Antilogies, or pairs of symmetrically opposed speeches or arguments, were generally ignored by Plato, Isocrates, Aristotle, Cicero, and Diogenes Laertius, and, later, by Eduard Norden, Hermann Diels, and most modern scholars of antiquity. As a consequence, until the end of the twentieth century CE, antilogies have been ignored or, at best, treated as a minor literary device to be mentioned only with reference to individual writings. Nevertheless, during the second half of the fifth century, antilogies were a crucially important form of argument and persuasion in ‘sophistic’ thought, philosophy, historiography, comedy and tragedy, and other fields. In order to redress the historical neglect of the art of antilogy, this essay provides an inventory (doubtless incomplete) of some 30 antilogies composed by playwrights such as Sophocles, Euripides, and Aristophanes, historians such as Herodotus and Thucydides, and, most importantly, ‘sophists’ such as Protagoras, Gorgias, Prodicus and Antiphon (in addition to a few other writers of the same period). Building on this inventory, the second part of the essay seeks to establish identifying features of antilogy and assess its cultural significance in the Athenian context (in the second half of the fifth century BCE).
{"title":"Antilogies in Ancient Athens: An Inventory and Appraisal","authors":"Livio Rossetti","doi":"10.3390/h12050106","DOIUrl":"https://doi.org/10.3390/h12050106","url":null,"abstract":"Antilogies, or pairs of symmetrically opposed speeches or arguments, were generally ignored by Plato, Isocrates, Aristotle, Cicero, and Diogenes Laertius, and, later, by Eduard Norden, Hermann Diels, and most modern scholars of antiquity. As a consequence, until the end of the twentieth century CE, antilogies have been ignored or, at best, treated as a minor literary device to be mentioned only with reference to individual writings. Nevertheless, during the second half of the fifth century, antilogies were a crucially important form of argument and persuasion in ‘sophistic’ thought, philosophy, historiography, comedy and tragedy, and other fields. In order to redress the historical neglect of the art of antilogy, this essay provides an inventory (doubtless incomplete) of some 30 antilogies composed by playwrights such as Sophocles, Euripides, and Aristophanes, historians such as Herodotus and Thucydides, and, most importantly, ‘sophists’ such as Protagoras, Gorgias, Prodicus and Antiphon (in addition to a few other writers of the same period). Building on this inventory, the second part of the essay seeks to establish identifying features of antilogy and assess its cultural significance in the Athenian context (in the second half of the fifth century BCE).","PeriodicalId":93761,"journal":{"name":"Humanities (Basel, Switzerland)","volume":"69 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135864569","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}
Haniya Yutaka (1909–1997) was one of the leading figures in postwar Japanese literature and avant-garde art movements, chiefly remembered today for his unfinished metaphysical novel Dead Souls [Shirei, 1946–1997]. This essay, however, examines his hitherto unknown theoretical writings on film. Haniya and other writers gathering around the literary magazine Kindai bungaku [Modern Literature, 1946–1964] shared a keen interest in film’s unparalleled importance in twentieth-century modernity. And their collective efforts to transgress conventional boundaries between literature and film culminated in the 1957 publication of the anthology entitled Literary Film Theory [Bungakuteki eigaron]. Above all, Haniya’s film writing was clearly distinguished for its tendency to explicate film’s paradoxical mode of existence philosophically, an approach that the film critic Matsuda Masao later called an “ontological film theory” [sonzaironteki eigaron]. Looking closely at his essays and interviews collected in Literary Film Theory and two other volumes on this topic—Thoughts in the Darkness [Yami no naka no shisō, 1962] and Dreaming in the Darkness [Yami no naka no musō, 1982]—the present essay reads Haniya’s theorization of cinema in relation to both Martin Heidegger’s existential phenomenology and recent scholarly debates on non-Western film theory.
