Humanities research最新文献_第10页

Futurity as an Effect of Playing Horizon: Zero Dawn (2017) 《地平线:黎明时分》(2017)对未来的影响

Humanities research Pub Date : 2021-04-27 DOI: 10.3390/H10020072

N. Falkenhayner

引用次数: 2

“Is Cleopatra Black?”: Examining Whiteness and the American New Woman “克利奥帕特拉是布莱克吗?”:检视白人与美国新女性

Humanities research Pub Date : 2021-04-09 DOI: 10.3390/H10020068

Angelica J. Maier

{"title":"“Is Cleopatra Black?”: Examining Whiteness and the American New Woman","authors":"Angelica J. Maier","doi":"10.3390/H10020068","DOIUrl":"https://doi.org/10.3390/H10020068","url":null,"abstract":"In the 1920s and 1930s, conceptions of the “New Woman” and Egyptomania shaped American culture. Employing methods of critical race art history and material culture studies, I focus on a 1925 Callot Soeurs dress and silk pajamas (c. 1920–1929), taking into consideration both the semiotic qualities of Egyptian motifs as they circulated in early twentieth century American visual culture as well as the sensuous material aspects of the garments. Through primary sources like cosmetic advertisements, fashion magazines, and costume manuals, I contextualize the figure of Cleopatra as a symbol of white beauty and power in this period. Weighing both visual and material aspects, I argue that the repeated act of wearing these garments by white-presenting women placed them in a performative valence, where the wearer ironically became a white woman through her appropriation of Cleopatra and Egyptian motifs. Further, these motifs conferred modernity, cosmopolitanism, class status and an acceptable sexuality upon the wearer. As such, I address how material objects shape subjectivity, simultaneously reflecting and producing racialized and gendered discourses. By focusing on white womanhood, I draw upon critical studies of whiteness in order to disrupt its invisible normative status. This essay traces its operational logic and aids in dismantling the pervasive power of white supremacy that continues to circulate today.","PeriodicalId":268290,"journal":{"name":"Humanities research","volume":"102 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-04-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123582858","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}

引用次数: 1

‘Muzak for Frogs’—Representations of ‘Nature’ in Decoder (1984) “青蛙的Muzak”——《解码器》中“自然”的表现(1984)

Humanities research Pub Date : 2021-04-09 DOI: 10.3390/H10020067

Eva Hanser

引用次数: 0

Gendered and Racial Injustices in American Food Systems and Cultures 美国食品系统和文化中的性别和种族不公正

Humanities research Pub Date : 2021-04-08 DOI: 10.3390/H10020066

Sally L. Kitch, J. Mcgregor, G. M. Mejía, Sara El-Sayed, C. Spackman, Juliann Vitullo

{"title":"Gendered and Racial Injustices in American Food Systems and Cultures","authors":"Sally L. Kitch, J. Mcgregor, G. M. Mejía, Sara El-Sayed, C. Spackman, Juliann Vitullo","doi":"10.3390/H10020066","DOIUrl":"https://doi.org/10.3390/H10020066","url":null,"abstract":"Multiple factors create food injustices in the United States. They occur in different societal sectors and traverse multiple scales, from the constrained choices of the industrialized food system to legal and corporate structures that replicate entrenched racial and gender inequalities, to cultural expectations around food preparation and consumption. Such injustices further harm already disadvantaged groups, especially women and racial minorities, while also exacerbating environmental deterioration. This article consists of five sections that employ complementary approaches in the humanities, design studies, and science and technology studies. The authors explore cases that represent structural injustices in the current American food system, including: the racialized and gendered effects of food systems and cultures on both men and women; the misguided and de-territorialized global branding of the Mediterranean Diet as a universal ideal; the role of food safety regulations around microbes in reinforcing racialized food injustices; and the benefits of considering the American food system and all of its parts as designed artifacts that can be redesigned. The article concludes by discussing how achieving food justice can simultaneously promote sustainable food production and consumption practices—a process that, like the article itself, invites scholars and practitioners to actively design our food system in ways that empower different stakeholders and emphasize the importance of collaboration and interconnection.","PeriodicalId":268290,"journal":{"name":"Humanities research","volume":"18 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-04-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122328986","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}

引用次数: 2

The 1930s Horror Adventure Film on Location in Jamaica: ‘Jungle Gods’, ‘Voodoo Drums’ and ‘Mumbo Jumbo’ in the ‘Secret Places of Paradise Island’

