The digital humanities are rapidly expanding access to scholarly and literary materials once largely confined to the university. No more: now, with free digital resources, like Giuseppe Mazzotta’s lecture series available for free through Open Yale Courses on YouTube, or Teodolinda Barolini’s 54-lecture long “The Dante Course”, also available for free through her Digital Dante website, academic discussions of difficult masterpieces are available to any person with enough bandwidth to handle it. I, too, made a brief foray into the digital humanities, and prior to turning to academic work, I provided a 42-lecture Dante-in-translation course which itself covered the entirety of Dante’s Comedy and sought to offer a less academic, and more accessible series of lectures on Dante than its more academic and more popular predecessors.
{"title":"Popularizing Paradiso: On the Difficulties of Podcasting Dante’s Most Academic Canticle","authors":"Alexander Eliot Schmid","doi":"10.3390/h13010013","DOIUrl":"https://doi.org/10.3390/h13010013","url":null,"abstract":"The digital humanities are rapidly expanding access to scholarly and literary materials once largely confined to the university. No more: now, with free digital resources, like Giuseppe Mazzotta’s lecture series available for free through Open Yale Courses on YouTube, or Teodolinda Barolini’s 54-lecture long “The Dante Course”, also available for free through her Digital Dante website, academic discussions of difficult masterpieces are available to any person with enough bandwidth to handle it. I, too, made a brief foray into the digital humanities, and prior to turning to academic work, I provided a 42-lecture Dante-in-translation course which itself covered the entirety of Dante’s Comedy and sought to offer a less academic, and more accessible series of lectures on Dante than its more academic and more popular predecessors.","PeriodicalId":509613,"journal":{"name":"Humanities","volume":"129 ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139622478","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article examines how trauma, crime, violence, and masculinity are connected in the novel Moronga (2018) by Honduran–Salvadoran author Horacio Castellanos Moya. The novel highlights the ways in which, thirty years after the signing of the Peace Accords, war trauma continues to oppress survivors of the civil war and determine their daily lives, beyond temporal and geographical borders. The novel points out how the transition into the neoliberal economy has transnationalized all aspects of the Salvadoran economy, including that of organized crime, which has undergone globalization, as have trauma and Salvadoran communities. Through the novel’s depiction of violence and crime, the author suggests that only those who perpetuate patriarchal violence in postwar diasporic communities will thrive, whereas those who aspire to carry out memory labor and peacefully heal the emotional wounds of the past will be defeated by the perverse logic of the system.
{"title":"The Burden of the Past: Globalized Crime, Trauma, and Patriarchal Violence in Horacio Castellanos Moya’s Moronga (2018)","authors":"Julia González Calderón","doi":"10.3390/h13010014","DOIUrl":"https://doi.org/10.3390/h13010014","url":null,"abstract":"This article examines how trauma, crime, violence, and masculinity are connected in the novel Moronga (2018) by Honduran–Salvadoran author Horacio Castellanos Moya. The novel highlights the ways in which, thirty years after the signing of the Peace Accords, war trauma continues to oppress survivors of the civil war and determine their daily lives, beyond temporal and geographical borders. The novel points out how the transition into the neoliberal economy has transnationalized all aspects of the Salvadoran economy, including that of organized crime, which has undergone globalization, as have trauma and Salvadoran communities. Through the novel’s depiction of violence and crime, the author suggests that only those who perpetuate patriarchal violence in postwar diasporic communities will thrive, whereas those who aspire to carry out memory labor and peacefully heal the emotional wounds of the past will be defeated by the perverse logic of the system.","PeriodicalId":509613,"journal":{"name":"Humanities","volume":"5 3","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139529815","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In this article, I will highlight how Dante’s clear separation between heretics and schismatics is radical compared to contemporary thought and can, therefore, tell us a great deal about his conception of these two sins and about the nature of the characters condemned in Cantos X and XXVIII. In fact, the heresy of disobedience, a political weapon created ad hoc to favor the imposition of the hierocratic model, tended, in the reflection of jurists, to bring together these two sins so well-separated by Dante. The proposal of a new interpretation of these concepts that is more adherent to their historicity, with a specific and radical meaning, can open up interesting reflections on Dante’s possible desire to affect this historical process. It also brings new interpretations to questions that still lack a convincing answer, such as the silence on the numerous heretical movements that had characterized the decades preceding the writing of the Commedia, the presence of Dolcino among the schismatics, and the selection of Epicurus as an exemplum of heresy.
