Humanities

23 pages, 415 KiB

Open AccessArticle

Godzilla at 70: Time for Kaijū Studies

by Steven Rawle

Humanities 2024, 13(6), 145; https://doi.org/10.3390/h13060145 - 26 Oct 2024

This article contextualises the history of kaijū scholarship and looks particularly at the swell of publishing that has emerged in the last decade. It argues that the release of a series of new Godzilla films has led to a greater focus on the [...] Read more.

This article contextualises the history of kaijū scholarship and looks particularly at the swell of publishing that has emerged in the last decade. It argues that the release of a series of new Godzilla films has led to a greater focus on the kaijū film, but that there is recurrence of critical themes that have persisted throughout scholarship on giant monster movies since the 1960s. This provides a literature review to understand how kaijū media has been critiqued, defined and challenged in response to the near three-quarter century history of kaijū cinema to consider if studies of the kaijū media provide the impetus to look at the kaijū as deserving of its own field of study. If zombie studies and vampire studies can occupy their own emerging fields of study, why not the kaijū? If the figure of the kaijū asks the biggest questions of our cultures, then do the giant monsters not deserve their own field? But, if this is an emerging field of study, the article poses, it needs to be more than kaijū film studies. Full article

(This article belongs to the Special Issue Godzilla at 70: The Giant Monster’s Legacy in Global Popular Culture)

12 pages, 280 KiB

Open AccessArticle

Musicians, Chariot Bearers, and Ghost Characters: The Spectrality of Black Slavery in Early Modern Mediterranean Drama

by Sabine Schülting

Humanities 2024, 13(6), 144; https://doi.org/10.3390/h13060144 - 24 Oct 2024

Abstract

The article discusses early modern English plays from the 1590s to the 1610s, set in or referring to the Mediterranean, which feature Black African characters in marginal roles. These characters are ‘spectral’ in that they have no speaking part but appear briefly as [...] Read more.

The article discusses early modern English plays from the 1590s to the 1610s, set in or referring to the Mediterranean, which feature Black African characters in marginal roles. These characters are ‘spectral’ in that they have no speaking part but appear briefly as attendants, servants, musicians, or indeed slaves. The article argues that their spectrality evokes the presence of Black African slaves in the Mediterranean, which has often been ignored in Early Modern Studies. However, through these characters Black slavery is turned into a mere spectacle, performed for the gaze of the theatre audience in early modern London. Full article

(This article belongs to the Special Issue Early Modern Literature and the Mediterranean Slave Trade)

17 pages, 1971 KiB

Open AccessArticle

Bungen—An East Asian Philosophy of Culture in Terms of Intercultural Interactions and a Reinterpretation of Watsuji’s Concept of Aidagara

by Andrew Ka Pok Tam

Humanities 2024, 13(6), 143; https://doi.org/10.3390/h13060143 - 23 Oct 2024

Abstract

Influenced by Hegel, modern Chinese philosophers (e.g., Mou Zong-San, Lao Sze-Kwang, etc.) and Japanese philosophers (e.g., Nishida Kitaro) were inclined to narrate Chinese or Japanese culture in terms of the Hegelian concept of ‘spirit’. Nevertheless, the Hegelian philosophy of culture assumes the existence [...] Read more.

Influenced by Hegel, modern Chinese philosophers (e.g., Mou Zong-San, Lao Sze-Kwang, etc.) and Japanese philosophers (e.g., Nishida Kitaro) were inclined to narrate Chinese or Japanese culture in terms of the Hegelian concept of ‘spirit’. Nevertheless, the Hegelian philosophy of culture assumes the existence of an unchangeable cultural spirit and was therefore criticised by Watsuji Tetsuro. Watsuji denies the existence of an unchangeable cultural spirit and argues that cultures arise from the aidagara (interactions) between Ningen (human society) and Fudo (nature). Yet Watsuji’s narration of culture overemphasised the aidagara between Ningen and Fudo but disregarded that culture may also arise from the aidagara among cultures. Therefore, by reinterpreting Watsuji’s concept of aidagara, this paper proposes the concept of Bungen to explain the formation of cultures in terms of intercultural interactions and therefore highlight the diversity of East Asian cultures. Full article

(This article belongs to the Special Issue Space Between: Landscape, Mindscape, Architecture)

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12 pages, 14405 KiB

Open AccessArticle

Mediating Monstrosity: The Threat of the (In)Visible in the MonsterVerse

by Linda Kopitz

Humanities 2024, 13(6), 142; https://doi.org/10.3390/h13060142 - 22 Oct 2024

Abstract

Drawing on Susan Sontag’s understanding of the anxieties about contemporary existence lurking beneath the surface of science fiction films, this article argues that the focus on media monitoring, mapping and materializing the giant monster in the MonsterVerse functions as a negotiation of the [...] Read more.

