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Mário Filho’s O Negro No Futebol Brasileiro (The Black Man in Brazilian Soccer) under and beyond the Shadow of Gilberto Freyre 吉尔伯托-弗雷尔阴影之下和阴影之外的马里奥-菲略的 O Negro No Futebol Brasileiro（巴西足球中的黑人

Humanities Pub Date : 2024-03-20 DOI: 10.3390/h13020055

Mario Higa

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‘[M]en’s Dwellings Were Thin Shells’: Uncertain Interiors and Domestic Violence in Ford Madox Ford’s War Writing 女人的居所是薄薄的壳"：福特-马多克斯-福特战争作品中不确定的室内环境与家庭暴力

Humanities Pub Date : 2024-03-18 DOI: 10.3390/h13020054

Max Saunders

{"title":"‘[M]en’s Dwellings Were Thin Shells’: Uncertain Interiors and Domestic Violence in Ford Madox Ford’s War Writing","authors":"Max Saunders","doi":"10.3390/h13020054","DOIUrl":"https://doi.org/10.3390/h13020054","url":null,"abstract":"The standard image of First World War soldiers is of men in open trenches: waiting to attack or be attacked; walking, sitting, sleeping, dead. Ford’s Parade’s End includes such scenes. But it is a different kind of image which predominates in his war writings and often produces its most memorable passages: images of houses or house-like shelters. The mind seeks protection in such structures; but they offer little security against the destructiveness outside, against the bombardments, gas, shrapnel, bullets. Ford wrote that the experience of war revealed: ‘men’s dwellings were thin shells that could be crushed as walnuts are crushed. … all things that lived and moved and had volition and life might at any moment be resolved into a scarlet viscosity seeping into the earth of torn fields […]’. This realisation works in two ways. The soldier’s sense of vulnerability provokes fantasies of home, solidity, sanctuary, while for the returnee soldier, domestic architecture summons war-visions of its own annihilation: ‘it had been revealed to you’, adds Ford, ‘that beneath Ordered Life itself was stretched, the merest film with, beneath it, the abysses of Chaos’. It is now customary to read war literature through trauma theory. Building on analyses of Ford’s use of repression, but drawing instead on object relations theory, I argue that Ford’s houses of war are not screen memories but images of the failure of repression to screen off devastating experiences. The abysses of Chaos can be seen through the screen or projected upon it. Attending to Ford’s handling of this theme enables a new reading of his war writing and a new case for its coherence. The essay will connect the opening of No More Parades (in a hut, during a bombardment) with the war poem ‘The Old Houses of Flanders’; the postwar poem A House; the memoir It Was the Nightingale (quoted above); and the otherwise puzzling, fictionalised memoir No Enemy, structured in terms of ‘Four Landscapes’ and ‘Certain Interiors’.","PeriodicalId":509613,"journal":{"name":"Humanities","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2024-03-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140231674","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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Sibling Rivalry, (Dis)Inheritance and Politics in Aphra Behn’s The Younger Brother and Susanna Centlivre’s The Artifice 阿芙拉-贝恩的《小弟弟》和苏珊娜-森特利弗的《伪装》中的手足之情、（不）继承和政治学

Humanities Pub Date : 2024-03-15 DOI: 10.3390/h13020053

Margarete Rubik

{"title":"Sibling Rivalry, (Dis)Inheritance and Politics in Aphra Behn’s The Younger Brother and Susanna Centlivre’s The Artifice","authors":"Margarete Rubik","doi":"10.3390/h13020053","DOIUrl":"https://doi.org/10.3390/h13020053","url":null,"abstract":"Behn and Centlivre used their comedies about the rivalry between an elder and a younger brother concerning an inheritance to make a political statement. Primogeniture was customary in early-modern England, and if an estate was entailed (rather than held in fee simple), it was difficult, though not impossible, to will it away to another person. The reasons meriting disinheritance were widely discussed, but in the two plays, the Tory fathers disinherit their Whig elder sons for political reasons. As The Younger Brother was staged posthumously and altered by Charles Gildon, it is arguable what Behn’s manuscript looked like, but there are indications that the elder brother was meant to be a downright republican and that Behn saw to it that the estate would go to the Tory younger brother, whose political stance she shared. In The Artifice, the father disinherits his upright elder son because he punished a Jacobite clergyman (whom the Whigs would have considered traitorous), but Centlivre—a zealous Whig herself—engineered an ending that reinstates the elder brother but also provides the younger with a comfortable income. Both dramatists also dealt with the inheritance prospects of women and the power of disposal they have over their portions.","PeriodicalId":509613,"journal":{"name":"Humanities","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2024-03-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140241202","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

Bloody Petticoats: Performative Monstrosity of the Female Slayer in Seth Grahame-Smith’s Pride and Prejudice and Zombies 血腥衬裙：塞斯-格雷厄姆-史密斯的《傲慢与偏见和僵尸》中女性杀手的表演怪癖