Humanities research Pub Date : 2021-03-29 DOI: 10.3390/H10020062

E. Martens

{"title":"The 1930s Horror Adventure Film on Location in Jamaica: ‘Jungle Gods’, ‘Voodoo Drums’ and ‘Mumbo Jumbo’ in the ‘Secret Places of Paradise Island’","authors":"E. Martens","doi":"10.3390/H10020062","DOIUrl":"https://doi.org/10.3390/H10020062","url":null,"abstract":"In this article, I consider the representation of African-Caribbean religions in the early horror adventure film from a postcolonial perspective. I do so by zooming in on Ouanga (1935), Obeah (1935), and Devil’s Daughter (1939), three low-budget horror productions filmed on location in Jamaica during the 1930s (and the only films shot on the island throughout that decade). First, I discuss the emergence of depictions of African-Caribbean religious practices of voodoo and obeah in popular Euro-American literature, and show how the zombie figure entered Euro-American empire cinema in the 1930s as a colonial expression of tropical savagery and jungle terror. Then, combining historical newspaper research with content analyses of these films, I present my exploration into the three low-budget horror films in two parts. The first part contains a discussion of Ouanga, the first sound film ever made in Jamaica and allegedly the first zombie film ever shot on location in the Caribbean. In this early horror adventure, which was made in the final year of the U.S. occupation of Haiti, zombies were portrayed as products of evil supernatural powers to be oppressed by colonial rule. In the second part, I review Obeah and The Devil’s Daughter, two horror adventure movies that merely portrayed African-Caribbean religion as primitive superstition. While Obeah was disturbingly set on a tropical island in the South Seas infested by voodoo practices and native cannibals, The Devil’s Daughter was authorized by the British Board of Censors to show black populations in Jamaica and elsewhere in the colonial world that African-Caribbean religions were both fraudulent and dangerous. Taking into account both the production and content of these movies, I show that these 1930s horror adventure films shot on location in Jamaica were rooted in a long colonial tradition of demonizing and terrorizing African-Caribbean religions—a tradition that lasts until today.","PeriodicalId":268290,"journal":{"name":"Humanities research","volume":"87 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-03-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126014801","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}

引用次数: 0

An “Entirely Personal” Success: Intertextuality and Self-Reflexive Ironies in Henry James’s “Pandora” “完全个人”的成功:亨利·詹姆斯《潘多拉》的互文性与反身反讽

Humanities research Pub Date : 2021-03-29 DOI: 10.3390/H10020061

Sabrina Vellucci

{"title":"An “Entirely Personal” Success: Intertextuality and Self-Reflexive Ironies in Henry James’s “Pandora”","authors":"Sabrina Vellucci","doi":"10.3390/H10020061","DOIUrl":"https://doi.org/10.3390/H10020061","url":null,"abstract":"Henry James’s self-allusions in “Pandora” have been read as a rewriting of his former treatment of the “American Girl abroad” in the comic mode. The hints at “a Tauchnitz novel by an American author” (90) establish an ironical reversal of the failures of understanding which had led to tragedy in “Daisy Miller.” Yet the ironies in “Pandora” are multi-layered, often self-reflexive, and can be further interpreted in the light of James’s controversial adaptation of his famous novella for the stage. In this framework, well-known Jamesian topoi appear both as a (self-)parody and a metaliterary dialogue James engages with his readers and critics. The author’s personal implication in this “American” story is further testified by his Notebooks, in which James states his intention to write about his friends Henry and “Clover” Adams. Indeed, “Pandora”’s multi-layered intertextuality includes undeclared references to Adams’s anonymously published novel, Democracy, a semi-satirical account of U.S. political life. My article focuses on the web of intertextual relations woven in this short story with a view to reflecting on James’s ideas concerning the politics of authorship, readership, literary success, and the fate of the American Girl.","PeriodicalId":268290,"journal":{"name":"Humanities research","volume":"62 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-03-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121497284","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}

引用次数: 0

The Role of Feminist Health Humanities Scholarship and Black Women’s Artistry in Re-Shaping the Origin Narrative of Modern, U.S. Gynecology 女性主义健康人文学术和黑人女性艺术在重塑美国现代妇科起源叙事中的作用

