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        <copyright>All rights reserved 2026, Lucian Blaga University of Sibiu</copyright>
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            <title><![CDATA[Review: Dana J. Gavin, Generative AI and the Future of the Humanities. Reading, Writing, Teaching, Labor Palgrave, 2025. 116 pages. Hardcover. $44.99. ISBN 978-3-032-06533-9]]></title>
            <link>https://reference-global.com/article/10.2478/abcsj-2026-0011</link>
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            <pubDate>Tue, 30 Jun 2026 00:00:00 GMT</pubDate>
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            <title><![CDATA[Editor’s Note]]></title>
            <link>https://reference-global.com/article/10.2478/abcsj-2026-0002</link>
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            <pubDate>Tue, 30 Jun 2026 00:00:00 GMT</pubDate>
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            <title><![CDATA[Absent Fathers and Trauma in Zadie Smith’s White Teeth]]></title>
            <link>https://reference-global.com/article/10.2478/abcsj-2026-0003</link>
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            <pubDate>Tue, 30 Jun 2026 00:00:00 GMT</pubDate>
            <description><![CDATA[Zadie Smith’s White Teeth (2000) has been extensively mined for its resonances with postcolonial issues of ethnic hybridity and multiculturalism, and particularly for the migrant trauma and cultural and economic marginalization asserted for its main Jamaican/Bengali families which cause so much anxiety over their hyphenated identities. While such readings are valuable, they tend to read the novel’s characters as isolated agents dealing with abstract cultural forces and not as relational family or social members. Specifically, why is every major father in the story a bad one? This work seeks to fill a small but vital gap by drawing on research on emotionally absent fathers to interrogate how the characters of White Teeth are both hurt by and propagate non-fathering, and how this may further the interpretation of the novel.]]></description>
            <category>ARTICLE</category>
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        <item>
            <title><![CDATA[Lawrence, Cézanne and the Mediterranean Landscape]]></title>
            <link>https://reference-global.com/article/10.2478/abcsj-2026-0009</link>
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            <pubDate>Tue, 30 Jun 2026 00:00:00 GMT</pubDate>
            <description><![CDATA[The article explores D. H. Lawrence’s painterly style and visual imagination through a comparative analysis of his literary landscapes and Paul Cézanne’s landscape painting. Focusing on Lawrence’s engagement with visual art, particularly his admiration for Cézanne, the study examines how Lawrence’s prose mirrors painterly techniques such as colour modulation and spatial layering. Situating Lawrence’s visual writing within the context of expressionist and post-impressionist aesthetics, it argues that his landscapes are not static backdrops but rather highly dynamic, visually evocative, and emotionally charged spaces. A close reading of a Mediterranean landscape passage from Twilight in Italy alongside Cézanne’s The Bay of Marseilles, View from L’Estaque reveals shared formal strategies and shows how Lawrence’s prose enacts the visual experience to evoke a rich sensory and symbolic landscape that offers the reader an immersive perceptual experience.]]></description>
            <category>ARTICLE</category>
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        <item>
            <title><![CDATA[Beyond the Overseer’s Eye: Carceral Surveillance, Intimacy, and Black Resistance in Ernest J. Gaines’s Of Love and Dust]]></title>
            <link>https://reference-global.com/article/10.2478/abcsj-2026-0007</link>
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            <pubDate>Tue, 30 Jun 2026 00:00:00 GMT</pubDate>
            <description><![CDATA[This article reads Ernest J. Gaines’s Of Love and Dust through the plantation gaze theory and the linked frameworks of carceral surveillance and the policing of intimacy. Building on insights offered by Thadious M. Davis, who presents a reading of Gaines's Louisiana as a place where the plantation and the prison coexist and serve for disciplining bodies and spaces, and Jenna Grace Sciuto, whose argument emphasizes that intimate relations become publicly observable, I argue that the surveillance regime presented in Of Love and Dust is visual, spatial, communal, and erotic. Thus, Marcus challenges the power of the regime in question not only through opacity and the returned gaze, but also through open resistance and self-fashioning, as well as through his erotic relationship with Louise, which jeopardizes the existing racial-sexual order of the plantation. Furthermore, Bonbon does not emerge here as an observer exercising sovereign power; instead, he proves to be an endangered and vulnerable figure who is himself subjected to surveillance by the whites (Marshall Hebert) and by his own quarters.]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[Navigating the Labyrinth of Intertextuality in the Media: A Qualitative Analysis of Reader Responses]]></title>
            <link>https://reference-global.com/article/10.2478/abcsj-2026-0010</link>
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            <pubDate>Tue, 30 Jun 2026 00:00:00 GMT</pubDate>
