In 1660 David Teniers published the extraordinary Theatrum Pictorium, the first illustrated catalogue ever of a collection of paintings. It brings together text and image to represent 243 Italian paintings from the collection of Archduke Leopold-William, governor of the Low Countries under Spanish rule. The paintings are described in Latin, Spanish, French and German, and are minutely reproduced. With this book, not only was the museum made accessible, portable and reproducible, but there emerged a new and unique object located at the intersection of the spheres of art and writing and, significantly, between the space of the museum and that of the library. The Theatrum Pictorium can serve as a paradigm of what I explore in this book project which examines the unmistakable influence of art in literary fiction of the Hispanic Baroque by taking into consideration the enormous importance of the collections or proto-museums as spaces in which there emerged an interest in painting and visual language that revealed itself in other creative arts such as literature, and that surprisingly pervaded all social strata. Imitating the elite’s penchant for art collections (extremely accessible within the Habsburg realms), over time there arose a popular fervor for consuming and possessing reasonably priced, mass-produced paintings that became everyday objects. Hence we may be in a position to consider that the whole mass of men and women of the seventeenth century who invented their own ways of relating to art had a role and influence in the creation of the culture of their time. This energy generated by new practices of relating to art on the part of the popular classes is incalculable and hard to quantify. However, this does not mean that its existence had no effect or left no trace. Therefore I suggest that perhaps the literary/visual culture of the Baroque was not only transmitted from top to bottom but also from bottom to top because the aristocratic forms of artistic representation were transformed by colonizing the daily life of the seventeenth century.
Mercedes Alcalá-Galán is Associate Professor at the University of Wisconsin-Madison. Her research is oriented primarily towards topics in poetics and gender studies with special emphasis on visual studies. She has published a book on Cervantes’ poetics entitled Escritura desatada: poéticas de la representación en Cervantes (Centro de Estudios Cervantinos, 2009). She is also author of the book La silva curiosa de Julián de Medrano. Estudio y edición critica, and has published some sixty articles on early modern literature as well as contemporary Spanish literature. She is about to publish a book focused on the literary and pictorial representations of women’s sexuality in early modern art and literature: Discursos del cuerpo: mujer y sexualidad en la España de Cervantes and has just published in the journal eHumanista/Cervantes, as invited editor, a volume with 31 articles about Cervantes’ Persiles entitled “Si ya por atrevido no sale con las manos en la cabeza”: el legado poético del Persiles cuatrocientos años después. She has another book project well underway about visuality and ekphrasis in early modern Spain tentatively titled Representing the World: The Rise of Painting in Spanish Baroque Fiction.
This book develops a theory of ‘feminized convergence’ to account for the gendered strategies, practices, and content that media institutions use to draw women to interactive media. By analyzing the online content designed for the female-targeted cable networks, Bravo, Lifetime, Oxygen, and WE, this book argues that interactive platforms invite participation through the socially constructed skills of femininity. Through close examinations of industry trade journals, interactive platforms, and social media, this book shows how television networks guide audience interactions to highlight the stereotypical qualities of their target market. This research shows that convergent media intensify gender inequalities by reinforcing the gender division of labor where women disproportionately provide emotional and domestic expertise.
Jacquelyn Arcy is an Assistant Professor of New Media in the Department of Communication. She has her Ph.D. in Critical Media Studies from the University of Minnesota, and her MA in Women’s, Gender and Sexuality Studies from the University of Cincinnati. Her areas of specialization are television studies, digital media and culture, media industries, and feminist media studies. Her research has been published in Feminist Media Studies, Celebrity Studies, Screen Journal, and Transformative Works and Cultures.
When the Eastern Roman armies arrived to the westernmost Mediterranean region of Balearica and Spania in the 6th century, they encounter a diverse and complex society: a mixture of Christian communities with divergent doctrines, and non-Christian Jewish communities amongst them. While conventional history and archaeology ignored the latter, in recent years it was possible to detect in the archaeological record this diverse society in constant movement and change. Through an archaeological exploration of both the Christian and Jewish populations, the evidence of Christian basilicas in the Balearic Islands provide new perspectives that were not considered before: the influence of Jewish communities on Christian art and viceversa in a western Mediterranean context. This book manuscript tries to answer several questions from this theme. How did these material interactions between Jews and Christians occur? How did both communities relate to the religious and cultural centers, especially Constantinople? What was this cultural phenomenon’s projection beyond the Empire’s ever-changing borders? With the innovative findings and methods from recent decades in Spanish archaeology, this project’s aim is to explore these questions, with special focus on the Balearic Islands and their archaeological evidence.