Humanities research Pub Date : 2021-03-23 DOI: 10.3390/H10010058

R. Dudley

{"title":"The Role of Feminist Health Humanities Scholarship and Black Women’s Artistry in Re-Shaping the Origin Narrative of Modern, U.S. Gynecology","authors":"R. Dudley","doi":"10.3390/H10010058","DOIUrl":"https://doi.org/10.3390/H10010058","url":null,"abstract":"Between 1845–1849, twelve enslaved women in Montgomery, Alabama lived through prolonged, gynecologic experimentation at the hands of Dr. James Marion Sims. What happened, in his 16-bed backyard hospital, often begins the origin narrative of modern U.S. gynecology and how it developed into a discrete and international, Western, scientific field of medicine. Sims autobiography references three of these women, by their first names only: Anarcha, Lucy and Betsey. The research questions here are: what more can be known about these women’s lives, their possible social networks and their cultural legacies? Further, what changes if the origin narrative of modern, U.S. gynecology begins with feminist health humanities scholarship and in the pages of black women’s artistry? I discuss original research findings, involving the following primary source: an 1841 property deed, mentioning the first names of 7 other enslaved people owned by Sims. I, then, examine cotemporary U.S. feminist scholarly writing and artistic cultural representations, centering the lives of the women as important historical figures. Last, I conceptualize the notion of poetic ancestral witnessing within the work of the following three, twenty-first century, African American, poets: Bettina Judd, Dominique Christina and Kwoya Fagin Maples. These women published poetry collections on this history, between 2014 and 2018.","PeriodicalId":268290,"journal":{"name":"Humanities research","volume":"103 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-03-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124797568","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}

引用次数: 2

Father and God (the Father) in Wiesel’s Night as Response to the Holocaust 威塞尔的《对大屠杀的回应之夜》中的父亲和上帝(父亲)

Humanities research Pub Date : 2021-03-22 DOI: 10.3390/H10010057

S. Quigley

引用次数: 0

Re-Calibrating Steampunk London: Heterotopia and Spatial Imaginaries in Assassins Creed: Syndicate and The Order 1886 重新校准蒸汽朋克伦敦:刺客信条:辛迪加和秩序1886中的异托邦和空间想象

Humanities research Pub Date : 2021-03-20 DOI: 10.3390/H10010056

H. Esser

引用次数: 1

Destruction, Reconstruction and Resistance: The Skin and the Protean Body in Pedro Almodóvar’s Body Horror The Skin I Live In 破坏、重建与抵抗:佩德罗Almodóvar《身体恐怖》中的皮肤与多变的身体

Humanities research Pub Date : 2021-03-19 DOI: 10.3390/H10010054

Subarna Mondal

{"title":"Destruction, Reconstruction and Resistance: The Skin and the Protean Body in Pedro Almodóvar’s Body Horror The Skin I Live In","authors":"Subarna Mondal","doi":"10.3390/H10010054","DOIUrl":"https://doi.org/10.3390/H10010054","url":null,"abstract":"The instinct to tame and preserve and the longing for eternal beauty makes skin a crucial element in the genre of the Body Horror. By applying a gendered reading to the art of destruction and reconstruction of an ephemeral body, this paper explores the significant role of skin that clothes a protean body in Almodovar’s unconventional Body Horror, “The Skin I Live In” (2011). Helpless vulnerable female bodies stretched on beds and close shots of naked perfect skin of those bodies are a frequent feature in Almodovar films. Skin stained and blotched in “Tie Me Up! Tie Me Down!” (1989), nurtured and replenished in “Talk to Her” (2002), patched up and stitched in “The Skin I Live In”, becomes a key ingredient in Almodovar’s films that celebrate the fluidity of human anatomy and sexuality. The article situates “The Skin I Live In” in the filmic continuum of Body Horrors that focus primarily on skin, beginning with Alfred Hitchcock’s “Psycho” (1960), and touching on films like Jonathan Demme’s “The Silence of the Lambs” (1991) and Tom Tykwer’s “Perfume: The Story of a Murderer” (2006) and attempts to understand how the exploited bodies that have been culturally and socially subjugated have shaped the course of the history of Body Horrors in cinema. In “The Skin I Live In” the destruction of Vicente’s body and its recreation into Vera follow a mad scientist’s urge to dominate an unattainable body, but this ghastly assault on the body has the onscreen appearance of a routine surgical operation by an expert cosmetologist in a well-lit, sanitized mise-en-scene, suggesting that the uncanny does not need a dungeon to lurk in. The exploited body on the other hand may be seen not as a passive victim, but as a site of alterity and rebellion. Anatomically a complete opposite of Frankenstein’s Creature, Vicente/Vera’s body, perfect, beautiful but beset with a problematized identity, is etched with the history of conversion, suppression, and the eternal quest for an ephemeral object. Yet it also acts as an active site of resistance.","PeriodicalId":268290,"journal":{"name":"Humanities research","volume":"15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-03-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130736958","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}

引用次数: 0