Humanities (Basel, Switzerland)最新文献_第9页

Violence and Post-National Costa Rican Identity in Limón Reggae 利蒙雷鬼的暴力和后国家哥斯达黎加身份

Humanities (Basel, Switzerland) Pub Date : 2023-06-28 DOI: 10.3390/h12040056

Anne Marie Stachura

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The Spaces and Places of the Tourism Encounter. On Re-Centring the Human in a More-Than/Non-Human World 旅游邂逅的空间和场所。论在一个超越人类/非人类的世界中重新定位人类

Humanities (Basel, Switzerland) Pub Date : 2023-06-26 DOI: 10.3390/h12040055

E. Huijbens

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Tragedy, Tragic Irony, and War: A Dialectical Approach 悲剧、悲剧反讽与战争:一个辩证的视角

Humanities (Basel, Switzerland) Pub Date : 2023-06-21 DOI: 10.3390/h12040054

T. Airaksinen

{"title":"Tragedy, Tragic Irony, and War: A Dialectical Approach","authors":"T. Airaksinen","doi":"10.3390/h12040054","DOIUrl":"https://doi.org/10.3390/h12040054","url":null,"abstract":"Tragic irony may mean the dramatic irony in scripted tragedy (tragic play). The audience can predict the regrettable outcome on the stage before the main characters do. I focus on non-scripted events and their tragic aspects. Colloquially, disaster and tragedy are synonyms, but this is misleading. Tragedy means a disaster in special circumstances, which I suggest we can read ironically. This is to say, as I argue, tragedy is necessarily ironic. I read Richard Rorty on irony and Hegel on tragic irony and cunning of reason. My aim is to redescribe real-life conflicts by using the dialectical understanding of irony and tragedy. Following Rorty and Hegel, I apply their theories of identity to real tragedies. The validation of the theory of literary criticism is a practical matter. My key illustrations come from modern wars; wars are and cause disasters, and thus I expect we can discover cases of tragic irony in factual and counterfactual contexts. Sometimes, the losses and suffering would have been meaningless regardless of the war’s outcome. The winner suffers, but it would have been better not to win. The losers suffer, but it would not have been better had they won. A total defeat would have been better than a conditional one. These redescriptions show the ironic differences between disaster and tragedy in non-scripted contexts—and all these cases are controversial.","PeriodicalId":93761,"journal":{"name":"Humanities (Basel, Switzerland)","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-06-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44403677","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

Itsuki Hiroyuki’s Farewell to Moscow Misfits and Entertainment Strategies: Middlebrow Novels, Jazz Novels, and Repatriates Itsuki Hiroyuki的告别莫斯科与娱乐策略:中庸小说，爵士小说和遣返

Humanities (Basel, Switzerland) Pub Date : 2023-06-20 DOI: 10.3390/h12030053

T. Nakane, E. Siercks

{"title":"Itsuki Hiroyuki’s Farewell to Moscow Misfits and Entertainment Strategies: Middlebrow Novels, Jazz Novels, and Repatriates","authors":"T. Nakane, E. Siercks","doi":"10.3390/h12030053","DOIUrl":"https://doi.org/10.3390/h12030053","url":null,"abstract":"This paper addresses writer Itsuki Hiroyuki’s 1966 debut novel Farewell to Moscow Misfits through the lens of middlebrow novels, jazz novels, and repatriates. This novel draws from Itsuki’s personal experience being repatriated from colonial Korea after the war and visiting the Soviet Union in the mid-1960s. Farewell was unique for its time in representing jazz, music, and youth “stilyagi” counterculture in the Soviet Union. This counterculture movement was roughly contemporaneous with the student movement of the 1960s in Japan. This period also saw the popularization of the “middlebrow novel”—an ambiguous term that was used to describe literature outside of the established pure/popular dichotomy. These amorphous “middlebrow” works allow us to read some of the cultural dynamics of the 1960s. Itsuki published many of his early works in so-called middlebrow magazines, not “pure” literary journals. Itsuki himself claimed that his works were neither pure literature nor popular literature; they were simply “entertainment”. He placed his works in relation to jazz, the circus, and enka. His unique views on cultural production and media emerged from his repatriation experiences and his encounter with Russian culture. This paper examines not only genre conventions in literature but also Itsuki’s objections to the pure/popular literary structure, as well as his place in cultural representations of the 1960s.","PeriodicalId":93761,"journal":{"name":"Humanities (Basel, Switzerland)","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-06-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47150859","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

Sounding War: Subverting Jim Crow in Not Only War and Sula 听起来的战争:在《不仅是战争》和《秀拉》中颠覆吉姆·克劳

Humanities (Basel, Switzerland) Pub Date : 2023-06-16 DOI: 10.3390/h12030051

Candice Marie Fairchild

引用次数: 0

Songlines Are for Singing: Un/Mapping the Lived Spaces of Travelling Memory 歌曲是用来唱的:勾勒旅行记忆的生活空间