Alexander Bar-Magen Numhauser earned his PhD in Archaeology, Prehistory and Heritage from the Universidad Autónoma de Madrid (Spain) in 2017. His main field of expertise is the archaeological study of Judaism in the Western Mediterranean, focusing on Late Antique and Medieval periods in the Iberian Peninsula. In this research he applies an interdisciplinary approach to the world of western Late Antique Judaism, before the rise of the later Sephardi civilization. In addition to that he also worked and researched in the archaeology of minorities, archaeological methodology, archaeology of human rights, and forensic archaeology. His postgraduate and doctoral studies were generously supported by the Universidad Autónoma de Madrid’s Postgraduate Scholarship, the Paideia European Institute for Jewish Studies’ One-Year Program (2012-2013), and the Rotschild (Yad-Hanadiv) Foundation Europe’s Doctoral Fellowship (2014-2017). Furthermore, he is collaborating in the renewal of the “Sala II” exposition in the Museo Sepharad in Toledo.
After years of success, Pompey the Great, the most powerful statesman of the Late Roman Republic, became entangled in a civil war against his rival Julius Caesar. After losing the decisive battle of Pharsalus, he was tricked and cruelly murdered in Egypt, an inglorious finale to a magnificent career. His defeat and humiliating death led some ancient authors to represent his life as following a rise-and-fall trajectory and to cast his demise as a cautionary tale about the volatility of fortune. Modern scholars often present him in a similar light or neglect him altogether and focus instead on Caesar, the victor of their rivalry. My new biography explores ancient perceptions of his career and presents a new account of his life.
Jeff Beneker’s primary research interest is in Greco-Roman biography and historiography. He has written a book on Plutarch’s biographical method, The Passionate Statesman: Eros and Politics in Plutarch’s Lives (Oxford University Press, 2012), and articles on Plutarch, Cornelius Nepos, Suetonius, and Homer. With Craig Gibson (University of Iowa) he has published an edition and translation of the progymnasmata of Nikephoros Basilakes for the Dumbarton Oaks Medieval Library (Harvard University Press, 2016) and is cooperating with Gibson on a translation of The Book of Syntipas the Philosopher, also for Dumbarton Oaks. He is currently writing a biography of Pompey the Great (for Princeton University Press), translating Plutarch’s political essays (also for PUP), and with Georgia Tsouvala (Illinois State University) he is co-editing a book on the discourse of marriage in the Greek and Latin literature of the Roman Empire (for University of Wisconsin Press). In addition to teaching courses in Greek and Latin language and literature, he teaches lecture courses on Classical Mythology, Greco-Roman religion, and Ancient Epic.
To speak of absolutism in the context of politics or culture is to invoke the figure of Louis XIV of France. Indeed, known by various superlative epithets – God-Given (Dieudonné), Louis the Great, or more famously, the Sun King – Louis represents for the historian as well as for the lay person the ultimate paradigm of the absolutist monarch. His 72-year long reign (1643-1715; born in 1638) was characterized from his early adult years by extravagant (not always rational) military campaigns and exuberant cultural displays, as epitomized by the opulence of Versailles. Yet, as modern historians have noted, the study of this period has resulted in “the contradiction of an absolutism that we know incomparably well in its details but without a good grasp of its totality or coherence” (Cosandey and Descimon). My project aims to fill that conceptual gap by bringing into conversation the detailed historical accounts of absolutist cultural production with recent scholarship on early modern sovereignty that surprisingly barely makes a passing reference to the cultural construction and symbolic authority of Louis XIV. To do so, I intend to recuperate the logic of exemplarity, which, I argue, undergirds the overarching project of royal glory, in order to show the complex ways in which a constitutive excess at the conceptual core of absolutism marks its importance as the beginning of our cultural and political modernity. This project will show that much more than the citizen as imagined by Jean-Jacques Rousseau or the Declaration of the Rights of Man resulting from the French Revolution, we must imagine Louis XIV as the first example of what cultural historian Christopher Lasch has called “a culture of narcissism.” Louis’ very “example” would no longer be seen as the tail end of medieval monarchy but emerge as the beginning of the glorification of the “me” that reigns supreme on Facebook and social media in today’s world.
As a scholar of French seventeenth-century literature and culture, I explore the meaning of the syntagm “early modern”: a presumed conceptual and experiential proximity, which can only be constructively explored by acknowledging a simultaneous remoteness and otherness. I am particularly drawn toward material where the threshold character of the early modern is legible in the unresolved tensions between tradition and innovation, hierarchy and autonomy, authority and experience, feeling and reason, sacred and profane, human and non-human. I am the author of Créature sans créateur: Pour une anthropologie baroque dans les “Pensées” de Pascal (Presses de l’Université Laval, 2010; Hermann Éditeurs, 2013); translator of Pascal’s Pensées to Norwegian (2007); co-editor, with Katherine Ibbett, of an issue of Yale French Studies titled “Walter Benjamin’s Hypothetical French Trauerspiel” (vol. 124, 2014) and with Helge Jordheim and Anne Régent-Susini of Universal History and the Making of the Global (Routledge, 2018); and the editor of Borrowed Feathers: Plagiarism and the Limits of Imitation in Early Modern Europe (Oslo, 2008).
