 2022-04-14
      DOI: 10.3390/h11020055
      Issue No: Vol. 11, No. 2 (2022)
       
  • Humanities, Vol. 11, Pages 56: Questioning Cézanne across
           Sightlines: Balzac, Zola, and Merleau-Ponty

    • Authors: Véronique M. Fóti
      First page: 56
      Abstract: Although Merleau-Ponty’s privileging of Cézanne in the context of his philosophy of painting does not explicitly address the painter’s relation to literature, this relation is important and somewhat problematic. Cézanne was an avid reader of both classical Latin and contemporary French literature, but he sought, in his maturity, to dissociate painting from the inspiration of literature. The danger of a mode of figurative painting informed by literature is explored in Balzac’s novella The Unknown Masterpiece, of which there are echoes in Merleau-Ponty’s discussions of painting, and which is alluded to in Emile Zola’s novel The Masterpiece, which led Cézanne to break off his lifelong friendship with the author. Zola’s novel contradicts Merleau-Ponty’s emphasis on the artist’s creative freedom by portraying his protagonist, modeled on Cézanne, as destroyed by a fatality of destiny. Cézanne, in his maturity, sought to conjoin in painting a “logic of the eyes” with a “logic of the brain” resulting in an art genuinely “parallel with nature”, which it sought to express rather than to represent. The article explores this dissociation of painting from literature and autonomy with respect to what Merleau-Ponty calls “the dimension of color” and to Cézanne’s lifelong theme of bathers in a landscape.
      Citation: Humanities
      PubDate: 2022-04-14
      DOI: 10.3390/h11020056
      Issue No: Vol. 11, No. 2 (2022)
       
  • Humanities, Vol. 11, Pages 57: Imagining the Blitz and Its Aftermath: The
           Narrative Performance of Trauma in Sarah Waters’s The Night Watch

    • Authors: Susana Onega
      First page: 57
      Abstract: Critics agree that Sarah Waters’ fourth novel, The Night Watch (2006), marks a turn in her fiction, away from the farcical tone of her first three neo-Victorian novels and towards an ever-more serious concern with the changes in class structures and gender roles brought about by the fact of war. The novel tells the parallel stories of three women and one man living in various areas of London in the 1940s. Though they have different social status, ideology, and sexual orientation, they share similarly traumatic experiences as, together with war trauma, they harbour individual feelings of loss and/or shame related to their deviance from patriarchal norms. The article seeks to demonstrate that the palimpsestic and backward structure of the novel performs formally the ‘belatedness of trauma’ (Caruth 1995, pp. 4–5), in an attempt to respond aesthetically and ethically to the ‘mnemonic void’ (Freud [1014] 1950) or ‘black hole’ (Pitman and Orr 1990; Bloom 2010; Van der Kolk and McFarlane [1998] 2004) left both in the characters’ traumatised psyches and in our cultural memory of the 1940s by the erased memories of the decade’s non-normative or dissident others.
      Citation: Humanities
      PubDate: 2022-04-14
      DOI: 10.3390/h11020057
      Issue No: Vol. 11, No. 2 (2022)
       
  • Humanities, Vol. 11, Pages 58: Futurism without a Future: Thoughts on The
           Ministry of Time and Mirage (2015–2018)

    • Authors: Victor M. Pueyo Zoco
      First page: 58
      Abstract: The future is not what it used to be. A new strain of futurism has taken over the stage of global science-fiction: one whose understanding of the future cannot be distinguished from its understanding of the present. Gone are the days when extraterrestrials in shiny, extravagant outfits mastered fascinating technologies that flirted with magic. Characters in Charlie Brooker’s Black Mirror (2015–2020) dress like us, and the dystopian technology they put up with is, for the most part, a technology that has existed for years. Armando Iannucci’s imagining of a space cruise for rich people in Avenue 5 (2020) overlaps with Elon Musk’s actual plans of sending wealthy tourists to the moon, while Albert Robida’s visionary téléphonoscope (1879) amounts to a sad reminder of our everyday Zoom call. Is not the current COVID-19 crisis the blueprint to the ultimate post-apocalyptic script' Spanish filmmaker Juan Antonio Bayona noted in a recent interview that Steve Soderbergh’s Contagion (2011), originally labeled as a sci-fi movie by IMDB, is now a drama according to the same internet portal. Science is not fiction anymore, which means at least two different things: that science has lost the power to convey the kind of awe that may be later turned into fiction, and that fiction seems to be unable to inspire a narrative of scientific or—broadly speaking—human progress. How can we retrieve the emancipatory value of progress in good old futuristic sci-fi when the future coincides with the present' What should cultural production look like to help us imagine an alternative to financial capitalism in the face of the impossibility of utopia' The answer, I will claim, resides in Franco Berardi’s concept of “futurability”. This paper explores the limits of this concept by reading side by side Javier Olivares’ and Pablo Olivares’ The Ministry of Time (2015) and Oriol Paulo’s Mirage (2018).
      Citation: Humanities
      PubDate: 2022-04-15
      DOI: 10.3390/h11020058
      Issue No: Vol. 11, No. 2 (2022)
       
  • Humanities, Vol. 11, Pages 7: Unshackling the Body, Mind, and Spirit:
           Reflections on Liberation and Creative Exchange between San Quentin and
           Auckland Prisons

    • Authors: Rand Hazou, Reginold Daniels
      First page: 7
      Abstract: This article explores a creative project entitled Performing Liberation which sought to empower communities with direct experience of incarceration to create and share creative work as part of transnational dialogue. One of the aims of the project was to facilitate creative dialogue and exchange between two incarcerated communities: prisoners at Auckland Prison and prisoners at San Quentin Prison in San Francisco. Written using autoethnographic methods, this co-authored article explores our recollections of key moments in a creative workshop at Auckland Prison in an attempt to explain its impact on stimulating the creativity of the participants. We begin by describing the context of incarceration in the US and New Zealand and suggest that these seemingly divergent locations are connected by mass incarceration. We also provide an overview of the creative contexts at San Quentin and Auckland Prison on which the Performing Liberation project developed. After describing key moments in the workshop, the article interrogates the creative space that it produced in relation to the notion of liberation, as a useful concept to interrogate various forms of oppression, and as a practice that is concerned with unshackling the body, mind, and spirit.
      Citation: Humanities
      PubDate: 2022-01-12
      DOI: 10.3390/h11010007
      Issue No: Vol. 11, No. 1 (2022)
       
  • Humanities, Vol. 11, Pages 8: Heterotopic and Neo-Victorian Affinities:
           Introducing the Special Issue on Neo-Victorian Heterotopias

    • Authors: Marie-Luise Kohlke, Elizabeth Ho, Akira Suwa
      First page: 8
      Abstract: The introduction to this special issue on Neo-Victorian Heterotopias investigates the affinities between the spaces designated by Michel Foucault’s ambivalent and protean concept of ‘heterotopia’ and the similarly equivocal, shifting, and adaptable cultural phenomenon of ‘neo-Victorianism’. In both cases, cultural spaces and/or artefacts prove deeply intertwined with chronicity, at once juxtaposing and blending different temporal moments, past and present. Socially produced sites of distinct emplacement are exposed not just as culturally and historically contingent constructs, but simultaneously enable forms of resistance to the prevailing ideologies that call them into being. The fertile exercise of considering heterotopias and neo-Victorianism in conjunction opens up new explorations of the Long Nineteenth Century and its impact on today’s cultural imaginary, memory and identity politics, contestations of systemic historical iniquities, and engagements with forms of difference, non-normativity, and Otherness.
      Citation: Humanities
      PubDate: 2022-01-13
      DOI: 10.3390/h11010008
      Issue No: Vol. 11, No. 1 (2022)
       
  • Humanities, Vol. 11, Pages 9: “The World Had Forgotten about
           Us”: Heterotopian Resistance in Richard Flanagan’s Wanting and
           Lloyd Jones’s Mister Pip

    • Authors: Charlotte Wadoux
      First page: 9
      Abstract: This article explores how the different forms of heterotopias present in Richard Flanagan’s Wanting (2008) and Lloyd Jones’s Mister Pip (2006) articulate problematic identity politics and cultural memory. In Wanting, the collocation of Mathinna’s story with that of the lost Franklin expedition offers a form of reclaiming. This article argues that Flanagan’s novel moves from heterotopias of deviation to a crisis heterotopia, displacing and debunking the compensation function of the colonial heterotopia to highlight the crushing of Aboriginal identity. This shifting heterotopia is doubled by Mathinna’s heterotopic carceral body, that is, body as confined space, which qualifies the act of reclaiming. In Mister Pip, heterotopias concern cultural memory as the island of Bougainville, secluded from the rest of the world, turns into the repository of the villagers’ culture juxtaposed with the reading of Charles Dickens’s Great Expectations (1860–1861). This article argues that Jones’s creation of a palimpsestic heterotopia allows him to resist Eurocentric views as well as to actualize postcolonial concepts. Jones’s novel calls for a dynamic appropriation of literature. Matilda’s ‘Pacific version’ of Pip’s story reflects the cracks in the Victorian and contemporary exploitations of the island. Readers’ immersions in these heterotopias do not provide an escape from but a thoughtful commitment to the past.
      Citation: Humanities
      PubDate: 2022-01-13
      DOI: 10.3390/h11010009
      Issue No: Vol. 11, No. 1 (2022)
       
  • Humanities, Vol. 11, Pages 10: From Crisis to Compensation: Reinventing
           Identity and Place in the Sideshow and the Laboratory

    • Authors: Elisavet Ioannidou
      First page: 10
      Abstract: Examining the ambivalent place of the sideshow and the laboratory within Victorian culture and its reimaginings, this essay explores the contradiction between the narratively orchestrating role and peripheral location of the sideshow in Leslie Parry’s Church of Marvels (2015) and the laboratory in NBC’s Dracula (2013–2014), reading these neo-Victorian spaces as heterotopias, relational places simultaneously belonging to and excluded from the dominant social order. These spaces’ impacts on individual identity illustrate this uneasy relationship. Both the sideshow and the laboratory constitute sites of resignification, emerging as “crisis heterotopias” or sites of passage: in Parry’s novel, the sideshow allows the Church twins to embrace their unique identities, surpassing the limitations of their physical resemblance; in Dracula, laboratory experiments reverse Dracula’s undead condition. Effecting reinvention, these spaces reconfigure the characters’ senses of belonging, propelling them to places beyond their confines, and thus projecting the latter’s heterotopic qualities onto the city. Potentially harmful, yet opening up urban space to include identities which are considered aberrant, these relocations envision the city as a “heterotopia of compensation”: an alternative, possibly idealized, space that reifies the sideshow’s and the laboratory’s attempts to achieve greater extroversion and visibility for their liminal occupants, thus fostering neo-Victorianism’s outreach efforts to support the disempowered.
      Citation: Humanities
      PubDate: 2022-01-13
      DOI: 10.3390/h11010010
      Issue No: Vol. 11, No. 1 (2022)
       
  • Humanities, Vol. 11, Pages 11: Neo-Victorianism as a Cemetery: Heterotopia
           and Heterochronia in Tracy Chevalier’s Falling Angels and Audrey
           Neffenegger’s Her Fearful Symmetry

    • Authors: Barbara Braid
      First page: 11
      Abstract: This article examines the nature of neo-Victorianism as a heterotopia and heterochronia, that is, situatedness where the relationship between the past and the present is paradoxically concurrent and palimpsestic. This is done via a discussion of the cemetery as a governing metaphor to describe neo-Victorianism, as it is a highly heterotopic and heterochronic space. A hauntological approach is applied to interpret the attempt to bury the spectre of Victorianism in Michel de Certeau’s “scriptural tombs” as the main project of neo-Victorianism. Two neo-Victorian novels, Tracy Chevalier’s Falling Angels (2001) and Audrey Niffenegger’s Her Fearful Symmetry (2009), are selected as illustrations of this phenomenon, as they both focus on Highgate Cemetery in London as a key element of their narratives. Both these texts show that neo-Victorianism, conceptualised as a cemetery, is a heterotopic and heterochronic archive of the spectres that rarely stay buried in their narrative tombs.
      Citation: Humanities
      PubDate: 2022-01-13
      DOI: 10.3390/h11010011
      Issue No: Vol. 11, No. 1 (2022)
       
