Humanities doi: 10.3390/h15060073

Authors: Jack Fennell

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

Humanities doi: 10.3390/h15060072

Authors: Scott Maisano Matthew Brown

This essay examines an experimental, site-specific performance of The Tempest conducted over a three-day immersive trip to Nantucket, where undergraduate students and faculty collaboratively engage in a practice of “not-acting” Shakespeare’s play. Drawing on Michael Kirby’s theory of “not-acting” and postdramatic theatre frameworks, the authors describe a pedagogical and performative model that minimises conventional acting—eschewing memorisation, rehearsal, costumes, and stable roles—while maximising environmental engagement. The Nantucket landscape itself becomes a dynamic stage, or “sea-marge”, in which natural elements, physical movement, and lived experience displace the primacy of character and narrative. Participants alternate fluidly between performer and spectator, reading the text aloud across shifting locations while responding to weather, terrain, and chance occurrences. This approach foregrounds presence over representation, allowing meaning to emerge through embodied interaction with place rather than through illusionistic performance. The essay situates this practice within broader discussions of postdramatic theatre, contrasting it with immersive productions that retain character-driven frameworks. Here, the fictional world of The Tempest coexists with, rather than subsumes, the real-world environment and identities of participants. Particular attention is given to the ethical and aesthetic implications of “not-acting”, especially in the portrayal of Caliban. By resisting full embodiment, the performance avoids reinscribing colonial and racialised stereotypes historically associated with the role. Designed for digital publication, the essay incorporates embedded video and photographic documentation of the performance.

Humanities doi: 10.3390/h15060071

Authors: Alexa Melissa Hurtado-Montaño

This article analyzes how twentieth- and twenty-first-century Afro-Colombian women poets from the Pacific region challenge and reframe the feminization of the land and the naturalization of the Black female body within colonial and Eurocentric epistemologies. Drawing on a framework that conceptualizes body, territory, spirituality, and community as an interdependent continuum, the article conducts close textual analysis to demonstrate how these poets construct territory and the Black female body as sentient sites. These sites are simultaneously shaped by historical violence, forced displacement, extractive economies, and racialized gender constructs, while preserving ancestral knowledge and collective memory. The findings show that Valencia Córdoba develops the body–territory through metaphor and anaphora as a generative space; Grueso Romero deploys orality and the sea as transatlantic archives of ancestry and identity; and Truque articulates urban displacement as an ontological rupture that affects memory and Black subjectivity. Ultimately, the article advances the concept of body–territory as a decolonial aesthetic and analytical tool through which Afro-Colombian women’s poetry articulates environmental justice, gendered racialization, and forms of resistance within the Afrodiasporic diaspora.

Humanities doi: 10.3390/h15050070

Authors: Chiara Sciarrino

This paper examines the influence of Aldous Huxley’s dystopian vision—particularly Brave New World—on Ali Smith’s Seasonal Quartet, arguing that Smith’s post-Brexit novels can be read as contemporary, politically embedded responses to the dystopian tradition Huxley helped establish. While Smith’s fiction is rarely labelled dystopian in genre, the Quartet is deeply informed by a dystopic sense of cultural, ecological, and political decay in 21st-century Britain. I propose that Smith adopts and adapts key dystopian motifs from Huxley but repurposes them through a radical humanist lens that privileges relationality, art, and memory as sources of resistance and repair. The paper will be structured in three sections. The first outlines Huxley’s dystopian framework, with a focus on Brave New World’s criticism of technological control, emotional appeasement, and the suppression of dissent through pleasure. The second analyzes Smith’s Seasonal Quartet as a world not governed by totalitarian regimes but by apathy, misinformation, and ideological fragmentation. The final section traces Smith’s divergence from Huxley: where Huxley’s world often excludes hope in favor of bleak satire, Smith inserts gestures of resistance, particularly through intergenerational friendships, the presence of art and literature, and the recurrence of seasonal cycles as metaphors for renewal. Although Autumn explicitly references Huxley’s Brave New World, sustained critical comparisons between the two authors remain relatively rare. Most scholarship approaches Huxley through the tradition of twentieth-century dystopian fiction, while Smith’s Quartet is typically discussed within the context of Brexit literature and contemporary narrative experimentation. Reading the Quartet alongside Huxley, therefore, reveals an unexpected dialogue between early twentieth-century dystopian critique and twenty-first-century literary responses to political crisis.

Humanities doi: 10.3390/h15050069

Authors: Antonia Saunders

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

Humanities doi: 10.3390/h15050068

Authors: Hui Faye Xiao

This article examines the depiction of multiple forms of marginalization and exclusion in a recent Chinese film, Like a Rolling Stone (2024), through the prism of noise at the interface of politics and aesthetics. It starts with interrogating the ways in which the film transmits and amplifies the patriarch’s “Sacred Noise” as a dominant sonic presence in the domestic space, translating hierarchical social and familial structures into an oppressive acoustic order. As Jacques Rancière has reminded us, aesthetic hierarchies materialize political economic hierarchies, giving them sensible forms that structure our everyday embodied experiences. Therefore, the following section explores how political economic conditions devalue women’s domestic care work and recast their enunciations as undesirable, even non-human, noises. In this part, a series of Asian women’s films and writings are referenced to demonstrate a broader cultural trend in exposing the intertwined aesthetic and political economic inequities under capitalist patriarchy. Moreover, what has often been overlooked even in feminist scholarship and movements is that ageism, in conjunction with sexism and classism, reinforces aesthetic–political hierarchies that produce chasms and divisions even among women themselves (including between mothers and daughters) and push the aging (grand)mother further into the peripheries of the auditory regime. Unsettling such a patriarchal “distribution of the sensible,” Like a Rolling Stone deploys creative acoustic strategies to make audible the hidden exploitation of women’s affective labor and revitalizes the subversive potentials, affective energies and aesthetic values of women’s embodied experiences and everyday gendered noises.

Humanities doi: 10.3390/h15050067

Authors: Pubali Borah Arabinda Rajkhowa

This paper examines male characters in Nilakshi Chaliha Gogoi’s Assamese novel Oiya Mor Dibru-Saikhowa (Oh, My Dibru-Saikhowa) through the lens of Eco Masculinity, drawing primarily on Hultman and Pulé’s tripartite typology of industrial, eco-modern, and ecological masculinities. The study reads the novel’s two principal male characters—Bakul Bora and Seuj—as contrasting masculine trajectories shaped, respectively, by socio-economic deprivation, displacement, patriarchal conditioning, and legal criminalization on the one hand, and by maternal ecological ethics, generational mentorship, and affective formation on the other. The analysis proceeds through three connected registers. First, it attends to the novel’s narrative form, arguing that its principal focalizing consciousness is Dr. Irina Baruah, a physician through whose perception the male characters are largely presented. Second, it develops the political ecology of the Dibru-Saikhowa region—its colonial and postcolonial conservation history, the institutional gap between the Wildlife (Protection) Act 1972 and the Forest Rights Act 2006, and the slow violence visited on the Mising villagers of Laika and Dadhiya. Third, it engages intersectional critiques of eco-masculinity and confronts the structural tension of applying a male-centered framework to a female-focalized novel. The paper argues that Eco Masculinity, applied with due attention to narrative form, historical specificity, and eco-feminine agency, offers a productive tool for South Asian ecocritical scholarship, and it suggests two modifications to the framework that follow from this application.

Humanities doi: 10.3390/h15050066

Authors: Katherine Hallemeier

This contribution to the Special Issue on epistolary form in the work of J. M. Coetzee examines the form of the “exchanges” in The Good Story (2015). These exchanges extend Coetzee’s longstanding interest in the methods and limitations of psychoanalysis. They stand as an iteration of self-reflexive meditation on his writing’s imbrication in these methods and limitations. At the same time, the exchanges strive to enact methods—the sympathetic, the erotic, the intimated—that Coetzee’s writing associates with the literary and would bring into productive dialogue with psychoanalytic practices.

Humanities doi: 10.3390/h15050065

Authors: Gülsüm Tuğçe Çetin

This article examines The Mark of Cassandra by Chingiz Aitmatov through the emerging framework of Blue Humanities. While most prior studies have approached Aitmatov’s ecological concerns from a land-based ecocritical perspective, this article shifts the focus to his engagement with oceanic themes and marine environments. By combining literary interpretation with ecological philosophy, the study suggests that The Mark of Cassandra goes beyond the limits of traditional environmental fiction. It presents the ocean not only as a setting but as a source of knowledge and ethical reflection. In this way, Aitmatov’s work seems to anticipate current global discussions on climate change, biodiversity loss, and environmental justice. The novel encourages readers to reconsider the human-centered worldview and adopt a more ecocentric approach. Through its marine symbolism and critical stance on human exploitation of nature, the text offers valuable insights into ecological ethics that cross both national and species boundaries. Overall, this article argues that The Mark of Cassandra is an important literary contribution that challenges the usual borders of ecocriticism and calls for a more integrated and holistic understanding of environmental issues.

Humanities doi: 10.3390/h15050064

Authors: Haoyuan Gao Sunghoon Cho

This article examines how the discourse of “for your own good” functions as a moral framework through which parental violence is reinterpreted as care in Sinophone family cinema. Focusing on family-centered films as a key site of representation, we analyze how reconciliation is constructed not merely as a narrative resolution but as an ethical expectation. Drawing on theoretical perspectives from Michel Foucault and Louis Althusser, we develop the concept of “moralized parental violence” to describe how authority, discipline, and emotional control are legitimized through moral discourse. Through a typological analysis, identify three recurring models of reconciliation: deathbed reconciliation, retrospective understanding, and silent reconciliation. The study further explores works that resist reconciliation, arguing that such narratives suspend ethical closure and challenge normative expectations of forgiveness. By examining narrative structure, visual emphasis, and affective strategies, we demonstrate how cultural texts guide audience responses and shape moral interpretation. Rather than rejecting family values, this study reconsiders how ethics, power, and care are intertwined in cultural narratives and how the refusal of reconciliation opens a critical space for rethinking the limits of moral obligation.

Humanities doi: 10.3390/h15050063

Authors: Rachel L. Carazo

The world of Star Wars may seem far removed from Renaissance England, but through an examination of the regnal aspects of Henry VIII and (Emperor) Sheev Palpatine (Darth Sidious), it is evident that their ruling styles, concerns, and personal characteristics are quite similar. Specifically, they share (1) a connection to the arts through visual, architectural, and political themes, making them ‘Renaissance men’; (2) a fixation with male (Force-sensitive) bloodlines, whether through biological children or Sith Apprentices; and (3) a legacy of having their most powerful and ‘best’ heirs being women—Elizabeth I (r. 1558–1603) and Rey (Palpatine/Skywalker). Hence, these case studies, which rely on the trait approach of leadership, demonstrate the utility of comparing leaders from different times, cultures, and realities in an effort to understand not only good and bad leadership elements, but also the nature of leaders’ downfalls.

Humanities doi: 10.3390/h15040062

Authors: Ihsan Alwan Muhsin Al-Sweidi

Fallujah, by Jonathan Holmes (2007), is one of the archetypal examples of verbatim theatre, which addresses the truths of the Iraq War through dramatised eyewitness accounts and documentation reconstructions. Sketched in the Second Battle of Fallujah, the play reveals moral, political, and epistemological aspects of how modern warfare is presented. This article hinges on the postmodern theory of Jean-François Lyotard—especially the concepts of language games, paralogy, and the differend—to discuss the play Fallujah as a subversion of official grand narratives of the Iraq War. Through the use of testimonial intertextuality, irony and fragmentation, Holmes builds a multidimensional tableau of discourse contradictions in which truth is relative, and legitimacy is constantly deferred. The play turns into a meta-discursive critique of Western power dynamics, challenging the manner in which the knowledge is created, distributed, and twisted in the name of liberation and humanitarianism. Further, the article examines both dramaturgical and aesthetic techniques that lend truthfulness to Holmes’ concept of the verbatim approach as it dislocates the truth in relation to war and victimhood. The results help us comprehend the role of modern theatre in the reconstruction of the cultural memory and morality in the post-war era. The article concludes that Fallujah is a vivid example of postmodern theatrical resistance, an ethical and artistic response to commodity violence and the obliteration of lived suffering.

Humanities doi: 10.3390/h15040061

Authors: Maureen O’Connor

From the witch-like widow on the edges of civilisation to the retired spinster who, after an active but disappointing sexual past, chooses to continue her single life, the celibate women of Edna O’Brien’s fiction have as much to contribute to the author’s career-long examination of the damage done by Irish patriarchy as any of the miserable housewives, resentful mothers, and abused girls who dominate critical analyses of her work. Unlike the many admirable nun characters in O’Brien’s fiction, the women in this study are not consciously renouncing society or deliberately retreating from the world. While they can be vulnerable characters who risk disapproval and even violence, they can also offer alternative models of Irish womanhood, subtle and complex, alternatives not always recognised when the narrator is a young girl and sometimes appreciated too late by more mature narrators and characters.