            <description><![CDATA[This study explores how readers interpret intertextuality in American media discourse, focusing on qualitative findings from a survey of Ukrainian students. Building on previous quantitative research, the study examines how students define and replace intertextual references from Time magazine. The responses were thematically coded to identify key patterns in interpretation. Results indicate that while students recognize intertextual elements, their interpretations vary depending on background knowledge and contextual clues. Findings highlight a tendency toward overgeneralization, reliance on context, and occasional misinterpretation. The study provides insight into how readers engage with intertextuality and the factors influencing their understanding. Given that many intertextual references stem from American literature, history, and popular culture, the study also contributes to discussions in American Studies by examining how such references are perceived outside the U.S.]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[Domesticity Stripped Gracious: Reading between the Lines in Calendar Girls]]></title>
            <link>https://reference-global.com/article/10.2478/abcsj-2026-0005</link>
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            <pubDate>Tue, 30 Jun 2026 00:00:00 GMT</pubDate>
            <description><![CDATA[This article proposes reading between the lines as a tool that can be self-empowering for women and in particular for women whose domestic moorings have trained them to inhabit interiors – their home as much as their psyche – of drab existence and conditional worthiness. To demonstrate my working hypothesis, I examine the British comedy Calendar Girls (2003), a film inspired by real events, to probe into the characters’ understanding of the underpinnings and outcome of their decision to pose nude for a charitable calendar. I argue that their implicit reading between the lines of patriarchal and bourgeois sensibilities is empowering for the characters who perform it not only in the short run, by offering them the means to attain their goal, but also in the long run, by enabling them to “re-form” (Kenneth Clarke) both their corporeal self-image as middle-aged women and their self-worth as perceived by themselves and by others too. On the other hand, their means of self-empowerment is double-edged, for it retains that which it hijacks and parodies: women’s nudity. My interpretation is inflected by art critical theorisation of nudity and seeing, gender theory and Linda Hutcheon’s theorisation of “de-doxification” (defamiliarisation of social consensus).]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[Imagining Gender(s) in Contemporary Canadian and American Short Fiction]]></title>
            <link>https://reference-global.com/article/10.2478/abcsj-2026-0004</link>
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            <pubDate>Tue, 30 Jun 2026 00:00:00 GMT</pubDate>
            <description><![CDATA[The article problematizes queer and trans representations in contemporary Canadian and American short fiction from the perspective of the gender of the individuals nonconforming to the cis-normative. The analysis observes how gender, gender-fluidity and queerness are imagined in contemporary fiction, and how these representations can be traced to the historically established perceptions of the patriarchal binary model of genders, as well as how they diverge from it. The concluding remarks invite a polemic on how contemporary discourse on gender stands in contrast with the performed genders in marginalized queer and trans communities, and how they are affected by the capitalist impulse to commodify supposed authenticity of expression into fetishized forms preferred by the dominant heteronormative narratives. The selection of stories encompasses works of anglophone authors published between 2014 and 2018.]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[The Plantation as Contested Territory: Aloha ʻĀina and Indigenous Resistance in Shark Dialogues]]></title>
            <link>https://reference-global.com/article/10.2478/abcsj-2026-0008</link>
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            <pubDate>Tue, 30 Jun 2026 00:00:00 GMT</pubDate>
            <description><![CDATA[Shark Dialogues (1995) by Kiana Davenport introduces a critical question often overlooked in Hawaiian plantation literature: not only how communities survived, but whose ʻāina (land) was taken. Davenport addresses this through Pono, a Kānaka woman whose story reveals the plantation’s impact on land, bodies, and family lines, from forced labor on the ancestral land to the reclamation of 300 acres lost due to the stigma of colonial disease. This article examines reclamation through Aloha ʻĀina, the deep relationship between the lāhui Hawaiʻi and the land, and argues that Davenport presents it as an ongoing political practice rather than a narrative conclusion. Pono passes this responsibility, or kuleana, for ancestral land to her hapa granddaughters based on practice rather than documented bloodline. Thus, land-based practice, not racial purity, becomes central to Kānaka identity.]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[The Re-seen Past: Refugee Stories and Postmemorial Revisionism in Ocean Vuong’s On Earth We’re Briefly Gorgeous]]></title>
            <link>https://reference-global.com/article/10.2478/abcsj-2026-0006</link>
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            <pubDate>Tue, 30 Jun 2026 00:00:00 GMT</pubDate>