{"title":"As Seen from the Camera Obscura: Haniya Yutaka’s Ontological Film Theory","authors":"Naoki Yamamoto","doi":"10.3390/h12050105","DOIUrl":"https://doi.org/10.3390/h12050105","url":null,"abstract":"Haniya Yutaka (1909–1997) was one of the leading figures in postwar Japanese literature and avant-garde art movements, chiefly remembered today for his unfinished metaphysical novel Dead Souls [Shirei, 1946–1997]. This essay, however, examines his hitherto unknown theoretical writings on film. Haniya and other writers gathering around the literary magazine Kindai bungaku [Modern Literature, 1946–1964] shared a keen interest in film’s unparalleled importance in twentieth-century modernity. And their collective efforts to transgress conventional boundaries between literature and film culminated in the 1957 publication of the anthology entitled Literary Film Theory [Bungakuteki eigaron]. Above all, Haniya’s film writing was clearly distinguished for its tendency to explicate film’s paradoxical mode of existence philosophically, an approach that the film critic Matsuda Masao later called an “ontological film theory” [sonzaironteki eigaron]. Looking closely at his essays and interviews collected in Literary Film Theory and two other volumes on this topic—Thoughts in the Darkness [Yami no naka no shisō, 1962] and Dreaming in the Darkness [Yami no naka no musō, 1982]—the present essay reads Haniya’s theorization of cinema in relation to both Martin Heidegger’s existential phenomenology and recent scholarly debates on non-Western film theory.","PeriodicalId":93761,"journal":{"name":"Humanities (Basel, Switzerland)","volume":"83 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136130055","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 explores Percival Everett’s multi-dimensional use of a concept he has termed the “slash” (i.e., the line that both separates and conjoins signifier/signified) in his novel American Desert. In effect, this slash is a trope Everett deploys to compel readers not to align themselves with what might otherwise be perceived as the author’s message but rather to explore a wide range of the possible ideas and provisional meanings his fiction might generate, challenge these perceived meanings, constructively play with his text, and eventually tease out some (inevitably contingent) concepts that may, upon further consideration, morph into newer, richer sets of understanding. Although Everett’s use of the slash is not unique to American Desert, it is arguably the novel in which he uses the trope most pervasively.
{"title":"Reading the “Slash” in Percival Everett’s American Desert","authors":"Joe Weixlmann","doi":"10.3390/h12050104","DOIUrl":"https://doi.org/10.3390/h12050104","url":null,"abstract":"This article explores Percival Everett’s multi-dimensional use of a concept he has termed the “slash” (i.e., the line that both separates and conjoins signifier/signified) in his novel American Desert. In effect, this slash is a trope Everett deploys to compel readers not to align themselves with what might otherwise be perceived as the author’s message but rather to explore a wide range of the possible ideas and provisional meanings his fiction might generate, challenge these perceived meanings, constructively play with his text, and eventually tease out some (inevitably contingent) concepts that may, upon further consideration, morph into newer, richer sets of understanding. Although Everett’s use of the slash is not unique to American Desert, it is arguably the novel in which he uses the trope most pervasively.","PeriodicalId":93761,"journal":{"name":"Humanities (Basel, Switzerland)","volume":"207 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135063136","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 studies the fictionalisation of the eyes and their potential in La pícara Justina (The Spanish Jilt) (1605), a picaresque novel by the licentiate López de Úbeda. To this end, a collection of passages is discussed in the light of physiognomic and medical–humanistic sources close to the author’s context, which makes it clear that he was at least familiar with the technical literature as well as with the learned circles next to the court. The article also attempts to explain certain elusive passages concerning (or having suggested any connection to) the eyes, with an emphasis on the turn of phrase ‘ojos médicos’ and its assumed link to the Menippean ‘sight from afar’ and the phenomenon of the so-called ‘médicos chocarreros’.