Drawing on Susan Sontag’s understanding of the anxieties about contemporary existence lurking beneath the surface of science fiction films, this article argues that the focus on media monitoring, mapping and materializing the giant monster in the MonsterVerse functions as a negotiation of the limits of visibility of catastrophe. Hiding, waiting, lurking underneath the surface in the “Hollow Earth”, the giant monsters are—paradoxically—invisible and hypervisible, absent and present at the same time. Throughout and across the films and series in the narrative universe, media in the MonsterVerse are charged with “proving” the threat of the (in)visible, while at the same time challenging mediated registers of truth and trustability. Making the monster is simultaneously presented as the promise and problem of technological mediation. With the emphasis on flashbacks to different time periods—including the 1940s in Kong: Skull Island (2017), the 1950s in Monarch: Legacy of Monsters (2023) and the 1990s in Godzilla (2014)—this not only appears to be about the mediatization of the monsters but rather their analogization. Captured in hand-drawn maps, grainy images and static sound recordings, proving the existence of the monstrous threat becomes a question of materiality as well. Full article

(This article belongs to the Special Issue Godzilla at 70: The Giant Monster’s Legacy in Global Popular Culture)

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13 pages, 317 KiB

Open AccessArticle

Reaffirming Loyalty and Legitimacy: Representations of Hui Multi-Layered Identity in Bai Lian’s “Mountain Pass”

by Mario De Grandis

Humanities 2024, 13(6), 141; https://doi.org/10.3390/h13060141 - 22 Oct 2024

Abstract

In the People’s Republic of China (PRC), the Cultural Revolution (1966–1976) left many writers severed from their cultural roots. Starting in the 1980s, literary authors sought to address this disconnection by turning their attention to rural communities. This tendency is exemplified by the [...] Read more.

In the People’s Republic of China (PRC), the Cultural Revolution (1966–1976) left many writers severed from their cultural roots. Starting in the 1980s, literary authors sought to address this disconnection by turning their attention to rural communities. This tendency is exemplified by the emergence of two significant trends: root-seeking literature and new fiction from Tibet. Root-seeking authors focused on local customs, marginalized cultures, and minority groups to reinvigorate Chinese literature and fill the perceived cultural void. Around the same time, new fiction from Tibet featured diverse responses to post-Mao changes, with some idealizing Tibet as a repository of “authentic” traditions, while others criticized its perceived backwardness. Both trends have been interpreted in scholarship as responses, often critical, to state policies. The short story “Mountain Pass” (1985) by Hui writer Bai Lian intersects with these movements temporally and thematically. However, unlike them, Bai Lian’s portrayal of rural communities emphasizes the Hui’s historical role in resisting the Qing empire, pivotal to the emergence of the PRC, while also highlighting the group’s Arab and Persian origins. This three-layered identification with the local, national, and transnational enriches our understanding of the 1980s literary landscape, challenging the notion that this era was solely characterized by resistance to the central state. Full article

(This article belongs to the Section Literature in the Humanities)

18 pages, 306 KiB

Open AccessArticle

How the Music Machine Makes Myths Real: AI, Holograms, and Ashley Eternal

by Victor Robert Kennedy

Humanities 2024, 13(5), 140; https://doi.org/10.3390/h13050140 - 21 Oct 2024

Abstract

Since ancient times, music has been instrumental in giving life to the stories we build our identities and cultures around. I will examine how, in our time, music creates new myths by creating its own heroes and heroines through capital and the star [...] Read more.