  • Humanities, Vol. 11, Pages 12: Heterotopic Heritage in Hong Kong: Tai Kwun
           and Neo-Victorian Carceral Space

    • Authors: Elizabeth Ho
      First page: 12
      Abstract: The prison is specifically identified by Michel Foucault in his essay, ‘Of Other Spaces’ (1967), as an exemplar of “heterotopias of deviation”. Reified in neo-Victorian production as a hegemonic space to be resisted, within which illicit desire, feminist politics, and alternate narratives, for example, flourish under harsh panoptic conditions, the prison nonetheless emerges as a counter-site to both nineteenth-century and contemporary social life. This article investigates the neo-Victorian prison museum that embodies several of Foucault’s heterotopic principles and traits from heterochronia to the dynamics of illusion, compensation/exclusion and inclusion that structure the relationship of heterotopic space to all space. Specifically, I explore the heritage site of the Central Police Station compound in Hong Kong, recently transformed into “Tai Kwun: the Centre for Heritage and the Arts”. Tai Kwun (“Big Station” in Cantonese) combines Victorian and contemporary architecture, carceral space, contemporary art, and postcolonial history to herald the transformation of Hong Kong into an international arts hub. Tai Kwun is an impressive example of neo-Victorian adaptive reuse, but its current status as a former prison, art museum, and heritage space complicates the celebratory aspects of heterotopia as counter-site. Instead, Tai Kwun’s spatial, historical, and financial arrangements emphasize the challenges that tourism, government funding, heritage, and the art industry pose for Foucault’s original definition of heterotopia and our conception of the politics of neo-Victorianism in the present.
      Citation: Humanities
      PubDate: 2022-01-13
      DOI: 10.3390/h11010012
      Issue No: Vol. 11, No. 1 (2022)
       
  • Humanities, Vol. 11, Pages 13: Heterotopian Disorientation:
           Intersectionality in William Oldroyd’s Lady Macbeth

    • Authors: Marlena Tronicke
      First page: 13
      Abstract: This article reads William Oldroyd’s Lady Macbeth (2016) through the lens of Michel Foucault’s concept of the heterotopia to explore the film’s ambivalent gender and racial politics. The country house that Katherine Lester is locked away in forms a quasi-heterotopia, mediated through a disorienting cinematography of incarceration. Although she manages to transgress the ideological boundaries surrounding her, she simultaneously contributes to the oppression of her Black housemaid, Anna. On the one hand, the film suggests that the coercive space of the colony—another Foucauldian heterotopia—may threaten white hegemony: While Mr Lester’s Black, illegitimate son Teddy almost manages to claim his inheritance and, hence, contest the racialised master/servant relationship of the country house, Anna’s voice threatens to cause Katherine’s downfall. On the other hand, through eventually denying Anna’s and Teddy’s agency, Lady Macbeth exposes the pervasiveness of intersectional forms of oppression that are at play in both Victorian and twenty-first-century Britain. The constant spatial disorientation that the film produces, this article suggests, not only identifies blind spots in Foucault’s writings on heterotopian space as far as intersectionality is concerned, but also speaks to white privilege as a vital concern of both twenty-first-century feminism and neo-Victorian criticism.
      Citation: Humanities
      PubDate: 2022-01-13
      DOI: 10.3390/h11010013
      Issue No: Vol. 11, No. 1 (2022)
       
  • Humanities, Vol. 11, Pages 14: Their Own Devices: Steampunk Airships as
           Heterotopias of Crisis and Deviance

    • Authors: Courtney Krentz, Mike Perschon, Amy St. Amand
      First page: 14
      Abstract: Michel Foucault uses a sailing vessel as the exemplar of his theory of heterotopia because of its mobility. The lateral and vertical mobility of the steampunk airship indicates the potential for an even greater exemplar of heterotopia, particularly of Foucault’s defining principles of heterotopic crisis and deviance. These principles are explored onboard the steampunk airships of Scott Westerfeld’s Leviathan trilogy and Gail Carriger’s Finishing School series, resulting in travel towards progressive social frontiers of gender and race. The protagonists of the Leviathan trilogy move from a position of crisis to deviance, as mediated through the friendship and romance of two representatives of warring factions. In contrast, the heroine of the Finishing School series moves from deviance to crisis as she navigates the vagaries of gender and racial identity. These airship heterotopias of young adult fiction, which not only descend geographically but also socially, cross liminal crisis spaces of class, race, gender, and identity to craft literary cartographies for these social frontiers, providing readers with literary maps for their uncertain real worlds of crisis.
      Citation: Humanities
      PubDate: 2022-01-13
      DOI: 10.3390/h11010014
      Issue No: Vol. 11, No. 1 (2022)
       
  • Humanities, Vol. 11, Pages 15: Heterotopic Proliferation in E. S.
           Thomson’s Jem Flockhart Series

    • Authors: Marie-Luise Kohlke
      First page: 15
      Abstract: This article explores the convergence, inversion, and collapse of heterotopic spaces in E. S. Thomson’s neo-Victorian Jem Flockhart series about a cross-dressing female apothecary in mid-nineteenth-century London. The eponymous first-person narrator becomes embroiled in the detection of horrific murder cases, with the action traversing a wide range of Michel Foucault’s exemplary Other spaces, including hospitals, graveyards, brothels, prisons, asylums, and colonies, with the series substituting the garden for Foucault’s ship as the paradigmatic heterotopia. These myriad juxtaposed sites, which facilitate divergence from societal norms while seemingly sequestering forms of alterity and resistance, repeatedly merge into one another in Thomson’s novels, destabilising distinct kinds of heterotopias and heterotopic functions. Jem’s doubled queerness as a cross-dressing lesbian beloved by their Watsonean side-kick, the junior architect William Quartermain, complicates the protagonist’s role in helping readers negotiate the re-imagined Victorian metropolis and its unequal power structures. Simultaneously defending/reaffirming and contesting/subverting the status quo, Jem’s body itself becomes a microcosmic heterotopia, problematising the elision of agency in Foucault’s conceptualisation of the term. The proliferation of heterotopias in Thomson’s series suggests that neo-Victorian fiction reconfigures the nineteenth century into a vast network of confining, contested, and liberating Other spaces.
      Citation: Humanities
      PubDate: 2022-01-13
      DOI: 10.3390/h11010015
      Issue No: Vol. 11, No. 1 (2022)
       
  • Humanities, Vol. 11, Pages 16: Young Adult Crisis Heterotopias and
           Feminist Revisions in Colleen Gleason’s Stoker and Holmes Series

    • Authors: Sonya Sawyer Fritz, Sara K. Day
      First page: 16
      Abstract: In this article, we investigate neo-Victorian YA fiction’s efforts to mirror twenty-first-century feminist ideals in nineteenth-century spaces through examining the role of heterotopia in Colleen Gleason’s Stoker and Holmes series (2013–2019). We first consider how the novels’ steampunk elements figure in Gleason’s feminist framing of neo-Victorian London, particularly in terms of common heterotopias—primarily the garden and the museum—that the protagonists briefly navigate over the course of the series. Second, we explore how the series’ three female protagonists each occupy spaces that function as pseudo—“heterotopias of crisis”—that is, while each of them claims space within which to subvert expectations of women, these spaces and the activities they support are themselves fundamentally insular and yield no socio-cultural critique. Finally, we consider how the spaces created and occupied by the books’ villain, known as the Ankh, serve as heterotopias. We find that the fact that the only truly heterotopic spaces in the novels belong to the villain, whose transgressive deviance the series frames as a bridge too far, illustrates how disappointingly limited neo-Victorian YA can be in its ability to offer subversive mirrors to twenty-first-century feminism.
      Citation: Humanities
      PubDate: 2022-01-13
      DOI: 10.3390/h11010016
      Issue No: Vol. 11, No. 1 (2022)
       
  • Humanities, Vol. 11, Pages 17: Happy Existentialist Metaphors:
           Merleau-Ponty’s Flesh of the World and the Chandos Complex

    • Authors: Annabelle Dufourcq
      First page: 17
      Abstract: This article investigates the meaning of Merleau-Ponty’s concept of the flesh of the world. This concept brings a cosmological tone to existentialist phenomenology and challenges the grim and gnostic approach that prevails in Heidegger’s and Sartre’s works in particular. Is horror the key mood in ontology as argued by Malabou' This article contends that bright metaphors and magic realism are at least as fundamental, but under one condition: ontology must come to terms with what the author has coined as the “Chandos complex”, namely a form of ambivalence and oscillation between Gnosticism and holism that makes both positions fake and hollow. Dreaming of being one with the world and fantasizing an estrangement from nature work hand in hand and are equally staged. Merleau-Ponty’s philosophy occasionally falls prey to the Chandos complex, which makes his concept of the flesh of the world vulnerable to criticism. This article examines the claim put forward by Renaud Barbaras that “the flesh of the world” is a failed metaphor. It argues that this blissful metaphor is ontologically fundamental as soon as its intrinsic paradoxes are recognized and accepted: the Chandos complex then becomes the key to an ontology that recognizes the imaginary as an essential dimension of being. At stake is an essential link between ontology on the one hand and, on the other hand, metaphors as well as myth-building and narrative-building processes.
      Citation: Humanities
      PubDate: 2022-01-14
      DOI: 10.3390/h11010017
      Issue No: Vol. 11, No. 1 (2022)
       
  • Humanities, Vol. 11, Pages 18: Futural Dispatches on Responsibility for
           

    • Authors: Dave Boothroyd
      First page: 18
      Abstract: This article explores the question of the limits of ethical responsibility in the context of the contemporary ecological crisis. Drawing centrally on a selection of writings by Jacques Derrida, Emmanuel Levinas and, in the second half of the article especially, Timothy Morton, it attempts to show how the conceptualization of the Earth/environment/biosphere (tropes for the ‘ecological whole’) as an object of ethical concern is problematic and exacerbated in the context of the posthumanist critique of anthropocentrism. If a generalized anthropization of the planet represents the ‘ethical failure’ of the Earth by ‘the human’—the material mark of which is the geo-physical terraforming associated with anthropocene—who or what, might be anticipated to be able to bear, or to live-up to, the ethical responsibility for its continued survival' The article critically brings elements of the philosophy of these thinkers into conjunction to discuss how the future of life/death might be properly considered an ethical matter at all, or alternatively, as the ‘end’ of ethical responsibility. Whilst Morton appears to recognize the potential of deconstructive thinking and Levinasian ethics for ecological thought, it is argued here that his reading of these is at odds with the object-oriented ontological thinking he more stridently identifies with. This messy collision in Morton’s ecological theory is used here as a springboard to explain how a strategic reprise of a certain humanism—or theoretical human exceptionalism—might be key to appreciating how humans taking responsibility for the current ecological crisis is the condition of a futural ethical openness to the non-human.
      Citation: Humanities
      PubDate: 2022-01-17
      DOI: 10.3390/h11010018
      Issue No: Vol. 11, No. 1 (2022)
       
  • Humanities, Vol. 11, Pages 19: Thirteen Tactics for Teaching Poetry as
           Architecture

    • Authors: Marsha Bryant, Charlie Hailey
      First page: 19
      Abstract: What if encounters between modernist poetry and architecture exceed inspiration, imagery, and allusions' These two modes of making have crossed boundaries for over a century, from Walt Whitman’s ecstatic stanzas on Manhattan skyscrapers to architect John Hejduk’s poetry of memory and place. Buildings become materials for poetry, and poems become material for building. When a literary critic and an architect build on overlaps they have discovered in syllabi for American Poetry and Architecture Studio courses, their teaching collaboration becomes a sustainable maker-space for student work—and for the Humanities more generally. We found that linking a literature survey to an architectural design studio brings materiality and resourcefulness to working with poems and that interacting with the Humanities demonstrates praxis (theory + practice) from the perspective of architectural pedagogy. Our classes also engaged each other through The Repurpose Project, a community space that promotes reuse and diverts waste from the local landfill. The profusion of readily available materials at Repurpose afforded students with a rich sampling of architectural textures and languages, opening new possibilities for thinking and making. In an academic climate that groups literary studies and architecture as “not-STEM,” we designed sustainable and resilient pedagogies that go beyond problem solving. Finding the same quality of renewable resourcefulness in Wallace Stevens’s “Thirteen Ways of Looking at a Blackbird,” we offer 13 tactics for teaching poetry as architecture.
      Citation: Humanities
      PubDate: 2022-01-19
      DOI: 10.3390/h11010019
      Issue No: Vol. 11, No. 1 (2022)
       
