This article re-evaluates Derek Jarman’s adaptation of William Shakespeare’s The Tempest (1979) based on archival research into the cinematic and historical intertexts that influenced the film. Specifically, it focuses on the impact of Pier Paolo Pasolini on Jarman’s aesthetics, particularly the Italian filmmaker’s last work: Salò, or the 120 Days of Sodom (1975). The article explores how Jarman used Pasolini’s work as a filter through which to frame his adaptation of Shakespeare’s play. In so doing, he produced a decidedly Pasolinian twist on The Tempest, which he explicitly referred to in his notes as “Shakespeare’s Salò.” Bridging the gap between the Renaissance and Jarman’s contemporary moment, Jarman’s film offers a meditation on ideas of captivity and captivation in The Tempest, which extends from the play and film’s literal representations of imprisonment to their exploration of the affective power of performance and spectacle.
{"title":"Derek Jarman’s Tempest, William Shakespeare’s Salò","authors":"Tomas Elliott","doi":"10.3390/h12040076","DOIUrl":"https://doi.org/10.3390/h12040076","url":null,"abstract":"This article re-evaluates Derek Jarman’s adaptation of William Shakespeare’s The Tempest (1979) based on archival research into the cinematic and historical intertexts that influenced the film. Specifically, it focuses on the impact of Pier Paolo Pasolini on Jarman’s aesthetics, particularly the Italian filmmaker’s last work: Salò, or the 120 Days of Sodom (1975). The article explores how Jarman used Pasolini’s work as a filter through which to frame his adaptation of Shakespeare’s play. In so doing, he produced a decidedly Pasolinian twist on The Tempest, which he explicitly referred to in his notes as “Shakespeare’s Salò.” Bridging the gap between the Renaissance and Jarman’s contemporary moment, Jarman’s film offers a meditation on ideas of captivity and captivation in The Tempest, which extends from the play and film’s literal representations of imprisonment to their exploration of the affective power of performance and spectacle.","PeriodicalId":93761,"journal":{"name":"Humanities (Basel, Switzerland)","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-08-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42635491","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}
A widespread revolt during the months of April and May 2021 in the Palestinian city of Jerusalem, also known as Habbet Ayyar, responded to Israeli actions aiming to ethnically cleanse and force out residents from the neighborhood of Sheikh Jarrah in East Jerusalem, where approximately 3000 people reside, and to limit the movement and entry of Palestinians to Al-Aqsa Mosque. These measures were met with an unprecedented wave of youth-led protests against the Israeli army, police, security agencies, and settlers. Habbet Ayyar stands out not only for its innovative and effective use of new media to amplify the protests beyond Israel’s sphere of influence and control, but also for the unity displayed by fragmented Palestinians as they confronted Israel. By exploring the larger historical and geographical context of the movement that led to Habbet Ayyar, this article aims to understand how Palestinians have utilized, for the past 20 years, new media as a battleground—despite enforced digital colonialism—and how these media served to articulate and create what I call a digital “floating homeland”. The concept of a “floating homeland” is useful for exploring how the Palestinian virtual social movement has redefined and reconnected with Palestine beyond Israel’s control and fragmentation. This digital homeland is constructed through new technologies that have reshaped Palestinian self-identification and allowed for a virtual and digital reconceptualization of a borderless Palestine.