Humanities Pub Date : 2024-03-14 DOI: 10.3390/h13020052

Michelle L. Rushefsky

{"title":"Bloody Petticoats: Performative Monstrosity of the Female Slayer in Seth Grahame-Smith’s Pride and Prejudice and Zombies","authors":"Michelle L. Rushefsky","doi":"10.3390/h13020052","DOIUrl":"https://doi.org/10.3390/h13020052","url":null,"abstract":"In 2009, Seth Grahame-Smith published Pride and Prejudice and Zombies, sparking a subgenre that situates itself within multiple genres. I draw from the rebellious nature of nineteenth-century proto-feminists who tried to reclaim the female monster as an initial methodology to analyze Grahame-Smith’s Elizabeth Bennet. I argue that the (white) women in this horror rewriting inadvertently become the oppressors alongside contextualized zombie theory. This article also explores Grahame-Smith’s Charlotte Lucas as a complex female monster, as she is bitten and turned into a zombie, which reflects in part Jane Austen’s Charlotte’s social status and (potential) spinsterdom. It is the mythos of the zombie that makes Grahame-Smith’s Elizabeth Bennet’s feminist subversion less remarkable. And it is Charlotte’s embodiment of both the rhetorical and the religio-mythic monster that merges two narratives: the Americanized appropriated zombie and the oppressed woman. Grahame-Smith’s characters try to embody the resistance of twenty-first feminist sensibilities but fail due to the racial undertones of the zombie tangentially present in Pride and Prejudice and Zombies.","PeriodicalId":509613,"journal":{"name":"Humanities","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2024-03-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140392148","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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Antiracism and Black Self-Defense in the Face of (Juridical) Catastrophe 面对（司法）灾难的反种族主义和黑人自卫

Humanities Pub Date : 2024-03-13 DOI: 10.3390/h13020051

Adam Burgos, Khalil Saucier

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The Ordinary Looks behind the Horrifying Screams: The Secrecies of Border Spirits in 20th Century Finnish Belief Narratives 骇人尖叫背后的平凡面貌：20 世纪芬兰信仰叙事中的边境灵魂秘密

Humanities Pub Date : 2024-03-12 DOI: 10.3390/h13020049

Kari Korolainen

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Against Exceptionalism 反对例外论

Humanities Pub Date : 2024-03-12 DOI: 10.3390/h13020050

Zahi Zalloua

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The Pragmatics, Poetics, and Ethics of Pronouns in Ford Madox Ford’s War Prose 福特-马多克斯-福特战争散文中代词的语用学、诗学和伦理学

Humanities Pub Date : 2024-03-08 DOI: 10.3390/h13020048

Isabelle Brasme

{"title":"The Pragmatics, Poetics, and Ethics of Pronouns in Ford Madox Ford’s War Prose","authors":"Isabelle Brasme","doi":"10.3390/h13020048","DOIUrl":"https://doi.org/10.3390/h13020048","url":null,"abstract":"This essay adopts a stylistic approach to delineate the various—and varying—pragmatic effects inherent in the use and interactions of pronouns in Ford’s war prose. Ford’s singular use of pronouns is shown to be instrumental in his practice of literary impressionism. In particular, the omnipresent second person is granted a variety of referents that coexist along a “continuum of reference” (as defined by Bettina Kluge), from a “you” that is speaker-oriented to one that is addressee-oriented. Sorlin’s intersection of Kluge’s continuum with a gradient from personalisation to generalisation (2022) is illuminating when examining the manifold significance of Ford’s use of the second person, as it brings to light its ethical impact. Ford’s war essays shift from the general to the particular and from the collective to the individual in a manner that opposes propaganda rhetorics. Furthermore, the gradient established by Sandrine Sorlin to account for the pragmatic effect of “you” also proves remarkably useful when applied to the pronoun “one”. Scrutinising the interplay between these various pronouns allows us to investigate the multifarious relationships that Ford establishes in his war essays between the persona, the reader, those he often called “my men”, and the collective ethos of wartime Britain.","PeriodicalId":509613,"journal":{"name":"Humanities","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2024-03-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140257218","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

Reframing the Refugee: Jenny Erpenbeck’s Compassionate Politics 重塑难民：珍妮-埃尔彭贝克的同情政治学

Humanities Pub Date : 2024-03-07 DOI: 10.3390/h13020047

Kristian Shaw

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Mabata-Bata in Motion: The Transformation of Mia Couto’s Narrative in Sol de Carvalho’s Film 运动中的马巴塔-巴塔：索尔-德-卡瓦略电影中米娅-库托叙事的转变

Humanities Pub Date : 2024-03-05 DOI: 10.3390/h13020046

Lola Geraldes Xavier, João Viana, Silvie Špánková

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