  • Humanities, Vol. 11, Pages 20: A Is for Anecdotes, Amateurs, and
           Anomalies: Vinciane Despret’s Case for Exceptional Interspecies
           Relations

    • Authors: Anne McConnell
      First page: 20
      Abstract: In Vinciane Despret’s book, What Would Animals Say If We Asked the Right Questions', she tells stories about animals that surprise us, that challenge our assumptions about the capabilities of animals, and that illustrate how we might best come to know them. Despret engages with the history of animal science and scientific methodology, while also turning her attention to less conventional sources of animal knowledge, such as Youtube videos, domestic animal breeders, and animal caregivers. For Despret, knowing more about animals requires knowing more with them, expanding our knowledge practices beyond conventional scientific models that often emphasize distanced observation, generalization, and laboratory research. Despret highlights relational practices that function through care and curiosity, understanding animals as collaborators, with interests and valuable input. By drawing our attention to anecdotes, amateurs, and anomalies, Despret challenges scientific conventions that dismiss all three, and illuminates fascinating stories about what animals might show us if we “ask the right questions”.
      Citation: Humanities
      PubDate: 2022-01-20
      DOI: 10.3390/h11010020
      Issue No: Vol. 11, No. 1 (2022)
       
  • Humanities, Vol. 11, Pages 21: Narrating the End of the World: The
           Pandemic, the Climate and The Death of Virgil

    • Authors: Sven Anders Johansson
      First page: 21
      Abstract: There is a widespread narrative today that, due to climate change, we are living in the end of times. What does this apocalyptic narrative tell us about our relation to death' A peculiarity with the climate discourse is that “we”, i.e., mankind, are given a position that is both external and internal to the problems described. On the one hand, there is an all-encompassing apocalyptic mood, on the other hand, death appears as a scandal, something we had abolished. In order to capture this peculiarity, the article adopts the narratological concept of the “focalizer”. After comparing the way climate change is addressed by the philosophers Martin Hägglund and Roy Scranton, respectively, the article turns to Hermann Broch’s novel The Death of Virgil (1945). Here, another perspective on dying and the end of civilization may be found. In that way, Broch’s novel provides a much needed perspective on today’s apocalyptic narratives. With Broch, one may argue that the end of the world takes place all the time.
      Citation: Humanities
      PubDate: 2022-01-21
      DOI: 10.3390/h11010021
      Issue No: Vol. 11, No. 1 (2022)
       
  • Humanities, Vol. 11, Pages 22: Acknowledgment to Reviewers of Humanities
           in 2021

    • Authors: Humanities Editorial Office Humanities Editorial Office
      First page: 22
      Abstract: Rigorous peer-reviews are the basis of high-quality academic publishing [...]
      Citation: Humanities
      PubDate: 2022-01-28
      DOI: 10.3390/h11010022
      Issue No: Vol. 11, No. 1 (2022)
       
  • Humanities, Vol. 11, Pages 23: Republican Reimaginings in
           Marlowe’s Edward II

    • Authors: Christopher Ivic
      First page: 23
      Abstract: This essay explores the intersection of republican and nationalist ideas in Marlowe’s Elizabethan history play Edward II. I read the play less in terms of recent dominant readings: that is, focussing on the same-sex relation between King Edward and his ‘minion’ Gaveston. Instead, I focus on the play’s critique of Edward’s authoritarian and arbitrary rule, a critique of monarchy informed by proto-republican ideology and a nascent nationalism. This essay also considers the play’s archipelagic angles within the context of the play’s initial inscription—Queen Elizabeth’s two-kingdom, three-nation rule—as well as its Jacobean publications.
      Citation: Humanities
      PubDate: 2022-02-03
      DOI: 10.3390/h11010023
      Issue No: Vol. 11, No. 1 (2022)
       
  • Humanities, Vol. 11, Pages 24: Petrifyin’: Canonical
           Counter-Discourse in Two Caribbean Women’s Medusa Poems

    • Authors: Phillip Zapkin
      First page: 24
      Abstract: This essay utilizes Helen Tiffin’s idea of canonical counter-discourse to read the Medusa poems of Shara McCallum and Dorothea Smartt, two female Caribbean poets. Essentially, canonical counter-discourse involves authors rewriting works or giving voice to peripheral/silenced characters from the literary canon to challenge inequalities upheld by power structures such as imperialism and patriarchy. McCallum’s and Smartt’s poems represent Medusa to reflect their own concerns as women of color from Jamaica and Barbados, respectively. McCallum’s “Madwoman as Rasta Medusa” aligns the titular character from her book Madwoman with Medusa to express Madwoman’s righteous anger at the “wanton” and “gravalicious” ways of a Babylon addressed in second person. Smartt’s series of Medusa poems from Connecting Medium explore the pain of hair and skin treatments Black women endure to try and meet Euro-centric beauty standards, as well as the struggles of immigrants, particularly people of color. Both poets claim Medusa as kindred, empowering Medusa as a figure with agency—which she is denied in the Greco-Roman sources—and simultaneously legitimizing both Caribbean literature and the poets’ feminist and post-colonial protests by linking them to the cultural capital of the classics.
      Citation: Humanities
      PubDate: 2022-02-07
      DOI: 10.3390/h11010024
      Issue No: Vol. 11, No. 1 (2022)
       
  • Humanities, Vol. 11, Pages 25: “You Have to Set the Story You Know
           Aside”: Constructions of Youth, Adulthood and Senescence in
           Cinderella Is Dead

    • Authors: Michelle Anya Anjirbag, Vanessa Joosen
      First page: 25
      Abstract: As with other twenty-first-century rewritings of fairytales, Cinderella is Dead by Kalynn Bayron complicates the classic ‘Cinderella’ fairytale narrative popularized by Charles Perrault and the Brothers Grimm for new audiences, queering and race-bending the tale in its decidedly feminist revision of the story. However, as we argue here, the novel also provides an interesting intervention in the construction of age as related to gender for its female protagonists. Drawing on Sylvia Henneberg’s examination of ageist stereotypes in fairytale classics and Susan Pickard’s construction of the figure of the hag, we explore the dialogic between the fairytale revision, traditional fairytale age ideology and the intersection of age and gender in this reinvention of the classic narrative. By focusing on constructions of age, particularly senescence, we demonstrate how complex constructions of older characters might aid in overall depictions of intergenerational relationships, and how these intergenerational relationships in turn reflect historical and cultural impetuses of retelling fairytale narratives.
      Citation: Humanities
      PubDate: 2022-02-10
      DOI: 10.3390/h11010025
      Issue No: Vol. 11, No. 1 (2022)
       
  • Humanities, Vol. 11, Pages 26: Merleau-Ponty’s Embodied Ontology and
           Literature: Gesture, Metaphor, Flesh, and Sensible Ideas

    • Authors: Glen A. Mazis
      First page: 26
      Abstract: This essay traces out the importance of the poetic and creative use of language to Merleau-Ponty’s ontology. Why Merleau-Ponty’s phenomenology of embodiment inevitably had to turn towards a poetic use of language and to see the overlap between literature and philosophy in articulating an ontology is examined. The tie between a deeper sense of metaphor and the structure of the flesh of the world is explored. The attempt to articulate the latent background of perception leads to the essential role of what will be called the “physiognomic imagination”, which is a different use of imagination than “make-believe” and is key to the unfolding of the depths of perceptual sense. Understanding the efficacy of the literary use of language to the manifestation of further sense also requires an understanding of the temporality of the institution and the ongoing becoming of the real in Merleau-Ponty’s ontology. This essay argues that Merleau-Ponty’s turn to poetic language was both a source of his insights for ontology and the way that he came to express his own philosophy as a necessary outcome of fidelity to the phenomenology of perception. Given the parallel structure of the flesh of the world and metaphor, the dialogical nature of the perceptual encounter with the “voice of silence”, and the increasing importance of physiognomic imaginations, the temporality of institution and “sensible ideas” to his indirect ontology, the literary and poetic use of language had to assume a central role in the articulation of the flesh ontology as well as to the further manifestation of sense. This assertion is meant to rectify the reading and commentaries that fail to see this necessity and instead interpret Merleau-Ponty’s increasing use of poetic language as merely a residue of his evolving writing style and not as the necessary outcome of his ontological insights. This essay is also meant to address phenomenologists who fail to turn to literature and the poetic expression of embodied ontology as failing to carry forth Merleau-Ponty’s revisioning of philosophy and centrality of perception and embodiment.
      Citation: Humanities
      PubDate: 2022-02-11
      DOI: 10.3390/h11010026
      Issue No: Vol. 11, No. 1 (2022)
       
  • Humanities, Vol. 11, Pages 27: Transhumanities as the Pinnacle and a
           Bridge

    • Authors: Piotr (Peter) Boltuc
      First page: 27
      Abstract: Transhumanities are designed as a multidisciplinary approach that transcends the limitations not only of specific disciplines, but also of the human species; these are primarily humanities for advanced Artificial Intelligence (AI leading to AGI). The view that philosophy, ethics and related disciplines pertain to all rational beings, not solely to humans, is essential to the philosophy of Immanuel Kant. This approach turns out to be practical at the epoch of advanced AI. Many authors ponder how a kernel of ethical respect for human beings can be built into Artificial General Intelligence by the time it becomes a reality. I argue that the task requires, among other components, inculcating the core of the Humanities into advanced AI.
      Citation: Humanities
      PubDate: 2022-02-14
      DOI: 10.3390/h11010027
      Issue No: Vol. 11, No. 1 (2022)
       
  • Humanities, Vol. 11, Pages 28: Performance as Intersectional Resistance:
           Power, Polyphony and Processes of Abolition

    • Authors: Omid Tofighian, Rachael Swain, Dalisa Pigram, Benji Ra, Chandler Connell, Emmanuel Brown, Feras Shaheen, Issa Assaad, Luke Currie-Richardson, Miranda Wheen, Czack Bero, Zachary Lopez
      First page: 28
      Abstract: Australia’s brutal carceral-border regime is a colonial system of intertwining systems of oppression that combine the prison-industrial complex and the border-industrial complex. It is a violent and multidimensional regime that includes an expanding prison industry and onshore and offshore immigration detention centres; locations of cruelty, and violent sites for staging contemporary politics and coloniality. This article shares insights into the making of a radical intersectional dance theatre work titled Jurrungu Ngan-ga by Marrugeku, Australia’s leading Indigenous and intercultural dance theatre company. The production, created between 2019–2021, brings together collaborations through and across Indigenous Australian, Kurdish, Iranian, Palestinian, Filipino, Filipinx, and Anglo settler performance, activism and knowledge production. The artistic, political and intellectual dimensions of the show reinforce each other to interrogate Australia’s brutal carceral regime and the concept of the border itself. The article is presented in a polyphonic structure of expanded interviews with the cast and descriptions of the resulting live performance. It identifies radical ways that intersectional and trans-disciplinary performances can, as an ‘act of liberation’, be applied to make visible, embody, address, and help dismantle systems of oppression, control and subjugation.
      Citation: Humanities
      PubDate: 2022-02-17
      DOI: 10.3390/h11010028
      Issue No: Vol. 11, No. 1 (2022)
       
  • Humanities, Vol. 11, Pages 29: Refugees and Representation: An Impossible
           Necessity

    • Authors: Mieke Bal
      First page: 29
      Abstract: Staging a (fictional) encounter between two artworks, a work on paper by Indian artist Nalini Malani and the novel No Friend but the Mountains by Iranian-Kuridsh writer Behrouz Boochani, the text—an essay, rather than a traditional scholarly article—peruses the paradoxes of representing what cannot but must be (re-)presented. Issues such as the required modesty in the face of the suffering of others, the irrepresentability of trauma and intermediality are examined through the ongoing analysis of the two artworks.
      Citation: Humanities
      PubDate: 2022-02-17
      DOI: 10.3390/h11010029
      Issue No: Vol. 11, No. 1 (2022)
       
  • Humanities, Vol. 11, Pages 30: Reading Loops with Boccaccio, Freud and
           Morton