Humanities doi: 10.3390/h15040060

Authors: Agata Bielik-Robson

This essay conducts a comparative analysis of the literary use of kabbalistic motives in the two seemingly very distant authors: Jacques Derrida and Philip K. Dick. It shows how the Lurianic “fable,” conceived in the Derridean terms as a literary récit, shapes their understanding of time as an open-ended game whose outcome remains unknown. It thus wants to prove that Derrida’s essay Given Time, based on the little prose by Charles Baudelaire called “The False Coin,” and the penultimate book by Philip K. Dick, The Divine Invasion, tell the same story which is also a meta-story: a speculative meditation on the nature of temporality and story-telling, which involves the messianic “theology of risk.” In both cases we deal with what the essay terms as an “inverted Gnosticism”: while the traditional Gnostic doctrine envisions time as the factor of the world’s decay and imperfection, Derrida and Dick, inspired by the Lurianic kabbalah, see it as the chance of the world to verify itself, that is, to make itself real and true in the process of “unprejudiced becoming.”

Humanities doi: 10.3390/h15040059

Authors: Justin F. Martin

Since his inception, Luke Cage’s superhero mission has explored themes related to justice, interpersonal relations, and institutional integrity. This paper draws on examples from comics and his television series to explicate these themes through the lens of social and moral development. In doing so, it suggests lessons for improving the recent landscape of American civil discourse. The Overview introduces the character against the backdrop of the social role of superheroes, moral development scholarship, and recent polling data related to civil discourse. The Heroic Journey examines his superhero mission further, highlighting his attempts to promote a sense of mutual trust and shared obligations across varied social interactions. Lastly, the Super Takeaway discusses the potential of Luke Cage narratives to keep disagreeing persons “at the table” long enough to come to some (civil) agreement.

Humanities doi: 10.3390/h15040058

Authors: Michael G. Cronin

This is a study of the nun as a queer archetype of femininity across Kate O’Brien’s fiction and non-fiction. Alongside characters who are actual nuns, the fiction includes characters who can be described as ‘nun-like,’ especially in their renunciation of sexual desire. In the fiction, this secular renunciation is aligned with religious celibacy as actively chosen and ethically purposeful and situated as similar to artistic creativity. The study argues that O’Brien’s nuns are paradoxical and queer figures, undermining the temporality, class politics and models of human subjectivity central to O’Brien’s own ideological commitments. Attending to these nun figures prompts significant questions about the liberal feminist politics underpinning contemporary O’Brien studies and the prevailing critical reception of O’Brien as an exemplary Irish woman writer.

Humanities doi: 10.3390/h15040057

Authors: Ulugbek Ochilov Shuhrat Sirojiddinov Muhabbat Baqoyeva Feruza Khajieva Otabek Fayzulloyev Bakhtiyor Gafurov Kakhramon Tukhsanov Dilnoza Sharipova Makhmud Babaev Gulrukh Bobokulova Shahnoza Kholova Shahnoza Tuyboeva

This article examines the interaction between phenomenological illness theory and magical realism in Stephen King’s The Green Mile. It uses ideas from phenomenological psychopathology and illness narrative theory to explain how King presents supernatural events through a restrained and matter-of-fact narrative register. Instead of considering magical realism as a genre or a mere literary device, the article views magical realism as a stylistic mode that is produced by the tension between realistic descriptions and unexplained supernatural moments. Through a close reading of King’s prose, especially his diction, narrative voice and bodily descriptions, this study shows that John Coffey’s healing acts represent the otherwise incommunicable experience of suffering. These supernatural events make visible forms of institutional violence such as prison brutality, racial injustice and execution, which are often invisible in traditional realist narratives. This article also argues that magical realism is not limited to Latin American literature but can function effectively in American popular fiction. Finally, the findings suggest that, while magical realism may be helpful in exposing injustice and suffering, it may also have the danger of aestheticizing pain rather than fully transforming it into political critique.

Humanities doi: 10.3390/h15040056

Authors: Michael T. Williamson

Produced at a point of significant change in literary representations of what was called “the black experience,” the comic book series Panther’s Rage and The Black Panther Takes on the Klan each represent an ambitious collaboration between Don McGregor, the white writer of the series, and Billy Graham, the black series artist. As a revision of “black experience” novels published by Holloway House during the early 1970s, this comic book series significantly alters the ways in which mourning, memory, and mental fortitude are represented in a world of almost entirely black characters. Fighting villains who create phantasmic illusions that evoke self-doubt, The Black Panther, one of three black superheroes introduced by Marvel comics during the 1960s and 1970s, brings to light and then revises traumatic historical memories. The hero’s journey around the provinces of Wakanda, a black kingdom in Western Africa, requires the Panther to defeat a variety of villains and their proxies and to posit an alternative to revolutionary self-hatred. We learn from this journey that tradition and modernity can coexist and that traumatic memories need not repeat themselves endlessly. Instead, they can be revised and incorporated into narratives that celebrate the power of the disciplined imagination to imagine a better future.

Humanities doi: 10.3390/h15040055

Authors: Enit Karafili Steiner

This essay explores Mary Shelley’s contribution to the political philosophy of children’s rights and its connection to duties-based justice by establishing a dialogue between Frankenstein and The Rights of Infants (1797). A little-studied treatise by Thomas Spence, Rights of Infants advances a proto-feminist stance that is not unlike Godwin’s and Wollstonecraft’s model in that it foregrounds duties from which rights can be extrapolated. Two points made by Spence inform this reading of Frankenstein. First, Spence’s text spotlights a neglected line of thought during the French Revolution, which, contrary to social contract theory, posits the child as the paradigmatic recipient of justice and familial life as the cornerstone for deliberations on justice. Second, Spence identified acts of conquest camouflaged as a fabled, non-existent consent between people and government by social contract theorists like Hobbes and Locke. Shelley’s novel dramatizes these two points by taking infancy as the ground zero on which to think of justice, and then, incrementally exposing a logic of conquest through the concatenated deaths of William and Justine and the destruction of the inanimate female creature. The essay concludes that the novel stages a far-reaching interrogation of rights-based justice, thus extending a view of justice that has gained prominence in critiques of neoliberalism over the last half-century.

Humanities doi: 10.3390/h15040054

Authors: Ubaid Khursheed Rayees Ahmad Bhat Anudeep Kaur Bedi

Anna Burns’ No Bones has extensively documented its depiction of trauma during the Troubles; less attention has been paid to the systematic mechanisms through which pervasive psychosocial harm is quietly administered and normalised. This article moves beyond readings of individual suffering to diagnose a collective condition, arguing that Burns constructs a veritable architecture of harm: a meticulously designed system operating not through overt aggression alone, but through the mundane, yet powerfully insidious, interplay of social forces governing everyday life. This synthesis reveals how these forces converge to produce what Achille Mbembe terms a death-world: a state of being where populations are subjected to conditions that confer upon them the status of the living dead. Within this necropolitical landscape, the protagonist Amelia’s routines are dictated by shrinking spatial affordances, while incessant rumour functions as a policing mechanism that enforces social death long before physical death is a threat. This analysis demonstrates that harm is not an atmospheric byproduct of conflict, but the very logic of this architecture, which compels the community to participate in its own subjugation. Ultimately, by mapping this architecture, this article reframes Burns’ novel from a historical text of the Troubles into a trenchant meditation on the governance of populations under duress. It offers a vital framework for understanding how quiet harm is spatially engineered, a dynamic with profound relevance for contemporary studies of carceral geographies, algorithm-driven social control, and the politics of atmospheric violence. It posits Burns’ work as a crucial resource for theorising the invisible structures that shape and constrain modern life.

Humanities doi: 10.3390/h15040053

Authors: Nam-lin Hur

Honmyōji Temple in Kumamoto preserves copies of four letters exchanged in the early 1620s between a father, Yŏ Ch’ŏn’gap, in Chosŏn, and his son, Yŏ Taenam (Nichiyō), in Japan, although one of the letters was never delivered. Both father and son were abducted to Japan during the Imjin War (1592–1598), but while the father was able to return home, the son was not. In the late 1610s, upon learning that his son, now the abbot of Honmyōji, was alive in Kumamoto, the father sought to contact him by letter. His efforts eventually succeeded, leading to an exchange of correspondence. These four letters, the only known instance of overseas communication between family members separated by Japan’s invasion of Chosŏn, provide valuable insight into the tragic fate of a family divided by war. Drawing on these documents, this article examines how a Korean boy was abducted during the Imjin War and later became the abbot of his captor’s temple. It also explores the father’s efforts to bring his son home and the reasons their hopes for reunion were never realized. Together, the letters bear witness to the dramatic transformation in the life of a young Korean boy who became a victim of war.

Humanities doi: 10.3390/h15040052

Authors: Elizabeth Abele

In her fiction, Joan Didion crafted female protagonists who embodied the strange stirrings documented by Betty Friedan in The Feminine Mystique, as common among mid-century White, educated women. Didion’s protagonists are all daughters, wives, and mothers who come to realize their lives are built on empty compromises. However, in her late 20th-century novels, their awareness leads to actual changes: the Didion Women who confront the void in Democracy and The Last Thing He Wanted find their lives impacted by the machinations of U.S. Cold War policies. These novels specifically trace the impact of American imperialism on wives and daughters at home—those that the policies claimed to protect. These protagonists, and their witnesses, refuse to be passive casualties. Their narration by an embedded professional female journalist adds weight to the journeys of these overlooked women. Through her protagonists of privilege, Didion unflinchingly documents the physical and psychological damages of patriarchy—both personal and political—presenting female models of awareness and resistance. This essay will examine Didion’s Democracy and The Last Thing He Wanted as the capstones of her woman-centered fiction, presenting detailed portraits of matrons who deliberately disentangle themselves from history.

Humanities doi: 10.3390/h15040051

Authors: Julyan Oldham

In Molly Keane’s 1934 novel Devoted Ladies, the young Irish character Piggy Browne is dismissed as a “fat, hungry virgin”, an insult that incites the text’s denouement. This article uses the figure of Piggy Browne to juxtapose virginity and fatness in Keane’s writing, asking how fat can inform our understanding of the single Irish woman in Keane. I set up both fat and virginity as relevant concerns to Keane’s work, drawing on a range of her fiction as well as writing about virginity, land, and time. Focussing on Piggy in Devoted Ladies demonstrates how the novel is interested in the emotional lives of women, however satirically. Moreover, ideas of virginity, fat, and hunger become useful ways of thinking about Piggy’s role in the ending of Devoted Ladies. Keane ultimately emphasizes a fall, not a culmination, concluding on a moment of agency, if not progress.

Humanities doi: 10.3390/h15030050

Authors: Yixiao Sun

Millenarianism originated from apocalyptic literature in Judaism, emphasizing that the “Messiah” would establish a “millennial kingdom” on earth ruled by the Jews. This ideology became a theoretical weapon for Jews to resist imperial tyranny during classical antiquity and was later embraced by early Christian theology. By the early modern period, with the intense unfolding of the Reformation and social upheavals, the theory of the “millennial kingdom” re-emerged as a mainstream topic in Christian theology. Regarding the nature of the “millennial kingdom” and how it would be realized, early modern Christian factions split into two interpretive camps. One emphasized the spiritual attributes of the “millennial kingdom”, while the other stressed its material aspects, advocating the violent establishment of a political entity on earth ruled by Christians. These two distinct interpretive models ultimately converged on the issue of colonial expansion, transforming millenarianism into a theoretical tool to justify overseas expansion.

Humanities doi: 10.3390/h15030049

Authors: Albrecht Classen

Medieval literature often seems to be a remote, irrelevant, incomprehensible world of narrative texts lost in heroic, religious, or courtly themes, limited to stories about King Arthur, courtly lovers, military heroes, and religious martyrs, saints, and prophets. In reality, as any expert can easily confirm, when we turn our full attention to pre-modern literature from across Europe (and also other parts of the world), we can often recognize the true extent to which poets utilized their narratives for spiritual, philosophical, religious, scientific, and medical explorations that have much to tell us today and prove to be deeply meaningful in a timeless manner. One key aspect, which was shared among virtually all medieval artists, poets, and theologians, consisted of the unique experience by an individual who is entitled through a physical opening to see into the depth or the height of all existence and can thus discover a wholly different world. Through this motif of the gaze, an entire epiphanic realization can set in, which thus quickly transforms the purely entertaining narrative medium into a narrative catalyst of profound spiritual experiences, helping the individual to gain inspiration from the Godhead (e.g., mysticism). Indeed, numerous times, medieval poets employed the motif of the visionary gaze, developed in very concrete terms, to trace and explain the process of perspicuity and accompanying acuity which ultimately leads to new intellectual, emotional, and religious understandings and experiences. While many intellectuals already embraced this notion of a visionary concept of spiritual comprehension, it might come as a surprise that secular and religious poets also operated quite intentionally with the concept of a hole in the wall or some other opening as a springboard for intellectual and spiritual experiences, directly drawing from the concepts of the optical sciences as understood at that time. Oddly but highly significantly, Christian and pagan notions tend to intersect in those narrative moments, particularly in late medieval literature, merging the visionary experience with the monstrous within human society, associating the gaze with the erotic and religious dimension.