Since ancient times, music has been instrumental in giving life to the stories we build our identities and cultures around. I will examine how, in our time, music creates new myths by creating its own heroes and heroines through capital and the star system. In traditional literary and cultural analysis, a distinction was drawn between the natural and the supernatural when discussing literary mythology; in the twentieth century, an equivalent distinction was made in works of art that, in Baudrillard’s terminology, make use of the realms of the real and the “hyperreal” (1981). In today’s mythmaking, the supernatural has been largely replaced by the technological, and recent developments blur the line between science fiction and fantasy; tech has become megalotech. A recent episode of the television series Black Mirror, “Rachel, Jack, and Ashley Too” (2019), explores these concepts with an examination of the pros and cons of replacing human performers with AI simulacra. Full article

(This article belongs to the Special Issue Music and the Written Word)

9 pages, 219 KiB

Open AccessArticle

Hybrid: Reading Godzilla Through Posthumanism

by Fernando Gabriel Pagnoni Berns, Emiliano Aguilar and Jorge Eduardo Traversa

Humanities 2024, 13(5), 139; https://doi.org/10.3390/h13050139 - 21 Oct 2024

Abstract

This essay proposes to read the classic cycle of Godzilla films (roughly, 1954–1995) using a posthuman perspective that makes its emphasis on animal, vegetal and mineral life. We will use posthuman and materialist philosophy to analyze hybrid monsters as part of new interdisciplinary [...] Read more.

This essay proposes to read the classic cycle of Godzilla films (roughly, 1954–1995) using a posthuman perspective that makes its emphasis on animal, vegetal and mineral life. We will use posthuman and materialist philosophy to analyze hybrid monsters as part of new interdisciplinary studies about non-human agencies and their creepy potential. As such, we want to offer the first posthumanist readings of the Godzilla franchise, in time to celebrate its 70 years of existence and, in consequence, highlight how posthumanist the series has always been. Full article

(This article belongs to the Special Issue Godzilla at 70: The Giant Monster’s Legacy in Global Popular Culture)

9 pages, 268 KiB

Open AccessArticle

Blue Öyster Cult’s “Godzilla”: An American Kaiju Anthem

by Daniel Patrick Compora

Humanities 2024, 13(5), 138; https://doi.org/10.3390/h13050138 - 21 Oct 2024

Abstract

In 1978, the American hard rock band Blue Öyster Cult released the song “Godzilla” as the first single from the fifth studio album Spectres. Despite not registering on popular charts, it would eventually evolve into an iconic song of its era. “Godzilla” [...] Read more.

In 1978, the American hard rock band Blue Öyster Cult released the song “Godzilla” as the first single from the fifth studio album Spectres. Despite not registering on popular charts, it would eventually evolve into an iconic song of its era. “Godzilla” continues to receive airplay on classic rock stations, and it remains a staple of the band’s touring performances. In 2019, a cover of the song, more than forty years after its release, made its film debut in Godzilla: King of the Monsters. Though the song is primarily a tribute to the Japanese monster from which it gets its name, “Godzilla” also reflects the nuclear fear and paranoia of the 1970s Cold War era. “Godzilla’s” cultural impact, the song’s lyrics, the Cold War context in which it was written, and its connection to the kaiju films featuring the famous monster are examined. While this is the most popular and well-known song dedicated to Godzilla, it is not the only one. Other compositions have, but they have failed to achieve the iconic status that Blue Öyster Cult’s version has attained. This song has evolved into an unofficial anthem for the great monster. Full article

(This article belongs to the Special Issue Godzilla at 70: The Giant Monster’s Legacy in Global Popular Culture)

14 pages, 342 KiB

Open AccessArticle

Global Community in James Welch’s The Heartsong of Charging Elk

by Kedong Liu, Yutong Zhao and Limin Li

Humanities 2024, 13(5), 137; https://doi.org/10.3390/h13050137 - 19 Oct 2024

Abstract

Human beings have had beautiful dreams for a harmonious world since centuries ago; this can be termed cosmopolitanism, shijie datong, or global community. Based on theories expounded by Confucius, Tönnies, Anderson, Bauman, Derrida, and Appiah, we closely examine the concept of “global [...] Read more.

