Stanford Humanities Center
Getachew reflects on two forms of hope: a deference to fate and fortune on the one hand, and an active prefiguration or performance of hope on the other.
For most of its short generic life, the novel has depended on marriage and childbirth as signs of sexual relationship, and has had a difficulty representing sexual life beyond marriage and childbirth without the assistance of figurative language. How do novels, especially those of D.H. Lawrence, represent sex?
Mel Y. Chen considers "toxicity" and "animacy" in the racializing and queering of bodies and sociality. Through a look at national panic in the US surrounding lead in Chinese-manufactured toys, an auto-ethnographic exploration of body, sociality and immunity, and other varied discussions, Chen probes social and object relationships amid material and bodily assemblages.
I am sitting on my porch, talking on the phone to Anahí.[1] It’s Saturday, a perfect fall afternoon in Southern California, with the warmth of the sun cutting through the chill in the air. Because my kids and husband are home, this is the place where I can speak to her with some privacy. I imagine Anahí in the house that she has recently purchased with her brother just twenty miles from here. Maybe she is also sitting outside. It’s been a while since I’ve seen her.
This contribution compares depictions of sea animals in early modern Dutch still-lifes with other types of images: emblems from the 16th and 17th century, scientific prints from treatises published between the end of the 14th and the 18th century, and finally drawings by still life artists themselves.
As a space, pop culture is an epicenter for queerness; music, especially, has a history of giving LGBTQ subjects representation, visibility, and an opening to be subversive. In this article, Ghisyawan and Kumar focus on soca and chutney-soca as music genres that engage in the complicated politics of queerness and queer desires.
Paper archives have long been foundational sources of data for humanities scholars–be these materials organized as logs and records or correspondences and various other writings, institutionally produced and preserved or recovered by other means. What are the risks and rewards of digital archives? What are our corresponding responsibilities–as archivists and scholars of archives in the digital era? What makes a digital data archive? What are their ethics in the new digital formats of accessibility and of preservation? Can we revolutionize the burdens that accompany past archives? This seminar addresses these pressing questions of archives in the digital era.
In a conversation with our editor, Lauren Klein, Tanvi Sharma, Shiyao Li, and Margy Adams reflect on their digital humanities project at Emory University, Data by Design: A History in Five Charts. The co-authors reflect on visualizing difficult histories, and the unique ways in which digital humanities allows us to make arguments.
From time to time, Arcade publishes interviews, essays, and other statements by figures on the front lines of humanistic teaching outside the United States and Western Europe. These statements consider the settings in which the humanities are being discovered by a new generation of students; they share methods and approaches and speculate about the future of the disciplines.