{"title":"Palestine in the Cloud: The Construction of a Digital Floating Homeland","authors":"Hanine Shehadeh","doi":"10.3390/h12040075","DOIUrl":"https://doi.org/10.3390/h12040075","url":null,"abstract":"A widespread revolt during the months of April and May 2021 in the Palestinian city of Jerusalem, also known as Habbet Ayyar, responded to Israeli actions aiming to ethnically cleanse and force out residents from the neighborhood of Sheikh Jarrah in East Jerusalem, where approximately 3000 people reside, and to limit the movement and entry of Palestinians to Al-Aqsa Mosque. These measures were met with an unprecedented wave of youth-led protests against the Israeli army, police, security agencies, and settlers. Habbet Ayyar stands out not only for its innovative and effective use of new media to amplify the protests beyond Israel’s sphere of influence and control, but also for the unity displayed by fragmented Palestinians as they confronted Israel. By exploring the larger historical and geographical context of the movement that led to Habbet Ayyar, this article aims to understand how Palestinians have utilized, for the past 20 years, new media as a battleground—despite enforced digital colonialism—and how these media served to articulate and create what I call a digital “floating homeland”. The concept of a “floating homeland” is useful for exploring how the Palestinian virtual social movement has redefined and reconnected with Palestine beyond Israel’s control and fragmentation. This digital homeland is constructed through new technologies that have reshaped Palestinian self-identification and allowed for a virtual and digital reconceptualization of a borderless Palestine.","PeriodicalId":93761,"journal":{"name":"Humanities (Basel, Switzerland)","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48333858","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}
People harass people to defend and promote their fundamental beliefs, political ideologies, religious dogmas, and the Truth. They create these with marvelous lucidity and unnerving verve, spreading, guarding, and enforcing their convictions. Fanatical ideologies penetrate and pollute our life world like “lyrical leprosy”. We need a coping strategy. Conformists may want to go along and join the perpetrators, whomever they happen to be. Activists fight ideological pollution, a risky strategy. Indifference and apathy do not pollute others and are less dangerous than rebelling. Following E. M. Cioran, I discuss three defensive strategies: those of a skeptic, an idler, and an aesthete. I reject trivializing the third strategy; instead, I discuss an ironist’s options. A recommendable route to indifference is to read the Truth metaphorically and ironize it. This voids its contents, and the result is adiaphora. We can also start with irony and metaphorize it. Such linguistic–aesthetic methods thwart the viperous dogmas that otherwise harass us from the cradle to the grave. The Truth is a treacherous construct. How to avoid it? How to deflect ideologically motivated terror?
{"title":"Fanaticism and E. M. Cioran’s “Lyrical Leprosy”","authors":"T. Airaksinen","doi":"10.3390/h12040073","DOIUrl":"https://doi.org/10.3390/h12040073","url":null,"abstract":"People harass people to defend and promote their fundamental beliefs, political ideologies, religious dogmas, and the Truth. They create these with marvelous lucidity and unnerving verve, spreading, guarding, and enforcing their convictions. Fanatical ideologies penetrate and pollute our life world like “lyrical leprosy”. We need a coping strategy. Conformists may want to go along and join the perpetrators, whomever they happen to be. Activists fight ideological pollution, a risky strategy. Indifference and apathy do not pollute others and are less dangerous than rebelling. Following E. M. Cioran, I discuss three defensive strategies: those of a skeptic, an idler, and an aesthete. I reject trivializing the third strategy; instead, I discuss an ironist’s options. A recommendable route to indifference is to read the Truth metaphorically and ironize it. This voids its contents, and the result is adiaphora. We can also start with irony and metaphorize it. Such linguistic–aesthetic methods thwart the viperous dogmas that otherwise harass us from the cradle to the grave. The Truth is a treacherous construct. How to avoid it? How to deflect ideologically motivated terror?","PeriodicalId":93761,"journal":{"name":"Humanities (Basel, Switzerland)","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45701163","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 will focus on the theory of poetics Terayama Shūji develops in Postwar Poetry: The Absence of Ulysses (Sengoshi: yurishīzu no fuzai, 1965) and Language as Violence (Bōryoku toshite no gengo, 1970). Postwar Poetry, his first theoretical writings on prose poetry, can be said to be a book about the poetic communication and “discommunication”—a wasei-eigo coinage of Tsurumi Shunsuke’s that Terayama frequently invokes—that occurs in mass communication, stemming from the conflict with print (katsuji). In this book, Terayama develops not autonomous “monologue”, but a theory of the taiwa/dialogue of poetry. However, Language as Violence contains not only the taiwa (dialogue) of his early poetics but the problem of bōryoku (violence) in his later theatrical works and theory of theater, which becomes an important theme in his body of work. Comparing with Georges Sorel’s Réflexions sur la violence that he cited, I would like to examine the description of the book’s titualar violence. As I shed light on Terayama’s poetics and view of language, I will attempt to establish a connection with his plays and theory of theater.