Human beings have had beautiful dreams for a harmonious world since centuries ago; this can be termed cosmopolitanism, shijie datong, or global community. Based on theories expounded by Confucius, Tönnies, Anderson, Bauman, Derrida, and Appiah, we closely examine the concept of “global cultural community” or “international community”, that is, the community involving individuals or groups of two or more countries by way of textual analysis, with James Welch’s The Heartsong of Charging Elk as an example. Through an analysis of the plot in the novel, we find that the American Indian protagonist Charging Elk integrates into the local French culture, while retaining his indigenous cultural identity, and thus negotiates a global community. This finding is also evaluated in the context of all five novels by Welch and in a broader scope of American Indian literature with inter-continental themes. The studies on cosmopolitanism or global community in American Indian literature can play an important role in exploring the construction of a global community for humanity for a shared future. Full article

(This article belongs to the Special Issue Comparative Literature and World Literature: Toward a Global Cultural Community through a New Cosmopolitanism)

20 pages, 48839 KiB

Open AccessArticle

Capitalizing on Animality: Monstrosity and Multispecies Relations in Jordan Peele’s Nope (2022)

by Heather King

Humanities 2024, 13(5), 136; https://doi.org/10.3390/h13050136 - 18 Oct 2024

Abstract

One amongst many of the defining characteristics of so-called ‘late stage’ capitalism are human-animal relationships that have become acrimonious, hostile, or even monstrous in nature. A foundational premise of monster theory, and one that Jeffrey Jerome Cohen’s seminal 1996 edited collection of the [...] Read more.

One amongst many of the defining characteristics of so-called ‘late stage’ capitalism are human-animal relationships that have become acrimonious, hostile, or even monstrous in nature. A foundational premise of monster theory, and one that Jeffrey Jerome Cohen’s seminal 1996 edited collection of the same name suggests, is that the construction of the monster in popular culture is fraught with the boundaries that constitute the society that has spawned them; the monstrous body “exists only to be read” (p. 4). Bringing together the theoretical insights of the Marxist theory of reification, critical animal studies, and monster theory, this article examines the ways in which cinematic depictions of gigantic monstrosity can inform our theorizing of multispecies relationships under capitalism. Specifically, I explore how the tensions between capital and human-animal relationships serve to construct and constitute the multiform monster, Jean Jacket, in Jordan Peele’s 2022 film Nope. Through an examination of the multispecies relationalities that the film portrays, I argue that the figure of Jean Jacket is a monstrous culmination of the reified and therefore, necessarily deferred nature of human-animal relationships under capital. However, Nope’s conclusion alerts us to the radical dereifying potential of multispecies bonds of care and embodied knowledge; systems of resistance that can be forged even within our current capitalist ruins. Full article

(This article belongs to the Special Issue Godzilla at 70: The Giant Monster’s Legacy in Global Popular Culture)

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11 pages, 220 KiB

Open AccessArticle

Ecocritical Concerns in the Selected Poems of Mahmoud Darwish and Naomi Shihab Nye

by Amna Shamim

Humanities 2024, 13(5), 135; https://doi.org/10.3390/h13050135 - 16 Oct 2024

Abstract

Ecocriticism is an advancing field in literature that has opened up avenues in reading world literature from a whole new perspective. This paper seeks to flesh out ecocritical concerns in the selected poems of Mahmoud Darwish and Naomi Shihab Nye by using selected [...] Read more.

Ecocriticism is an advancing field in literature that has opened up avenues in reading world literature from a whole new perspective. This paper seeks to flesh out ecocritical concerns in the selected poems of Mahmoud Darwish and Naomi Shihab Nye by using selected concepts of the theory of ecocriticism given by Greg Garrard: pastoral, wilderness, and the sublime. An analysis of the poetry by the selected writers, sharing their roots from the Arab world, reveals their agenda of using nature as a trope in the form of resistance to colonialism. The writers give a glimpse of the people of their homeland and their culture imbued in nature. Full article

(This article belongs to the Special Issue Comparative Literature and World Literature: Toward a Global Cultural Community through a New Cosmopolitanism)

11 pages, 229 KiB

Open AccessArticle

The Devil in the Machine: The Doctor Travels through Time in Chris Bush’s Faustus: That Damned Woman

by Verna A. Foster

Humanities 2024, 13(5), 134; https://doi.org/10.3390/h13050134 - 9 Oct 2024

Abstract

Chris Bush’s Faustus: That Damned Woman (first performed in 2020) is a feminist and contemporary adaptation of Christopher Marlowe’s Doctor Faustus. The magus is a woman who travels through time from the seventeenth century to the far distant future. In the process, [...] Read more.

