Humanities

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.

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.

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.