本文将着重探讨寺山秀吉在《战后诗歌：尤利西斯的缺席》（Sengoshi：yurishīzu no fuzai，1965）和《暴力语言》（Bōryoku toshite no gengo，1970）中发展起来的诗学理论。战后诗歌是他第一部关于散文诗的理论著作，可以说是一本关于诗歌交流和“混乱”的书——这是寺山经常引用的Tsurumi Shunsuke的wasei eigo铸币——发生在大众传播中，源于与印刷品的冲突（katsuji）。在这本书中，寺山发展的不是自主的“独白”，而是一种诗歌的“太和/对话”理论。然而，《作为暴力的语言》不仅包含了他早期诗学中的“对话”，而且在他后来的戏剧作品和戏剧理论中也包含了“暴力”问题，这成为他作品中的一个重要主题。与乔治·索雷尔引用的关于暴力的Réflexions相比，我想研究一下这本书对名义暴力的描述。在阐述寺山的诗学和语言观时，我将试图与他的戏剧和戏剧理论建立联系。
{"title":"Communication and Violence in the Poetics of Terayama Shūji: From the Poetic to the Theatric","authors":"Shunsuke Okada, Jason M. Beckman","doi":"10.3390/h12040074","DOIUrl":"https://doi.org/10.3390/h12040074","url":null,"abstract":"This article will focus on the theory of poetics Terayama Shūji develops in Postwar Poetry: The Absence of Ulysses (Sengoshi: yurishīzu no fuzai, 1965) and Language as Violence (Bōryoku toshite no gengo, 1970). Postwar Poetry, his first theoretical writings on prose poetry, can be said to be a book about the poetic communication and “discommunication”—a wasei-eigo coinage of Tsurumi Shunsuke’s that Terayama frequently invokes—that occurs in mass communication, stemming from the conflict with print (katsuji). In this book, Terayama develops not autonomous “monologue”, but a theory of the taiwa/dialogue of poetry. However, Language as Violence contains not only the taiwa (dialogue) of his early poetics but the problem of bōryoku (violence) in his later theatrical works and theory of theater, which becomes an important theme in his body of work. Comparing with Georges Sorel’s Réflexions sur la violence that he cited, I would like to examine the description of the book’s titualar violence. As I shed light on Terayama’s poetics and view of language, I will attempt to establish a connection with his plays and theory of theater.","PeriodicalId":93761,"journal":{"name":"Humanities (Basel, Switzerland)","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47112249","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}
N’we Jinan, a group of young Indigenous artists who run a mobile production studio and an integrative arts studio, travel to different Indigenous communities, where they support youth in writing and recording music that involves the local community. N’we Jinan employs social media to articulate and protect Indigeneity through the sharing of Indigenous music videos, empowering youth to resist continued colonization. These videos serve to create a sense of connection in Indigenous communities in Turtle Island (Canada) as well as offer a means by which non-Indigenous listeners can learn about contemporary Indigenous cultures. Viewed in conjunction with Nunavut’s Inuit Qaujimajatuqangit and the Northwest Territories’ Dene Kede and Inuuqatigiit, which provide a framework of traditional knowledge, values, and skills specific to Indigenous communities in the Canadian Arctic, the texts implicitly invite non-Indigenous listeners’ engagement in social justice activism as settler allies. The texts invite listening to and viewing the empowering songwriting and recording practices through the lens of social justice and wâhkôhtowin or kinship relations, which involves walking together (Indigenous and settler) in a good way and engaging with Bourdieu’s influential framework of cultural capital. The themes explored in the songs include cultural identity, language, and self-acceptance. The empowering songs of N’we Jinan are place-based articulations of identity that resist coloniality and serve as calls to action, creating embodied videographic, musical, and linguistic partnerships that serve as important articulations of Indigenous identity and which promote the decolonization of reading and listening practices and, by extension, education.