Since the passage of the Americans with Disabilities Act (ADA), art museums and galleries have made strides to accommodate visitors with physical and cognitive disabilities through ramps, touch tours, and audio description. These are vital efforts. However, by focusing on physical and intellectual accommodation, art institutions run the risk of not addressing deeper structural and discursive challenges presented by the ways in which the presumed norms of ability shape not just access to art spaces but also curatorial practice, art conservation, and the pedagogical structure and mission of the art institution. Crip Materiality: Disability, Plasticity, and the Art Institution after the Americans with Disabilities Act builds on the foundation laid by scholars of disability studies and art history to understand disability as not merely a matter of representation, biography, or biology but also and especially as a style, an aesthetic, and a political tactic. By proposing a new methodological approach, what I’m calling Crip Materiality, the sub-discipline of art history and disability studies will be able to consider the question of disability in the very fibers of art materials and fabrication. I argue that despite the discourse surrounding institutional critique, the dematerialization of the art object in contemporary art, and the postmodern embrace of ephemerality, there has not been a revaluation of the treatment of the physical disintegration of art from a disability studies perspective where, within the art institution, material precarity in artworks is often framed as an unhealthy or disabled body in need of remediation or correction. Crip Materiality recognizes the extent to which ableist ideology shapes not just attitudes about our physical bodies, minds, and built environments but also unconsciously (and at times, insidiously) shapes our pedagogical, discursive, and evaluative norms regarding material objects.
Jessica A. Cooley is a scholar-curator working at the intersections of curatorial and museum studies, art of the United States, new materialism, and disability studies. Currently, Cooley is a Ph.D. candidate in the art history department at the University of Wisconsin-Madison where she is working on her dissertation, Crip Materiality: Disability, Plasticity, and the Art Institution after the Americans with Disabilities Act. Before Madison, she completed her Master’s degree in art history at Temple University and from 2006 to 2010 Cooley served as the Assistant Curator for Davidson College's Van Every/Smith Galleries where she curated a number of exhibitions including RE/FORMATIONS: Disability, Women, and Sculpture and STARING.
Watermen, Petermen, and Mermaids: Creatures of Conversion on the Early Modern Thames is a book-length project that employs the discourses of conversion as a lens to examine three overlooked figures – “mermaids” (prostitutes), “petermen” (illegal fishermen) and watermen (ferrymen of the river) that haunted the outskirts of early modern London. Drawing upon the works of Taylor and Greene, the city plays of Beaumont, Dekker, Jonson, and Middleton, and London civic documents, I argue that these roguish creatures’ consistent association with unlawful activity reveals something about their ability to dissolve physical and moral boundaries. They enact their transgressions in a state of incomplete conversion – half-human, half-water – reconfiguring our understanding of London’s legal, political, and social limits. My project explores how these creatures’ riverine traversals unmade boundaries and exposed Londoners’ fears that they themselves were riverine creatures.
Sarah Crover received her PhD in English at the University of British Columbia (UBC) in 2016. Her dissertation was entitled “Theatrical Water Shows and the Cultural History of the Early Modern Thames.” Her research focuses upon London civic pageantry, the Thames, conversions of the body, and ecocriticism. Her work has appeared in Performing Environments and Early Modern Culture and is forthcoming in Studies in the Age of Chaucer, Premodern Ecologies (University of Toronto Press), and Civic Performance (Taylor and Francis). Her research has been supported by the Social Sciences and Humanities Research Council (Canada), the Society for Theatre Research (UK), and the Early Modern Conversions project (McGill University). Before coming to Madison, she taught English literature and composition at UBC.
This project explores in contemporary Caribbean literature how one lives a moral life, a life worth living, in circumstances that are overwhelmingly beyond one’s control. I organize my readings through the conceptual lens of “moral luck,” a term I borrow from moral philosophy that helps explore what responsibility means when people’s choices are drastically conditioned by unpredictable forces. Precarity in the region originates from its insularity — that is, its political and geophysical isolation— but also from the legacy of slavery, environmental vulnerability, poverty, volatile social relations and the persistence of colonial institutions, which have hindered the development of a strong civil society. Using a theoretical framework that combines postcolonial studies, ecocriticism, and disaster studies with moral philosophy, this project analyzes a comprehensive and representative selection of contemporary novels from various Caribbean islands to study the role violent conditions play in human autonomy and integrity, and how they contribute to the constitution or disruption of the collective. This project breaks new ground by recasting the terms of current debates on the cultural legacy of the Caribbean. First, it fills a significant gap in the theoretical account of the region’s cultural production: on the one hand, postcolonial studies have approached Caribbean literature from the point of view of imperialism and oppression; that is, in relation to forces that reside outside the individual. On the other, identitarian politics have focused almost exclusively on individual agency. By studying the complex interaction between external forces and moral freedom, I seek to reconcile these two dominant paradigms in order to gain a deeper understanding of Caribbean culture. Second, by exploring longstanding concerns such as racial, political and economic injustice in a continuum with disaster studies and ecocriticism, I shed light on the deeper connections that exist between old and new forms of vulnerability as constitutive social factor.