    • Authors: Carin Franzén
      First page: 30
      Abstract: This article assesses the notion of ecological awareness through a re-reading of Giovanni Boccaccio’s classic Decameron, together with Sigmund Freud and Timothy Morton. The purpose is not primarily to trace antecedents to modern and late modern thought, but rather to follow a loop that in different ways is tangible in their works and links them together despite their temporal and thematic differences. If Freud and Morton possess heuristic value for a re-reading of Boccaccio, his way of articulating an earlier and freethinking vein in the humanist tradition may prompt us to see not only what an ecological thought may be, but also that it has always been there as an unconscious awareness. We suggest that such a loop can function as a liberating deviation from a linear idea of living at the end of times. In this article, we also follow this temporal and thematic loop as a tension between disruptiveness and interconnectedness that Freud metaphorically and mythologically describes as a battle between the two giants Thanatos and Eros. From Morton’s ecological perspective, everything’s interconnectedness (or Eros in Freud’s mythological description) is precisely what has been denied or repressed in the anthropocentric strive to master the world. What is interesting in this regard is that Boccaccio, by taking a specific disastrous event—the plague—as his starting point, also makes Thanatos and Eros the themes that interconnect his stories into a weird loop.
      Citation: Humanities
      PubDate: 2022-02-18
      DOI: 10.3390/h11010030
      Issue No: Vol. 11, No. 1 (2022)
       
  • Humanities, Vol. 11, Pages 1: From Utopia to Dystopia: The Demise of the
           Revolutionary Dream in Futuristic Cuban Cinema

    • Authors: Santiago Juan-Navarro
      First page: 1
      Abstract: The armed insurrection that brought Fidel Castro to power in 1959 was one of the most influential events of the 20th century. Like the Russian and Mexican revolutions before it, the Cuban revolution set out to bring social justice and prosperity to a country that had suffered the evils of corrupt regimes. A small country thus became the center of world debates about equality, culture, and class struggle, attracting the attention of political leaders not only from Latin America but also from Africa, Asia, and Europe. Its intent to forge a model society has often been described in utopian terms. Writers, artists, and filmmakers turned to utopia as a metaphor to trace the evolution of the arts in the island from the enthusiasm and optimism of the first moments to the dystopian hopelessness and despair of the last decades. Indeed, the Cuban revolution, like so many other social revolutions of the 20th century, became the victim of a whole series of internal and external forces that ended up turning the promised dream into a nightmare tainted by autocratic leadership, repression, and political and economic isolation. Although Cuban literature has extensively addressed these issues since the collapse of the Soviet Union in 1991, it is only recently that we can find similar trends in a cinematic output that portrays Cuba as a utopia gone sour. This article examines recent films such as Alejandro Brugués’ Juan de los Muertos (2011), Tomás Piard’s Los desastres de la Guerra (2012), Eduardo del Llano’s Omega 3 (2014), Rafael Ramírez’s Diario de la niebla (2016), Yimit Ramírez’s Gloria eterna (2017), Alejandro Alonso’s El Proyecto (2017), and Miguel Coyula’s Corazón Azul (2021). These films use futuristic imageries to offer a poignant (and often apocalyptic) depiction of the harsh paradoxes of contemporary life in Cuba while reflecting upon the downfall of utopia.
      Citation: Humanities
      PubDate: 2021-12-22
      DOI: 10.3390/h11010001
      Issue No: Vol. 11, No. 1 (2021)
       
  • Humanities, Vol. 11, Pages 2: Leigh Whannell’s The Invisible Man
           Discussing Narratives of Domestic Abuse and Gaslighting through the
           Cassandra Myth

    • Authors: Alice Payne
      First page: 2
      Abstract: Renowned for its hard-hitting exploration of gaslighting and domestic abuse, Leigh Whannell’s 2020 film The Invisible Man has inevitably been linked to the #MeToo movement. Despite the film’s contemporary premise, however, its narrative of male violence and female silencing is fundamentally rooted within classical literature and can be seen as an appropriation of the Cassandra myth. This article will be reviewing the continued relevance of the Cassandra myth today and the impact of her appearance within the horror movie genre. It will identify how Cassandra’s narrative as a truth-speaker, who is met with disbelief, has been appropriated for both thematic and critical effect. It will also consider the gendered implication of truth-speakers in horror and the impact of representing a female Cassandra onscreen to critique gendered issues, such as female silencing, domestic abuse, and gaslighting. By applying the classical figure of Cassandra to Whannell’s The Invisible Man, this article will continue by highlighting the patriarchal mechanisms which have historically dictated the reliability of female truth-speaker, thus connecting modern truth-speakers to their ancient counterparts.
      Citation: Humanities
      PubDate: 2021-12-22
      DOI: 10.3390/h11010002
      Issue No: Vol. 11, No. 1 (2021)
       
  • Humanities, Vol. 11, Pages 3: Dramatising Solidarity and Unification in
           Divided Palestine: The Chorus and the Ghost in Kamel EL-Basha’s
           Following the Footsteps of Hamlet (2013)

    • Authors: Ziad Abushalha
      First page: 3
      Abstract: This essay explores how Kamel EL-Basha’s theatre production Following the Footsteps of Hamlet (2013) preaches unity and resistance in a post-2006 divided Palestine. After giving a brief historical account of the causes of the internal Palestinian political divisions that distract Palestinians from achieving liberation, the article traces how El-Basha uses theatrical devices such as the chorus and the ghost to materialise a sense of unification in the theatrical space. The analysis draws on other international theatrical practices like Einar Schleef’s (1980) ‘Choric Theatre’ and cites critical works such as Nietzsche’s The Birth of Tragedy (1872) to locate El-Basha’s theatrical practice in a broader context regarding the significance of the chorus in dramatising unity. The essay also traces how the performance of traditional Palestinian songs, ululation, dances like dabke and other rituals in the play, help foster Palestinian identity and shape their sumud (steadfastness) in facing the occupation. Finally, the essay focuses on the role of the ghost in evoking nostalgia in the audience for the days of unity and collective resistance promoted by the Palestinian leader Yasser Arafat before his death.
      Citation: Humanities
      PubDate: 2021-12-22
      DOI: 10.3390/h11010003
      Issue No: Vol. 11, No. 1 (2021)
       
  • Humanities, Vol. 11, Pages 4: Tears in Heaven: Tracing the Contours of a
           Pan-European Transconfessional Genre

    • Authors: Anne Boemler, Bryan Brazeau
      First page: 4
      Abstract: This article explores the genesis, proliferation, and readership of an understudied genre of religious poetry in early modern Europe. The weeping poem—a devotional literary genre combining elements of epic narrative and Petrarchan lyric that focused specifically on the religious grief of biblical figures—swept across Europe in the forty years around the turn of the seventeenth century. Although this genre was instigated by the Italian Luigi Tansillo’s 1560 Le Lagrime di San Pietro and has often been read as exhibiting a distinctively Counter-Reformation spirituality, our survey of weeping poems uncovers the surprising reach of this genre across multiple languages and even into Protestant England. The range and popularity of this specific kind of weeping poetry across early modern national, linguistic, and confessional lines shows how this constellation of texts transmitted a new form of devotional affect founded on imaginative identification with weeping biblical narrators. In other words, these poems demonstrate how interiority, rather than factional political or theological difference, could be the basis for new emotional communities of worship. Moreover, the relative obscurity of this genre to scholars prompts new questions around the viability of continuing to explore early modern European literary traditions from the perspective of nationalist/linguistic/confessional frameworks.
      Citation: Humanities
      PubDate: 2021-12-23
      DOI: 10.3390/h11010004
      Issue No: Vol. 11, No. 1 (2021)
       
  • Humanities, Vol. 11, Pages 5: Heterotopic Potential of Darkness:
           Exploration and Experimentation of Queer Space in Sarah Waters’s
           Neo-Victorian Trilogy

    • Authors: Akira Suwa
      First page: 5
      Abstract: This article argues that darkness contributes to the creation of, and expands the concept of, heterotopias. In Sarah Waters’s neo-Victorian trilogy, consisting of Tipping the Velvet (1998), Affinity (1999), and Fingersmith (2002), her characters utilize darkness as their queer heterotopic space in order to call into question dominant heteronormative ideologies. Darkness plays an important role at the inception of the characters’ romantic relationships by facilitating space that allows their non-normative feelings to be expressed, thereby bringing queer desire to the forefront of each narrative. Darkness is a critical factor that renders a space heterotopic, as it blurs the boundary between heteronormative and queer, hence allowing transgression of the characters within Waters’s novels. Within queer heterotopic space created out of the darkness, there is a confluence of opposing values that enables the characters to examine the possibility of transcending heteronormativity and envisioning queer futures.
      Citation: Humanities
      PubDate: 2021-12-25
      DOI: 10.3390/h11010005
      Issue No: Vol. 11, No. 1 (2021)
       
  • Humanities, Vol. 11, Pages 6: Auditory Resonance: A Transdisciplinary
           Concept'

    • Authors: Rolf J. Goebel
      First page: 6
      Abstract: Focusing on the influential work of the German sociologist Hartmut Rosa, as well as on selected positions in sound studies, this essay explores some aspects of auditory resonance, an over-determined concept exemplified by music that no single conceptual framework can exhaustively explain. For this reason, transdisciplinary research is especially productive in exploring the wide range of auditory resonance if it does not adhere to a seemingly all-inclusive theoretical self-definition but starts from an actual, singular experience. This subjective, even personal response to auditory resonance opens up various intersecting, supplementary, and often competing paradigms of critical analysis that interrogate any hegemonic claims to perspectives and insights potentially implied in single-disciplinary methodologies.
      Citation: Humanities
      PubDate: 2021-12-27
      DOI: 10.3390/h11010006
      Issue No: Vol. 11, No. 1 (2021)
       
  • Humanities, Vol. 10, Pages 106: Metaphysics, Universal Irony, and Richard
           Rorty’s “We Ironists”

    • Authors: Timo Airaksinen
      First page: 106
      Abstract: Richard Rorty speaks of “we ironists” who use irony as the primary tool in their scholarly work and life. We cannot approach irony in terms of truth, simply because, due to its ironies, the context no longer is metaphysical. This is Rorty’s challenge. Rorty’s promise focuses on top English Departments: they are hegemonic, they rule over the humanities, philosophy, and some social sciences using their superior method of ironizing dialectic. I refer to Hegel, Gerald Doherty’s “pornographic” writings, and Gore Vidal’s non-academic critique of academic literary criticism. My conclusion is that extensive use of irony is costly; an ironist must regulate her relevant ideas and speech acts—Hegel makes this clear. Irony is essentially confusing and contestable. Why would we want to use irony in a way that trumps metaphysics' Metaphysics, as defined by Rorty, is a problematic field, but irony can hardly replace it. At the same time, I admit that universal irony is possible, that is, everything can be seen in ironic light, or ironized. The purpose of this paper is to evaluate and criticize Rorty’s idea of irony by using his own methodology, that is, ironic redescription. We can see the shallowness of his approach to irony by contextualizing it. This also dictates the style of the essay.
      Citation: Humanities
      PubDate: 2021-09-23
      DOI: 10.3390/h10040106
      Issue No: Vol. 10, No. 4 (2021)
       
  • Humanities, Vol. 10, Pages 107: Robert Wise’s The Day the Earth Stood
           Still (1951) and Interplanetary Emissary Klaatu Are Not Anti-Atomic: A
           Reassessment of the Filmic Evidence

    • Authors: Anton Karl Kozlovic
      First page: 107
      Abstract: Inspired by a 1940s short story by Harry Bates, scripted by Edmund H. North, and directed by Robert Wise, The Day the Earth Stood Still (1951) is a science fiction cult classic. Of all its diverse interpretations, a commonly adopted reading influenced by the dawning of the Atomic Age parades it as an anti-nuclear exemplar starring alien emissary Klaatu visiting Earth with his robot companion Gort to (supposedly) suppress humanity’s atomic progress. However, upon a close forensic inspection of the film and commentator comments, this anti-atomic claim is resoundingly rejected. Utilizing humanist film criticism as the guiding analytical lens (i.e., looking inside not outside the frame), plus a selective review of the critical literature, it was demonstrated that: (a) there is a dearth of atomic iconography and dialogue, (b) there is no mention of banning atomic energy or weapons, (c) Earth’s atomics are nascent and not serious threats to the Federation, and (d) Klaatu is not anti-atomic but proudly pro-atomic. Overall, this SF film is strongly pro-nuclear in intention, word, and deed, which was frequently misinterpreted due to faulty film criticism, invented facts, and jumping to conclusions, and thus in need of academic correction. Further research into alien first-contact scenarios, robotic artificial intelligence, and the moral make-up of the SF universe is warranted and long overdue.
      Citation: Humanities
      PubDate: 2021-09-24
      DOI: 10.3390/h10040107
      Issue No: Vol. 10, No. 4 (2021)
       