N 'we济南是一群年轻的土著艺术家，他们经营着一个流动制作工作室和一个综合艺术工作室，他们前往不同的土著社区，在那里他们支持年轻人创作和录制涉及当地社区的音乐。N 'we济南利用社交媒体，通过分享土著音乐视频来表达和保护土著，增强青年抵抗持续殖民化的能力。这些影片旨在在龟岛(加拿大)的原住民社群中创造一种联系感，也为非原住民听众提供了解当代原住民文化的途径。努纳武特的因纽特人的Qaujimajatuqangit和西北地区的Dene Kede和Inuuqatigiit提供了加拿大北极地区土著社区特有的传统知识、价值观和技能框架，结合这些文本，这些文本含蓄地邀请非土著听众作为定居者盟友参与社会正义行动。这些文本邀请通过社会正义和wâhkôhtowin或亲属关系的视角来倾听和观察赋予权力的歌曲创作和录音实践，这包括以一种良好的方式走在一起(土著和定居者)，并参与布迪厄有影响力的文化资本框架。歌曲探讨的主题包括文化认同、语言和自我接纳。N 'we济南的赋权歌曲是基于地点的身份表达，抵制殖民主义，并呼吁采取行动，创造体现在影像、音乐和语言上的伙伴关系，作为土著身份的重要表达，促进阅读和听力实践的非殖民化，进而促进教育。
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Music videos of the MTV era often use gothic visual signifiers as decorative elements or creative expressions of the musician’s star persona or latest record. But several video clips from the early 1980s adapt the figure of gothic monstrosity, and in particular, the images and stories of the undead or beastly Other, in ways that dramatize the music video’s evolving aesthetic, commercial, and technological character and its unpredictable relation to Gothic. In this article, I look closely at the narrative elements of two important configurations of gothic-themed video clips: “Don’t Go” (1982) by Yazoo, “Telefone (Long Distance Love Affair)” (1983) by Sheena Easton, and “Mary Jane’s Last Dance” (1993) by Tom Petty and the Heartbreakers, which creatively adapt textual elements of Mary Shelley’s 1818 novel Frankenstein and its various film adaptations and parodies and its cultural significance in the modern Western imaginary; and “Thriller” (1983) by Michael Jackson and “Heads Will Roll” (2009) by the Yeah Yeah Yeahs, which likewise adapt and reimagine aspects of John Landis’s 1981 horror comedy film An American Werewolf in London and its afterlife in the modern media ecosystem. These videos, I argue, trouble conventional understandings of the practice of adaptation as a one-to-one line of inheritance between source material and destination text. In so doing, furthermore, these clips amplify and elaborate certain socio-cultural anxieties about gender and race, personal and professional identity and autonomy, and technological innovation and automation that animate their source materials.