            <description><![CDATA[The article examines instances of Vietnamese refugee storytelling and their potential to challenge exclusionary and discriminatory discourses surrounding the Vietnam War through an analysis of Ocean Vuong’s On Earth We’re Briefly Gorgeous (2019). Using the theoretical framework of re-storying, proposed by Critical Refugee Studies (CRS), we look at intergenerational storytelling in On Earth as a collaborative memory-making process capable of resisting the discursive marginalization of Vietnamese refugees in the USA. The storytelling sessions between Little Dog, the protagonist, and his grandmother Lan lead to the formation of postmemory. The article also finds that through the novel’s first-person narrator, Little Dog, Vuong implements a strategy that we term “postmemorial revisionism” – using parental memories as alternative historical knowledge to offer subaltern perspectives of a state-appropriated cultural phenomenon. In On Earth, Little Dog’s postmemory entails a revisionist strategy by which certain public images from the American cultural discourses, archives, and productions on the Vietnam War are rewritten with his grandmother’s and mother’s life stories. It thus becomes a means to engage with discriminatory narratives and resist neocolonial discourses of exclusion.]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[Erratum]]></title>
            <link>https://reference-global.com/article/10.2478/abcsj-2026-0001</link>
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            <pubDate>Sun, 08 Feb 2026 00:00:00 GMT</pubDate>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[Editors’ Note: American Narratives and Video Games]]></title>
            <link>https://reference-global.com/article/10.2478/abcsj-2025-0012</link>
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            <pubDate>Mon, 08 Dec 2025 00:00:00 GMT</pubDate>
            <category>ARTICLE</category>
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        <item>
            <title><![CDATA[Playing the Hollywood Western on Repeat: Cinematic Realism in Mad Dog McCree]]></title>
            <link>https://reference-global.com/article/10.2478/abcsj-2025-0013</link>
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            <pubDate>Mon, 08 Dec 2025 00:00:00 GMT</pubDate>
            <description><![CDATA[This article explores video game adaptations of American popular history and culture by looking at the 1990 arcade title Mad Dog McCree produced by American Laser Games. Heavily inspired by the Hollywood Western (along with the broader mythology of the nineteenth-century American West) and using light guns and Full-Motion-Video (FMV) technology, the live action title offered players the chance to play an active role in a celluloid-based frontier story. Handling replica pistols, players watched a series of cinematic vignettes, before assuming their own role in the action, shooting their light guns at all manner of renegade gunslingers. Thanks to the FMV, the title recreated in tone and substance a traditional Hollywood Western, placing the player in the role of lead character and hero, and offering a unique ‘film-game’ experience and cinematic realism explored in this article. As well as functioning as a nostalgia piece for traditional cowboy movies, Mad Dog McCree also took the Western in new directions, emphasizing the frontier as, in essence, a landscape of play and play-acting, marked by simple pleasures and constant repetition.]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[The Frontier as American National Identity Narrative in the Red Dead Redemption Games]]></title>
            <link>https://reference-global.com/article/10.2478/abcsj-2025-0014</link>
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            <pubDate>Mon, 08 Dec 2025 00:00:00 GMT</pubDate>
            <description><![CDATA[In his work on national identity, Homi K. Bhabha claims that national identity is a narrative resulting from the negotiation between its pedagogical and its performative dimension. The former consists in the stable notion of national identity authorised through discursive practices, while the latter refers to the unstable performance of national identity whose constant slippage undermines its attempt to match the prescription of the pedagogical dimension. The instability of performing national identity leads to a compulsive repetition in hope that slippage might be regulated. Bhabha’s postcolonial approach to national identity as narrative can provide us with fresh insight into the cultural working of video games as a form of cultural expression. In this article, I employ Bhabha’s method to analyse American national identity in the Red Dead Redemption games. Seeing how gameplay is an experience based on repetition, I argue that the Red Dead Redemption games function as technologies of American national identity which, in keeping with Manifest Destiny and other late 19th-century and early 20th-century American ideologies, hinges on the successful suppression of racial otherness. The stable identity of the white cis straight abled male playable characters, John Marston and Arthur Morgan, constructed through linear representation functions in a manner similar to Bhabha’s pedagogical side of national identity that, in our case, calls for a ludic performance of the said identity. Yet this performance is inherently unstable as the player has to compulsively make use of the complex third-person shooter/role-playing core game mechanics in order to constantly (re)perform the cultural identity of the frontiersman of the protagonists. At the same time, if the performance of frontiersman identity does not meet the conditions of success imposed by the game engine, then the player faces a game over screen and goes back to the most recent checkpoint to repeat the mission or mission section in order to perform a gameplay that is consonant with the ideological norms of cultural identity of the playable characters.]]></description>