Humanities doi: 10.3390/h15030048

Authors: Nesrin Mengi

Through the process of modernization, Turkish literature transcends aesthetics to reflect sociological and cultural changes. The tensions between the individual and society, tradition and modernity, and religion that emerged with Westernization are particularly reflected in the novel. Religious discourse takes different forms at each historical threshold during the modernization process. During the Tanzimat, Servet-i Fünûn, Milli Edebiyat and Socialist Realist periods, it served as a defensive or critical reference point in the face of debates on modernization and Westernization. With the secular policies of the Republic, its public function transformed, evolving into an arena for cultural and moral debate, and it increased its visibility within the multiparty political structure after 1950. From the 1980s onwards, Islamic discourse became an artistic and ideological force in both the social and literary spheres. This article examines the stages of Islamic discourse in Turkish novels within a historical framework, arguing that religious representations are not merely elements reflecting social change, but also play an active role in the reconstruction of identity formation and narrative aesthetics. The study analyzes the functions of religious elements using a text-centered approach. The findings show that religion is not merely a theme in literary texts, but a living element that transforms alongside society, influences identity formation, and shapes narrative aesthetics.

Humanities doi: 10.3390/h15030047

Authors: Zhuoyi Wang

This article reads the recent Chinese sci-fi blockbuster franchise The Wandering Earth (2019) and The Wandering Earth II (2023) as linked thought experiments about planetary survival as governance. It argues that the franchise operationalizes survival through administrative techniques that allocate life chances and format subjects for compliance, including selection policy, evaluative procedures, and computational judgment. Drawing on feminist social reproduction theory, affective and emotional labor scholarship, and critical posthumanism, the article shows how the films redistribute life-making work under catastrophe by routing care, sacrifice, and intergenerational continuity through gendered paternal figures. Fathers become the privileged conduits through which attachment is rendered socially legible as authorized labor, while other forms of care remain structurally secondary unless crisis forces their instrumental uptake. At the same time, the franchise is preoccupied with the limits of procedural governance. Across both installments, paternal attachment repeatedly appears as a governance problem: it cannot be fully stabilized as procedure yet becomes actionable at system stress points. The survival regime thus depends on a recurrent sequence of emergency recruitment followed by retroactive legitimation, whether through official affect, selective recognition, containment, or memorialization.

Humanities doi: 10.3390/h15030046

Authors: Traci S. O’Brien

This introductory essay revisits the concept of “Prague German Literature,” focusing on the Prague Circle’s engagement with enduring humanistic values amid early twentieth-century upheaval. While Franz Kafka is one of the most well-known authors of the twentieth century, this essay (and the Special Issue) highlights lesser-known Czech German authors and engages with the criticisms of the definitional boundaries of terms like “circle” and “school.” Drawing on recent scholarship, it situates these writers within Prague’s multilingual, multiethnic context and challenges postmodern approaches that reduce the literature to power discourse. Instead, it advocates for renewed attention to moral ambiguity, cultural mediation, and universal human concerns. Revisiting foundational scholars such as Max Brod, H. G. Adler, and Margarita Pazi, the essay also engages contemporary critics who propose more nuanced models of literary affiliation. Ultimately, this essay argues for the continued relevance of these authors in fostering intercultural dialog and reflecting on the (in)stability of values in times of crisis, framing the contributions of this Special Issue.

Humanities doi: 10.3390/h15030045

Authors: Brian Hillman

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

Humanities doi: 10.3390/h15030044

Authors: Trent Hergenrader

This article argues that students inspired by stories set in enormous open-world videogames can use a combination of free interactive fiction (IF) tools and tabletop role-playing game open gaming licenses (OGLs) to simulate stories that allow their players to customize their characters based on their play style preferences, and to face obstacles that require virtual dice rolls where the player may succeed or fail. This provides them with an experience similar to writing for a major videogame franchise and go through the thought processes required when writing interactive narratives.

Humanities doi: 10.3390/h15030043

Authors: Mariusz Pisarski

The goal of the article is to demonstrate the common threads and methods of studying digital storytelling as a unified, second-order aesthetic code. Just as the category of translation, when applied to digital literature, was expanded into a more complex set of methods known as media translation, the article applies similar logic to the notion of intertextuality and proposes an augmented form of “digital“ or “media intertextuality“. Games, interactive fiction, hypertext fiction, story generators, and other born-digital forms are all “texts” that share evolutionary poetics and intertextual strategies extending beyond language into multimodal, procedural, and embodied affordances. Drawing on the concept of structural quotation and semiotic calques, this article suggests that intertextuality should operate across multiple extra-linguistic registers: visual, procedural, and embodied. Neither evolutionary continuity nor broad intertextuality have been sufficiently emphasized in current game studies outside the literary angle. In several examples and case studies—from Zork II to World of Warcraft—this paper demonstrates how repetition with difference, brought about by intertextual links, generates evolutionary continuity and intertextual richness. In this dialogical ecology, AAA blockbusters and experimental works are worth studying together, even if, within the discourse of digital entertainment, they are currently at war. The former push the boundaries of expressive possibility, whereas the latter accrue cultural capital by reworking and critiquing shared codes.

Humanities doi: 10.3390/h15030042

Authors: Stanley E. Gontarski

Surrealism persistently resisted its own historicization, defining itself not as a literary or artistic movement but as an activity of the mind aimed at total liberation. This essay re-examines surrealism’s internal contradictions: its rejection of literature alongside its dependence on literary institutions; its commitment to psychic freedom alongside political orthodoxy; and its hostility to authorship alongside the production of canonical works. Drawing on manifestos, journals, performance practices, and postwar critical reception, the essay situates surrealism at the fault line between modernism, Dada, and later poststructuralist theory. It argues that surrealism’s most enduring legacy lies less in its aesthetic products than in its reconfiguration of cultural authority among artist, artwork, and reader, a redistribution that continues to shape contemporary literary, media, and performance studies.

Humanities doi: 10.3390/h15030041

Authors: Sonja Tiernan

Eva Gore-Booth (1870–1926) was a significant contributor to the Celtic Literary Revival at the turn of the twentieth century; however, her literature differed immensely from that of her male counterparts. Gore-Booth’s writings had a prevailing feminist message, while her later works were manifestly concerned with the study of sexuality and the deconstruction of gender. Gore-Booth’s literature remained vastly overlooked and undervalued until recent times. In the twenty-first century, her poetry and plays are experiencing somewhat of a resurgence. Amid Gore-Booth’s modest literary revival, this article examines her writings from a fresh perspective. Tracing Gore-Booth’s social reform work and later devotion to the New Age religion of Theosophy, it is evident that her writings increasingly endorsed celibacy. This article will highlight how Gore-Booth advocated for celibacy as a radical practice with the potential to dismantle the social construction of gender and of presumed heterosexuality. Notably, Gore-Booth only advocated for heterosexual celibacy, placing same-sex relationships as the ideal, especially lesbian partnerships. This research centers on readings of Gore-Booth’s lesser-known writings including a neglected play Fiametta, her theological writings and the journal Urania which clearly express her revolutionary ideas.

Humanities doi: 10.3390/h15030040

Authors: Joachim Schiedermair

The article has two objectives: It begins by noting that, in memory studies, indexicality has thus far played a role primarily in the analysis of photographs. Central to this was Roland Barthes’ insight that photography should be read not only as an iconic sign but also as an indexical sign: a photograph touches us not only through what it shows, i.e., not only as a pictorial representation of its referent, but also through the fact that it is an imprint of light, causing it to function like a trace in the snow. While the insight into the indexical quality of photography has been extremely fruitful, it is surprising that other indexical signs (such as shadows or echoes) have received no attention in the discussion of memory studies. The first objective of this essay is to make a start on this, and it does so in dialogue with a Norwegian comic book. In Steffen Kverneland’s Skygger (Shadows), family memories of the German occupation of Norway play a decisive role. Most studies of World War II in contemporary literature focus on how historical events are represented. Kverneland takes a different approach. He is not interested in the representation of memories but in the function of remembering. He relates memories of World War II to current crises and to the aesthetics of his artistic work. The second objective of this essay is to analyse the comic, paying close attention to the various dimensions of indexicality.

Humanities doi: 10.3390/h15030039

Authors: Mark DiMauro

Saitama, the titular hero of ONE’s One Punch Man, is a man so absurdly powerful that nothing, and no one, can stand against him. This limitless ability, rather than acting to make a superhero idol of Saitama, has instead reduced his psychological state to that of extreme nihilistic apathy. It is not until Saitama begins to unlock other aspects of his life, including friendship and community, that he begins to see there is more to life than strength. Working within the satirical bounds of the text, which skewers everything from false fulfillment in accolades to false friends to just about every superhero and manga trope in between, Saitama eventually reengages with his life and becomes far more heroic because of it. In the Overview, the text discusses the manga’s origin and explains some of the satirical jabs. In the Heroic Journey, the article takes you through Saitama’s past and current mental state. In the Super Takeaway, the life lesson Saitama’s story can teach us is that even in the face of boredom and a world in which work itself feels obsolete, there remain ways to overcome apathy so long as we are willing to find them for ourselves.

Humanities doi: 10.3390/h15030038

Authors: Amy J. Ransom

During the years of the so-called Trente Glorieuses (1945–1975), with its economic recovery after World War II, France witnessed the development of a technologized consumer society and a technocratic approach to public planning, which fostered a futuristic outlook and a boom in paperback publishing. A major success story of this era was the Éditions Fleuve Noir science-fiction series, Anticipation, to which popular genre author Maurice Limat contributed numerous novels. Although marketed as science fiction and set far in the future and in outer space, Limat’s novels featuring the Chevalier Bruno Coqdor resemble more often those of a knight-errant from medieval romance. These works of space fantasy express medieval nostalgia but also engage the massive social changes occurring in France during this period while extrapolating France’s survival in the distant future.

Humanities doi: 10.3390/h15030037

Authors: Kaushik Tekur

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

Humanities doi: 10.3390/h15030036

Authors: Alexandra-Monica Toma Mihaela-Alina Ifrim

This article examines Romanian internet memes as cultural micro-narratives that encode social critique, identity negotiation, and emotional response through compressed, multimodal storytelling. Using a mixed-method approach, the study integrates qualitative narrative analysis with quantitative sentiment data drawn from the RoMEMESv2 corpus, comprising 983 Romanian-language memes. The analysis identifies recurrent narrative roles and plot structures adapted from Propp’s morphology and applied to digital contexts, revealing archetypal roles, such as the slacker hero, the bureaucratic villain, the domestic guardian, and the trickster. From a quantitative point of view, the corpus exhibits a dominant negative sentiment, particularly within political memes, which combine systemic critique with affective ambivalence. These findings distinguish Romanian memes from datasets in other languages, suggesting that negativity functions not as deviance, but as a culturally specific narrative and emotional resource. Multimodal analysis demonstrates how visual and textual elements operate through anchorage, intertextuality, and symbolic compression, so as to construct narrative messages within single frames. The study argues that Romanian memes function as digital folklore: they narrate social frustration and institutional distrust through irony, repetition, and archetypal condensation, offering insights into the emotional and narrative logic of post-communist digital culture.

Humanities doi: 10.3390/h15020035

Authors: Ingeborg Rebecca Mjelde Helleberg Ingvild Hagen Kjørholt

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

Humanities doi: 10.3390/h15020034

Authors: Joseph J. Darowski

The X-Men are a superhero team published by Marvel Comics. Initially marketed as a team of teenage superheroes, the franchise eventually began emphasizing the “mutant metaphor” as a narrative device that differentiated it from other comic books. This pivot towards highlighting the empathy displayed by the X-Men towards others and the intolerance their foes have for anyone who is different became defining characteristics of the franchise that have carried forward for decades. As the X-Men moved from a somewhat generic franchise to one that framed its heroes as symbolic outsiders, a wider and deeper fanbase embraced the series. Through complex storylines, symbolic metaphors, and nuanced character development, the series implicitly and often explicitly encourages empathy. With a thematic focus on concepts such as marginalization and otherness, the X-Men franchise promotes tolerance as heroic and condemns prejudice as villainous. The message for readers is that empathy, not optic blasts or the ability to control the weather, is what makes the X-Men heroic.