  • Humanities, Vol. 10, Pages 108: Queer Feelings: Love and Loss in the
           Letters of Horace Walpole

    • Authors: George E. Haggerty
      First page: 108
      Abstract: This essay looks at the letters of Horace Walpole through the lens of the contemporary performance theory of José Muñoz in order to suggest the ways in which Walpole’s feelings in the past reach us with a hope for the future. By looking at touchstones in Horace Walpole’s life, I look for a model of queer relationality that is centuries ahead of its time.
      Citation: Humanities
      PubDate: 2021-09-30
      DOI: 10.3390/h10040108
      Issue No: Vol. 10, No. 4 (2021)
       
  • Humanities, Vol. 10, Pages 109: Salvaging Utopia: Lessons for (and from)
           the Left in Rivers Solomon’s An Unkindness of Ghosts (2017), The Deep
           (2019), and Sorrowland (2021)

    • Authors: Megen de Bruin-Molé
      First page: 109
      Abstract: In response to this special issue’s question of whether mainstream science fiction has become stuck in presentism and apocalypticism, this article examines how utopia is expressed and salvaged in the work of Rivers Solomon. Using three of Solomon’s novels and the theoretical lenses of black utopia studies and salvage-Marxism, I suggest that scholars and activists should approach this question from a different perspective. While Solomon’s novels may seem dystopian from the perspective of liberalism or whiteness, they can also clearly be placed within the long, if marginalized, history of leftist and black utopian thought. Likewise, where the ‘traditional’ utopia (a concept I interrogate) is often imagined as grounded in hope and futurity, black utopia and salvage-Marxism reject these concepts as counterproductive to the actual work of social justice and utopia-building. Despite their presentism and apocalypticism, then, I argue Solomon’s novels are very much utopian: they simply locate their utopian desire in radical kinship and salvage, rather than universalism or futurity.
      Citation: Humanities
      PubDate: 2021-10-08
      DOI: 10.3390/h10040109
      Issue No: Vol. 10, No. 4 (2021)
       
  • Humanities, Vol. 10, Pages 110: A Psychological Perspective on Vicarious
           Embarrassment and Shame in the Context of Cringe Humor

    • Authors: Annalina Valpuri Mayer, Frieder Michel Paulus, Sören Krach
      First page: 110
      Abstract: Cringe humor combines the seemingly opposite emotional experiences of amusement and embarrassment due to others’ transgressions of norms. Psychological theories and empirical studies on these emotional reactions in response to others’ transgressions of social norms have mostly focused on embarrassment and shame. Here, we build on this literature, aiming to present a novel perspective on cringe humor. To do so, we introduce the psychological literature on embarrassment and shame, as well as the processes involved that allow humans to also experience these emotions on behalf of others, and draw theoretical links to cringe comedy. We then systematically disentangle contexts in which audiences experience vicarious embarrassment, and structure our argument based on the ongoing processes and consequences of the observed transgressions of norms based on the constituting dimensions of awareness and intentionality of the normative transgression by the social target. We describe how the behavioral expressions of the target along with the social distance and the current motivations of the audience shape the emotional experience and negotiation of social norms, specifically in response to intentional normative transgressions. While this perspective makes it evident that cringe humor is closely linked to the debate around social normative standards between the actor/actress and the audience, we conclude that the different manifestations and specific situational characteristics have fundamentally different consequences for the affirmation or renegotiation of social normative standards.
      Citation: Humanities
      PubDate: 2021-10-08
      DOI: 10.3390/h10040110
      Issue No: Vol. 10, No. 4 (2021)
       
  • Humanities, Vol. 10, Pages 111: Get Back: The New Galician Diaspora Goes
           on Stage

    • Authors: María Alonso Alonso
      First page: 111
      Abstract: This article analyses Get Back (2016), a play written by Diego Ameixeiras and directed by Jorge Coira. The text will be considered an example of an early Brexit narrative, and it will serve to explore how the new Galician diaspora is represented through the arts. Issues related to migration, racism, and precariousness bloom naturally from a play that gathers four Galician migrants in London, together with a British-born character, inside one of the carriages of the Tube. Old and new waves of Galician migrants will be juxtaposed through different characters, illustrating the complexity of this recent migratory phenomenon. Several stereotypes will be exposed to increase how Ameixeiras constructs generational and gender gaps existing among Pepe, Luisa, Rafa and Iria, four immigrants who find themselves sharing a carriage on the London Underground sometime during the aftermath of Brexit. Thanks to the multiple dichotomies and arguments that create an ambivalent sense of Galician identity abroad, the play runs very smoothly. The different points of view found in the text will reflect on the subaltern status of the characters, who seem to struggle to find their place in their host country.
      Citation: Humanities
      PubDate: 2021-10-14
      DOI: 10.3390/h10040111
      Issue No: Vol. 10, No. 4 (2021)
       
  • Humanities, Vol. 10, Pages 112: Performing the Bounds of Responsibility

    • Authors: Karen Berger
      First page: 112
      Abstract: This paper investigates border-making dynamics in the two political arenas where my subjectivity is most acutely implicated across time—the Jewish Holocaust (as an intergenerational victim) and the Aboriginal genocide (as an unwitting beneficiary). Albeit that there are many differences between the drivers of antisemitism and racism against Indigenous Australians, I investigate both of these racist structures through the lens of border-thinking as theorised by Walter Mignolo as a method of decolonisation (2006). The article has been formatted as an example of discursive border-crossing by juxtaposing theoretical ideas (particularly inspired by Zygmunt Bauman and Deborah Bird Rose) with interjections from my personal journal. I explore my own performative storytelling as a means for me to take responsibility to question power structures, acknowledge injustice, and to enact the potential for ethical dialogue between myself and others. This responsibility gestures to the possibility of border crossing as an ‘act of liberation’ that resides in the acknowledgement of historical injustices and their continued impact on both the beneficiaries and the victims of coloniality in the present.
      Citation: Humanities
      PubDate: 2021-10-15
      DOI: 10.3390/h10040112
      Issue No: Vol. 10, No. 4 (2021)
       
  • Humanities, Vol. 10, Pages 113: Deleuze Becoming-Mary Poppins:
           Re-Imagining the Concept of Becoming-Woman and Its Potential for
           Challenging Current Notions of Parenting, Gender and Childhood

    • Authors: Donna Carlyle, Kay Sidebottom
      First page: 113
      Abstract: In this paper, we consider the major and controversial lexicon of Deleuze’s ‘becoming-woman’ and what an alternative re-working of this concept might look like through the story of Mary Poppins. In playfully exploring the many interesting aspects of Travers’ character, with her classic tale about the vagaries of parenting, we attempt to highlight how reading Mary Poppins through the Deleuzian lens of ‘becoming-woman’ opens up possibilities, not limitations, in terms of feminist perspectives. In initially resisting the ‘Disneyfication’ of Mary Poppins, Travers offered insights and opportunities which we revisit and consider in terms of how this fictional character can significantly disrupt ideas of gender performativity. We endeavour to accentuate how one of its themes not only dismantles the patriarchy in 1910 but also has significant traction in the twenty- first century. We also put forth the idea of Mary Poppins as an icon of post-humanism, a nomadic war machine, with her robotic caring, magic powers and literal flights of fancy, to argue how she ironically holds the dual position of representing the professionalisation of parenting and the need to move beyond a Dionysian view of children as in need of control and regulation, as well as that of nurturer and emancipator. Indeed, in her many contradictions, we suggest a nomadic Mary Poppins can offer a route into the ideas of Deleuze and his view of children as de-territorialising forces and activators of change.
      Citation: Humanities
      PubDate: 2021-10-20
      DOI: 10.3390/h10040113
      Issue No: Vol. 10, No. 4 (2021)
       
  • Humanities, Vol. 10, Pages 114: The Cringe and the Sneer: Structures of
           Feeling in Veep

    • Authors: Katja Kanzler
      First page: 114
      Abstract: This article approaches cringe comedy through the lens of its affectivity, of the somatic experiences through which it puts its audiences’ bodies, and it uses this as a point of departure to think about the genre’s cultural work. Based on the observation that no cringe comedy makes its viewers cringe for the whole duration of its storytelling, the article suggests that cringe comedies thrive on destabilizing and ambiguating the affective valence of their performances of embarrassment, constantly recalibrating or muddying the distance between viewer and characters. They are marked by tipping points at which schadenfreude and other types of humor tip into cringe, and reversely, at which cringe tips into something else. The article focuses on one of these other affective responses, which it proposes to describe as the sneer. It uses the HBO-series Veep as a case study to explore how cringe and sneer aesthetics are interlaced in an exemplary comedy, and how they fuel this particular comedy’s satiric work.
      Citation: Humanities
      PubDate: 2021-10-26
      DOI: 10.3390/h10040114
      Issue No: Vol. 10, No. 4 (2021)
       
  • Humanities, Vol. 10, Pages 115: “Horsin’ Around”' #MeToo, the
           Sadcom, and BoJack Horseman

    • Authors: Nele Sawallisch
      First page: 115
      Abstract: The animated series BoJack Horseman has garnered much critical acclaim for its mix of tragic and comic portrayals of its eponymous protagonist, washed-up actor and cynic BoJack, and his friends in the anthropomorphic Hollywoo setting. The term “sadcom” has been applied to BoJack and other series that operate on similar premises—an interesting response to larger critical investigations of the intersections of tragic and comic modes of humor that find expression, for example, in the awkward and in cringe. This article investigates how this mixture comes to bear in season 5 of the series from 2018, which deals with several topics related to the #MeToo movement. Through several formal elements as well as plotlines that lay bare superficial performances and complicitness in a sexist system, the season supports notions of authenticity and solidarity that lie the heart of sadcoms, which invites closer inspection not just of BoJack Horseman but the genre as a whole.
      Citation: Humanities
      PubDate: 2021-10-29
      DOI: 10.3390/h10040115
      Issue No: Vol. 10, No. 4 (2021)
       
  • Humanities, Vol. 10, Pages 116: Specters of Mob in David
           Cronenberg’s Eastern Promises

    • Authors: Gerd Bayer
      First page: 116
      Abstract: This article situates David Cronenberg’s film Eastern Promises in the context of post-Cold-War European narratives. It argues that the secret dealings of the Russian mob in London are presented in the film as the uncanny and spectral return of forms of government and business that run counter to the rationale conventionally associated with democratic capitalism and at the same time reveal much about its inherent logic. Cronenberg’s film connects private traumata with the violent reality of globalization, staging one as the ghostly realization of the other.
      Citation: Humanities
      PubDate: 2021-11-01
      DOI: 10.3390/h10040116
      Issue No: Vol. 10, No. 4 (2021)
       
  • Humanities, Vol. 10, Pages 117: Sapiens Dominabitur Astris: A Diachronic
           Survey of a Ubiquitous Astrological Phrase