Guillermina De Ferrari is professor of Caribbean Literature and Visual Culture at University of Wisconsin. She is the author of Vulnerable States: Bodies of Memory in Contemporary Caribbean Fiction (Virginia, 2007) and Community and Culture in Post-Soviet Cuba (Routledge 2014), also published in Spanish (Verbum 2017). She has curated the exhibition Apertura: Photography in Cuba Today (Chazen Museum of Art 2015). She has also published articles on Caribbean literature, performance, and photography in The Latin American Literary Review, The Journal of Latin American Cultural Studies, The Hispanic Review, The Arizona Journal of Hispanic Cultural Studies, among others. She is co-editor, with Ursula Heise, of the Routledge Series Literature and Contemporary Thought. She is currently working on a book project on ethics and catastrophe in the Caribbean tentatively entitled Community Under Duress.
Why should we care about patterns of syllables in poems—that is, about meter? Is there any reason to study the rules that poets, theorists, philosophers, and critics have given for making such patterns, or their arguments about what meter can do? Or should we just enjoy poems and their patterns without worrying about how they work? My current project argues that paying attention to meter can help us understand how language works—as it is used by individuals who learn it in a particular culture that shapes universal characteristics of human beings. That is, meter in poetry can illuminate the interplay between language, culture, and the body. Meter can do this because it is based on features of language used in everyday speech (such as pitch and emphasis). But unlike everyday language, metrical speech organizes those features into patterns established in cultural contexts. To understand how meter works in our time, it is important to understand earlier metrical theory and practice, especially because metrical thinkers take up earlier practices. I consider authors from three centuries who engaged extensively with metrics: F.G. Klopstock (1724-1803), F. Nietzsche (1844-1900) and D. Grünbein (b.1962). Doing so both helps us understand our own relationship to language and increases the kinds of poems and patterns we appreciate, opening us up to new poetic experiences.
Hannah Vandegrift Eldridge is Assistant Professor of German in the Department of German, Nordic, and Slavic at the University of Wisconsin-Madison. She works on German literature and culture from the 18th to 20th centuries, with a focus on lyric poetry, philosophy and literature, and the interactions between sound and text. Her first book, Lyric Orientations: Hölderlin, Rilke, and the Poetics of Community appeared in Cornell University Press's Signale series in 2015, and she has published articles on Hölderlin, Rilke, Cavell, Wittgenstein, Klopstock, Nietzsche, and Grünbein. She is currently working on a book project on metrical theory and practice in Klopstock, Nietszche, and Grünbein.
My book is an ethnography about how a range of musicians, cultural promoters, and bureaucrats, in Recife, Brazil, use music to imagine the social order and their place(s) within it. These processes are especially audible in Recife, a city whose reputation as a musically diverse place has long been perpetuated in popular media and by (inter)national scholarship. Over the past 15 years, state and municipal government institutions have intensified this reputation by sponsoring local music—from folk genres to cosmopolitan pop—to enhance Recife 's economy, promote democracy and multiculturalism, and bolster citizens' pride. By comparing how various actors negotiate the discourses of state sponsorship as they perform, consume, and evaluate music, I reveal music is not only embedded in social life, but it is also a medium through which individuals, groups, and institutions, (re)produce, accommodate, and challenge the structures of power upon which the social order is based. Furthermore, the book reveals how people with varying relationships to state sponsorship and the Brazilian state, more broadly, are using music to redraw social boundaries and fashion new subjectivities. Consequently, these actors are situating themselves within multiple, and often, intersecting musically-mediated scales of belonging, including the local, regional, national, and global.
Falina Enriquez is an assistant professor of Anthropology at UW-Madison. As a cultural and linguistic anthropologist, her research examines artistic and communicative practices as constitutive elements of social life. She received her PhD in Anthropology at the University of Chicago in 2014 and has received grants from organizations such as the National Science Foundation and the Fulbright Program. As a faculty member at UW-Madison since 2015, she has been expanding her research on music and state sponsorship in Recife, Brazil. While in residence at the Institute for Research in the Humanities, she will complete her book manuscript, tentatively entitled, “Musical Scales of Belonging in Recife, Brazil."