Humanities doi: 10.3390/h15020033

Authors: R. Lyle Skains

Truly impactful innovations are developed by outsiders out of a sense of need; those that rise to mainstream recognition and acceptance, however, are colonized by dominant hegemonies. This paper traces cycles of innovation and colonization in literature, publishing, and computing as ancestral domains to electronic literature, which has been subject to the same gendered and othered frontier-colonization cycles that dominated its forebears. Elit was a new frontier for writing and publishing, a strong site of marginalized creativity, until it was codified and colonized into publishing and academia by the dominant class: women could create, but men had the actual and cultural capital to create and develop the structures to platform their work into the dominant discourse. This paper analyzes how feminist and marginalized digital writers resist colonization of their innovations and erasure of their innovations by hacking platforms, subverting narrative conventions, and amplifying hidden voices. The paper examines elements of innovation-colonization cycles in elit and adjacent practices (indie games, fanfic), showcases Lillian-Yvonne Bertram’s algorithmically-generated epoetry as a site of subversion, and presents fanfic community Archive of Our own as a preliminary model of value-sensitive and inclusive community design. It argues for the development of feminist-first platforms—digital spaces that actively resist the structural colonization of marginalized storytelling.

Humanities doi: 10.3390/h15020032

Authors: Vincent Barletta

This article rereads Odysseus’s encounter with the Sirens in the Odyssey through the lens of sound, arguing that the episode stages a foundational tension between knowledge and alterity in Western thought. Drawing on Emmanuel Levinas’s notion of the “temptation of temptation,” the essay shows how Odysseus’s famous stratagem—hearing the Sirens while bound to the mast—models a form of mediated proximity that allows sound to be collected without ethical exposure. Close readings of Homeric Greek, especially the Sirens’ claim to knowledge of ὅσσα γένηται, reveal that their song gestures not merely toward retrospective epic knowledge but toward natality and coming-into-being, a dimension Homer pointedly withholds. By placing the Sirens alongside early colonial soundscapes and modern reflections on cartography, the article argues that Western listening practices privilege mastery over vulnerability. Against this tradition, the Sirens’ unheard song marks a suppressed alternative: listening as openness, risk, and ethical relation.

Humanities doi: 10.3390/h15020031

Authors: Chauntee’ Schuler Irving

Our Fairytales: The Cost of Migration, National Myth, and Creative Labor in Unser Deutschlandmärchen is a performance analysis that examines lived cultural narratives through the lens of the Maxim Gorki Theatre’s production of Dinçer Güçyeter’s autobiographical novel Unser Deutschlandmärchen. The impact on Turkish migrants in Germany and their descendants is explored through an investigation of primary production texts, migration and diaspora literature, and Turkish–German cultural commentary. A discussion of fairy tales and national mythos reveals the material contributions migrant communities often make to host nations through systemic endurance and cultural enrichment, frequently at the cost of forgoing “happily ever after.” The reformation of the traditional fairy tale recasts Turkish–German migrants as modern fairy-tale heroes who generate counter-cultural narratives through collective, intergenerational, and ethnographically inherited memory.

Humanities doi: 10.3390/h15020030

Authors: Suze van der Poll

This article examines the reshaping of the period of the Second World War in Cecilie Løveid’s play Maria Q, a drama centered on the enigmatic historical figure of Mara Vasilyevna Pasetchnikova, better known as Maria Quisling, the second wife of Vidkun Quisling, who was Norway’s fascist prime minister during that war. Drawing on studies of historical fiction and intertextuality, this article aims to show how Cecilie Løveid employed the genre of historical drama but transformed it so that she could offer her reimagining of the war period in Norway to a present-day audience. I read Maria Q as an experimental historical drama in which Løveid not only used her freedom as a writer of dramatic fiction to combine fact with imagination but simultaneously incorporated various texts and genres as sources to further her own multifaceted reimagining of Maria Quisling as a complex character. As I will demonstrate, by foregrounding dialogism as her central dimension, Løveid rejected a unitary, monologic and authoritarian conception both of recent Norwegian history and of Maria Quisling’s role in it.

Humanities doi: 10.3390/h15020029

Authors: Arthur Viorel Tulus

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

Humanities doi: 10.3390/h15020028

Authors: Francesca Medaglia

Desire, a transformative force, is one of contemporary serial narratives’ most intricate and multifaceted dimensions. Far from being reducible to a mere representation of sexual attraction, desire in television seriality operates as a prism through which to explore issues of intimacy, identity, and power. This paper seeks to analyze how desire is staged and problematised within a set of emblematic series that have significantly shaped contemporary cultural imagination. Grey’s Anatomy explores the entanglement of desire with professional life, emotional fragility, and collective trauma, constructing narratives where eros intersects with affective labour and the negotiation of identity within high-pressure contexts. Sex and the City proposes a very different model, placing female desire at the centre as a space of autonomy, experimentation, and confrontation with the normative frameworks of late capitalist society. By contrast, The Handmaid’s Tale reimagines desire within a dystopian theocracy, assigning it an overtly political function: here, erotic impulses and affective attachments become acts of resistance against systemic repression and biopolitical control. More recently, Sex Education embodies a cultural shift, presenting desire through a plural and inclusive lens that embraces diversity of sexual orientation, gender identity, and relational practices. These case studies, when viewed collectively, reveal how television series rework cultural codes of sexuality and intimacy, producing new imaginaries of the body, pleasure, and identity. In this perspective, serial narratives emerge as key cultural laboratories, reproducing and challenging dominant ideologies of desire while offering audiences opportunities for recognition, critique, and affective engagement beyond the screen.

Humanities doi: 10.3390/h15020027

Authors: Astrid Ensslin Kübra Aksay Sebastian R. Richter

This article offers the first systematic analytical methodology to understand distant play as a multidimensional, ludoliterary, critical, and philosophical practice of engaging with so-called idle or semi-idle games. It uses Anselm Pyta’s The Longing, a so far underexplored semi-idle, slow game that challenges traditional gameplay paradigms through its metareferential, bookish, philosophical, and contemplative structure, as a case study. Our central argument is that The Longing deploys antimimetic temporal mechanics, interpassive forms of bookish play, and ideas of existentialist resistance to explore themes of time, agency, and existential longing, thereby offering a reflective space for dealing with neo-liberal, post-pandemic, polycrisis-stricken angst. To come to terms with the multidisciplinary complexities of the game, our paper adopts a triadic analytical methodology interweaving insights from postclassical, medium-specific narratology, platform-comparative literary analysis, and existentialist philosophy. This combined approach transcends existing ludoliterary frameworks and accounts for divergent forms of play. Our first focus is the game’s multiscalar temporal layering and the strategies it requires from players to “ludify” antimimetic frictions between those layers. This is followed by an examination of how the game constructs a bookish player by interweaving ludexical processes of reading, unreading, dis-reading, and writing (in) books and other printed documents. Finally, we turn to the game’s complex interpassive relationships between player, player-character, and game world, highlighting in particular the role of walking, collecting, building, and searching as acts of catharsis and rebellion, and examining failure as a valid ludic alternative to survival and happiness. Ultimately, our analysis renders distant play as a form of parasocial resistance, which in The Longing manifests as an affective and philosophically fine-grained combination of more-than-human relationality, care, and relief vis-a-vis the nothingness of lost hope. The game thus offers a new form of e-literary engagement, placing books and their “unnatural,” transmediated affordances front and center while questioning the capitalist undercurrents of contemporary literary media and critiquing a culture of acceleration.

Humanities doi: 10.3390/h15020026

Authors: Fae McNamara

Throughout her oeuvre, Mary Lavin (1912–1996) engages with the nuances of “celibate moments” within masculine life cycles. This periodic sexlessness is often expressed through the complexities of strained or upended marital unions, as in “A Happy Death”, as well as the homosocial and fraternal relationships depicted in “The Joy Ride” and “The Becker Wives.” Within these overlooked narrative spaces, we can consider the relational implications of sexlessness, singleness and marital struggle on interpersonal relationships and the intimacies of masculine sexual identity in post-independent Ireland. In Lavin’s work, the short story is not a conclusive form, and celibacy is not always a permanent practice or observed behaviour. Instead, celibacy can be transient, often silent but equally charged with generative or destructive potential. This article will theorise male celibacy as part of Lavin’s commitment to silence and restraint and include this as part of her refusal of conventional romantic closures. Celibacy in this case takes on a significant positionality within interpersonal characterisations, not merely as a passive symptom of unhappiness or a given consequence of marital decline or spousal death, but as an active and at times frustrated response to hegemonic expectation. To conceive of masculine celibacy in these works, this article considers how celibacy functions within domestic short fiction and Lavin’s conceptualisation of everyday estranged intimacies.

Humanities doi: 10.3390/h15020024

Authors: Cherrie Kwok

This article examines some postcolonial dimensions of a global literary movement in the twenty-first century called Neo-Decadence. It begins by highlighting the artistic and political preoccupations of the movement within the context of the century’s turn toward authoritarianism and late capitalism amidst an increasingly hyper-digital landscape. Then, it examines two short stories set in Iran and Peru in order to stress the emergence of what the article calls the Neo-Decadent “Real” (an anti-realism that bears witness to our century’s late capitalist and digital saturations); Fugitive Aestheticism (an aestheticism that, in emphasizing taste, touch, and smell, escapes permanent or totalizing capitalist capture); and Neo-Decadent Sexuality (queer circuits of desire that play with the consumptive impulses of late capitalism). In the process, it demonstrates how Neo-Decadence overlaps with, but also departs from, fin de siècle European decadence. It concludes by examining how Neo-Decadence might expand our on-going understanding of decadence more broadly, as well as the movement’s limitations with respect to its relationship to academia, the environment, and women.

Humanities doi: 10.3390/h15020025

Authors: Oluwaseyi B. Ayeni Oluwajuwon M. Omigbodun Oluwakemi T. Onibalusi Isabella Musinguzi-Karamukyo

This study explores water as memory and as method in African thought. It shows how rivers, rain, and oceans act not only as sources of life but also as teachers who carry a story, restore balance, and reveal moral truth. Drawing from Yoruba, Akan, Igbo, southern African, Kenyan and Afro-Atlantic traditions, this paper presents water as archive and as oracle, holding the past while speaking to the present. This article develops the idea of hydro epistemology, understood here as a way of knowing through flow, renewal, and relationship. In this framework, knowledge is created through ritual engagement with water, transmitted through oral memory and ecological observation, tested against environmental response and revised when conditions change. Water is treated as a witness, mediator and guide, rather than a passive resource. By setting these traditions alongside global discussions on water governance, nature-based ecological care and decolonial environmental ethics, this paper argues that African water imagination offers more than symbolism. It proposes a practical philosophy in which caring for water and caring for life are the same act. To listen to water is to remember, to restore and to recover a way of living that renews both people and land.

Humanities doi: 10.3390/h15020023

Authors: Heming H. Gujord

In his 17 novels, Kjartan Fløgstad (born 1944) has analysed the traces of WWII and possible continuations of right-wing ideology into post-war politics and ideology. In my article, I focus on four novels: Dalen Portland, U3, Grense Jakobselv, and Due og drone (Dove and Drone). Dalen Portland and U3 were published in the context of the Cold War, whereas Grense Jakobselv and Due og drone were published in a context in which history was claimed to have reached its end after the collapse of the Soviet Union. Fløgstad has opposed the end-of-history thesis since it was introduced in the influential study by Francis Fukuyama in 1992. From Fløgstad’s perspective, history has reached a dead end, as democratic ideals are being challenged and economic disparities are widening—even within the welfare states of Northern Europe. In all the novels being discussed, Fløgstad has consistently focused on factual and possible interlinks between right-wing figures of thought and stakeholders of political and economic power. Thus, the only consistent superpower, the United States, has also been an object of Fløgstad’s interest. The importance of the United States is even indicated in the well-chosen title for the English translation of Dalen Portland: Dollar Road. The interpretation of Fløgstad’s novels is simultaneously an interpretation of history. Given the threats to democratic ideals that have emerged in the 2020s, Fløgstad’s analysis has demonstrated notable foresight.

Humanities doi: 10.3390/h15020022

Authors: Zay Dale

This essay examines how textiles operate as violent aesthetic tools in the formation of Black existence during American slavery. While the American plantation relied on cotton production and the regulation of what the enslaved would wear, enslaved people transformed these fibers into instruments of refusal, creativity, and ontological reclamation. A study of textiles during American slavery exposes how the violence of enslavement was lived on the surface of the body through clothing. Reading art and runaway advertisements alongside narratives by Olaudah Equiano, John Brown, Booker T. Washington, and Harriet Jacobs, this article reveals how the enslaved resisted and rebelled against the textiles they were forced to wear. Bringing together visual art, runaway slave advertisements, and slave narratives, I argue that textiles form a crucial archive for understanding Black rebellion and resistance. This essay situates historical acts of resistance through textiles; it is through clothing that enslaved people articulated a radical insistence on their presence, thus turning fiber into flesh.