MTV时代的音乐录影带经常使用哥特式的视觉符号作为装饰元素或音乐家的明星形象或最新唱片的创造性表达。但是，20世纪80年代早期的一些视频剪辑改编了哥特式怪物的形象，特别是不死或野兽的形象和故事，以戏剧化的方式展现了音乐视频不断发展的美学、商业和技术特征，以及它与哥特式的不可预测的关系。在本文中，我仔细研究了两种重要的哥特式主题视频片段的叙事元素:雅祖的《别走》(1982)、希娜·伊斯顿的《电话(长途恋爱)》(1983)和汤姆·佩蒂和心碎者的《玛丽·简的最后一舞》(1993)，它们创造性地改编了玛丽·雪莱1818年的小说《弗兰肯斯坦》及其各种电影改编和模仿的文本元素及其在现代西方想象中的文化意义;迈克尔·杰克逊(Michael Jackson) 1983年的《Thriller》(Thriller)和Yeah Yeah Yeah乐队2009年的《Heads Will Roll》(Heads Will Roll)，这两部电影同样改编并重新演绎了约翰·兰迪斯(John Landis) 1981年的恐怖喜剧电影《一个美国狼人在伦敦》及其在现代媒体生态系统中的结局。我认为，这些视频挑战了将改编实践视为源材料和目标文本之间一对一继承的传统理解。此外，在这样做的过程中，这些剪辑放大和阐述了某些社会文化焦虑，这些焦虑涉及性别和种族、个人和职业身份和自主，以及技术创新和自动化，这些都使它们的原始材料充满活力。
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Shrouk Yasser Mohamed Abdelhalim Sultan, Asmaa Ahmed ElSherbini
Orson Scott Card’s Pastwatch: The Redemption of Christopher Columbus is an interesting work of fiction that belongs to the genre of Alternate History, which is a subgenre of speculative fiction. The novel poses the question of: “what would have happened to the world if the Indigenous American tribes had been stronger and had made coalitions with each other, instead of being conquered and defeated by European forces?” This paper reads the selected novel from the Ecofeminist point of view, exploring various issues that are relevant to the theory of Ecofeminism. The analysis conducted in this paper tackles the roles women perform when trying to save their world; the connections between women and nature, and how patriarchal cultures treat both of them; the role technology plays in the times of natural disasters and how it can make the world a better place for women; whether or not technology is a tool in the hands of the White savior; and the empowerment of the Indigenous Americans or lack thereof.
奥森·斯科特·卡德的《Pastwatch:The Redemption of Christopher Columbus》是一部有趣的小说作品，属于另类历史类型，属于推测小说的一个子类。这部小说提出了一个问题：“如果美国土著部落更加强大，相互结盟，而不是被欧洲势力征服和击败，世界会发生什么？”本文从生态女权主义的角度阅读了这部精选小说，探讨了与生态女权主义理论相关的各种问题。本文进行的分析涉及女性在试图拯救自己的世界时所扮演的角色；妇女与自然之间的联系，以及父权文化如何对待这两者；技术在自然灾害时期发挥的作用，以及它如何使世界对妇女来说更美好；技术是否是白人救世主手中的工具；以及赋予土著美国人权力或缺乏这种权力。
{"title":"An Ecofeminist Perspective of the Alternate-History Novel Pastwatch: The Redemption of Christopher Columbus","authors":"Shrouk Yasser Mohamed Abdelhalim Sultan, Asmaa Ahmed ElSherbini","doi":"10.3390/h12040070","DOIUrl":"https://doi.org/10.3390/h12040070","url":null,"abstract":"Orson Scott Card’s Pastwatch: The Redemption of Christopher Columbus is an interesting work of fiction that belongs to the genre of Alternate History, which is a subgenre of speculative fiction. The novel poses the question of: “what would have happened to the world if the Indigenous American tribes had been stronger and had made coalitions with each other, instead of being conquered and defeated by European forces?” This paper reads the selected novel from the Ecofeminist point of view, exploring various issues that are relevant to the theory of Ecofeminism. The analysis conducted in this paper tackles the roles women perform when trying to save their world; the connections between women and nature, and how patriarchal cultures treat both of them; the role technology plays in the times of natural disasters and how it can make the world a better place for women; whether or not technology is a tool in the hands of the White savior; and the empowerment of the Indigenous Americans or lack thereof.","PeriodicalId":93761,"journal":{"name":"Humanities (Basel, Switzerland)","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-07-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46287005","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}
From 1970 until 1974, the Council on Interracial Children’s Books (CIBC) ran the Arts and Storytelling in the Streets program throughout New York City. This program involved African American and Puerto Rican artists and storytellers bringing children’s literature directly to children in the streets. This occurred amid a rise in African American children’s literature and educational upheavals in the city as local communities demanded oversight of their schools. Originating in the Ocean Hill-Brownsville district in New York City, the Arts and Storytelling on the Streets program helps to underscore the interrelation between African American children’s literature and educational activism. This article examines how storytelling sessions run by authors and illustrators became extensions of African American children’s literature and educational activism in the city as Black American children’s books became key tools in a fight for a more representative and relevant education. Storytelling teams hoped to use African American children’s literature to help engage children in reading and provide a positive association with literature among local children. The Art and Storytelling program mirrored ideas and themes within African American children’s literature including Black pride, community strength, and resisting white supremacy. The program also became a key extension of the literature as the locations, storytellers, and the audiences all helped to expand upon the impact and many meanings inherent in contemporary African American children’s literature.