The concept of mediation, as developed in the history of Western thought, depends upon stable dichotomies like those between subject and object, representation and reality, or human and nonhuman, as a starting point. I contend in this project, however, that such dichotomies are instead the outcome of mediation, not the source, and that we need therefore to start in the middle, with radical mediation. In asserting the radical nature of mediation I refer not only to the way that media theorists talk about the ubiquitous and quotidian nature of our media everyday—phones, tablets, TVs, laptops, and gaming platforms; Facebook, Twitter, email, Instagram, Tumblr, Reddit, and Tindr; securitization, finance, surveillance, and transaction data. Rather I refer as well to the ubiquitous nature of mediation itself—flowers, trees, rivers, lakes, and deserts; microbes, insects, fish, mammals, and birds; digestion, respiration, sensation, reproduction, circulation, and cognition; planes, trains, and automobiles; factories, schools, and malls; nation-states, NGOs, indigenous communities, or religious organizations; rising sea levels, increased atmospheric concentrations of CO², melting icecaps, intensified droughts, violent storms. In this project I develop the concept of radical mediation in relation to a variety of concerns: “mediashock”; AI, cyborgs, and datamediation; Trump’s evil mediation; the countermediation of Occupy, #blacklivesmatter, and #metoo movements; premediation and climate change; viral mediation; enactive/embodied cognition; and screenic mediation.
Richard Grusin is Distinguished Professor of English and Director of the Center for 21st Century Studies at University of Wisconsin-Milwaukee. He has published numerous articles and book chapters and authored five books: Transcendentalist Hermeneutics: Institutional Authority and the Higher Criticism of the Bible (Duke, 1991); Remediation: Understanding New Media (MIT, 1999), co-authored with Jay David Bolter; Culture, Technology, and the Creation of America’s National Parks (Cambridge, 2004); Premediation: Affect and Mediality After 9/11 (Palgrave, 2010); and Radical Mediation: Cinema, Estetica, e Tecnologie Digitali, ed. and trans. Angela Maiello (Cosenza, Italy: Pellegrini Editor, 2017). He has edited three volumes of essays: The Nonhuman Turn (Minnesota, 2015); Anthropocene Feminism (Minnesota, 2017); and After Extinction (Minnesota, 2018). His work has been translated into several lanuguages including Italian, Korean, French, German, Spanish, and Portuguese. Grusin has been the recipient of year-long fellowships from the National Endowment of the Humanities and the Robert Penn Warren Center for the Humanities at Vanderbilt University. He has been a visiting professor at several international universities: Federal University of Santa Catarina, Brazil; University of Amsterdam; Pontifical Catholic University of Saõ Paulo; University of Messina, Sicily; and Tübingen University.
Max Harris served as executive director of the Wisconsin Humanities Council, as well as teaching at the University of Virginia and, as a visiting professor, at Yale University. He is the author of five books: Theater and Incarnation (1990, 2nd ed. 2005), The Dialogical Theatre (1993), Aztecs, Moors, and Christians: Festivals of Reconquest in Mexico and Spain (2000), Carnival and Other Christian Festivals: Folk Theology and Folk Performance (2003), and Sacred Folly: A New History of the Feast of Fools (2011). His sixth book, Christ on a Donkey: Palm Sunday, Triumphal Entries, and Blasphemous Pageants, on which he worked while a Solmsen Fellow at the IRH, will be published in 2019. His work has won the Otto Gründler Book Prize, and (twice) the David Bevington Award for the Best New Book in Early Drama Studies.
During the early modern era (15th-18th centuries), when contact between Europeans and Africans increased exponentially, countless testimonies and maps attest to a compulsion to describe and imagine Africa and its peoples. In this project I explore the ever evolving European configurations of Africa particularly by way of the writings and maps of Spanish and Portuguese captives, slaves, ransomers, missionaries, diplomats, adventurers and cartographers. Besides coastal West Africa, the literature focuses primarily on the Maghreb as well as on the quasi-mystical land of “Ethiopia” – which in most maps covered much of sub-Saharan Africa – and produced a vast amount of knowledge framed in certain ways for a European readership, even as cartography revealed enormous voids filled with unstable names of places and peoples as well as capricious depictions of landscapes, boundaries, fauna, and so on. The project also aims to trace how this diverse corpus of Iberian writings about Africa would selectively filter into other European languages and traditions long before the European colonization of Africa.