Humanities doi: 10.3390/h15020021

Authors: Kun Qian

This article examines labor relations in China’s entertainment live-streaming, where the state and private companies jointly regulate desire to secure political control and economic profit. Using Hao Wu’s documentary People’s Republic of Desire as a case study, I analyze how physical and affective labor are converted into emotional commodities circulated across platforms. Drawing on Jean-François Lyotard’s concept of the “libidinal economy,” I argue that while desire carries the potential to disrupt economic structures, it is ultimately absorbed into sustaining the political-economic status quo in contemporary China. Moreover, engaging Thomas Lamarre’s notion of “platformativity,” I further show how video platforms interweave the political, economic, and psychic to sustain a “tittytainment” economy that masks ongoing labor exploitation. The rise of live-streaming thus offers a critical lens for understanding the shifting relations among capital, labor, technology, and state governance in the digital age.

Humanities doi: 10.3390/h15020020

Authors: Diana Vela

This article examines the representation of women’s madness in the novel Misiá Señora by Albalucía Ángel to argue that the protagonist’s diagnosis of madness and subsequent institutionalization serve as a social construct, lack a scientific foundation and function as mechanisms of social discipline. I contend that the psychiatric procedures to which she is subjected operate less as therapeutic interventions than as punitive correctives aimed at regulating her defiance of patriarchal authority and her transgression of normative gendered behavior. This essay begins by reviewing scholarship on the novel that does not question the mental health diagnosis attributed to the main character. It then undertakes a close reading of the protagonist’s institutionalization to demonstrate how Ángel’s novel reveals madness as a device to neutralize women who resist socially prescribed roles. The analysis draws on feminist critiques of the “psy” disciplines—particularly those that interrogate the gendered construction of mental illness and the historical role of these disciplines in policing women’s bodies, emotions, and conduct. The conclusions highlight that, in Misiá Señora, the protagonist’s pathologization functions as a disciplinary tool that reinforces hegemonic gender norms by framing dissent as clinical deviance and justifying coercive forms of control.

Humanities doi: 10.3390/h15010019

Authors: Kathleen P. Costello-Sullivan

This article examines Norah Hoult’s 1929 short story “Miss Jocelyn,” from her short story collection Poor Women!, as an intertextual response to James Joyce’s representation of single women in the short story “Eveline” included in his landmark 1914 collection Dubliners. Drawing on Katherine Fama and Jorie Lagerwey’s work on singlehood, I suggest that Hoult challenges the dichotomy of “married” versus “premarried” that Joyce critiques in “Eveline”. At the same time, Hoult’s portrait of Miss Jocelyn powerfully engages the material and social factors that so often condition single women’s lives. She considers not only Miss Joceyln’s awareness and loss of her former independence, but also the ways that ageism compromises her options and agency. While both stories examine the disempowerment of women, “Miss Joceyln” highlights the loss of agency, the financial dependency, and the societal dismissal to which celibate older women were often subject in early twentieth-century Ireland and Britain, thus treating celibacy as a “third space”—an option not proffered in Joyce’s work.

Humanities doi: 10.3390/h15010018

Authors: Lidia Mihaela Necula

This article explores how Herta Müller and Paul Bailey transform the apparatus of state bordering, i.e., passports, permits and catechisms, into metaphors for an interior struggle between flight and belonging. In The Passport, The Land of Green Plums and Bailey’s Kitty & Virgil, emigration is portrayed not as departure alone but as a prolonged contest between the body that moves and the spirit that lingers. Those who cross borders geographically remain anchored, often painfully, in the mental and moral landscapes of the home they leave behind. The paper examines how documents, bodies, and languages become shifting frontier zones where identity is repeatedly issued and withdrawn, shaped by the pressures of memory, exile, and biopolitical control. Müller’s vision, written from within Romania’s history, and Bailey’s, refracted through an English consciousness yet partly set in Romania, converge in a poetics of witness that treats exile as both wound and testimony. Ultimately, these works suggest that identity survives in the liminal space between motion and remembrance where thought halts at its own threshold, memory traces its faint watermark, and the self bears its unspoken credential.

Humanities doi: 10.3390/h15010017

Authors: Lina Ruth Harder David Jhave Johnston Scott Rettberg Sérgio Galvão Roxo Haoyuan Tang

The Extended Digital Narrative (XDN) research project explores how experimental creative practice with emerging technologies generates critical insights into algorithmic narrativity—the intersection of human narrative understanding and computational data processing. This article presents five case studies demonstrating that direct engagement with AI and Extended Reality platforms is essential for humanities research on new genres of digital storytelling. Lina Harder’s Hedy Lamar Chatbot examines how generative AI chatbots construct historical personas, revealing biases in training data and platform constraints. Scott Rettberg’s Republicans in Love investigates text-to-image generation as a writing environment for political satire, documenting rapid changes in AI aesthetics and content moderation. David Jhave Johnston’s Messages to Humanity demonstrates how Runway’s Act-One enables solo filmmaking, collapsing traditional production hierarchies. Haoyuan Tang’s video game project reframes LLM integration by prioritizing player actions over dialogue, challenging assumptions about AI’s role in interactive narratives. Sérgio Galvão Roxo’s Her Name Was Gisberta employs Virtual Reality for social education against transphobia, utilizing perspective-taking techniques for empathy development. These projects demonstrate that practice-based research is not merely artistic production but a vital methodology for understanding how AI and XR platforms shape—and are shaped by—human narrative capacities.

Humanities doi: 10.3390/h15010016

Authors: Méghan Elizabeth Hodges

In George Eliot’s The Mill on the Floss (1860), we are cautioned not to judge a book by its cover. Yet, the marketing team at every publisher knows that we, the audience, inevitably do just that. In the case of Arthur Schnitzler’s The Road Into the Open (1908), various editions have featured paintings or drawings by contemporary Austrian artists, including Max Kurzweil, Gustav Klimt, and Egon Schiele, as the cover art. Schnitzler’s novel initially emerges in Pre-World-War-I Austria, a society grappling with political instability, fears about moral decline, and a preoccupation with neuroses. The anxious society that produced Schnitzler, Kurzweil, Klimt, and Schiele has been considered a representation par excellence of fin-de-siècle decadence. Following Gerard Genette’s Paratexts, I inquire as to the effect(s) of cover art and the competing visions of the novel they represent. This study responds to the following questions. How have publishers used or misused decadent imagery in (re)productions of Schnitzler’s novel? What meaning can be made from the use of the works by Kurzweil, Klimt, and Schiele as cover art? What contribution does each work make to our understanding of the Austria in Schnitzler’s novel? How does the reception of the author complement or compete with the reception of each painter?

Humanities doi: 10.3390/h15010015

Authors: Ilda Hoxha Edlira Bushati

This article offers an interdisciplinary ethnolinguistic and sociolinguistic reading of Karl Steinmetz’s early twentieth-century travel accounts from the northern Albanian highlands and links them to contemporary Albanian youth’s attitudes toward tradition. Through close analysis of his depictions of space, social organisation and oral practice, the study examines how tower, household, clan, honour, blood, revenge, hospitality and priest are lexically and discursively encoded as “word-concepts” structuring local worldviews. Methodologically, it combines textual analysis with a questionnaire administered to respondents aged 15–17 and 18–21 about the relevance of traditions today. The findings show that Steinmetz’s materials provide an early, systematic corpus on Northern Gheg Albanian, where linguistic variation is closely linked to customary law and collective identity; contemporary youth still value honour, hospitality, family solidarity and “besa”, while distancing themselves from the normative force of the Kanun and reinterpreting traditional codes in more individualised, rights-oriented terms. The article argues that Steinmetz’s work remains a crucial resource for understanding the diachronic interplay of language, culture and identity in northern Albania and for analysing how cultural models are transformed among younger generations.

Humanities doi: 10.3390/h15010014

Authors: Catalina Quesada-Gómez

This essay offers a comparative reading of Antonio Di Benedetto’s Los suicidas and Leila Guerriero’s Los suicidas del fin del mundo through the lens of the “suicidal archive.” Drawing on literary criticism, trauma studies, and biopolitical theory, it explores how both works transform suicide into a problem of representation, where writing functions as an aesthetic mediation against the chaos of reality. In dialogue with the ideas of Mbembe, De Martelaere, and Caruth, I argue that Di Benedetto and Guerriero move beyond the rational frameworks of scientific or journalistic discourse to probe the ethical and affective dimensions of suicidal acts. While Di Benedetto’s text renders repetition as a metaphysical and introspective structure, Guerriero’s transforms it into a collective, polyphonic archive of trauma. In both cases, literature emerges as a symbolic space of containment that, rather than closing off meaning, keeps the wound open. Ultimately, the essay concludes that the suicidal archive does not seek to explain or domesticate death but to inhabit its enigma—affirming writing as an act of resistance against silence and disappearance.

Humanities doi: 10.3390/h15010013

Authors: Andrew Klobucar

This article critically examines the growing interest in what most contemporary scholars consider still a new and underdeveloped mode of environmental storytelling in video games. Different models of games that provide strong narrative techniques within highly detailed, environmentally sophisticated land/soundscapes have been released over the last decade by well-known studios like Fullbright Productions, Giant Sparrow and Campo Santo. This new perspective will draw several critical questions formed from prior research in several foundational articles, the area of game studies and several journals directed at the question of how game spaces function as narrative devices. For example, an early 2016 article by John Barber for the Cogent Arts and Humanities, “Digital storytelling: New opportunities for humanities scholarship and pedagogy” was one of the first essays to explore how Fullbright’s well-known game Gone Home utilizes spatial design, object placement, and ambient details to convey stories without explicit narration. Gone Home, according to Barber and many others, continues to emphasize environmental storytelling as a form of semiotic communication—one where the “text” is the game world itself, inviting players to read and interpret more complex layers of literary meaning. Contemporary scholars have built on these more foundational studies to consider how AI and procedural generation further complicate narrative agency and structure in digital spaces, enabling the current study to consider what could be considered a distinctly post-AI theoretical perspective based upon these primary determinants: (a) how game environments may dynamically adapt narratives in response to player interaction and algorithmic input, and (b) the evolving notion of narrative agency in digital spaces where human and machine contributions intertwine in AI systems. The two chief aims of this proposal are thus to reconsider traditional environmental storytelling within new innovative, post-GenAI narrative frameworks and, looking at contemporary insights from leading examples in the field, deepen current academic understandings of narrative spaces in games from new narratological perspectives. Studies in this area seem uniquely valuable, given the rapid development of GenAI tools in creative content production and what appears to be a new epoch in narrative engagement in all interactive media.

Humanities doi: 10.3390/h15010012

Authors: Anat Koplowitz-Breier

Feminist poets and scholars have transformed Queen Esther from a relatively silent biblical figure into a complex literary character, yet systematic analysis of their interpretive strategies remains limited. This study examines how these poets employ feminist hermeneutical frameworks to reimagine Esther’s experiences and choices. Using a close-reading methodology, the analysis applies Alicia Ostriker’s hermeneutical modes (suspicion, desire, and indeterminacy) and Wendy Zierler’s hermeneutics of identification to poems by Janet Ruth Heller, Carol Barrett, Caryn Mirriam-Goldberg, Stacey Zisook Robinson, Jill Hammer, Enid Dame, Yala Korwin, and Bonnie Lyons from the late twentieth and early twenty-first centuries. The poems organize into three thematic categories: transformation and identity formation during Esther’s preparation for queenship; the interior and moral costs of her heroic actions; and retrospective reflections comparing her strategic compliance with Vashti’s direct defiance. The analysis reveals that these poets challenge traditional binary oppositions between the two queens, positioning both strategic accommodation and direct refusal as legitimate forms of feminist resistance within patriarchal structures. By giving Esther a first-person voice and exploring her interior life, these works create a new literary midrash that addresses contemporary concerns about women’s agency while maintaining deep engagement with Jewish textual tradition.