Chris Bush’s Faustus: That Damned Woman (first performed in 2020) is a feminist and contemporary adaptation of Christopher Marlowe’s Doctor Faustus. The magus is a woman who travels through time from the seventeenth century to the far distant future. In the process, Johanna Faustus becomes a brilliant scientist who attempts to create digital immortality by uploading the minds of billions of human beings to the Cloud. When a power failure destroys almost all of humanity, it is uncertain whether the universal outage is caused by Mephistopheles (in accordance with the expectations of Faustian fantasy) or is simply an unforeseen but predictable accident (in accordance with the expectations of technophobic versions of science fiction). I argue that Bush’s play traces the chronological and generic arc from magic/fantasy to science/science fiction, blending the two so that the age-old monster, the Devil, enabled by Faustian arrogance, is reimagined as an avatar for an unreliable technology that destroys what it is designed to preserve. Full article

(This article belongs to the Special Issue Re-imagining Classical Monsters)

18 pages, 3689 KiB

Open AccessArticle

Evergreen Avengers: Nature and Kaijū in the Twenty-First Century

by Sean Rhoads and Brooke McCorkle Okazaki

Humanities 2024, 13(5), 133; https://doi.org/10.3390/h13050133 - 8 Oct 2024

Abstract

After a decade of dormancy following the release of Tōhō Studios’ Godzilla: Final Wars (2004), Godzilla and other kaijū burst back onto the scene with Legendary Pictures’ Godzilla (2014). Several American sequels and a television series set in Legendary’s MonsterVerse quickly followed over [...] Read more.

After a decade of dormancy following the release of Tōhō Studios’ Godzilla: Final Wars (2004), Godzilla and other kaijū burst back onto the scene with Legendary Pictures’ Godzilla (2014). Several American sequels and a television series set in Legendary’s MonsterVerse quickly followed over the next ten years. Meanwhile, Japan’s Tōhō used their radioactive creation’s global success to reignite their own films with Shin Godzilla (2016), an animated trilogy, and Godzilla Minus One (2023). Short-format media like Chibi Godzilla and Godziban also circulated thanks to streaming services. Similarly, Godzilla’s longtime competitor Gamera also emerged from hibernation in an animated series produced by Kadokawa Corporation, Gamera Rebirth (2023). But how do these new installations relate to or depart from their predecessors’ predilection to address environmental concerns? This article continues the ecocritical analysis of kaijū eiga, expanding it to the 2010s and 2020s, as a coda to our duograph Japan’s Green Monsters (2018). This article picks up where we left off, examining the recent releases from an ecocritical standpoint. This analysis reveals that today’s films remain steeped in environmental commentary, but both fragmented and updated for the new concerns of the twenty-first century. Full article

(This article belongs to the Special Issue Godzilla at 70: The Giant Monster’s Legacy in Global Popular Culture)

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16 pages, 310 KiB

Open AccessArticle

“So Beautiful That Mortal… Eyes Can’t Take It”: How Postmodernism Shows Us the Function of the Beautiful in the Landscape of the Traumatic

by Griffin Lang Pickett

Humanities 2024, 13(5), 132; https://doi.org/10.3390/h13050132 - 8 Oct 2024

Abstract

In her 2010 article “Aesthetic Wit(h)nessing in the Era of Trauma”, Griselda Pollock lamented the aperture between psychology, particularly that of PTSD, and esthetics in the search to bear witness to traumatic experience. This article explores the gray area that exists when the [...] Read more.