Steven Hutchinson is a Professor of Spanish at UW–Madison. He received his doctorate in Comparative Literature at the University of Chicago, and works primarily on Spanish literature of the 16th and 17th centuries. He is author of Cervantine Journeys, which delves into the relations between narrative and travel, and Economía ética en Cervantes, which posits the notion of ethical economy in human relations through systems of value, “debts” and “payments”. He has also published some sixty essays in journals and edited volumes on poetics, rhetoric, genre, emotion, ideology, gender, eroticism, religion, conversion, captivity, martyrdom, modes of mutual understanding, etc. He recently co-edited a multidisciplnary volume entitled Cervantes and the Mediterranean, and has finished a book manuscript entitled Writing the Early Modern Mediterranean, which draws on a wide variety of sources from different languages and engages with how writers represented the Mediterranean world of that era. His awards include a Fulbright Research Fellowship in Madrid and fellowships at the IRH. He is president of the Cervantes Society of America.
Director of over one hundred films and with a career that spanned fifty years, John Ford had a profound influence on Hollywood filmmaking. He shaped the careers of important stars, such as Henry Fonda and John Wayne, but also created a stock company of character actors known for their supporting roles. He worked with some of the best cinematographers in Hollywood such as Arthur Miller, Bert Glennon and Joseph August and, along with William Wyler and Gregg Toland, among others, helped to pioneer long-take cinematography in the 1930s and early 1940s (Orson Welles claimed to have watched Ford’s Stagecoach forty times before shooting Citizen Kane). He won a record six Academy Awards during his lifetime and his achievements have been frequently celebrated by other directors: Peter Bogdanovich, Martin Scorsese and Steven Spielberg are among those who have paid him tribute. Yet there has been surprisingly little written based on primary-document research about the production of the films. John Ford in the Hollywood Studio System will illuminate how John Ford developed as a director within the studio system as the system itself changed over time. It will draw on script drafts, memos and correspondence preserved in studio legal or script files as well as Ford’s papers. This complex of materials will provide the basis for establishing the production process, and the textual history, of each film discussed. The point is not to argue for Ford as the sole author of his films, but rather to document the collaborations which gave rise to the films, and to understand the shape of the films in the light of the tensions, constraints and possibilities of their production context.
Lea Jacobs is a Vilas Distinguished Achievement Professor in the Department of Communication Arts at UW-Madison. She has published on the history of the American studio system, performance in film and theater, melodrama and the woman’s picture, and film music. She is the author of The Wages of Sin: Censorship and the Fallen Woman Film, Theatre to Cinema (written with Ben Brewster), The Decline of Sentiment: American Film in the 1920s, and Film Rhythm After Sound: Technology, Music and Performance. She has been a Guggenheim and ACLS fellow.
During the late nineteenth and early twentieth century, both Native Americans and the politicians, bureaucrats, soldiers, and scholars who oversaw the unfolding colonial project of "Indian policy" understood questions of culture and of political belonging to be intimately related. Natives and non-Natives debated what constituted "Indian" and "American" cultures, whether and how Indians could become Americans, and what appropriate forms of governance and inclusion should follow the achievement (or imposition) of that status. Citizenship and Civilization explores that matrix of discourses, debates, and experiences by focusing on the Ho-Chunk people's confrontation with two overlapping aspects of the colonial project: the federal government's program of assimilation and incorporation; and the contemporary scholarly axiom that Indian culture represented the survival into the present day of a static, "prehistoric" way of life.
Stephen Kantrowitz is a Vilas Distinguished Achievement Professor in History and an affiliate faculty member in Afro-American Studies and American Indian Studies at UW-Madison, where he teaches courses on race, politics, and citizenship in U.S. history. He received his Ph.D. from Princeton and his B.A. from Yale. He is the author of More Than Freedom: Fighting for Black Citizenship in a White Republic, 1829-1889 (Penguin, 2012) and Ben Tillman and the Reconstruction of White Supremacy (UNC Press, 2000). He is currently working on two book projects: Citizenship and Civilization, described above; and a briefer work that pulls together the threads of his work on white supremacist, free black, and Native American visions of citizenship in the era of the Fourteenth Amendment.
In this work I seek to understand the transnational networks of exchange that delivered American weapons and industrial goods to China in exchange for Chinese raw materials from 1941 to 1949. Drawing on primary sources from archives located on three continents, this work will offer new insights into Chinese history, Sino-American relations, and the history of Cold War East Asia. More broadly, this work reveals how the China case served as the foundation and blueprint for a wider foreign aid centered foreign policy that was exported around the world in the years after 1949.
Judd C. Kinzley is an associate professor of modern Chinese history at the University of Wisconsin-Madison. His first book, Natural Resources and the New Frontier: Constructing Modern China’s Borderlands (The University of Chicago Press, 2018), focuses on the 20th century efforts by an assortment of state and non-state, Chinese and non-Chinese actors to find, exploit, process, and transport various natural resources in china’s far western province of Xinjiang. The work, which is based on archival research conducted in Urumqi (Xinjiang), Beijing, Taipei, Moscow, and London, explores the underexamined nexus that exists between natural resources, foreign capital, and the power of the state in borderlands in china and beyond. He is currently working on a new book length project that focuses on the trans-pacific material exchange of American industrial goods and lend-lease equipment for Chinese raw materials during the 1940s. He has published articles on gold mining, roads, and geological surveys and, broadly speaking has research interests that center around environmental history, borderlands, material centered histories, and political economy.