Humanities (Basel, Switzerland) Pub Date : 2023-06-16 DOI: 10.3390/h12030052

L. Roberts

{"title":"Songlines Are for Singing: Un/Mapping the Lived Spaces of Travelling Memory","authors":"L. Roberts","doi":"10.3390/h12030052","DOIUrl":"https://doi.org/10.3390/h12030052","url":null,"abstract":"Putting to work the dialectical concept of ‘un/mapping’, this paper examines the immateriality of cultural memory as coalescent in and around songlines: spatial stories woven from the autobiogeographical braiding of music and memory. Borrowing from Erll’s concept of ‘travelling memory’ (2011), the idea of songlines provides a performative framework with which to both travel with music memory and to map/unmap the travelling of music memory. The theoretical focus of the work builds on empirical studies into music, place and cultural memory in the form of interviews conducted across the UK in 2010–2013. The interviews were designed to explore the way peoples’ musical pasts—memories of listening to music in the domestic home, for example, or attendance at concerts and festivals, music as soundtracks to journeys, holidays or everyday commutes to work or school, music at key rite of passage moments—have coloured and given shape to the narratives that structure a sense of embodied selfhood and social identity over time. Songlines, it is shown, tether the self to spaces and temporalities that map a tangled meshwork of lives lived spatially, where the ghosts of musical pasts are as vital and alive as the traveller who has invoked them. Analysis and discussion is centred around the following questions: How should the songlines of memory be mapped in ways that remain true and resonant with those whose spatial stories they tell? How, phenomenologically, can memory be rendered as an energy that remains creatively vital without running the risk of dissipating that energy by seeking to fix it in space and time (to memorialise it)? And if, as is advocated in the paper, we should not be in the business of mapping songlines, how do we go about the task of singing them? Pursuing these and other lines of enquiry, this paper explores a spatial anthropology of movement and travel in which the un/mapping of popular music memory mobilises phenomenological understandings of the entanglements of self, culture and embodied memory.","PeriodicalId":93761,"journal":{"name":"Humanities (Basel, Switzerland)","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-06-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44325005","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

Liminality, Madness, and Narration in Hassan Blasim’s “The Nightmares of Carlos Fuentes” and “Why Don’t You Write a Novel Instead of Talking about All These Characters?” 哈桑·布拉西姆的《卡洛斯·富恩特斯的噩梦》和《你为什么不写小说，而不是谈论所有这些人物》中的阈值、疯狂和叙述?

Humanities (Basel, Switzerland) Pub Date : 2023-06-16 DOI: 10.3390/h12030050

Rima Sadek

{"title":"Liminality, Madness, and Narration in Hassan Blasim’s “The Nightmares of Carlos Fuentes” and “Why Don’t You Write a Novel Instead of Talking about All These Characters?”","authors":"Rima Sadek","doi":"10.3390/h12030050","DOIUrl":"https://doi.org/10.3390/h12030050","url":null,"abstract":"The fiction of Hassan Blasim addresses the horrors of contemporary Iraq and centers on the crisis of identity that is part of the immigrant’s experience. Blasim’s protagonists try to forget past traumas related to their homeland by developing new identities ingrained solely in the present. Yet, the past resurfaces in the form of nightmarish dreams, madness, and fractured narratives where fiction and reality intersect and overlap. Inhabiting a constant state of liminality imprints itself on the body and psyche of the border crossers and leads to their physical or mental demise. Drawing on theories of madness, liminality, and narration advanced by Shoshana Felman and Michel Foucault, I analyze Blasim’s two short stories “The Nightmares of Carlos Fuentes” and “Why Don’t You Write a Novel Instead of Talking About All These Characters?” I argue that the imaginative space of literary narration, an in-between, liminal space between reality and fiction, is the space where ethico-political paradoxes and the absurdity of real-life trauma, death, and chaos are transformed into a meaningful literary dialogue that can expand reality and offer new spheres of understanding of the trauma that shapes the lives of Blasim’s characters.","PeriodicalId":93761,"journal":{"name":"Humanities (Basel, Switzerland)","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-06-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44685410","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

What Is a Child in What Is a Child? 什么是孩子？

Humanities (Basel, Switzerland) Pub Date : 2023-06-13 DOI: 10.3390/h12030049

Y. Nam

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Visions of Red Riding Hood: Transformative Bodies in Contemporary Adaptations 《小红帽》的视觉:当代改编中的变形身体

Humanities (Basel, Switzerland) Pub Date : 2023-06-12 DOI: 10.3390/h12030048

Elizabeth Abele

引用次数: 0

Nazis in Auschwitz: Reflections on Anglophone Perpetrator Fiction 奥斯威辛的纳粹：英语罪犯小说的反思

Humanities (Basel, Switzerland) Pub Date : 2023-06-09 DOI: 10.3390/h12030047

J. Pettitt

引用次数: 0