Humanities doi: 10.3390/h15010011

Authors: Jesslyn Whittell

This paper reads coal as a metonym for London’s social fabric in the writings of police theorist Patrick Colquhoun, the archival reports on the Wapping Coal Riot, and the anti-carceral poetry of William Blake. In 1798, at the behest of the West India Committee, Colquhoun had developed the first modern police force, the Thames River Police, which predated Robert Peel’s metropolitan police by over 20 years. Colquhoun’s “Treatise on the Commerce and Police of the River Thames” (1800) centers on coal in his case for policing. In his argument, coal’s energy economies link domestic affairs with the entire metropolis, making policing a city-wide problem, one that merits public support (and public funding). In reading Colquhoun’s treatise as an example of the entanglement of policing and fossil fuel power, I discuss the relevant literature from the energy humanities that connects fossil energy to the larger extractive ideologies of empire. I also demonstrate how Colquhoun’s figuring of coal builds on but alters portrayals of coal in Jonathan Swift and Anna Barbauld. The final section of this discussion demonstrates how Blake’s Jerusalem (1820) indexes dispersed, atmospheric systems of carceral power and summons dynamic, unpoliceable crowds. Blake’s smoke poetics sketch a limit of generalization, one that recoups figures of pollution and waste to riot against the systems that produce them.

Humanities doi: 10.3390/h15010010

Authors: Juan Wu

Fin-de-siècle decadence—marked by symbolism, dandyism, aesthetic withdrawal, and defiance of bourgeois norms—has long been reimagined beyond its original European contours. Vladimir Nabokov’s Ada or Ardor: A Family Chronicle exemplifies this transformation by extending decadent aesthetics into the domains of modern physics, perception, and experimental temporality. While Ada is often read as a retreat into aestheticism, this paper argues that Nabokov reconfigures decadence through a radical engagement with time, science, and sensual consciousness. Through Van Veen’s philosophical treatise “The Texture of Time”—a burlesque of Bergsonian introspection—Nabokov constructs a vision of purified, de-spatialized, and self-reflexive time that destabilises the boundary between decadent and modernist aesthetics. The novel fuses metaphysical decadence with Bergsonian duration, creating a poetic meditation on temporality as both perceptual and sensual experience. Through intricate linguistic play—anagrams, palindromes, and recursive narrative structures—Nabokov fashions a labyrinthine temporality that mirrors the paradoxes of the decadent imagination: time that is linear yet cyclical, finite yet infinitely recurrent. Positioning Ada within broader debates on the afterlife of decadence, this paper examines how Nabokov preserves the movement’s aesthetic essence while transforming it through scientific analogy and linguistic experimentation. Ada simultaneously honours and subverts decadence, reimagining its hedonism and nostalgia within a cosmological framework that renders temporality itself a site of aesthetic play and metaphysical desire.

Humanities doi: 10.3390/h15010009

Authors: Carmen Andrei

This paper offers a series of reflections and observations derived from my experience as a (semi-) professional literary translator and as a teacher of translation studies. I openly recognise the subjective nature of any meta-reflection on the ethical challenges faced by the translator as an intercultural mediator. After briefly examining several central theses that have been defended, illustrated, and adopted to produce a translation that is politically correct from both a professional and deontological standpoint, I then list and analyse the major obstacles to the reception of a novel featuring “Romanian subject matter” written by a French author: cultural, historical, and political allusions as well as culinary and civilizational culture-specific elements. The examples come from Lionel Duroy’s novels Eugenia (2018) and Mes pas dans leurs ombres (2023), which revisit the pogroms of Iași, Bucharest, Bessarabia, and Ukraine, leading to the extermination of the Jewish population (1940–1941)—a significant and painful chapter of Romanian history, often overlooked or silenced. These cases enable us to argue more convincingly for the strategies, techniques, and procedures that can be considered when translating a text laden with profound cultural and ideological significance, aiming to help the Romanian/French and Francophone reader to understand sensitive realia and listen to History.

Humanities doi: 10.3390/h15010008

Authors: Melissa Kagen

In Ivy Road’s new game Wanderstop (March 2025), the player character is so burned out from their lifetime as a workaholic warrior that they find themselves trapped and forced to serve tea in a charming, purgatorial teashop until they finally learn how to rest and recover. This article analyzes the game through its two core verbs—wander and stop—both of which the player first resists and then eventually accepts. With wander, the game forces the player into a jarring experience of presence, using a defamiliarization technique I term ‘confrontational coziness’—an experience of safety, abundance, and softness taken to such an extreme it becomes uncomfortable. With stop, the game uses ideas from the anti-capitalist philosophy of degrowth to engage the player in the challenge of not doing rather than doing.

Humanities doi: 10.3390/h15010007

Authors: Ian M. Clark Brooke Cameron

This essay reads Grant Allen’s “Pallinghurst Barrow” as folk horror about the late-Victorian spiritualist debates. We read Allen’s story as not only sympathetic to spiritualism, but also as critical of the gendered and genred politics of fin-de-siècle scientific materialism which would preclude such occult experiences—or what we frame as feminine ways of knowing. In both form and content, “Pallinghurst Barrow” challenges masculine science by foregrounding the powerful influence (on Rudolph, the protagonist) of the Gothic ghost story (“gipsy” Rachel’s cautionary tale, repeated by young Joyce). Allen’s interest in the folkloric origins of religion can be traced back to Herbert Spencer’s “Ghost Theory,” a proto-sociological explanation for the cultural construction and transmission of myth (or spirits). A lifelong friend and devotee of Spencer, Allen employs his mentor’s sociology as a way to make sense of non-material forces, including the ghost story circle and its production of Gothic awe or wonder (the wonder tale). Ultimately, then, Allen’s infamous folk horror reads as an allegory of late-Victorian spiritualist debates and, more importantly, as a defence of feminine modes of knowledge and myth-making through collective story-telling.

Humanities doi: 10.3390/h15010006

Authors: Madelen Brovold

Materiality has emerged as a significant theme in Holocaust literature as well as in Holocaust studies scholarship, highlighting the pivotal role of physical objects. This materiality has been conceptualized in various ways in recent scholarship, including «testimonial objects», «objects of return», and «artifacts of memory». Building on this conceptual framework, the article analyzes the ways in which transgenerational memory transmission is thematized in Monica Csango’s memoir Fortielser. Min jødiske familiehistorie («Concealments. My Jewish Family History», 2017), investigating what memorial functions material places and objects—in particular inherited objects—serve in the transmission and representation of memory within the narrative. The central question the article addresses is: Which places and objects are central to the narrative’s representation of memory, and in what ways do they mediate memory and trauma? The article suggests that postmemory transforms physical objects and places spaces into sites of remembering and mourning, enabling transgenerational continuity and memory transmission in Fortielser. These findings underscore the central role of material and spatial mediums in sustaining intergenerational remembrance, suggesting that inherited artifacts and projected spaces constitute vital modes of memory transmission, or «acts of transfer», within parts of Jewish Norwegian second- and third-generation literature.

Humanities doi: 10.3390/h15010005

Authors: Lin Young

This paper examines Arthur Conan Doyle’s 1883 story The Captain of the ‘Pole-Star’ in light of his later intersecting interests in spiritualism and masculinity. Conan Doyle uses the Arctic as a space where scientific and spiritual ways of viewing the world struggle to co-exist, comparing ship doctor Ray’s official journal with the ‘superstition’ of the crew, examining the role of spiritual belief in an increasingly scientific age. The paper examines how the story focuses these themes through the lens of masculinity. By reading Ray and Craigie as embodiments of possible British futures—that of scientific rationality and Romantic spirituality, Ray’s rationality is ultimately confounded and unsettled by the spectral events of the story, leaving him haunted by the events on board the ship, unable to resolve them or prevent Craigie’s death. Meanwhile, Craigie’s Romanticism leads him to embrace the spectral, but at the cost of his own life. As a result, Conan Doyle depicts both definitive worldviews as ultimately cold and desolate, neither wholly sustaining on their own terms. The ghost, as a result, becomes key to determining what sort of man ought to usher in the future—whether we recognize it as having a rational explanation or a sublime supernatural one.

Humanities doi: 10.3390/h15010003

Authors: Momoka Takahashi

This paper aims to re-examine the roles of engravers and printers in the producing process of Nishiki-e, multicolored woodblock prints made in 18th–19th century Japan. Previous research has privileged the creative ideas of artists while regarding the craftsmen’s work as mere reproduction. In contrast, this paper re-evaluates the Nishiki-e production process, comprising publishers, painters, engravers, and printers, as a “meshwork,” a concept proposed by anthropologist Tim Ingold. By examining documents and specific works from three perspectives of imagery, coloring, and texture, this paper argues that the engravers and printers were also deeply involved in selecting lines and colors in the finished work. It reveals that Nishiki-e were products woven through the correspondence between humans and materials, reflecting economic factors and spectators’ pleasure.

Humanities doi: 10.3390/h15010004

Authors: David Ciccoricco

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

Humanities doi: 10.3390/h15010002

Authors: Anastasia Salter John T. Murray

This article examines Split Fiction, a cooperative video game that engages with themes of authorship, creativity, and artificial intelligence in the digital age. The game presents aspiring authors whose creative ideas are extracted by a corporate machine—a metaphor for contemporary generative AI systems. Through its mandatory two-player cooperative mechanics and genre-shifting gameplay, Split Fiction explores tensions between human creativity and automated generation, individual authorship and corporate extraction, and procedural rhetoric versus narrative meaning. We analyze how the game’s mechanical variety, intertextual references, and meta-narrative structure comment on the current landscape of AI in creative industries, particularly as director Josef Fares’s ambivalent statements about AI complicate straightforward readings of the work as purely anti-AI critique. The game ultimately offers a nuanced exploration of creative labor futures in an age where the boundaries between human and machine authorship grow increasingly uncertain.

Humanities doi: 10.3390/h15010001

Authors: Soojung Park

Despite the censorship imposed by the GHQ in postwar Japan, the period saw the launch of numerous fetish magazines featuring explicit sexual expression. These magazines sometimes complied with the censorship of sexual expression and sexual norms and resisted it at other times. This niche print culture enabled the emergence of Japanese gay magazines like Sabu (1974–2002), the primary focus of this paper. Although previous studies have described Sabu primarily as a hardcore SM magazine, this paper argues that it also functioned as a space for articulating gay identities and resisting social discrimination. Through a close analysis of the magazine’s reader correspondence sections, the study demonstrates how Sabu emphasized personal acts of coming out and expressions of solidarity in response to the AIDS epidemic. Furthermore, it shows that Sabu sought to diversify stereotypical representations of gay men by attempting a crossover with the male–male romances created by and for women. By examining Sabu as a case study, this paper re-evaluates the magazine’s place in the history of Japanese gay magazines and explores how such publication employed erotic representations as a medium for the articulation and strengthening of minority identities.

Humanities doi: 10.3390/h14120243

Authors: Ozden Dere

This article examines Daniel Suarez’s techno-thrillers Daemon (2006) and Freedom™ (2010) as works of speculative fiction that critically engage with themes of posthuman identity, algorithmic governance, and ecological agency. Rather than portraying artificial intelligence as a dystopian threat, the novels imagine the Daemon, which is a self-replicating system launched upon its creator’s death, as an infrastructural force that reorganizes global systems of power, labor, and survival. Through a posthumanist reading, drawing on thinkers such as Donna Haraway, Karen Barad, Rosi Braidotti, and N. Katherine Hayles, this article interprets the Daemon not as malevolent code, but as an ecological actor embedded in material networks, capable of fostering adaptive forms of life and governance. By reading Suarez’s fiction through the lens of posthuman ecocriticism and infrastructural media theory, the article offers a model for understanding freedom, not as a static right, but as a relational capacity earned through participation in sympoietic systems. It argues that speculative fiction can function as a cartographic tool, mapping not only future technologies but future ontologies.

Humanities doi: 10.3390/h14120242

Authors: Jaime Oliveros García

This article addresses the way Frostpunk’s saga highlights the semiotic nature of video games by establishing an aesthetic and ethical link in its ludonarrative mechanics and storytelling, which, in turn, may engage with the player in a debate where the identitarian discourses of both the fictional entities encoded within the game and the player (that is, of both functional and fictional agents) are put into question and thus may be reconfigured. To understand this connection between aesthetics, ethics, and identity, affect is central: through affect, players establish empathic links towards the encoded agents (including, but not limited to, the encoded citizens, the encoded setting, and the encoded avatar of the player within the game world), which in turn allows them to interact with them as if being real, at least while the playthrough is active. To achieve this, this article will first offer a theoretical review of the terms mentioned above (identity, affect, aesthetics, ethics), and then will apply them to 11Bit’s saga, Frostpunk. The article finishes with some conclusions regarding the semiotic nature of the video game and the universality of these analyses.