{"title":"Dante and the Canonists: Adhesions and Deviations on the Dialectic between Heresy and Schism","authors":"Emanuele Ciarrocchi","doi":"10.3390/h13010012","DOIUrl":"https://doi.org/10.3390/h13010012","url":null,"abstract":"In this article, I will highlight how Dante’s clear separation between heretics and schismatics is radical compared to contemporary thought and can, therefore, tell us a great deal about his conception of these two sins and about the nature of the characters condemned in Cantos X and XXVIII. In fact, the heresy of disobedience, a political weapon created ad hoc to favor the imposition of the hierocratic model, tended, in the reflection of jurists, to bring together these two sins so well-separated by Dante. The proposal of a new interpretation of these concepts that is more adherent to their historicity, with a specific and radical meaning, can open up interesting reflections on Dante’s possible desire to affect this historical process. It also brings new interpretations to questions that still lack a convincing answer, such as the silence on the numerous heretical movements that had characterized the decades preceding the writing of the Commedia, the presence of Dolcino among the schismatics, and the selection of Epicurus as an exemplum of heresy.","PeriodicalId":509613,"journal":{"name":"Humanities","volume":"9 2","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139438342","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The article argues that where secrecy and secrets are key aspects of conspiracy theory narratives and practice, the genealogies of the/a secret have not been well understood. We argue that two forms of the secret, one a premodern notion of the secret as truth and revelation, the other a post-Derridean non-secret, inform two distinct forms and functions of contemporary conspiracy practice.
{"title":"Rumpelstiltskin, Kung Fu Panda, Jacques Derrida, and Conspiracy Theory: The Role and Function of Secrecy in Conspiracy Narrative and Practice","authors":"John Bodner","doi":"10.3390/h13010010","DOIUrl":"https://doi.org/10.3390/h13010010","url":null,"abstract":"The article argues that where secrecy and secrets are key aspects of conspiracy theory narratives and practice, the genealogies of the/a secret have not been well understood. We argue that two forms of the secret, one a premodern notion of the secret as truth and revelation, the other a post-Derridean non-secret, inform two distinct forms and functions of contemporary conspiracy practice.","PeriodicalId":509613,"journal":{"name":"Humanities","volume":"47 23","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139448179","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Participation has become the keyword in museum and gallery education during the past decades. However, the focus on participation might contain neoliberalist tendencies, creating more entertainment and consumerism than art. In this study based on practice-based research, I explore a gallery educational method to mediate contemporary art to primary and high school students inspired by Gilles Deleuze and Félix Guattari’s process philosophy and new materialist theory–practice. What kind of roles can the method of Concept Play Workshop create for the participating body and how can it challenge neoliberal tendencies in museum and gallery education? In the workshops, children and young people create philosophical concepts with contemporary art, dialogue-based practices and artistic experiments in the exhibition space of Kunsthall 3,14 in Bergen, Norway. I argue that the method can create philosophizing, critical, uncomfortable, resting, dictatorial and protesting bodies. Representational logic becomes challenged, and discomfort and resistance become educational potential. The method creates multiple and overlapping roles for the participating body, shifting the focus towards multiplicities instead of the passive/active binary. Humans are not the only participating bodies, but attention is given to agential matter, contesting human-centeredness. The study is a contribution to the field of post-approaches in gallery and museum education.
{"title":"A Thousand Concepts and the Participating Body: Concept Play Workshops at Kunsthall 3,14","authors":"Heidi Marjaana Kukkonen","doi":"10.3390/h13010011","DOIUrl":"https://doi.org/10.3390/h13010011","url":null,"abstract":"Participation has become the keyword in museum and gallery education during the past decades. However, the focus on participation might contain neoliberalist tendencies, creating more entertainment and consumerism than art. In this study based on practice-based research, I explore a gallery educational method to mediate contemporary art to primary and high school students inspired by Gilles Deleuze and Félix Guattari’s process philosophy and new materialist theory–practice. What kind of roles can the method of Concept Play Workshop create for the participating body and how can it challenge neoliberal tendencies in museum and gallery education? In the workshops, children and young people create philosophical concepts with contemporary art, dialogue-based practices and artistic experiments in the exhibition space of Kunsthall 3,14 in Bergen, Norway. I argue that the method can create philosophizing, critical, uncomfortable, resting, dictatorial and protesting bodies. Representational logic becomes challenged, and discomfort and resistance become educational potential. The method creates multiple and overlapping roles for the participating body, shifting the focus towards multiplicities instead of the passive/active binary. Humans are not the only participating bodies, but attention is given to agential matter, contesting human-centeredness. The study is a contribution to the field of post-approaches in gallery and museum education.","PeriodicalId":509613,"journal":{"name":"Humanities","volume":"48 18","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139447335","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Mireia Ludevid Llop, Jonathan Martin, Ben McDonnell, Sara Ortolani, Molly Pardoe, Clare Stanhope, Ana Vicente Richards
This practice-based paper explores the methods of answering the question: what is our collective body? This article offers a case study of collaborative research and seeks to enact a collective body as a means of transgressing and occupying individuated neoliberal spaces of higher education. Understanding the processes through which knowledge is collectively built highlights the in-becoming nature of practice-based research and the enabling forces of this inquiry. The methods enacted access a particular rendering of how we understand ourselves as a collective; we answer the question through doing together. The ways we encounter the collective enable understanding around the shifting boundaries of the individual–collective connection, made palpable by a string. Through playful forms of dissent, such as embodied, remembered, and writing encounters, enable connections with others and inspire a refocusing of our individual practices.