    • Authors: Justin Niermeier-Dohoney
      First page: 117
      Abstract: From the late thirteenth through late seventeenth centuries, a single three-word Latin phrase—sapiens dominabitur astris, or “the wise man will be master of the stars”—proliferated in astrological, theological, philosophical, and literary texts. It became a convenient marker denoting orthodox positions on free will and defining the boundaries of the scientifically and morally legitimate practice of astrology. By combining the methodology of a diachronic historical survey with a microhistorical focus on evolving phraseology, this study argues that closely examining the use of this phrase reveals how debates about the meanings of wisdom, free will, determinism, and the interpretation of stellar influence on human events changed radically across four centuries of Western European cultural and intellectual history. The first half of this article charts the scholastic response to theological criticisms of astrology and the reconciliation of Aristotelian-Ptolemaic cosmology with Catholic theology, paying special attention to its implications for astrology as viewed through scholarly uses of the phrase. The second half of the article shows how the phrase developed a multitude of idiosyncratic meanings in the sixteenth and seventeenth centuries, fracturing its late medieval scholastic unity, as new forms of philosophical, socio-political, religious, and scientific critiques upended astrological beliefs and practices. Ultimately, this paper argues that examining the theory and praxis of astrology through the changing phraseological meanings of “sapiens dominabitur astris” allows historians and cultural anthropologists to better discern the dialectical (as opposed to binary) relationships between free will and determinism in the West.
      Citation: Humanities
      PubDate: 2021-11-02
      DOI: 10.3390/h10040117
      Issue No: Vol. 10, No. 4 (2021)
       
  • Humanities, Vol. 10, Pages 118: Literature, Ontology, and Implex in
           Merleau-Ponty: Writing and Finding the Concrete Limit of Phenomena

    • Authors: Rajiv Kaushik
      First page: 118
      Abstract: This paper examines the ambiguous relationship between the literary uses of language in Merleau-Ponty’s own work and his ontology. It is argued that Merleau-Ponty’s critique of phenomenology—that is, his critique of an already critical philosophy—leads him to say that the limits of phenomena are inside the entire structure of the phenomena. They are, in other words, promiscuous or dehiscent and therefore are not limits that can themselves be given. Merleau-Ponty would say that such limits are silent or mute within meaning. This will have repercussions for the very method of phenomenology. It can no longer be a descriptive method, concerned with the givenness of the phenomena, but needs to be matrixed with an expressive method that shows up the impossibility of such a return. This expressive method has to do with what he calls the “implex”—the very bodily limit of the inside and the outside that cannot be thought as one or the other, or even their synthesis. In other words, Merleau-Ponty’s phenomenology invites us towards a concrete bodily limit that is, at the same time, a limit to philosophy. In effect, one cannot think of Merleau-Ponty’s ontology of the flesh apart from language, because this ontology, its very concrete crystallization, requires expression and not just description.
      Citation: Humanities
      PubDate: 2021-11-10
      DOI: 10.3390/h10040118
      Issue No: Vol. 10, No. 4 (2021)
       
  • Humanities, Vol. 10, Pages 119: Race and Racism in Historical Fiction: The
           Case of Jurji Zaydan’s Novels

    • Authors: Esra Tasdelen
      First page: 119
      Abstract: This paper analyzes the conceptualization of ideas of race in three historical novels in the fictional work of Jurji Zaydan (1861–1914), a Syrian Christian intellectual who wrote on the Golden Ages of Islamic History through serialized, popular works of historical fiction. In the novels analyzed, Fath al-Andalus (Conquest of Andalusia), Abbasa Ukht al-Rashid (The Caliph’s Sister), and al-Amin wa al-Ma’mun (The Caliph’s Heirs), Zaydan depicts hierarchies of race that are delineated by certain features and categories, especially within the Abbasid among household slaves, and also centers the conflict within the novels around issues of differences in race and lineage. Zaydān shows the importance of rifts in Islamic history stemming from categorizations and distinctions between Arab and non-Arab, or Arab and Persian, or mawāli. The novels also reflect the self-conceptualization of Egyptians in relation to their perceptions of the Sudanese, at a time of the rise of Arab nationalism, in late 19th and early 20th centuries.
      Citation: Humanities
      PubDate: 2021-11-10
      DOI: 10.3390/h10040119
      Issue No: Vol. 10, No. 4 (2021)
       
  • Humanities, Vol. 10, Pages 120: Fictional Narratives as a Laboratory for
           the Social Cognition of Behavioral Change: My Ajussi

    • Authors: Lorenza Lucchi Basili, Pier Luigi Sacco
      First page: 120
      Abstract: Fictional narratives cannot be considered as mere escapist entertainment, and have a significant social cognition potential. Their study is also important in understanding the mechanisms of behavioral change, as many fictions focus on processes of personal transformation of the main characters. Romantic fictions are of special interest in this regard, as the formation of a new couple entails negotiation and mutual adaptation between partners, with possible transformation of personal attitudes, value orientations, and behaviors: ‘marrying’ a new idea or cause is, tellingly, the strongest possible metaphorical statement of adoption. Korean TV series (K-dramas) are a particularly interesting source of case studies in this regard due to the specific characteristics of their production system. We analyze a K-drama, My Ajussi, where the lead characters go through a complex process of personal change, through the lens of the so-called Tie-Up Theory, which has proven useful in the analysis and interpretation of fictional representations of human mating processes, and show how the context provided by the potential formation of the couple between the two main characters provides us with valuable insights about human behavioral change and for policy design strategies to tackle societal challenges.
      Citation: Humanities
      PubDate: 2021-11-15
      DOI: 10.3390/h10040120
      Issue No: Vol. 10, No. 4 (2021)
       
  • Humanities, Vol. 10, Pages 121: Cringe and Sympathy: The Comedy of Mental
           Illness in Flowers

    • Authors: Linda M. Hess
      First page: 121
      Abstract: This article on brings together findings from humor studies, especially work on cringe comedy, and disability studies. It analyzes how Flowers uses elements of cringe to question societal norms of the “proper person” in connection to mental illness, but also how Flowers broadens the genre of cringe so that, at times, it becomes a cringe tragedy rather than a cringe comedy, thus taking seriously the pain of mental illness. As a third point, this analysis focuses on the way in which Flowers self-reflexively employs elements of narrativity to draw attention to the cultural constructedness and storyfication of mental illness throughout history.
      Citation: Humanities
      PubDate: 2021-11-20
      DOI: 10.3390/h10040121
      Issue No: Vol. 10, No. 4 (2021)
       
  • Humanities, Vol. 10, Pages 122: Transatlantic Lifelines: Anne
           Bradstreet’s “Elegie upon That Honorable and Renowned Knight,
           Sir Philip Sidney”

    • Authors: Elizabeth Sauer
      First page: 122
      Abstract: The legacy of Sir Philip Sidney, the distinguished Elizabethan courtier-poet, was the subject of numerous claims to memorialization. On 17 October 1586 Sidney died in battle at Arnhem in the United Netherlands. Less than a week later, his corpse was transported to Flushing, of which Sidney had been Governor, and in the following year Sidney’s body was “interr’d in stately Pauls”, as recorded by Anne Dudley Bradstreet—the first known poet of the British North American colonies. While Bradstreet is omitted from most early modern and contemporary literary accounts of Sidney’s legacy, this article demonstrates that Bradstreet’s commemoration of Sidney from across the Atlantic presents new insights into his afterlife and the female poet’s formulations of early modern nationhood. Bradstreet’s first formal poem, “An Elegie upon that Honorable and renowned Knight, Sir Philip Sidney” (comp. 1637–8), was a tribute to Sidney as well as to her own Anglo-American literary heritage and England’s rolls. Bradstreet exhibits her complex relationship to Sidney along the same lines that she reconceives her English identity. A comparison of the two published seventeenth-century editions of Bradstreet’s elegiac poem (1650, 1678) shows how she translates descent and lineage from kinship (and kingship) into poetic creation. In the process, Bradstreet takes her place not only as a “semi-Sidney”, as Josuah Sylvester characterized Sidney’s descendants, but also as a Sidneian Muse—in America.
      Citation: Humanities
      PubDate: 2021-11-30
      DOI: 10.3390/h10040122
      Issue No: Vol. 10, No. 4 (2021)
       
  • Humanities, Vol. 10, Pages 123: Introduction to Painful Laughter: Media
           and Politics in the Age of Cringe

    • Authors: Wieland Schwanebeck
      First page: 123
      Abstract: This introduction to the Special Issue on cringe humour briefly traces the starting point of the contemporary cringe boom, and it looks into the roots of awkwardness as a cultural phenomenon in the 1960s. Moreover, the introduction argues for the cathartic potential of cringe humour in the context of sociopolitical issues, and briefly presents the subsequent articles.
      Citation: Humanities
      PubDate: 2021-11-30
      DOI: 10.3390/h10040123
      Issue No: Vol. 10, No. 4 (2021)
       
  • Humanities, Vol. 10, Pages 124: An Unseen Eighth Rune: Runic Legacy and
           

    • Authors: Jacob Wayne Runner
      First page: 124
      Abstract: The four Old English poems containing the runic Cyn(e)wulf ‘signature’ have continuously provoked debate as to the characters’ intratextual function and proper interpretation. While the prevailing view is that they are predominantly logogrammatic instantiations of traditional runic names, a case has nevertheless also been made for alternative words indicated by initialisms. Referencing both of these lines of reasoning in conjunction with a semiotic literary methodological stance, this article evaluates a single Cynewulf poem (The Fates of the Apostles) and its particular inclusion of runes amongst the bookhand alphabet characters. The assessment demonstrates the poem’s multiliteral destabilization of associative boundaries between different scripts, as well as between perceived boundaries of orality and legibility. In doing so, it identifies in the text an unseen ‘eighth rune’ that is semiotically operative.
      Citation: Humanities
      PubDate: 2021-12-03
      DOI: 10.3390/h10040124
      Issue No: Vol. 10, No. 4 (2021)
       
  • Humanities, Vol. 10, Pages 125: Unschooling and Indigenous Education

    • Authors: Noah Romero, Sandra Yellowhorse
      First page: 125
      Abstract: This article draws from autoethnography and historical analysis to examine how racialized people pursue educational justice, consent, inclusion, and enjoyment through non-hegemonic learning. A historical analysis of U.S. colonial education systems imposed upon Diné and Philippine peoples grounds a comparative study on two forms of anti-colonial pedagogy: Indigenous education and critical unschooling. These two lines of inquiry underpin autoethnographic analyses of our own experiences in non-hegemonic learning to offer direct insights into the process of experiential, and decolonial growth intimated in relational learning environments. Indigenous education and critical unschooling literature both affirm the notion that all learners are always already educators and students, regardless of their age, ability, or status. This notion reorients the processes and aspirations of education toward an understanding that everyone holds valuable knowledge and is inherently sovereign. These relational values link together to form systems of circular knowledge exchange that honour the gifts of all learners and create learning environments where every contribution is framed as vital to the whole of the community. This study shows that because these principles resonate in multiple sites of colonial contact across Philippine and Diné knowledge systems, through Indigenous education and critical unschooling, and in our own lived experiences, it is important to examine these resonant frequencies together as a syncretic whole and to consider how they can inform further subversions of hegemonic educational frameworks.
      Citation: Humanities
      PubDate: 2021-12-06
      DOI: 10.3390/h10040125
      Issue No: Vol. 10, No. 4 (2021)
       
  • Humanities, Vol. 10, Pages 126: “In the First Place, We Don’t
           Like to Be Called ‘Refugees’”: Dilemmas of
           Representation and Transversal Politics in the Participatory Art Project
           100% FOREIGN'

    • Authors: Anne Ring Petersen
      First page: 126
      Abstract: 100% FOREIGN' (100% FREMMED') is an art project consisting of 250 life stories of individuals who were granted asylum in Denmark between 1956 and 2019. Thus, it can be said to form a collective portrait that inserts citizens of refugee backgrounds into the narrative of the nation, thereby expanding the idea of national identity and culture. 100% FOREIGN' allows us to think of participatory art as a privileged site for the exploration of intersubjective relations and the question of how to “represent” citizens with refugee experience as well as the history and practice of asylum. The conflicting aims and perceptions involved in such representations are many, as suggested by the opening sentence of Hannah Arendt’s 1943 essay “We, Refugees”: “In the first place, we don’t like to be called ‘refugees’”. Using 100% FOREIGN' as an analytical reference point, this article discusses some of the ethical and political implications of representing former refugees. It briefly considers recent Danish immigration and asylum policies to situate the project in its regional European context and argues that, similarly to its neighbouring countries, Denmark can be described as a “postmigrant society” (Foroutan). To frame 100% FOREIGN' theoretically, this article draws on Arendt’s essay, Trinh T. Minh-ha’s concept of speaking nearby, as well as the feminist concept of transversal politics (Meskimmon, Yuval-Davis). It is hoped that this approach will lead to a deeper understanding of what participatory art can bring to the ethical politics of representing refugee experience.
      Citation: Humanities
      PubDate: 2021-12-07
      DOI: 10.3390/h10040126
      Issue No: Vol. 10, No. 4 (2021)
       