本文研究了《La pícara Justina (the Spanish gilt)》(1605)中眼睛的虚构化及其潜力，这是一本流浪汉小说，作者是López de Úbeda。为此目的，根据与作者背景相近的面相学和医学人文主义来源，讨论了一组段落，这清楚地表明，他至少熟悉技术文献，也熟悉法院旁边的学术圈子。这篇文章还试图解释某些关于(或暗示与)眼睛有任何联系的难以捉摸的段落，重点是短语“ojos m录影带”的转变，以及它与梅尼普人的“远望”和所谓的“m录影带”现象的联系。
{"title":"The Scholarship Behind the Eyes in La pícara Justina (1605)","authors":"Javier Soage","doi":"10.3390/h12050102","DOIUrl":"https://doi.org/10.3390/h12050102","url":null,"abstract":"This article studies the fictionalisation of the eyes and their potential in La pícara Justina (The Spanish Jilt) (1605), a picaresque novel by the licentiate López de Úbeda. To this end, a collection of passages is discussed in the light of physiognomic and medical–humanistic sources close to the author’s context, which makes it clear that he was at least familiar with the technical literature as well as with the learned circles next to the court. The article also attempts to explain certain elusive passages concerning (or having suggested any connection to) the eyes, with an emphasis on the turn of phrase ‘ojos médicos’ and its assumed link to the Menippean ‘sight from afar’ and the phenomenon of the so-called ‘médicos chocarreros’.","PeriodicalId":93761,"journal":{"name":"Humanities (Basel, Switzerland)","volume":"14 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135203056","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 Spanish Golden Age tragedy is assembled around the conflict of passions, which does not find an adequate channel of expression in words because there are feelings that cannot be confessed if one wants to preserve life. However, such intense emotions cannot be hidden for a long time, either. The characters discover that the eyes speak in silence and cannot lie, so they appeal to their sincerity at crucial moments. Such examples can be found in the declarations of love addressed to inaccessible or forbidden women or in the narratives of women who report sexual assault or husbands who believe they have been dishonored. In this article, we will analyze all these circumstances to demonstrate that, if they contradict the lips, the eyes are the windows of the soul, and they speak a language that is as expressive as it is eloquent.
{"title":"“Me Has Visto el Alma en los Ojos”: Hidden Passions in Spanish Golden Age Tragedy","authors":"María Rosa Álvarez Sellers","doi":"10.3390/h12050101","DOIUrl":"https://doi.org/10.3390/h12050101","url":null,"abstract":"The Spanish Golden Age tragedy is assembled around the conflict of passions, which does not find an adequate channel of expression in words because there are feelings that cannot be confessed if one wants to preserve life. However, such intense emotions cannot be hidden for a long time, either. The characters discover that the eyes speak in silence and cannot lie, so they appeal to their sincerity at crucial moments. Such examples can be found in the declarations of love addressed to inaccessible or forbidden women or in the narratives of women who report sexual assault or husbands who believe they have been dishonored. In this article, we will analyze all these circumstances to demonstrate that, if they contradict the lips, the eyes are the windows of the soul, and they speak a language that is as expressive as it is eloquent.","PeriodicalId":93761,"journal":{"name":"Humanities (Basel, Switzerland)","volume":"12 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135202889","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 offers a comparative analysis of Bernard Rose’s 1992 Candyman and its 2021 sequel directed by Nia DaCosta. Through an intertextual approach informed by gothic studies, narratology, and critical race theory, the essay shows how DaCosta’s film establishes a transformative relationship with its predecessor. In the 2021 film, Candyman rewrites the story of the original, disrupts its stereotypical representation of Blackness, and appropriates the horror genre to give voice to the peculiar anxieties of contemporary African American life. In so doing, DaCosta’s film also challenges classic gothic tropes of horrific Blackness while at the same time pushing back against dominant narratives on race to reclaim space for a discussion on racial relations in America filtered through a Black lens.
{"title":"“You Can Really Make the Story Your Own”: Taking Back Candyman","authors":"Marco Petrelli","doi":"10.3390/h12050103","DOIUrl":"https://doi.org/10.3390/h12050103","url":null,"abstract":"This essay offers a comparative analysis of Bernard Rose’s 1992 Candyman and its 2021 sequel directed by Nia DaCosta. Through an intertextual approach informed by gothic studies, narratology, and critical race theory, the essay shows how DaCosta’s film establishes a transformative relationship with its predecessor. In the 2021 film, Candyman rewrites the story of the original, disrupts its stereotypical representation of Blackness, and appropriates the horror genre to give voice to the peculiar anxieties of contemporary African American life. In so doing, DaCosta’s film also challenges classic gothic tropes of horrific Blackness while at the same time pushing back against dominant narratives on race to reclaim space for a discussion on racial relations in America filtered through a Black lens.","PeriodicalId":93761,"journal":{"name":"Humanities (Basel, Switzerland)","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135202888","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 Trout’s Lie, Percival Everett seems to be once more exploring pure form as part of a quest for abstraction. Yet the effect of the poems in the collection largely relies on the materiality of language characterizing all poetry—mostly a play on sounds and the visual dimension of the text. How to conciliate the quest for pure form and the unruliness of the bodily? It will be argued that Everett brings them together through a work on forms not only in space but also in time, focusing on endings in both the abstract and the concrete sense of the term.