In her 2010 article “Aesthetic Wit(h)nessing in the Era of Trauma”, Griselda Pollock lamented the aperture between psychology, particularly that of PTSD, and esthetics in the search to bear witness to traumatic experience. This article explores the gray area that exists when the esthetic and the traumatic converge, arguing that such areas exist not only as direct representations of the difficulty of narrativizing trauma as described by such theorists as Cathy Caruth, Onno van der Hart, and Bessel van der Kolk, but also simultaneously as windows into the moments of what Dominick LaCapra calls “the sublime object of endless melancholia and impossible mourning”. Postmodernism is argued to be the organic choice of voicing traumatic retellings, and close readings of John Hersey’s proto-postmodern Hiroshima (1946), Tim O’Brien’s The Things They Carried (1992), and David Foster Wallace’s Infinite Jest (1996) work to highlight the intersections of trauma, postmodern literature, and esthetics; or, in Wallace’s case, theoretical discussions of traumatic tropes as facilitated by the postmodern tradition. In drawing attention to this tripartite convergence, this article hopes to continue in the vein of scholarship that reaffirms the need for evermore research in the field of trauma studies as well as substantiate a claim of the heightened importance of postmodern literature in the 21st century—an epoch indelibly marked by trauma, as noted by Pollock. Full article

(This article belongs to the Special Issue Trauma, Ethics & Illness in Contemporary Literature and Culture)

16 pages, 235 KiB

Open AccessArticle

The Finitude of the Human and the World of the None-Whole: On the Aesthetics of Existence in Korean Modernist Literature in the Posthuman Age

by Yerhee Kim, Thi Hien Nguyen and Hyonhui Choe

Humanities 2024, 13(5), 131; https://doi.org/10.3390/h13050131 - 4 Oct 2024

Abstract

Posthuman discourse calls for a fundamental shift away from modern anthropocentric thought. This shift stems from the reflection that many of the problems in the modern capitalist world, including climate change, are rooted in anthropocentric attitudes and ways of life. Amid rapid climatic [...] Read more.

Posthuman discourse calls for a fundamental shift away from modern anthropocentric thought. This shift stems from the reflection that many of the problems in the modern capitalist world, including climate change, are rooted in anthropocentric attitudes and ways of life. Amid rapid climatic and technological changes, transforming our way of thinking is essential. This paper argues that such a transformation is possible through the exploration of new subjectivities that incorporate the other, transforming the self in the process. It examines how 1930s Korean colonial modernist literature illustrates this search for new subjectivities. Based on this exploration, this paper also concretizes the tendencies and problems in our society, particularly concerning technological fascism, through recent Korean fiction and discusses the significance of the literary imaginations of 1930s colonial Korean modernism in the posthuman era. Full article

(This article belongs to the Section Literature in the Humanities)

11 pages, 206 KiB

Open AccessArticle

Deconstructing Two Roads: Applying the Psychology of Regret to Resolve the Mystery Surrounding Robert Frost’s Most Beloved Poem

by Donald Thomas Carte

Humanities 2024, 13(5), 130; https://doi.org/10.3390/h13050130 - 3 Oct 2024

Abstract

In the lifetime anthology of Robert Frost’s poetry, one poem consistently stands out as the most beloved and recognizable of his works. To the average reader, for over a hundred years “The Road Not Taken” has engendered images of individuality and the need [...] Read more.

In the lifetime anthology of Robert Frost’s poetry, one poem consistently stands out as the most beloved and recognizable of his works. To the average reader, for over a hundred years “The Road Not Taken” has engendered images of individuality and the need to avoid following the crowd; this despite clear evidence within the verse that contradicts that reading. Most Frost scholars would agree the poem is the most misunderstood poem in Frost’s collection, and the academy has presented several intelligent and deeply introspective alternatives. However, none of these have garnered enough of a consensus to displace the initial misunderstanding. Through an interdisciplinary approach that makes use of the added epistemic approaches of historical research and the psychology of regret, this paper will uncover a hidden creation story for “The Road Not Taken”, and through a fulsome review of the poem’s origination, reveal a more basic axiom as to the purpose behind Frost’s two roads. Full article

(This article belongs to the Section Literature in the Humanities)

19 pages, 6849 KiB

Open AccessArticle

Metabolic Cinema: From Hollywood to Socialist China

by Ping Zhu

Humanities 2024, 13(5), 129; https://doi.org/10.3390/h13050129 - 3 Oct 2024

Abstract

Drawing on Karl Marx’s ecological concepts of the “metabolic rift” and the “emancipation of senses”, this paper explores an alternative ecocinema that integrates the ecological with the social and the economic. Early Hollywood films, such as Sunrise: A Song of Two Humans (1927) [...] Read more.