  • Humanities, Vol. 10, Pages 127: Must the Apocalypse Disappoint'
           Philosophers in the Midst of Climate Change and Before

    • Authors: Alexander García Düttmann
      First page: 127
      Abstract: Is self-preservation the only question humanity faces when confronted with self-induced annihilation' Must humanity not also ask whether there are different ways of extinguishing itself' Whether an extinction that a few impose on the many should not be distinguished from an extinction that results from a collective decision' Is there a self-extinction of humanity that can testify to its unity and autonomy rather than to its dividedness'
      Citation: Humanities
      PubDate: 2021-12-13
      DOI: 10.3390/h10040127
      Issue No: Vol. 10, No. 4 (2021)
       
  • Humanities, Vol. 10, Pages 128: Small Revelations, … Maybe Not Even
           with an Apocalyptic Tone

    • Authors: Anders E. Johansson
      First page: 128
      Abstract: This article tries to be funny in a very serious way, following Virginia Woolf’s call in Three Guineas that, in the face of man-made disasters, we may have to make fools of ourselves in relation to common sense. Apocalypses, such as the Anthropocene, climate change, and mass extinction require—like the Second World War that Woolf refused to simplify—a tentative search for knowledge, not controlling and predictable methods in the search for a solution. The article is based on how Jacques Derrida’s discussion with Immanuel Kant regarding how truth should sound before the apocalypse over the years has increasingly come to describe contemporary doxa, within which there is only room for mystagogues, who inaugurate followers in the “real truth” behind “fake news”, or scientisticists, who believe that facts and truth are the same thing. When Derrida shows how these two positions depend on each other, sharing the modern belief that knowledge is associated with development, boundaries and control, he also shows how this narrows knowledge down to the predictable, and, thus, makes it complicit with the mistaken efforts of control responsible for today’s challenges. Against this background, the article analyzes works by the artist, Eva Löfdahl, and links them with questions concerning connections between truth, knowledge, art, and science.
      Citation: Humanities
      PubDate: 2021-12-16
      DOI: 10.3390/h10040128
      Issue No: Vol. 10, No. 4 (2021)
       
  • Humanities, Vol. 10, Pages 129: Local Testimony and the (Un)Silencing of
           Sexual Violence in Lithuania under German Occupation during WWII

    • Authors: Violeta Davoliūtė
      First page: 129
      Abstract: The memory of sexual violence in Eastern Europe under German occupation during WWII has long been silenced by the opacity of local events to outside observers, a conspiracy of silence on the issue of collaboration, and conventions on how the Holocaust should be represented. Since the collapse of the USSR, the opening of archives has stimulated the production of a large and growing literature on the nature and causes of communal violence, but with relatively limited attention to sexual violence as an aspect of genocide. Based on a qualitative analysis of select audio-visual testimonies collected from non-Jewish Lithuanians since the 1990s, this paper demonstrates that local knowledge of sexual violence has persisted for decades in the post-genocidal space. However, these testimonies have been overshadowed by politicized narratives of national martyrology, and neglected by local and international researchers alike, despite their importance to the process of historical reckoning.
      Citation: Humanities
      PubDate: 2021-12-20
      DOI: 10.3390/h10040129
      Issue No: Vol. 10, No. 4 (2021)
       
  • Humanities, Vol. 10, Pages 90: Introduction—Special Issue “Dystopian
           Scenarios in Contemporary Australian Narrative”

    • Authors: Dolores Herrero, Pilar Royo-Grasa
      First page: 90
      Abstract: The main aim of this Special Issue is to expose how a variety of contemporary Australian dystopias delve into a number of worrying global issues, thus making it clear that our contemporary world is already corroborating and bearing witness to a number of futuristic nightmares [...]
      Citation: Humanities
      PubDate: 2021-07-16
      DOI: 10.3390/h10030090
      Issue No: Vol. 10, No. 3 (2021)
       
  • Humanities, Vol. 10, Pages 91: Ancient Wandering and Permanent
           Temporariness

    • Authors: Elena Isayev
      First page: 91
      Abstract: To move towards an understanding of displacement from within, and the forms of its overcoming, the following chapter brings into dialogue the ancient experience of wandering and the 21st century condition of permanent temporariness. It explores whether these are the same or different phenomena, and whether the latter is a uniquely modern experience. In particular, it is interested in the turning points that lead to the defiance of the condition and its regime. It traces modes of existence that subvert the liminal state and allow for possibilities of living beyond the present moment through returns and futures that are part of everyday practices, even if they are splintered. Such actions, it is argued, allow for the repositioning of the self in relation to the world, and thus the exposition of cracks within the status quo. The investigation confronts experiences that appear to be uniquely those of the present day—such as non-arrival and forced immobility. In its exploration it engages current responses to de-placement by those who have experience of the condition first hand. It is a dialogue between the work of such creators as the architects Petti and Hillal, the poets Qasmiyeh and Husseini, and the community builders of Dandara, with ancient discourses of the outcast that are found in Euripides’ Medea, the experience of Xenophon and such philosophers as Diogenes the Cynic. In so doing, it seeks to expose the way seemingly exceptional forms of politics and existence, instead, reveal themselves as society’s ‘systemic edge’.
      Citation: Humanities
      PubDate: 2021-07-22
      DOI: 10.3390/h10030091
      Issue No: Vol. 10, No. 3 (2021)
       
  • Humanities, Vol. 10, Pages 92: From Oroonoko Tobacco to Blackamoor
           Snuffboxes: Race, Gender and the Consumption of Snuff in
           Eighteenth-Century Britain

    • Authors: Vanessa Alayrac-Fielding
      First page: 92
      Abstract: This essay investigates the circulation of the trope of the Black body in visual and textual representations of tobacco consumption, both smoked and taken as snuff. I look at the ways in which tobacco advertising depicting the type of snuff for sale or representing enslaved Africans working on plantations articulated notions of race and coloniality. I then show that snuffboxes can be seen as material counterparts in the dissemination of racist ideology in the eighteenth century. The gender-defining practice of taking snuff is studied in relation to colonial politics using a selection of texts and a material corpus of rare extant “Blackamoor” snuffboxes (depicting the black body and face) that have not yet received scholarly attention. I argue that through female agency, the use of Blackamoor snuffboxes normalised slavery by integrating it in the cultural rituals of British sociability through a process of material aestheticisation.
      Citation: Humanities
      PubDate: 2021-07-22
      DOI: 10.3390/h10030092
      Issue No: Vol. 10, No. 3 (2021)
       
  • Humanities, Vol. 10, Pages 93: But There Is Magic, Too: Confronting
           

    • Authors: Marie Emilie Walz
      First page: 93
      Abstract: Many rewritings of fairy tales use this genre to address the darkest, most violent, most unjust, and most painful aspects of human experiences, as well as to provide hope that it is possible to overcome or at least come to terms with such experiences. Francesca Lia Block’s The Rose and the Beast: Fairy Tales Retold (pub. 2000) is an example of such a use of fairy-tale material. Block’s stories transform traditional fairy tales to narrate the painful realities adolescents can be faced with in modern-day American society. In doing so, Block’s stories draw attention to the violence, both literal and ideological, inherent in well-known versions of fairy tales, as well as to the difficulty of confronting painful realities. Yet, as they depict young heroines (not) facing all kinds of ordeals, the stories also use the figure of the helper to restore hope to the protagonists and lead them to a new, often re-enchanted, life. Employing fairy-tale elements to both address suffering and provide hope, The Rose and the Beast thus offers complex and liminal narratives, or ‘anti-tales’, which deeply resonate with their intended adolescent audience’s in-between stage of life.
      Citation: Humanities
      PubDate: 2021-07-29
      DOI: 10.3390/h10030093
      Issue No: Vol. 10, No. 3 (2021)
       
  • Humanities, Vol. 10, Pages 94: “Ach for It”: Anthony Leigh, Autonomy,
           and Queer Pleasures in the Restoration Playhouse

    • Authors: Jarred Wiehe
      First page: 94
      Abstract: Anthony Leigh (d. 1692) built his career as a Restoration comedic actor by playing a combination of queer, lascivious, old, and/or disabled men to audiences’ great delight. In this essay, I key in on two plays that frame Leigh’s career: Thomas Durfey’s The Fond Husband (1677) and Thomas Southerne’s Sir Anthony Love (1690). In The Fond Husband, a younger Leigh plays a “superannuated,” almost blind and almost deaf Old Fumble who, in the first act, kisses a man because he cannot navigate the heterosexual erotic economy of the play (as over-determined by able-bodiedness). Over a decade later, in Sir Anthony Love, Leigh plays an aging, queer Abbé who is so earnestly erotically invested in Love’s masculinity (unaware that Love is a woman in drag) that he attempts to seduce Love with dancing. I bring the beginning and end of Leigh’s stage life together to argue that Leigh’s body, performing queerly, asks audiences to confront the limits of pleasure in sustaining fantasies of the abled, autonomous heterosexual self. Using these two Restoration comedies that bookend Leigh’s career, I trace pleasures and queer structures of feeling experienced in the Restoration playhouse. While Durfey and Southerne’s plays-as-texts seek to discipline unruly, disabled queer bodies by making Fumble and the Abbé the punchline, Leigh’s performances open up alternative opportunities for queer pleasure. Pleasure becomes queer in its ability to undo orderings and fantasies based on autonomy (that nasty little myth). In his Apology, Colley Cibber reveals the ways that Leigh’s queerly performing body engages the bodies of audience members. In reflecting on the reading versus spectating experience, Cibber remarks, “The easy Reader might, perhaps, have been pleas’d with the Author without discomposing a Feature; but the Spectator must have heartily held his sides, or the Actor would have heartily made them ache for it” (89). Spectatorship is not a passive role, but rather a carnal interplay with the actor, and this interplay has immediate, bodily implications. Audiences laugh. They ache. They touch. Whereas the reader of a play in private can maintain composure, audiences in the theatre are contrarily discomposed, non-autonomous, and holding onto their sides. Leigh’s ability as a comedian energizes the text and produces pleasure on an immediate, corporeal level for audiences. And that pleasure is generated through stage business built on touching, feeling, and seducing male-presenting characters. Spectatorship may, in fact, be a queer experience as Leigh’s queerly performing body exposes the limits of autonomy.
      Citation: Humanities
      PubDate: 2021-08-04
      DOI: 10.3390/h10030094
      Issue No: Vol. 10, No. 3 (2021)
       
  • Humanities, Vol. 10, Pages 95: Literature as a Pedagogical Tool in Medical
           Education: The Silent Patient Case

    • Authors: Suhad Daher-Nashif
      First page: 95
      Abstract: The arts have seen increasing use in medical education over the last 4 decades. Literature in particular is now frequently used as an educational tool in different medical humanities programmes. This paper analyses Alex Michaelides’ novel The Silent Patient with the goal of examining the professional issues presented in this psychological thriller and how the novel’s themes can be used to prompt discussion among medical students about professionalism and ethics in psychiatric settings. Following Strauss and Corbin’s qualitative procedure for conventional content analysis, this study employs content analysis of the literary text. The process of analysis began with open coding in which codes were assigned to all relevant sentences and paragraphs addressing professionalism in working with silent patients in psychiatry. These codes were then analysed to identify five major themes: multidisciplinary teamwork; therapy for the therapist; patient-centred care for silent patients; communication with silent patients; professional challenges in working with silent patients. The paper concludes that The Silent Patient novel represents important issues related to ethics and professionalism in working with silent patients in psychiatric settings. The novel can be used as a creative tool to guide discussion surrounding these issues. The paper argues that although the impact of its use is short-term, literature can make a significant contribution by provoking thought and discussion about professional and ethical aspects of practising medicine and caring for patients.
      Citation: Humanities
      PubDate: 2021-08-08
      DOI: 10.3390/h10030095
      Issue No: Vol. 10, No. 3 (2021)
       
  • Humanities, Vol. 10, Pages 96: Transdisciplinarity—A Bold Way into the
           Academic Future, from a European Medievalist Perspective and or the
           Rediscovery of Philology'