{"title":"Read with Me/While We Wait—A Community of Voices in Percival Everett’s Trout’s Lie","authors":"Anne-Laure Tissut","doi":"10.3390/h12050099","DOIUrl":"https://doi.org/10.3390/h12050099","url":null,"abstract":"In Trout’s Lie, Percival Everett seems to be once more exploring pure form as part of a quest for abstraction. Yet the effect of the poems in the collection largely relies on the materiality of language characterizing all poetry—mostly a play on sounds and the visual dimension of the text. How to conciliate the quest for pure form and the unruliness of the bodily? It will be argued that Everett brings them together through a work on forms not only in space but also in time, focusing on endings in both the abstract and the concrete sense of the term.","PeriodicalId":93761,"journal":{"name":"Humanities (Basel, Switzerland)","volume":"78 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135438223","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}
As immersive media, including VR, AR, MR, and XR, continues to expand rapidly during the pandemic era, there remains limited research on its comprehensive characteristics and its potential to create new forms of experience and aesthetics. This may be attributed to a lack of an understanding that immersive technologies exist encompassing both realms of reality and virtuality, leading to misconceptions that they are radically disconnected from traditional notions of materiality. In contrast, this study identifies an emerging trend characterized by the material implementation of immersive technologies in the domain of making culture in VR, which is referred to as “virtual craft” in this research. By reviewing studies on immersive media, materiality, making culture, and triadic semiotics, an integrated conceptual framework was developed to assess the experiences, aesthetics, and potential of immersive making culture. This framework is then applied to a specific case study involving virtual craft, with a particular focus on the 3D painting application, Tilt Brush, and related applications that the author has observed and tested. In conclusion, this paper presents a vision of the future of virtual craft and discusses the sustainability of immersive making culture, highlighting the potential for continued innovation and integration in various fields.
{"title":"Virtual Craft: Experiences and Aesthetics of Immersive Making Culture","authors":"Minhyoung Kim","doi":"10.3390/h12050100","DOIUrl":"https://doi.org/10.3390/h12050100","url":null,"abstract":"As immersive media, including VR, AR, MR, and XR, continues to expand rapidly during the pandemic era, there remains limited research on its comprehensive characteristics and its potential to create new forms of experience and aesthetics. This may be attributed to a lack of an understanding that immersive technologies exist encompassing both realms of reality and virtuality, leading to misconceptions that they are radically disconnected from traditional notions of materiality. In contrast, this study identifies an emerging trend characterized by the material implementation of immersive technologies in the domain of making culture in VR, which is referred to as “virtual craft” in this research. By reviewing studies on immersive media, materiality, making culture, and triadic semiotics, an integrated conceptual framework was developed to assess the experiences, aesthetics, and potential of immersive making culture. This framework is then applied to a specific case study involving virtual craft, with a particular focus on the 3D painting application, Tilt Brush, and related applications that the author has observed and tested. In conclusion, this paper presents a vision of the future of virtual craft and discusses the sustainability of immersive making culture, highlighting the potential for continued innovation and integration in various fields.","PeriodicalId":93761,"journal":{"name":"Humanities (Basel, Switzerland)","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135438003","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 offers a reexamination of Ovid’s story of Philomela and Procne, with an emphasis on revenge and lament as two responses to acts of wrongdoing and loss. My analysis begins by exploring philosophical and psychoanalytic perspectives, mainly from Nietzsche and Freud, which are usually thought of as complete opposites: revenge is considered active and violent, whereas lament is passive and paralyzed. However, upon revising Ovid’s tale of unimaginable suffering answered by both lament and revenge, I show that in Ovid’s story, they appear as interconnected and dependent on each other. Initially, Philomela appears as the passive, lamenting sister, while Procne appears as the angry, vengeful one. Nevertheless, as the narrative unfolds, the roles of the sisters change. Through the characters of Philomela and Procne, Ovid presents a compelling account in which these two responses can be seen as mirror images of the same phenomenon, rather than diametrically opposed binaries.