            <category>ARTICLE</category>
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        <item>
            <title><![CDATA[Affective Necropolitics, Procedural Necrorhetorics, and the US–Mexico Border in the Call of Duty Series]]></title>
            <link>https://reference-global.com/article/10.2478/abcsj-2025-0015</link>
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            <pubDate>Mon, 08 Dec 2025 00:00:00 GMT</pubDate>
            <description><![CDATA[This article examines how the Call of Duty videogames, specifically Ghosts (2013) and Modern Warfare II (2022), reproduce and aestheticize US state violence at the US–Mexico border. Through an analysis of gameplay mechanics, mission structure, and audiovisual design, the article argues that these videogames proceduralize US exceptionalism. Drawing on Achille Mbembe’s notion of necropolitics and Ian Bogost’s notion of procedural rhetoric, the article introduces procedural necrorhetorics to describe how games embed racialized death into their rule systems and rhythms of play. These mechanics make players intuitively identify and eliminate racialized enemies, rendering border violence both thinkable and pleasurable. In this context, whiteness functions as a kinesthetic and affective structure of dominance, guiding players to perceive threats and exercise force. By embedding necropolitical logics into the body’s sensorimotor responses, Call of Duty rehearses a digital fantasy of American sovereignty under siege – one that must be restored through preemptive, racialized violence.]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[Living the Dream, Playing the Nightmare: Remediation as the Critique of the American Dream in American Arcadia (2023)]]></title>
            <link>https://reference-global.com/article/10.2478/abcsj-2025-0016</link>
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            <pubDate>Mon, 08 Dec 2025 00:00:00 GMT</pubDate>
            <description><![CDATA[The 2023 game American Arcadia, set in a dystopian reality show with the same name and a 1970s design, follows the epic escape of the main character Trevor, aided by his ally Angela, a programmer-hacker operating from outside Arcadia. The game, similar to a few other recent titles, challenges the American Dream of unlimited spatial and social mobility. Its novelty, however, is that American Arcadia implements a dual-character game mechanic, where Trevor has to proceed in a 2,5D platform-puzzle game, while Angela works as a hacker in a 3D environment, assisting him by undermining the behind-the-scenes infrastructure of Walton Media, the corporation behind the reality show.The present essay seeks to analyse the game as a critical commentary on the American Dream, and, by extension, on neoliberal ideology. Using Jay David Bolter and Richard Grusin’s theory of remediation as a theoretical framework, this study offers to conduct a close reading analysis of the game mechanics, narrative and symbolism. It argues that the game oscillates between hypermediacy and immediacy to expose that the in-game space of American Arcadia is not a utopia built on the remediation of the American dream, but rather a dystopia that makes all aspirations to freedom impossible.]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[Playing the American Nightmare: Japanese Horror Games at the Millennial Turn]]></title>
            <link>https://reference-global.com/article/10.2478/abcsj-2025-0017</link>
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            <pubDate>Mon, 08 Dec 2025 00:00:00 GMT</pubDate>
            <description><![CDATA[This article examines the reciprocal relationship between Japanese survival horror games of the late 1990s and early 2000s and the tropes of American horror cinema and literature. Focusing on landmark titles such as Resident Evil and Silent Hill, the study analyzes how these games adapt and transform core motifs from Western horror, including the zombie apocalypse, haunted spaces, and psychological trauma, while embedding them within distinctly Japanese cultural aesthetics, such as yūrei folklore, ritual symbolism, and philosophical traditions like yūgen and mono no aware. Drawing on cinematic hypotexts, including George A. Romero’s Night of the Living Dead (1968), David Lynch’s Blue Velvet (1986), and Adrian Lyne’s Jacob’s Ladder (1990), the article explores how these games function not as mere amalgamations, but as transmedial hypertexts that proceduralize horror through ludic and spatial design. The analysis further tracks the influence of these titles on subsequent Western media, from the cinematic remediation of Silent Hill (2006) to ludic successors like Dead Space (2008), situating them within a dynamic feedback loop of genre transformation. Bridging adaptation theory, transmedia storytelling, and global cultural studies, the article argues that these games model a global horror ecology: a recursive, affectively charged system in which narrative, space, and trauma circulate across national and medial boundaries.]]></description>
            <category>ARTICLE</category>
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        <item>