Humanities doi: 10.3390/h14120241

Authors: David Alff

This essay argues that Jeremy Bentham’s experience of the 1780 Gordon Riots and 1787 sojourn to White Russia inspired his conception of several projects for managing unruly populations. Bentham’s devotion to speculative enterprise informs his Defence of Usury, which vindicates schemers and dreamers from the criticism of Adam Smith, whose Wealth of Nations caricatured projectors as “riotous” con-artists who threatened domestic peace. Bentham’s Defence, I show, resuscitated early modern debates over the efficacy of free-lance enterprise to authorize his own efforts to improve society. A projector and theorist of projection, Bentham reveals how residents of the late eighteenth century described riot so that they could suppress it.

Humanities doi: 10.3390/h14120240

Authors: Keelan Harkin

Attending to Elizabeth Bowen’s environmental descriptions in her short fiction, including her landscapes, weather, flora, and fauna, reveals a modernist ecological sensibility. In stories such as ‘Summer Night’ and ‘Human Habitation,’ Bowen’s characters find themselves estranged from the kinds of attachment to place fostered by a national ecological imaginary. While Bowen’s own nationality, and the effect of her Anglo-Irish class and heritage on her writing, has been a central area of consideration for many scholars, this essay offers an ecocritical reading of her short stories and argues that these works interrogate the viability of national ecologies to help understand the experiences of her characters within a modern world. Whether they find themselves in Ireland or in England, Bowen’s characters inhabit a world that perpetually leads to feelings of detachment and alienation from the terms of belonging and place that underlie such national ecologies. By building on the recent modernist and ecocritical turn in scholarship on Elizabeth Bowen, this essay argues that her short stories challenge the explanatory qualities of romantic national ecologies by instead evoking a modernist ecology of estrangement.

Humanities doi: 10.3390/h14120239

Authors: Marianne Sætre Amundsen

This article presents a comprehensive historical overview and analysis of Norwegian descendant literature written by children and grandchildren of World War II perpetrators—specifically Nazis, Waffen-SS front fighters and members of the fascist party Nasjonal Samling (NS)—from the 1980s to the 2020s. Based on an analysis of twenty works, it shows how these narratives articulate the emotional and social burden of family history and engage with an evolving national memory culture. The analysis identifies generational and temporal patterns, including a significant divergence within the second generation. Early publications (1980s) and later “NS children’s” accounts (2010s) foreground stigmatisation, bullying, exclusion and long-term repercussions, whereas self-reflective second- and third-generation works (2000s–2020s) increasingly portray internalised responses, such as inherited shame, guilt and emotional ambivalence. By tracing these developments, the analysis shows that descendant narratives both reflect and reshape existing frameworks of remembrance. Across periods and generations, the burden is marked by strong emotional responses and interwoven with national memory culture. These findings offer new insights into the emotional dimensions of Norway’s evolving memory of World War II, highlighting the interplay between personal, familial and collective memories.

Humanities doi: 10.3390/h14120238

Authors: Gina Lyle

This paper considers Helen McClory’s 2021 novel Bitterhall as one that self-reflexively engages with Scottish Gothic literary traditions, interrogating its own relationship with James Hogg’s The Private Memoirs and Confessions of a Justified Sinner (1824) and expressing authorial concerns around influence and the production of derivative pastiche. Eve Kosofsky Sedgwick offers a specifically queer reading of Confessions, and this article finds a parallel with Bitterhall, suggesting Tom’s anxiety about his sexuality is what makes him vulnerable to the power of a mysterious diary. Drawing from Timothy C. Baker’s exploration of the found manuscript, this paper further considers Bitterhall’s relationship with time and temporal disruption as queer, indicating how the novel’s cyclical narrative style and collapsing of past and present disrupt linearity and indicate a history of queer identities. This paper argues for McClory’s inclusion in wider discussions of contemporary Scottish Gothic and indicates the potential for fresh engagements with Scottish literary traditions.

Humanities doi: 10.3390/h14120237

Authors: Jasmine Yueming Li

This essay analyzes Chinese theater director Li Jianjun’s play The Metamorphosis (Bianxingji) under Pierre Bourdieu’s idea of cultural capital. Reimagining Kafka’s Gregor Samsa as a package delivery rider in contemporary China, the play stages a failed narrative of storytelling through live-feed video and informs the impossibility of representing the riders’ labor resulting from the fragmented realities of postsocialist China. It thus challenges the middle-class writers’ efforts to transform delivery riders’ labor into a form of cultural capital and confronts the audience with the exploitative potential of their spectating position. Ultimately, the impossibility of representation staged by the play articulates the inequality and stratification that structures China at the postsocialist moment. The play interweaves three layers of narratives: Geligaoer’s family’s various forms of labor, documentary clips of real-life delivery riders in contemporary China, and an interplay between an external voice and the performers’ bodily movements. This layered narrative foregrounds the artificiality of storytelling and can be situated within the ongoing discussions in the recent decade in China, in which scholars and journalists attempt to secure their middle-class identities by transforming the riders’ laboring condition into a form of cultural capital. In contrast, the play stages the failure of the narrative of storytelling through a projection screen and live-feed cameras to inform the impossibility of a transparent representation of the delivery riders. By excluding the audience from the riders’ subjectivity, the play blocks the audience’s identification with the latter. Through the heavy beauty filter projected on the screen as a metaphor, the play confronts the audience with their own middle-class identity and warns them of the violence inherent in their spectating position.

Humanities doi: 10.3390/h14120236

Authors: Anette Homlong Storeide

The Nazi genocide had devastating consequences for Norwegian Jews and Romas. However, their experiences and memories have been treated very differently in Norway with respect to official recognition and public attention. This article investigates the mnemonic marginalization of the Roma and the persistent gap between the historical recognition of Roma persecution and its representational absence in national narratives of war and victimhood. It suggests that continued exclusion of the small Roma minority from national identity narratives in Norway results not only from temporal, topographical and narrative characteristics of their memories, but also from discursive connections of negative stereotypes that discredits them as blameworthy victims and results in testimonial injustice. Moreover, it explores the challenges of representing Roma memories without reproducing stigmatizing cultural tropes. The article suggests empathic mnemonic counter-narratives as a strategy for countering dominant framings of the Roma as “the others” and for promoting a more inclusive and self-reflexive politics of remembrance.

Humanities doi: 10.3390/h14120235

Authors: Peter A. A. Bailey

Critics often cast the Creole woman of color in Lafcadio Hearn’s circum-Caribbean writings as a figure of cultural moribundity—an emblem of a Creole world fading under the pressures of modernization. However, Hearn also presents Creole women as vivacious counterdecadent agents, disruptors of the political decline experienced by Martinique’s white Creoles after citizenship was restored to the colony’s men of African descent. Through historical contextualization of Hearn’s periodical writing and his correspondence with journalist Elizabeth Bisland, this paper explains why he employs the strategies of Decadent conservatism to imagine a moment in which formerly enslaved Creole women prevent an iconoclastic Republican attack on a sculpture of the Empress Joséphine. Erected in a reactionary period after slavery’s abolition, this monument originally commemorated the reinstatement of plantocratic dominance over the Black population, but by the time Hearn saw the statue, it had become an ironic reminder of weakened white authority. The imagined actions of Hearn’s Creole women resignify the monument, making its survival attest to the limited victory of Republican egalitarianism and the survival of pre-modern traditions of racial deference.

Humanities doi: 10.3390/h14120234

Authors: Nursan Celik

Dies Buch gehört dem König (This Book Belongs to the King), written and published in 1843 by the German Romantic author Bettina von Arnim, is a quasi-open letter, presented as a series of fictional dialogues with traces of a novel. Dedicated to the newly crowned King of Prussia, Friedrich Wilhelm IV, the letter unfolds social grievances and aims to persuade Friedrich Wilhelm to act like a just king. Due to its delicate socio-critical impetus, the letter does so through strategies of obfuscation and by using a richly pictorial, seemingly naive and lavish way of speech rather than taking an openly reproachful stance. Crucially, von Arnim does not install herself as the letter’s speaker but instead fictionalizes the letter and presents Goethe’s mother, Catharina Elisabeth Goethe, as the letter’s primary voice (‘Frau Rat’). By using a well-respected figure of the ruling class as the letter’s main voice, von Arnim aimed at minimizing its scandalous potential. But even prior to publishing the letter, von Arnim had already managed to trick Friedrich Wilhelm and the Prussian censors herself: by fusing the book’s title and dedication, she paratextually outwitted both the censors and the King, whose permission she sought precisely to bypass Prussian censorship. This article shows how von Arnim managed to avoid a larger scandal both textually by implementing semi-fictional devices and paratextually by presenting the letter as an affirmation of Friedrich Wilhelm IV and his policies.

Humanities doi: 10.3390/h14120233

Authors: Gunja Nandi

Eastern dance traditions have historically been shaped by the continuum of socio-political forces, including colonial encounters, and the aftermath of the Empire. An embodied repository of cultural histories, Orientalized dancer communities delineate genealogies of socio-cultural oppression, and queer resistance against dominant forces of erasure. The Oriental dancer in particular, has figured prominently in long-nineteenth century decadent literatures of the Empire, regularly fetishized as an exotic spectacle, inherently imbricated in queer traditions incomprehensible to the West. In postcolonial literature, the bodies of these Oriental dancers often become the ontological space upon which resistance against the intersecting racial and political discourses of Orientalism, colonialism, and anti-colonialist nationalism is enacted. This study interrogates the triangulated discourses of decadence, Orientalism, and anti-colonial nationalism by critically analyzing the nationalist replications and postcolonial resistance to decadent Orientalist representations of the “Oriental” dancer in British and Indian decadent poetry. Through the transnational and transhistorical study of three poems, namely, Athur O’Shaughnessy’s “Salomé,” Sarojini Naidu’s “Indian Dancers,” and Kamala Das’s “The Dance of the Eunuchs,” this study explores the persistent reverberations of the nineteenth-century decadent movement in the postcolonial era. Across these three poems, I would trace the complicities and departures of fin-de-siècle decadence from the colonial discourse, to study how it can be subversively transformed into a language of resistance to the violence visited upon the subaltern dancers’ textual and sexual bodies.

Humanities doi: 10.3390/h14120232

Authors: Ann Keniston

The origin of this Special Issue on hybridity goes back several years to my early attempts to combine my sensibilities as a scholar and poet [...]

Humanities doi: 10.3390/h14120231

Authors: Victoria Barnett-Woods

Between December 1773 and May 1775, several port cities and towns across the American seaboard participated in a “tea party” as an act of political defiance toward the recent onslaught of taxation laws implemented by the British government on American colonists. Indeed, on 19 October 1774, in Annapolis, Maryland, taxpayer Anthony Stewart was coerced by the Sons of Liberty to burn his ship to the water line to prove his patriotism to the American cause, despite his Loyalist leanings. The circumstances that led to the Patriots targeting tea as their symbol for destruction, the Bostonian group to attire themselves as Mohawks and throw boxes overboard, the multiple threats made to Customs officials and Loyalists alike, speak to the American Revolution borne of a relationship between the mechanisms of hydrocolonialism (concentrated at the Custom House and at major trade docks) and countersurveillance systems implemented by the Sons and Liberty (represented by a number of different groups) and enforced by emerging poetic forms rising with the times of revolution. This is most demonstrated in the “poet of the American Revolution,” Philip Morin Freneau, and his poetic responses to the events leading up to and during the American Revolution. Taking the example of the Annapolis Tea Party and Freneau’s poetry under the consideration of hydrocolonialism among other critical interventions, this essay will consider the push and pull of imperial surveillance and patriotic countersurveillance at the breaking point of the American Revolution, when riots between colonists over goods and taxes spoke to larger socioeconomic systems of control that remain ever present in American cultural values.

Humanities doi: 10.3390/h14120230

Authors: Anne Sigrid Refsum

What happens to a Norwegian traditional folktale when told by a Large Language Model (LLM)? As machine-generated text becomes increasingly omnipresent, the need to understand such texts through analysis using literary scholarship and seeing them through the lens of folkloristics becomes apparent. For the purposes of examining basic structures of LLM narrative, this article uses the folktale “The Sweetheart in the Forest” (ATU 955) to examine how the style and telling of folktales is adapted by LLMs, including how LLMs display a tendency towards “floating” motifs and imagery, and how the LLMs relate to the cultural specificity of the Norwegian variant.