Elizabeth Lhost's research explores the intersections of law, religion, and society in modern South Asia. Her current book project, The Office of Islamic Law: Paperwork, Politics, and Possibilities in Modern South Asia (1800–1950), examines the transformation of Islamic law and legal practice in response to British rule and rising interest in bureaucratic recordkeeping and governance. Drawing upon rare Urdu and Persian sources produced and maintained by local legal officials including qazis (Islamic judges) and muftis (Islamic legal scholars, writers of fatwas), Lhost traces the arch of legal bureaucratization and professionalization across the nineteenth century. Her research challenges the narrative that colonial codification constrained Islamic law and instead argues that bureaucratization gave law an even greater importance in everyday life, introducing multiple possibilities for expression and interpretation along the way. Emphasizing consumption over production, The Office of Islamic Law narrates this transformation not from the perspective of British legislators and law makers but from that of practitioners and consumers across the subcontinent. Lhost’s next project will examine the intersections of morality and financial responsibility around the turn of the twentieth century as different social, religious, and political organizations debated the risks and rewards associated with new financial instruments and institutions like insurance schemes, chit funds, and credit co-operative societies.
Elizabeth Lhost is a historian of law and religion in modern South Asia and is currently an A.W. Mellon Postdoctoral Fellow at the University of Wisconsin–Madison. She completed her Ph.D. at the University of Chicago in the Departments of South Asian Languages and Civilizations and History and is currently working on a book project on the history of Islamic legal practice in British India. Her research and teaching interests include global history, legal history, South Asian History, and the history of Islam. Lhost’s research has been supported by the Fulbright student program, the Social Science Research Council, the American Institute for Pakistan Studies, the American Council of Learned Societies, and the Mellon Foundation. Prior to completing her Ph.D., Lhost received a B.A. in English literature and cognitive science summa cum laude from Northwestern University, an M.A. in Languages and Cultures of Asia from the University of Wisconsin–Madison, and spent time in Lucknow, India studying Urdu. She teaches in the Undergraduate Legal Studies Program at UW–Madison on topics such as law and religion, law and (in)justice, and Islamic law.
My dissertation studies how the constant pest-making in modern Chinese history enacts the pursuit of biosocial purity through scientific, visual, and ideological storytelling. Starting with the 1930s, where verbal and audio-visual education introduced new ways of seeing and imagining the harmful, my dissertation tracks the (re)inventions of the pest through two mass campaigns in the socialist era, and finally into post-socialist reconstruction of order that casted the social pest into comic visualizations. In each of the historical moments, the anxiety over biosocial purity was scientifically validated, visually animated, and projected onto the nonhuman other. Yet the produced boundary between the clean and the unclean, between the human and the pest, was never stable and always disturbed identity and order by feeding back to the sociopolitical context. Mapping the ramifications of biosocial abjection, my research rethinks the rhizomatic subject formation in modern China’s vicissitudes of war, nation-building, and mass mobilization.
I am a PhD candidate in the department of Asian Languages and Cultures at UW-Madison. My current research focuses on pest-making as facilitated by science education, visualization, and mass mobilization in modern China. Theoretically, my dissertation investigates and interrogates larger questions of subject formation and the multifold transborder encounters that biopower conjures up and/or erases. My research and teaching interests also include modern Chinese literature, culture, and cinema, visual culture studies, animal studies, environmental humanities, and history of science, medicine, and disease. In 2017-18, I co-organized the Borghesi-Mellon workshop “Space-Relations” funded by UW-Madison Center for the Humanities. This year at IRH, I am working on completing my dissertation tentatively entitled “Away/With the Pest: Biosocial Abjection and Subject Formation in China, 1930s-1980s."
My project is a book length study of the Mexican American Legal Defense and Educational Fund (MALDEF) the largest and oldest Latino civil rights law organization in the United States. It is an analysis of the relationship between legal activists, foundations, and social movements. Established in 1968, MALDEF is an organization of cause lawyers, attorneys who devote most or part of their professional lives to or who are closely identified with social justice movements. My work draws on the large literature exists on cause lawyering as well as that of philanthropy and social movements. MALDEF is primarily dependent on the Ford Foundation, which issued its first major grant and closely supervised its construction. Ford along with the Rockefeller and Carnegie Foundations are MALDEF’s largest contributors that sustain this important organization and its legal reform mission. My narrative begins with MALDEF’s first five years of operation, a time when Chicano Movement activists pressured its lawyers for legal representation while the Ford Foundation insisted that it concentrate on legal reform as stipulated in its mission statement. These irreconcilable demands and MALDEF’s compliance with the Ford Foundation’s demands illustrates the impact that lawyers and philanthropy can have on the course of Latino social movement politics. This research also points to the impact that foundations, corporations, or wealthy individuals can have on the articulation of minority political interests.