{"title":"Pain’s Echo: Lament and Revenge in Ovid’s “Procne and Philomela”","authors":"Ilit Ferber","doi":"10.3390/h12050096","DOIUrl":"https://doi.org/10.3390/h12050096","url":null,"abstract":"The article offers a reexamination of Ovid’s story of Philomela and Procne, with an emphasis on revenge and lament as two responses to acts of wrongdoing and loss. My analysis begins by exploring philosophical and psychoanalytic perspectives, mainly from Nietzsche and Freud, which are usually thought of as complete opposites: revenge is considered active and violent, whereas lament is passive and paralyzed. However, upon revising Ovid’s tale of unimaginable suffering answered by both lament and revenge, I show that in Ovid’s story, they appear as interconnected and dependent on each other. Initially, Philomela appears as the passive, lamenting sister, while Procne appears as the angry, vengeful one. Nevertheless, as the narrative unfolds, the roles of the sisters change. Through the characters of Philomela and Procne, Ovid presents a compelling account in which these two responses can be seen as mirror images of the same phenomenon, rather than diametrically opposed binaries.","PeriodicalId":93761,"journal":{"name":"Humanities (Basel, Switzerland)","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135437100","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}
Ed Stevens, Anna Khlusova, Sarah Fine, Ammar Azzouz, Leonie Ansems de Vries
Our story starts in April 2020, in the early stages of the UK’s first national COVID-19 lockdown. A multidisciplinary team of researchers and artists began a collaboration with Migrateful, a charity that runs cookery classes led by refugees, asylum seekers, and migrants struggling to integrate and access employment. Teaching classes and sharing their cuisine and stories helps the chefs develop their confidence and sense of belonging, and food is central to the enterprise. The focus of the project was a series of interactive online cookery classes delivered by Migrateful chefs, with ongoing involvement from the researchers and artists. In this paper, we weave together the research team’s reflections on the project with commentary from the participants and artists. We outline our methods and our learning from the collaboration and explain how it inspired new ways of thinking about refugee representation, food and belonging, co-creative storytelling, and virtual engagement. We discuss the ways in which Migrateful’s model helps to support the production of counter-narratives that value, foreground, and amplify migrants’ perspectives and voices while acknowledging the tensions involved in adapting this model to the virtual space. We emphasise the power dynamics inherent in engaging and researching with marginalised people and their stories while considering whether artistic involvement and creation may help to navigate some of these challenges, and we address how the virtual environment affected the potential for collaborative storytelling, interaction, and engagement levels among participants. Together, these reflections form a ‘recipe’ for what we hope to be a more meaningful and ethical model of engagement activity that builds on this learning.
{"title":"‘Together We Prepare a Feast, Each Person Stirring Up Memory’","authors":"Ed Stevens, Anna Khlusova, Sarah Fine, Ammar Azzouz, Leonie Ansems de Vries","doi":"10.3390/h12050098","DOIUrl":"https://doi.org/10.3390/h12050098","url":null,"abstract":"Our story starts in April 2020, in the early stages of the UK’s first national COVID-19 lockdown. A multidisciplinary team of researchers and artists began a collaboration with Migrateful, a charity that runs cookery classes led by refugees, asylum seekers, and migrants struggling to integrate and access employment. Teaching classes and sharing their cuisine and stories helps the chefs develop their confidence and sense of belonging, and food is central to the enterprise. The focus of the project was a series of interactive online cookery classes delivered by Migrateful chefs, with ongoing involvement from the researchers and artists. In this paper, we weave together the research team’s reflections on the project with commentary from the participants and artists. We outline our methods and our learning from the collaboration and explain how it inspired new ways of thinking about refugee representation, food and belonging, co-creative storytelling, and virtual engagement. We discuss the ways in which Migrateful’s model helps to support the production of counter-narratives that value, foreground, and amplify migrants’ perspectives and voices while acknowledging the tensions involved in adapting this model to the virtual space. We emphasise the power dynamics inherent in engaging and researching with marginalised people and their stories while considering whether artistic involvement and creation may help to navigate some of these challenges, and we address how the virtual environment affected the potential for collaborative storytelling, interaction, and engagement levels among participants. Together, these reflections form a ‘recipe’ for what we hope to be a more meaningful and ethical model of engagement activity that builds on this learning.","PeriodicalId":93761,"journal":{"name":"Humanities (Basel, Switzerland)","volume":"43 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135438218","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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