{"title":"Art and Storytelling on the Streets: The Council on Interracial Books for Children’s Use of African American Children’s Literature","authors":"N. Batho","doi":"10.3390/h12040069","DOIUrl":"https://doi.org/10.3390/h12040069","url":null,"abstract":"From 1970 until 1974, the Council on Interracial Children’s Books (CIBC) ran the Arts and Storytelling in the Streets program throughout New York City. This program involved African American and Puerto Rican artists and storytellers bringing children’s literature directly to children in the streets. This occurred amid a rise in African American children’s literature and educational upheavals in the city as local communities demanded oversight of their schools. Originating in the Ocean Hill-Brownsville district in New York City, the Arts and Storytelling on the Streets program helps to underscore the interrelation between African American children’s literature and educational activism. This article examines how storytelling sessions run by authors and illustrators became extensions of African American children’s literature and educational activism in the city as Black American children’s books became key tools in a fight for a more representative and relevant education. Storytelling teams hoped to use African American children’s literature to help engage children in reading and provide a positive association with literature among local children. The Art and Storytelling program mirrored ideas and themes within African American children’s literature including Black pride, community strength, and resisting white supremacy. The program also became a key extension of the literature as the locations, storytellers, and the audiences all helped to expand upon the impact and many meanings inherent in contemporary African American children’s literature.","PeriodicalId":93761,"journal":{"name":"Humanities (Basel, Switzerland)","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-07-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44399292","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 so-called ‘problem books’ of the 15th and 16th centuries originate from the pseudo-Aristotelian Problemata, which were rediscovered around 1300. Their authors were often physicians who prepared medical information for a broad public and combined it with highly heterogeneous pools of knowledge. This article deals with different questions in regards to the eye and the sense of sight in Juan de Jarava’s Problemas o Preguntas Problemáticas, published in 1544. The physician, a man with Erasmist inclinations whose existence remains a mystery, divides his work into three parts, with each relating to love, natural phenomena, and wine. In all three parts, questions related to the eyes are raised. These issues are contextualized in the scholarly discourse of the time in order to determine to what extent Jarava is representative of knowledge about the eyes in the early modern period. The example of vision and the eyes can be used to show how early modern medical writers such as Juan de Jarava and Agustín de Ruescas tackled the complexity of the world in their problem books.