            <title><![CDATA[“It’s Like It’s from a Movie or Something”: Narrative Instability, Remediation, and Cultural Prestige in the Indie Video Games Hotline Miami and Katana Zero]]></title>
            <link>https://reference-global.com/article/10.2478/abcsj-2025-0018</link>
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            <pubDate>Mon, 08 Dec 2025 00:00:00 GMT</pubDate>
            <description><![CDATA[This article identifies a trend in contemporary indie video games to consciously obfuscate the process of narrative understanding, which it investigates as part of a transmedia embrace of ‘narrative instability.’ It argues that a number of indie video games have recently taken up narratively unstable elements in order to self-reflexively probe their own narrative capabilities. In addition, these narrative and discursive ambitions are used as a means of achieving cultural legitimacy and prestige, and they enmesh the games in US cultural politics that characterize other narratively unstable texts as well. To illuminate this particular trend, the article first introduces a general understanding of narrative instability. Afterward, it analyzes two exemplary indie games, Hotline Miami and Katana Zero, for their narrative instability, establishing how and with which discursive elements instability is created, what it is used for, and how it fits into a larger interpretation of these games’ thematic interests. While this section forms the analytical core of the article, the article then contextualizes these findings in two different directions: regarding a discussion of cultural prestige in the context of media convergence and alongside the cultural politics of the two games.]]></description>
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            <title><![CDATA[Play Me for a Fool: Horror-Inducing Madness from Edgar Allan Poe to The Dark Eye (1995)]]></title>
            <link>https://reference-global.com/article/10.2478/abcsj-2025-0019</link>
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            <pubDate>Mon, 08 Dec 2025 00:00:00 GMT</pubDate>
            <description><![CDATA[Madness often serves as the driving force behind the actions of Edgar Allan Poe’s protagonists, making their psyche a central component of his horror stories. Theme, however, is only one element that contributes to the horror affect/effect in Poe’s oeuvre: his talent for evoking horror through narrative structure and tone (Punter 1996) positions form as another crucial aspect of his poetics. When adapting Poe’s tales for a different medium, authors and artists need to confront both the thematic clusters that Poe favored and the stylistic choices that he deployed in conjunction with his themes.This contribution explores how the 1995 video game The Dark Eye adapts several works by Poe, focusing on the transposition of madness-induced horror. The game is of particular relevance because it approaches Poe’s stories in four different manners: first, the game adapts three of Poe’s best-known stories (“The Cask of Amontillado,” “Berenice,” and “The Tell-Tale Heart”) for interactive gameplay. Second, it features full or abridged versions of Poe’s poems and stories (“Annabel Lee” and “The Masque of the Red Death,” recited, and “To Helen” and “The Premature Burial,” in written form). Third, it constructs a framing narrative which retrieves Poe’s themes, merging several stories, and proceduralizes his horror-inducing style for the video game environment. Fourth, it makes ample use of Poe’s Gothic atmosphere to induce horror and terror not only narratively, but also visually and aurally.The contribution thus argues that The Dark Eye serves as an all-encompassing attempt to adapt Poe’s madness-related stories beyond the mere thematic dimension, showing that Poe’s innovations can persist across different media.]]></description>
            <category>ARTICLE</category>
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        <item>
            <title><![CDATA[Playing Moby-Dick: Agency, Disempowerment, and Adaptation in Nantucket]]></title>
            <link>https://reference-global.com/article/10.2478/abcsj-2025-0020</link>
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            <pubDate>Mon, 08 Dec 2025 00:00:00 GMT</pubDate>
            <description><![CDATA[Picaresque Games’ 2018 video game Nantucket acts as something of a spiritual successor to Herman Melville’s Moby-Dick. Nantucket provides an Oregon Trail-like simulation of nineteenth-century American whaling with the themes and characters of Moby-Dick. In tackling the real history of American whaling and Melville’s fiction, Nantucket provides an opportunity for players to expand and explore themes of agency, choice, and disempowerment. This essay asks how the medium of video games alters, enhances, and diminishes Moby-Dick and what potential insights video games can provide in adapting classic American narratives. Nantucket is uniquely suited to exploring the themes of agency, freedom, and power present in Moby-Dick because of its nature as a video game. Both Moby-Dick and Nantucket center their narratives on a character’s inability to fully comprehend or reckon with the truth and power of what they pursue. By exploring the narrative and themes of Nantucket and how they relate to Moby-Dick, I argue that a video game can engage one of the great American narratives not only through traditional methods of text and visuals, but also by combining these traditional methods with game systems.]]></description>
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