212 University Club Building
'Environmental Studies in the Time of the Anthropocene'
Although scientific in origin, the Anthropocene is reshaping the direction of environmental studies more broadly, including the environmental humanities. Our seminar will ask what kinds of intellectual bridgework—and environmental publics—can the Anthropocene help facilitate? How does this neulogism impact our thinking about environmental time, environmental agency, and the entangled relations between human and non-human actors? What can the Anthropocene contribute to discussions of critical environmental terms like resilience, adaptation, innovation, sustainability, scale and environmental justice? And, as the Smithsonian Museum, the American Museum of Natural History, the Deutsches Museum and the Venice Biennale all gear up for major Anthropocene exhibits in 2013 and 2014, we need to ask: how can we most effectively narrate and curate the Anthropocene?
Led by Rob Nixon (English and Cultures and Histories of the Environment)
For more information, please down the full seminar description.
April 21, 2014
3:30 P.M., 212 University Club Building
'“What I write I do not see”: the place of invisible ink in English civil war correspondence'
Abraham Cowley’s poem, “Written in juice of lemon,” draws attention to the dangers of writing’s reception, likening a love poem written in secret ink to a beast that’s “burnt in sacrifice.” Taking Cowley’s poem as its starting point, this paper will discuss the use of secret ink in royalist correspondence during the English civil wars, investigating the very real dangers that necessitated the use of such chemical subterfuge and the places in which such letters were written, intercepted, and read. Written between the lines, or on the back of, other documents, secret letters hid like dangerous passengers in the more mundane correspondence of the everyday.
Karen Britland is a resident fellow at the Institute for Research in the Humanities and a professor in the English Department at the University of Wisconsin-Madison. She researches and teaches on early modern literature, especially Shakespeare and women’s writing. She is the author of Drama at the Courts of Queen Henrietta Maria (Cambridge, 2006), and has also edited Elizabeth Cary’s play The Tragedy of Mariam (New Mermaids, 2010) and James Shirley’s The Imposture (Oxford, forthcoming).
April 24, 2014
7:30 P.M., L160 Conrad A. Elvehjem Building
English and the Center for African American Studies, Princeton University
'Sushi, Otters, and Mermaids: Race at the Intersection of Food and Animal Studies'
What do sushi, food, race, and anthropology have to do with each other? Taking a scene of sushi eating in David Wong Louie's short story "Bottles of Beaujolais" as a spring board into a larger meditation on the "nature" of human eating, this paper traces the often unspoken racial logic that subtends and connects the question of who is human and what is it that we eat.
Anne Anlin Cheng is Professor of English and of the Center for African American Studies. She specializes in race studies, aesthetic theory, film and psychoanalytic theories, working primarily with twentieth-century American literature with special focus on Asian American and African American literatures. She is the author of The Melancholy of Race: Assimilation, Psychoanalysis, and Hidden Grief and Second Skin: Josephine Baker and the Modern Surface. Recent articles by Cheng include: “Sheen: On Glamour, Race, and the Modern,” PMLA; “Skins, Tattoos, and Susceptibility,” Representations; “Psychoanalysis without Symptom,” Differences; “Skin Deep: Josephine Baker and the Colonial Fetish,” Camera Obscura; and “Ralph Ellison: Melancholic Visibility and the Crisis of American Civil Rights,” Journal of Law, Philosophy, and Culture.
April 28, 2014
3:30 P.M., 212 University Club Building
'Ireland’s Memorial Records, 1914-1918: The Fantastic Imagery of Harry Clarke'
In 1919, Sir John French, Lord Lieutenant of Ireland, brought together representatives from throughout Ireland to establish a national war memorial that would commemorate the 50,000 Irish dead from the First World War. By 1923, despite two wars on Irish soil, an assassination attempt on French, and the problematic position of Irish soldiers who fought for the British in the war, the Committee of the Irish National War Memorial published one hundred copies of an eight-volume set of alphabetized rolls titled Ireland’s Memorial Records, 1914-1918: Being the names of Irishmen who fell in the Great European War. Engravings by the Dublin illustrator and stained glass designer Harry Clarke (1889-1931) distinguish these volumes. They are copiously and intricately engraved in the fantastic Art Nouveau style for which Clarke is recognized, incorporating nationalist Celtic imagery, battle scenes, and silhouettes of soldiers in action. Housed in a special bookroom designed by Edwin Lutyens at the national war memorial in Dublin and relatively forgotten since their publication, Ireland’s Memorial Records reveal a complex response to traditions of war remembrance in England and Ireland.
Marguerite Helmers, University of Wisconsin System Fellow, is Professor of English at the University of Wisconsin Oshkosh, where she teaches courses in writing, rhetoric, and British literature. She received her PhD in Rhetoric and Composition Studies from the University of Wisconsin-Milwaukee in 1992. She is the author or editor of five books, including Defining Visual Rhetorics (Erlbaum) and The Elements of Visual Analysis (Pearson). Her articles have appeared in College English, JAC: The Journal of Advanced Composition, and the Journal of War and Culture Studies. Currently, she is completing an article on British Ordnance Survey maps of the Western Front during the First World War. Other publications on the visual culture of the First World War include “Iconic Images of Wounded Soldiers by Henry Tonks” (Journal of War and Culture Studies 2010); “A Visual Rhetoric of WWI: C. R. W. Nevinson, Mary Riter Hamilton, and Kenneth Burke’s Scene” (The Space Between 2009). She is also the series editor of the Visual Rhetoric Series at Parlor Press.
May 5, 2014
3:00 P.M. - 5:00 P.M., 212 University Club Building
Valerie Barske, History, UW-Stevens Point
Ayelet Ben-Yishai, English, University of Haifa
Christy Clark-Pujara, Afro-American Studies, UW-Madison
Anne Duncan, Classics and Religious Studies, University of Nebraska-Lincoln
Joseph Marchal, Religious Studies, Women's and Gender Studies, Ball State University
Matthew Rarey, Art History, UW-Madison
Jennifer Ratner-Rosenhagen, History, UW-Madison
Mary Louise Roberts, History, UW-Madison
The final seminar of the year provides time and space for self-reflection, collaborative and individual. It’s a fair guess to say that no one did as much work as they hoped to during his or her fellowship term. That’s par for the course. But it’s also a fair guess to say that everyone's concept of their project and specific ideas within it grew, expanded, contracted, shifted, turned corners, refocused, got turned upside down or right side out: in short—changed, even transformed.
How did your project change, if at all? And why?
Did any of these changes reflect your experience in the interdisciplinary environment of the Institute? If so, how?
How might you define the significance of this environment for your research to a different audiences: (1) Your immediate subfield? (2) Your colleagues, dean, president and/ or Chancellor? (3) The “General Public”?
Eight IRH fellows drawn from a variety of fields, methodololgies, historical periods, and areas of the world will reflect on these questions for about 5-7 minutes each (c. 1 hour). Their remarks are intended to spark a second hour of open discussion, with all fellows urged to participate.
Reception to follow at 5:30 P.M. in the University Club.