{"title":"How Does a Collective Body Arrive, Move, and Learn? Becoming through Practice-Based Research as a Stringing-(Em)bodying Process","authors":"Mireia Ludevid Llop, Jonathan Martin, Ben McDonnell, Sara Ortolani, Molly Pardoe, Clare Stanhope, Ana Vicente Richards","doi":"10.3390/h13010009","DOIUrl":"https://doi.org/10.3390/h13010009","url":null,"abstract":"This practice-based paper explores the methods of answering the question: what is our collective body? This article offers a case study of collaborative research and seeks to enact a collective body as a means of transgressing and occupying individuated neoliberal spaces of higher education. Understanding the processes through which knowledge is collectively built highlights the in-becoming nature of practice-based research and the enabling forces of this inquiry. The methods enacted access a particular rendering of how we understand ourselves as a collective; we answer the question through doing together. The ways we encounter the collective enable understanding around the shifting boundaries of the individual–collective connection, made palpable by a string. Through playful forms of dissent, such as embodied, remembered, and writing encounters, enable connections with others and inspire a refocusing of our individual practices.","PeriodicalId":509613,"journal":{"name":"Humanities","volume":"10 9","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139386741","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The objective of this contribution is to create a first, ideal mapping of a “category” of manga that has experienced and is still experiencing a very successful season. Although they are generically identified with the term “horror manga” or “horror comics,” these manga should be placed within a narrative universe so magmatic as to escape, however, any univocal representation. When we speak of Japanese horror, in fact, we tend to imagine well-defined scenarios and stereotypes, often conveyed by some novels, manga and, perhaps even more so, some films that have bewitched the West, such as The Ring (1998) and Ju-on (2000). Despite the success in Italy, too, of authors such as Umezu Kazuo (楳図かずお, b. 1936), Hino Hideshi (日野日出志, b. 1946) and Itō Junji (伊藤潤二, b. 1963), knowledge of horror manga is limited to a number of works and authors who represent, however, only a small percentage of a far more polychrome and multifaceted narrative universe. In other words, the tip of an iceberg just waiting to be brought to light. This preliminary contribution is intended to trace a path, thematic/narrative in nature, from which the route of “horror” manga can emerge in a diachronic, dynamic and evolutionary perspective. It goes without saying that, dealing with nearly seventy years of horror comic book publications, it will be impossible to make an exhaustive examination that takes into account all publishing realities, large and small. That is why the field of investigation will be narrowed down and focus exclusively on a specific historical period, from its beginnings in 1958 to the boom of the 1980s, examining the most recurrent themes and stylistic features of this time segment.
{"title":"Horror Manga: Themes and Stylistics of Japanese Horror Comics","authors":"Paolo La Marca","doi":"10.3390/h13010008","DOIUrl":"https://doi.org/10.3390/h13010008","url":null,"abstract":"The objective of this contribution is to create a first, ideal mapping of a “category” of manga that has experienced and is still experiencing a very successful season. Although they are generically identified with the term “horror manga” or “horror comics,” these manga should be placed within a narrative universe so magmatic as to escape, however, any univocal representation. When we speak of Japanese horror, in fact, we tend to imagine well-defined scenarios and stereotypes, often conveyed by some novels, manga and, perhaps even more so, some films that have bewitched the West, such as The Ring (1998) and Ju-on (2000). Despite the success in Italy, too, of authors such as Umezu Kazuo (楳図かずお, b. 1936), Hino Hideshi (日野日出志, b. 1946) and Itō Junji (伊藤潤二, b. 1963), knowledge of horror manga is limited to a number of works and authors who represent, however, only a small percentage of a far more polychrome and multifaceted narrative universe. In other words, the tip of an iceberg just waiting to be brought to light. This preliminary contribution is intended to trace a path, thematic/narrative in nature, from which the route of “horror” manga can emerge in a diachronic, dynamic and evolutionary perspective. It goes without saying that, dealing with nearly seventy years of horror comic book publications, it will be impossible to make an exhaustive examination that takes into account all publishing realities, large and small. That is why the field of investigation will be narrowed down and focus exclusively on a specific historical period, from its beginnings in 1958 to the boom of the 1980s, examining the most recurrent themes and stylistic features of this time segment.","PeriodicalId":509613,"journal":{"name":"Humanities","volume":"39 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139151387","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In this article, I explore the ways that women of the Korean diaspora engage in cultural meaning-making through material culture in efforts to redefine what it means for people, things, and ideas to be considered “authentically Korean”. Using the case study of famous internet chef Maangchi, I examine one of her best-selling cookbooks and her digital presence to identify the tactics she uses to exert agency in the meaning-making and community-building process, using Korean food and her role as a maternal figure as vehicles for analysis. Due to her roles as a mother and her positioning as a quintessential immigrant subject in the US context, I argue that Maangchi challenges colonial and Eurocentric models of cultural authenticity as part of a long history of women of color that actively disrupt social perceptions of value, expertise, and knowledge production. By exploring her business ventures, I consider how embedded pieces of knowledge, racialization, perceived expertise, and cultural assumptions are all connected to challenge the historical concepts and applications of authenticity in favor of a more inclusive, radical, and politically potent understanding of what truly makes something “Korean”.