    • Authors: Albrecht Classen
      First page: 96
      Abstract: This essay examines the challenges and opportunities provided by transdisciplinarity from the point of view of medieval literature. This approach is situated within the universal framework of General Education or Liberal Arts, which in turn derives its essential inspiration from medieval and ancient learning. On the one hand, the various recent efforts to work transdisciplinarily are outlined and discussed; on the other, a selection of medieval narratives and one modern German novel plus one eighteenth-century ode are examined to illustrate how a transdisciplinary approach could work productively in order to innovate the principles of the modern university or all academic learning, putting the necessary tools of twenty-first century epistemology into the hands of the new generation. The specific angle pursued here consists of drawing from the world of medieval philosophy and literature as a new launching pad for future endeavors.
      Citation: Humanities
      PubDate: 2021-08-10
      DOI: 10.3390/h10030096
      Issue No: Vol. 10, No. 3 (2021)
       
  • Humanities, Vol. 10, Pages 97: The Literary Response to the Holocaust and
           the Transformation of the Reader into a Messenger

    • Authors: David Patterson
      First page: 97
      Abstract: “The greatest mitzvah,” Lily Lerner remembers what her mother taught her, “is to accompany a dead person to burial” (Lerner 1980, p. 35) [...]
      Citation: Humanities
      PubDate: 2021-08-11
      DOI: 10.3390/h10030097
      Issue No: Vol. 10, No. 3 (2021)
       
  • Humanities, Vol. 10, Pages 98: “More and More Fond of Reading”:
           Everything You Wanted to Know about Transgender Studies but Were Afraid to
           Ask Clara Reeve

    • Authors: Desmond Huthwaite
      First page: 98
      Abstract: Clara Reeve’s (1729–1807) Gothic novel The Old English Baron is a node for contemplating two discursive exclusions. The novel, due to its own ambiguous status as a gendered “body”, has proven a difficult text for discourse on the Female Gothic to recognise. Subjected to a temperamental dialectic of reclamation and disavowal, The Old English Baron can be made to speak to the (often) subordinate position of Transgender Studies within the field of Queer Studies, another relationship predicated on the partial exclusion of undesirable elements. I treat the unlikely transness of Reeve’s body of text as an invitation to attempt a trans reading of the bodies within the text. Parallel to this, I develop an attachment genealogy of Queer and Transgender Studies that reconsiders essentialism―the kind both practiced by Female Gothic studies and also central to the logic of Reeve’s plot―as a fantasy that helps us distinguish where a trans reading can depart from a queer one, suggesting that the latter is methodologically limited by its own bad feelings towards the former.
      Citation: Humanities
      PubDate: 2021-08-26
      DOI: 10.3390/h10030098
      Issue No: Vol. 10, No. 3 (2021)
       
  • Humanities, Vol. 10, Pages 99: Two Shades of Cringe: Problems in
           Attributing Painful Laughter

    • Authors: Patrick Wöhrle
      First page: 99
      Abstract: This article aims to approach the phenomenon of cringe in four steps: First, from a sociological perspective, the distinction between shame and embarrassment is discussed and a working definition is developed that conceives of this difference as situational rather than essential. In a second step, this distinction will be used to examine more closely how the actors’ self-representation is decomposed in the reality format Wife Swap and what role cringe—understood as “Fremdscham” or “vicarious embarrassment”—plays in this. Third, an explanation for the attractiveness of these formats is offered that draws on the concept of “flexible normalism” and further specifies the latent functions of these formats sociologically. Finally, with a look at current cringe comedy, it is elaborated that the use of cringe as made in Wife Swap is a very restricted and truncated variety of this phenomenon. Cringe in a comprehensive sense, meanwhile, turns out to be a reflexive resource based on an unresolved ambiguity of multiple and often intersecting attributions.
      Citation: Humanities
      PubDate: 2021-08-28
      DOI: 10.3390/h10030099
      Issue No: Vol. 10, No. 3 (2021)
       
  • Humanities, Vol. 10, Pages 100: Rewriting Universes: Post-Brexit Futures
           in Dave Hutchinson’s Fractured Europe Quartet

    • Authors: Hadas Elber-Aviram
      First page: 100
      Abstract: Recent years have witnessed the emergence of a new strand of British fiction that grapples with the causes and consequences of the United Kingdom’s vote to leave the European Union. Building on Kristian Shaw’s pioneering work in this new literary field, this article shifts the focus from literary fiction to science fiction. It analyzes Dave Hutchinson’s Fractured Europe quartet—comprised of Europe in Autumn (pub. 2014), Europe at Midnight (pub. 2015), Europe in Winter (pub. 2016) and Europe at Dawn (pub. 2018)—as a case study in British science fiction’s response to the recent nationalistic turn in the UK. This article draws on a bespoke interview with Hutchinson and frames its discussion within a range of theories and studies, especially the European hermeneutics of Hans-Georg Gadamer. It argues that the Fractured Europe quartet deploys science fiction topoi to interrogate and criticize the recent rise of English nationalism. It further contends that the Fractured Europe books respond to this nationalistic turn by setting forth an estranged vision of Europe and offering alternative modalities of European identity through the mediation of photography and the redemptive possibilities of cooking.
      Citation: Humanities
      PubDate: 2021-09-03
      DOI: 10.3390/h10030100
      Issue No: Vol. 10, No. 3 (2021)
       
  • Humanities, Vol. 10, Pages 101: Prison Theatre and an Embodied Aesthetics
           of Liberation: Exploring the Potentials and Limits

    • Authors: Sarah Woodland
      First page: 101
      Abstract: Prison theatre practitioners and scholars often describe the sense of imaginative freedom or “escape” that theatre and drama can facilitate for incarcerated actors, in contrast to the strict regimes of the institution. Despite this, the concept of freedom or liberation is rarely interrogated, being presented instead as a given—a natural by-product of creative practice. Drawing from John Dewey’s (1934) pragmatist aesthetics and the liberatory pedagogies of Bell Hooks (2000) and Paulo Freire (1996), I propose an embodied aesthetics of liberation in prison theatre that adds depth and complexity to claims for freedom through creativity. Reflecting on over twenty years of prison theatre practice and research, I propose that the initial “acts of escape” performed through engaging the imagination are merely the first threshold toward more meaningful forms of freedom. I frame these as the following three intersecting domains: “Acts of unbinding”, which represents the personal liberation afforded by experiences with theatre in prison; “acts of love”, which expresses how the theatre ensemble might represent a “beloved community” (hooks); and “acts of liberation”, which articulates how these experiences of self-and-world creation may ripple out to impact audiences and communities. An aesthetics of liberation in prison theatre can, therefore, be conceived as an embodied movement towards personal and social renewal; an approach that deepens our understanding of its oft-cited humanising potential, and its limits.
      Citation: Humanities
      PubDate: 2021-09-09
      DOI: 10.3390/h10030101
      Issue No: Vol. 10, No. 3 (2021)
       
  • Humanities, Vol. 10, Pages 102: Clamo Ergo Sum: Establishing a Fundamental
           Right to Protest from Christian Theologies of Liberation

    • Authors: Marc V. Rugani
      First page: 102
      Abstract: The prevailing particular historical narratives that established the modern rights system greatly affect the participation, tenor, and limits of rights discourse today, too often ignoring or suppressing voices of those suffering or silenced. This essay is a contribution to the subversion of those histories, adverting to inconsistencies, in particular histories of modern rights, the need to amplify the voices of those suffering on the margins of that history, and the dangerous consequences if we fail to do so. By applying Enrique Dussel’s political philosophy and Gustavo Gutiérrez’s theology of liberation significant contributions can be made toward affirming a fundamental right to protest. The right to protest articulates a right co-foundational with the rights to life, liberty, and property, and this right is well grounded in a Christian account of the dignity of the human person.
      Citation: Humanities
      PubDate: 2021-09-13
      DOI: 10.3390/h10030102
      Issue No: Vol. 10, No. 3 (2021)
       
  • Humanities, Vol. 10, Pages 103: The Early Global Vocation of Rome.
           Worship, Culture and Beyond

    • Authors: Anna Laura Palazzo
      First page: 103
      Abstract: In all likelihood, Rome was the first global city, holding such primacy for around two thousand years since the time when the Empire built strong integration and interdependence relationships with the whole oecumene. Against the backdrop of long-term beliefs powered by the Papacy, this paper highlights the main features of the global Rome as the very core of Christianity and, after several disruptive events from the Early Renaissance onwards, as a main destination of the Grand Tour. Making use of primary and secondary literature sources as well as of a substantial iconography, the paper investigates the interplay between power strategies and urban morphology—permanence/change—through two main lenses: (i) the ‘inertia’ over time of the radiocentric pattern of the Forma Urbis citywide, according to the old saying all roads lead to Rome; and, (ii) the relentless reuse processes over built-up areas and sense-making dynamics coupling tangible and intangible assets. Accordingly, the Città Antica and the Città Moderna would be intertwined in residents’ and visitors’ everyday experiences until the Age of Enlightenment, when a new sense of history was to require protection measures setting antiquities apart from city life. However, this is another story.
      Citation: Humanities
      PubDate: 2021-09-14
      DOI: 10.3390/h10030103
      Issue No: Vol. 10, No. 3 (2021)
       
  • Humanities, Vol. 10, Pages 104: Building Global Indigenous Media Networks:
           Envisioning Sustainable and Regenerative Futures around Indigenous
           Peoples’ Meaningful Representation

    • Authors: Reynaldo A. Morales, Dev Kumar Sunuwar, Cristina Veran
      First page: 104
      Abstract: Asserting the right to meaningful representation, challenging the epistemological and methodological expansion of global corporate capitalism and its impacts on Indigenous Peoples’ territories and cultures, aligns with the implementation of global treaties and conventions that are part of key international laws regarding issues of climate change, biodiversity conservation, education, global health, human rights, and sustainable development. Indigenous Peoples have been consistently excluded from nation state visions of modernity and development, which continues to limit their full participation in global sustainable development initiatives and their meaningful representation therein. Increasing the visibility of this struggle is imperative for Indigenous Peoples, particularly around the strategic areas in which the implementation of global sustainable development treaties, policies, and goals continues to affect their rights. This article inquires whether Indigenous Peoples’ emancipatory appropriation of media means from a transnational perspective that breaks their regional enclosure can contribute to decolonize the world. More specifically, it questions how a new Indigenous global media network would contribute to decolonize the relations between Indigenous Peoples and nation states. A wider mapping of Indigeneity that decolonizes sustainable development becomes critical in order to formally document the efforts of Indigenous Peoples to reconstruct and restore their epistemic and material relations. This article questions how an Indigenous global media network around new nexus research can benefit Indigenous Peoples, and make visible the incorporation of the recommendations and principles from international law emanated from the self-determined voices of Indigenous leaders, experts, and policy makers to decolonize global sustainable development goals.
      Citation: Humanities
      PubDate: 2021-09-15
      DOI: 10.3390/h10030104
      Issue No: Vol. 10, No. 3 (2021)
       
  • Humanities, Vol. 10, Pages 105: “Kill the Puppies!”: Cringe Comedy and
           Disability Humor in the Live Performances of Laurence Clark

    • Authors: Gesine Wegner
      First page: 105
      Abstract: Firmly rooted in disability activism, the emergence of disability studies in the 1980s took place at a time that also witnessed several disabled comedians and activists climb the stage both in the US and the UK. Considering these coinciding developments, it seems perhaps little surprising that disability studies scholarship has been engaged in the complex relationship between disability and humor from its very beginnings. However, the interplay between cringe (as a cultural phenomenon closely related to comedy) and disability has not received much attention within the field. This paper takes a closer look at the functions that disability fulfils in cringe comedy. Reading Laurence Clark’s comedy live performances against a classic “disability scene” from The Office, I argue that while both shows humiliate the non-disabled for their reactions toward disabled people, the work they are doing differs on several accounts. While The Office does not give its disabled characters much of a voice and thus remains ambiguous in what it is doing, Clark’s performances use cringe humor as a tool to reclaim agency. It is through the act of talking back that Clark’s performances take on a didactic function, encouraging audiences to critically reflect their own reactions to disability.
      Citation: Humanities
      PubDate: 2021-09-15
      DOI: 10.3390/h10030105
      Issue No: Vol. 10, No. 3 (2021)
       
 
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