Drawing on Karl Marx’s ecological concepts of the “metabolic rift” and the “emancipation of senses”, this paper explores an alternative ecocinema that integrates the ecological with the social and the economic. Early Hollywood films, such as Sunrise: A Song of Two Humans (1927) and The Good Earth (1937), represent the metabolic rift in human relationships as a byproduct of the metabolic rift with nature created in the process of urbanization; hence, they can be regarded as precursors to an alternative ecocinema, which I refer to as “metabolic cinema”. The Story of the Golden Bell (Jinling Zhuan), a comedy film produced during the Chinese Great Leap Forward in 1958, offers an intriguing case for socialist metabolic cinema as a multisensory medianature that participates in and facilitates the metabolic process between humans and nature, as well as the social metabolism among humans, despite the period’s notorious ecological record. The film not only consciously moves away from the visual-centric model associated with capitalist consumerism by using the aural to rectify the once-aberrant visual but also demonstrates how romantic love, as one of the human senses, must be emancipated along with other senses through denouncing utilitarianism and commercialism and, subsequently, returning to need-based labor as the universal condition for the metabolic interaction between humans and nature. Full article

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12 pages, 278 KiB

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The Female Body and the Environment: A Transnational Study of Mo Yan’s Feng ru Fei tun, Murakami Haruki’s Nejimaki-dori Kuronikuru, and Gabriel García Márquez’s El amor en los tiempos del cólera

by Yueying Wu

Humanities 2024, 13(5), 128; https://doi.org/10.3390/h13050128 - 2 Oct 2024

Abstract

The female body is often depicted in parallel with the environment in many literary works. This article examines how the female body can prompt a rethinking of the environment by analyzing three literary works, Mo Yan’s Feng ru Fei tun, published in [...] Read more.

The female body is often depicted in parallel with the environment in many literary works. This article examines how the female body can prompt a rethinking of the environment by analyzing three literary works, Mo Yan’s Feng ru Fei tun, published in 1996 Murakami Haruki’s Nejimaki-dori Kuronikuru, published in 1994-1995, and Gabriel García Márquez’s El amor en los tiempos del cólera, published in 1985, which root in Chinese, Japanese, and Latin American cultures, respectively. This paper argues that, on the one hand, the female body parallels the environment by displaying non-human characteristics and relating to natural elements in these three works; on the other hand, it deconstructs the boundary between the environment and humans by playing a crucial role in constructing human identity. This paper draws on theories of posthumanism, material feminism, and ecofeminism to explore the depiction of the female body and its role in rethinking the environment. The cultural hybridity of local and non-local worldviews—a key reason for situating this study within a transnational comparative framework—serves as a crucial element in demonstrating how the female body bridges the environment and human identity across all three works. This analysis aims to deconstruct the anthropocentric perspective on the environment, thereby rethinking the role of the female body in this context. Full article

(This article belongs to the Special Issue Care in the Environmental Humanities)

25 pages, 18967 KiB

Open AccessArticle

Good People Do Not Eat Others?! Moral Ambiguity in Japanese Fairytales from the Late Nineteenth Century

by Tian Gao

Humanities 2024, 13(5), 127; https://doi.org/10.3390/h13050127 - 1 Oct 2024

Abstract

In 2015, the Japanese public broadcaster NHK aired an educational series that re-examined traditional fairy tales by putting their characters on trial for their immoral behavior, such as revenge, violence, and dishonesty. These tales, rooted in premodern Japanese folklore, were widely available in [...] Read more.

In 2015, the Japanese public broadcaster NHK aired an educational series that re-examined traditional fairy tales by putting their characters on trial for their immoral behavior, such as revenge, violence, and dishonesty. These tales, rooted in premodern Japanese folklore, were widely available in various book formats by the late nineteenth century and, unlike modern adaptations, they did not sanitize violence or evil. This study analyzes four miniature picture books from the late nineteenth century that recount the story, Kachikachi yama (The Crackling Mountain). This analysis focuses on both verbal and visual representations of good and evil, with attention to themes of loyalty, filial piety, and virtuous revenge. The findings reveal that these picture books presented young readers with complex moral lessons, where the boundaries between good and evil were blurred. Additionally, they illuminate the prevailing image of children during that era, depicting them as “little adults” expected to be educated and prepared for the practical realities of the adult world. Full article

(This article belongs to the Special Issue Depiction of Good and Evil in Fairytales)

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