Humanities doi: 10.3390/h14120229

Authors: Iulia Elena Cîndea Diana Ștefania Jerpel

This article reassesses Ezra Pound’s Cathay as translation from Chinese Tang poetry rather than autonomous modernist verse. Building on Pound’s own poetics and compact coordinates from Chinese lyric theory, we argue that Cathay maintains translational fidelity by preserving and sharpening images while accepting losses in prosodic form and thinning some culture-specific encyclopaedias. Methodologically, we conduct a qualitative, contrastive microanalysis of two Li Bai poems “送友人” (Taking Leave of a Friend) and “长干行” (The River-Merchant’s Wife: A Letter), aligning the Chinese text, a neutral interlinear gloss, and Pound’s English version. A coding scheme tracks image handling, cultural markers, prosody, and the balance of phanopoeia, melopoeia, and logopoeia alongside domestication/foreignization choices. Findings show a stable hierarchy—image (phanopoeia)–stance (logopoeia)–sound/form (melopoeia)—that aligns with Chinese esthetic dynamics of yi/xiang (idea/form) and qing/jing (emotion/scene). Pound’s practice preserves correlative imagery (mountains/river/sunset; moss/leaves/butterflies) and voice, while paratextual titling, address terms, folklore allusions, toponyms, and a fifth-month calendar line reveal domestications, distortions, or omissions traceable to mediation via Fenollosa’s notes. We propose mechanism-sensitive criteria for evaluating distant-pair lyric translation: not formal replication, but reconstruction of the poem’s image–scene–emotion economy. On that basis, Cathay functions as translation—at justified costs. Rather than resolving the long-standing debate on Cathay, we offer a mechanism-sensitive account of how, in two central Li Bai poems, Pound’s image-centred poetics yields a limited but defensible form of translational fidelity within a relay-translation setting.

Humanities doi: 10.3390/h14120228

Authors: Marisa Rianti Sutanto Jessica Priscilla Nangoi Ariesa Pandanwangi

This paper will discuss the depiction of trans women in the films Lovely Man and Midnight Swan, comparing the two main characters, Ipuy and Nagisa. Discrimination against transgender individuals persists in contemporary society, particularly in patriarchal Asian countries such as Indonesia and Japan. The films Lovely Man and Midnight Swan are of Indonesian and Japanese origin, respectively. A close analysis of both films reveals that they feature protagonists who embody the exact symbolic representations as entertainers, parents, sexual objects, and pariahs. According to Peirce’s semiotics, these four symbolic representations are determined. A thorough examination of the cinematic expressive movements in both films reveals four metaphorical expressions: the trans woman as an entertainer, the trans woman as a parent, the trans woman as a sexual object, and the trans woman as a pariah. These four metaphorical expressions are validated through extralinguistic references, reflecting socio-cultural realities in Indonesian and Japanese societies. They become arguments through the interpretation of both films. The similarities between the two films can be understood as a social critique of the issues facing trans women in Indonesia and Japan, who require greater attention to their human rights to survive in society.

Humanities doi: 10.3390/h14120227

Authors: Natalie Muñoz

What do images ask of the future, and what promises do we owe them? Reading Agnès Varda’s Mur Murs and Visages Villages with Derrida’s archive and de Certeau’s city-writing in mind, I treat Varda’s walls as contested palimpsests. Film overwrites and counter-inscribes surfaces, yet it keeps undertexts legible. I set aside Michael Cramer’s divide between community murals and externally authored photomurals; rather than framing them as opposed projects, the films share one practice: collective inscription, archival method, shifting temporal sense. In Mur Murs, Varda’s camera lets living people eclipse their monumental doubles and turns trompe-l’œil and hushed voices into layers of the palimpsest that refuse closure. In Visages Villages, the larger-than-life portrait of the last remaining inhabitant of a former mining town and the colossal figures of dockworkers’ wives recenter overlooked lives while keeping their impermanence in view. Across both films, cinema becomes the archivable surface: framing, montage, and projection “write” the wall, preserving disappearance even as each screening adds a new layer. Varda practices a careful ethics of remembering that remains future-facing, aware of institutions, and shaped by reality, yet always keeping the walls of stucco, metal, glass, and rock open to re-reading and re-inscription.

Humanities doi: 10.3390/h14120226

Authors: Christine Hamm

In recent years, Norwegian cultural production has increasingly foregrounded the experiences of sailors serving aboard merchant vessels allied with the British during the Second World War. These men endured not only physical injuries from submarine and aerial attacks, but also profound psychic trauma, often manifesting in post-war alcoholism and depression. However, the war at sea also left indelible marks on women’s bodies. This article examines Vigdis Stokkelien’s trilogy on Gro—Lille-Gibraltar (Little Gibraltar, 1972), Båten under solseilet (The boat under the sun sail, 1982), and Stjerneleden (The star joint, 1984)—to explore how emotions as fear, shame and pain circulate between different individuals and groups during the war and in war memories. Drawing on affect theory, this reading of Stokkelien’s novels demonstrates how what happened at sea marked Norwegian bodies and national identity for a long time after the war.

Humanities doi: 10.3390/h14110225

Authors: Doreen Bechtol

This essay introduces an experiential process through which student actors can explore any Shakespearean play. Anne Bogart’s Viewpoints technique serves as the foundation for a creative process informed by devising exercises and physical composition. In this essay, I demonstrate how this physically based dramaturgical process enables students to pay particular attention to the foundational elements that uniquely shape the story, such as time, space, sound, architecture, and gesture. This process gives student actors the agency to create material inspired by Shakespeare yet infused with their own imagination and curiosity. It allows students to wake up Shakespeare’s text in unexpected ways, embrace collaboration, and embody the richly detailed expression of Shakespeare’s poetic language. This essay aims to be a resource for educators and directors alike who are interested in a collaborative process that can either be integrated into rehearsals or serve as a foundation for classroom-based discussions. As such, this process can be mapped onto any classical or contemporary play, even though this essay features Shakespeare as the foundation for exploration.

Humanities doi: 10.3390/h14110224

Authors: Samuel Saunders

As Francis Dodsworth argues, histories of nineteenth-century British policing and detection have neglected to examine the extent, influence and legacy of corruption, scandal and organisational mismanagement within the police itself. Rather than face these issues head on, studies generally prefer to touch upon the subject carefully, incidentally, and in a perhaps ‘curated’ manner, leaving a significant gap in the history of police reform driven by public outrage and political influence. However, this also means that the influence of scandal and corruption in the police force on the development and representation of police officers and detectives in contemporaneous fiction also remains under-examined. This essay contextualises the presence of police officers and detectives in popular fiction from the mid-to-late nineteenth century against a swathe of contemporaneous scandals and corruption cases, as well as organisational mishaps and the resultant downturn in public opinion of the police, as they were reported in the periodical and newspaper press. It builds a more sophisticated picture of the relationship between the police, the press, and the publishing industry in the latter half of the nineteenth century, using events such as the 1867 Clerkenwell Prison bombing, the 1877 ‘Great Detective Case,’ the 1888 Whitechapel Murders, and the 1888 Thames Torso Murders, among others, as anchor points, and contextualises them against contemporaneous writing to argue that the history of ‘detective’ fiction should be historicized alongside ‘detection’ itself.

Humanities doi: 10.3390/h14110223

Authors: Tero Eljas Vanhanen

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

Humanities doi: 10.3390/h14110222

Authors: Sigurd Tenningen

This article examines Dag Solstad’s War Trilogy (1977–81) as a key work of realism and cultural memory in postwar Norwegian literature. Long dismissed as doctrinaire Marxist fiction, the trilogy is, in fact, one of the most ambitious literary engagements with World War II in Scandinavia. Drawing on Georg Lukács’s theory of the historical novel and Fredric Jameson’s account of realism’s “antinomies,” this article argues that Solstad’s realism is defined by contradiction: it is both a didactic mapping of social conflict and an aesthetic registration of lived sensation. The trilogy insists on the persistence of class antagonisms across civilian and military spheres; however, it also dwells on affective residues—hygiene, beauty, emotions, atmosphere—that resist narrative closure. This duality is framed through the concept of dual historicity: Solstad’s novels remember the 1930s and 1940s from the vantage point of the 1970s, while today they reach us as artifacts of that political and aesthetic moment. In light of this, the War Trilogy operates not only as historical fiction but as a medium of cultural memory, dramatizing the contradictions of remembrance itself. Realism here becomes neither transparency nor nostalgia, but a “battle of the senses” in which ideology and perception vie over the conditions of historical experience.

Humanities doi: 10.3390/h14110221

Authors: Marina S. Brownlee

Curiosity and Modernity offer an inevitable pairing [...]

Humanities doi: 10.3390/h14110220

Authors: M. Carmen Gómez-Galisteo

This article examines how the Southern lady is represented in three major Southern women’s novels set during the American Civil War: Macaria (1864) by Augusta Jane Evans Wilson, The Battle-Ground (1902) by Ellen Glasgow, and Gone with the Wind (1936) by Margaret Mitchell. Although separated by over seven decades and distinct historical perspectives—Wilson as a contemporary witness, Glasgow as a postwar observer, and Mitchell as a nostalgic inheritor—their works collectively shaped enduring images of the South in American popular culture. Through textual analysis, the study explores how each author depicts female endurance, illness, and mortality to symbolize both individual and social transformation. The heroines (Wilson’s Electra and Irene, Glasgow’s Betty Ambler, and Mitchell’s Scarlett O’Hara) embody resilience amid collapse, assuming active roles in the reconstruction of Southern identity. Their struggles reflect broader tensions between traditional femininity and emerging female agency. Ultimately, the article argues that portrayals of women’s frailty and death function as metaphors for the decline of the antebellum order and the inevitable demise of the Southern lady ideal, revealing illness and death as physical and cultural markers of the South’s transformation in war and its aftermath.

Humanities doi: 10.3390/h14110219

Authors: Alick D. McCallum

Son of the “rebellious” Rosanna, and grandson of an obeah woman, ‘Talkee Amy’, Robert Wedderburn was a formerly enslaved ultra-radical prophet, pamphleteer, and anti-abolitionist campaigner who migrated to England from Jamaica in 1778. A recent uptick in Wedderburn scholarship, in the words of Shelby Johnson, centers “Caribbean history in our approaches to Wedderburn, whose career in London looms large in critical assessments of his work.” However, even this tradition overlooks the place of Black political actors in Wedderburn’s audiences. By reading spy reports of “West Indian” attendees at Wedderburn’s debates and his frequent address of “ye Africans” in his periodical The Axe Laid to the Root, I argue there is an important difference between approaching Caribbean history as a means of explaining where Wedderburn’s political orientations came from versus regarding the Caribbean as a place where Afrodiasporic people developed critical apparatuses of their own which were themselves used to interpret Wedderburn’s work in his own time. By reapproaching Wedderburn’s archives through interpretive frameworks that may have been available to his Afro-Caribbean audiences, I argue Wedderburn curated spaces of Black political belonging through which Black political agents circulated Black political thought around the Atlantic world of his time.

Humanities doi: 10.3390/h14110218

Authors: John Hawkins

This essay argues that Hamlet should be read not merely as a domestic or dynastic tragedy, but as a political–philosophical ALLEGORY in which language itself becomes a site of crisis. Beginning with Hamlet’s contemptuous reply to Polonius—”Words, words, words” (2.2.191)—the play dramatizes the death of philosophy in the state, where speech is emptied of wisdom and reduced to surveillance, platitude, or performance. Had events unfolded differently, Prince Hamlet might have become a philosopher-king in the Platonic sense, ruling through reflection and justice. Instead, succession ambiguity, Claudius’s manipulative election, and the corruption of logos foreclose that possibility. The Mousetrap, often interpreted as a test of guilt, can also be read as a thought experiment about succession itself: a theatrical attempt to expose the fragility of legitimacy in an elective monarchy. Hamlet’s wager that words and representation can secure truth collapses, leaving only suspicion and violence. Polonius parodies philosophy’s degeneration into bureaucratic rhetoric, while Horatio inherits the burden of words as memory—tasked with telling a story that remains undecidable. Drawing on Plato, Foucault, Kewes, and recent scholarship, the essay contends that Shakespeare stages the foreclosure of philosophical sovereignty: a tragedy for Denmark and, symbolically, for the world.

Humanities doi: 10.3390/h14110217

Authors: Adrian Tait

Arthur Conan Doyle’s most famous creation, Sherlock Holmes, is a determined rationalist, yet Doyle was himself a convert to spiritualism. Doyle’s interest in spiritualism informs four, somewhat neglected Gothic tales written during the last decades of the century: “The Winning Shot” (1883); “John Barrington Cowles” (1884); the short novel The Parasite (1894); and “Playing with Fire” (1900). These narratives are notable not only because they respond to the contemporary fascination with spiritualism, but because, in doing so, they explore (sometimes explode) the gendered assumptions of a heteronormative and patriarchal society, which carried over into the close, if erroneous, association of women with the powers of mediumship and mesmerism. Doyle complicates this binary: in his own stories, he presents women as victims of spiritualist power as well as manipulators of it. And while his fictional women do sometimes use that power for their own, self-serving ends, they also use it as a means of taking control back in a male-dominated world. While fascinating in itself, I argue, Doyle’s creation of a Gothicized spiritualism reflects a nuanced engagement with the gendered politics of his historical moment, as the “New Woman” sought to assert herself over the domestic ideology of the day.