{"title":"Doenjang in the Air: Maangchi and the Mediation of Korean Cultural Authenticity","authors":"Justin Sprague","doi":"10.3390/h13010005","DOIUrl":"https://doi.org/10.3390/h13010005","url":null,"abstract":"In this article, I explore the ways that women of the Korean diaspora engage in cultural meaning-making through material culture in efforts to redefine what it means for people, things, and ideas to be considered “authentically Korean”. Using the case study of famous internet chef Maangchi, I examine one of her best-selling cookbooks and her digital presence to identify the tactics she uses to exert agency in the meaning-making and community-building process, using Korean food and her role as a maternal figure as vehicles for analysis. Due to her roles as a mother and her positioning as a quintessential immigrant subject in the US context, I argue that Maangchi challenges colonial and Eurocentric models of cultural authenticity as part of a long history of women of color that actively disrupt social perceptions of value, expertise, and knowledge production. By exploring her business ventures, I consider how embedded pieces of knowledge, racialization, perceived expertise, and cultural assumptions are all connected to challenge the historical concepts and applications of authenticity in favor of a more inclusive, radical, and politically potent understanding of what truly makes something “Korean”.","PeriodicalId":509613,"journal":{"name":"Humanities","volume":"47 10","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139158604","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
An orange shirt is synonymous with truth and reconciliation in Canada. How did this symbol spread from a personal story about surviving a residential school, to a children’s book by author Phyllis J. Webstad, to a national symbol of Indigenous solidarity and allyship? This paper examines the work of Webstad as a Canadian story luminary, using historical and textual analysis to explore the power of “The Orange Shirt Story” to decolonize, resist, refuse, and transform. The orange shirt reveals the deep connectedness between storytelling, social justice, resilience, and activism.
在加拿大，橙色衬衫是真相与和解的代名词。这个符号是如何从一个关于寄宿学校幸存者的个人故事，传播到作家菲利斯-J-韦伯斯塔德（Phyllis J. Webstad）的儿童读物，再传播到土著团结和盟友关系的国家象征的？本文研究了作为加拿大故事大师的韦伯斯塔德的作品，利用历史和文本分析探讨了《橙色衬衫的故事》在非殖民化、抵制、拒绝和变革方面的力量。橙色衬衫揭示了讲故事、社会正义、复原力和行动主义之间的深刻联系。
{"title":"Story Luminary Phyllis (Jack) Webstad and the Storywork of the Orange Shirt","authors":"Marlene Wurfel","doi":"10.3390/h13010006","DOIUrl":"https://doi.org/10.3390/h13010006","url":null,"abstract":"An orange shirt is synonymous with truth and reconciliation in Canada. How did this symbol spread from a personal story about surviving a residential school, to a children’s book by author Phyllis J. Webstad, to a national symbol of Indigenous solidarity and allyship? This paper examines the work of Webstad as a Canadian story luminary, using historical and textual analysis to explore the power of “The Orange Shirt Story” to decolonize, resist, refuse, and transform. The orange shirt reveals the deep connectedness between storytelling, social justice, resilience, and activism.","PeriodicalId":509613,"journal":{"name":"Humanities","volume":"45 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139159218","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This essay reconsiders the Freudian notion of the Uncanny/Unheimlich by focusing on the attempt of the ego to project and maintain a coherent and consistent view of the world and of itself—an attempt that is intrinsically subverted by the very process of repetition that both conditions and disrupts all forms of identity and of identification.
{"title":"Reconsidering Freud’s Uncanny: The Coppola Perspective","authors":"Samuel Weber","doi":"10.3390/h13010004","DOIUrl":"https://doi.org/10.3390/h13010004","url":null,"abstract":"This essay reconsiders the Freudian notion of the Uncanny/Unheimlich by focusing on the attempt of the ego to project and maintain a coherent and consistent view of the world and of itself—an attempt that is intrinsically subverted by the very process of repetition that both conditions and disrupts all forms of identity and of identification.","PeriodicalId":509613,"journal":{"name":"Humanities","volume":"49 9","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139164244","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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