15世纪和16世纪所谓的“问题书”源自伪亚里士多德问题书，这些书在1300年左右被重新发现。他们的作者通常是为广大公众准备医疗信息的医生，并将其与高度异质的知识库相结合。这篇文章讨论了胡安·德·贾拉瓦1544年出版的《普雷贡塔斯问题》中关于眼睛和视觉的不同问题。这位医生是一个有伊拉斯谟倾向的人，他的存在仍然是个谜，他将自己的作品分为三部分，每一部分都与爱情、自然现象和葡萄酒有关。在这三个部分中，都提出了与眼睛有关的问题。这些问题在当时的学术话语中被置于背景中，以确定Jarava在多大程度上代表了现代早期关于眼睛的知识。视觉和眼睛的例子可以用来展示Juan de Jarava和Agustín de Ruescas等早期现代医学作家如何在他们的问题书中解决世界的复杂性。
{"title":"¿Por qué los Hombres tienen diversas Maneras de Ojos? Curiosities about the Eyes in Juan de Jarava’s Problemas o Preguntas problemáticas (1544)","authors":"Folke Gernert","doi":"10.3390/h12040068","DOIUrl":"https://doi.org/10.3390/h12040068","url":null,"abstract":"The so-called ‘problem books’ of the 15th and 16th centuries originate from the pseudo-Aristotelian Problemata, which were rediscovered around 1300. Their authors were often physicians who prepared medical information for a broad public and combined it with highly heterogeneous pools of knowledge. This article deals with different questions in regards to the eye and the sense of sight in Juan de Jarava’s Problemas o Preguntas Problemáticas, published in 1544. The physician, a man with Erasmist inclinations whose existence remains a mystery, divides his work into three parts, with each relating to love, natural phenomena, and wine. In all three parts, questions related to the eyes are raised. These issues are contextualized in the scholarly discourse of the time in order to determine to what extent Jarava is representative of knowledge about the eyes in the early modern period. The example of vision and the eyes can be used to show how early modern medical writers such as Juan de Jarava and Agustín de Ruescas tackled the complexity of the world in their problem books.","PeriodicalId":93761,"journal":{"name":"Humanities (Basel, Switzerland)","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-07-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43264821","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}
Black creators who tell Harriet Tubman’s story engage in an ongoing rhetorical battle over historical memory with regard to slavery and the Civil War. This essay examines the challenges Tubman’s story poses to a Lost Cause narrative that took root in the nineteenth-century and manifests in the work of celebrated children’s author Robert Lawson. Reading Ann Petry’s YA biography Harriet Tubman: Conductor on the Underground Railroad (1955), Jacob Lawrence’s picture book Harriet and the Promised Land (1968), and Kasi Lemmons’ film Harriet (2019) together, and within the context of Lawson’s award-winning They Were Strong and Good (1940) and his historical primer Watchwords of Liberty: A Pageantry of American Quotations (1943) offers an opportunity to assess the rhetorical firepower of creative work about a historical figure who continues to fascinate people of all ages. Such reading also underscores the extent to which the apartheid in and of children’s literature limits the imaginations of critics, thereby hindering efforts to promote social justice.
{"title":"Strong Enough to Fight: Harriet Tubman vs. The Myth of the Lost Cause","authors":"Laura Dubek","doi":"10.3390/h12040067","DOIUrl":"https://doi.org/10.3390/h12040067","url":null,"abstract":"Black creators who tell Harriet Tubman’s story engage in an ongoing rhetorical battle over historical memory with regard to slavery and the Civil War. This essay examines the challenges Tubman’s story poses to a Lost Cause narrative that took root in the nineteenth-century and manifests in the work of celebrated children’s author Robert Lawson. Reading Ann Petry’s YA biography Harriet Tubman: Conductor on the Underground Railroad (1955), Jacob Lawrence’s picture book Harriet and the Promised Land (1968), and Kasi Lemmons’ film Harriet (2019) together, and within the context of Lawson’s award-winning They Were Strong and Good (1940) and his historical primer Watchwords of Liberty: A Pageantry of American Quotations (1943) offers an opportunity to assess the rhetorical firepower of creative work about a historical figure who continues to fascinate people of all ages. Such reading also underscores the extent to which the apartheid in and of children’s literature limits the imaginations of critics, thereby hindering efforts to promote social justice.","PeriodicalId":93761,"journal":{"name":"Humanities (Basel, Switzerland)","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-07-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44919527","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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