Benjamin Marquez is a Professor of Political Science at the University of Wisconsin-Madison and former Director of the Chican@/Latin@ Studies Program. His research interests include social movements, urban politics, and minority politics. He has published numerous articles and books on the relationship between race, political power, social identities, public and political incorporation. He is the author of Power and Politics in A Chicano Barrio: A Study of Mobilization Efforts and Community Power in El Paso (Lanham: The University Press of America, 1985), LULAC: The Evolution of a Mexican American Political Organization (Texas, 1993), and Mexican-American Political Organizations: Choosing Issues, Taking Sides (University of Texas Press, 2003) which won the 2004 Best Book Award by the Race, Ethnicity and Politics (REP) Section of the American Political Science Association. His recent book, Democratizing Texas Politics: Race, Identity, and Mexican American Empowerment, 1945-2002 was published by the University of Texas Press in 2014. He is currently writing a book on the Mexican American Legal Defense and Educational Fund.
Remonstrances were texts printed in Europe during the civil wars (1550-1650). They are unique in that they served simultaneously as a means of governance, instruments of negotiation and avenues of resistance. They enable continuous dialog during the conflicts. Whereas previous scholarship has focused on conflict and the violence itself, I examine the remonstrance as a means of circumventing the violence and sustaining institutional interaction. I show that – the battles, conflicts and massacres notwithstanding – negotiation remained the focus of power relations between the authorities and a “political society” that used remonstrances to seek to impose (its vision of) peace and justice.
Paul-Alexis Mellet was born in Paris in 1970. After concluding his studies in Philosophy (Paris IV/Paris-Sorbonne), he aroused his interests in History by obtaining an 'agrégation' certificate (Paris I / Panthéon-Sorbonne) and by writing a thesis (Université de Tours/CESR) on Protestant Monarchomachs — jurists, diplomats, and theologians who theorized armed resistance against tyrants (issued by Droz in 2007). He is Professor of Modern History in the Centre for Advanced Studies in the Renaissance (CESR) and in the University of Tours. He has just been appointed Professor at the University of Geneva (2019) and at the Institute for the History of Reformation. Pr Mellet has published a number of ancient texts, notably Le réveille-matin des Français et de leurs voisins (1574), issued by Garnier in 2015, and Conseil à la France désolée (1562), issued by Droz in 2017. His present interests are central to the concern of religious warfare in Renaissance Europe and he devoted his recent HDR thesis (Paris IV/Paris-Sorbonne) to a research on the remonstrances that were printed during such epoch. His position consists in showing that during the conflicts of this time, all the parties involved (Catholics, Protestants, Royalists) undertook permanent efforts to restore peace and establish justice.
My dissertation re-examines claims to Filipino nationhood during the American colonial period (1902-1942) when debates about nationalism were made not only in the political arena but also on the theatrical stages of Manila. This period saw the transformation of the Spanish genre of zarzuela into a new music-theatrical form that came to be seen, heard, and imagined as distinctly Filipino. I argue, however, that the overtly nationalist themes found in zarzuelas prevented scholars from examining critically overlooked repertoire and the impact that specific works had on its contemporary audience. My project brings to the fore works that do not conveniently fit within the narrative of anti-colonial nationalism but instead reveal the contradictions and ambivalences in the performance of zarzuelas. The repertoire I am particularly interested in commented on existing social hierarchies and fueled questions of race and ethnicity, religion, and gender in relation to emerging notions of Philippine modernity. As a popular form of entertainment in early-twentieth century Philippines, the Tagalog zarzuelas echoed a multiplicity of voices, with playwrights and intellectuals expressing varied and sometimes competing ideas about the role of the performing arts in a modern Filipino society. My project takes the “multi-vocal” approach even further as I examine the role of performers—female zarzuelistas in particular—and their specific performances as an important example of musical authorship usually reserved for playwrights and composers. By examining the contributions of these different groups (playwrights, composers, performers, and critics), I highlight the collaborative production of zarzuelas as well as the multi-layered meanings created in its various performances.
Isi earned her music undergraduate degree from the University of the Philippines and her Master’s degree in violin performance and musicology at Western Illinois University. At WIU, she performed with the Julstrom String Quartet, the strings faculty ensemble in residence, and wrote a thesis on music and theater in Theresienstadt, a concentration camp in German-occupied Czechoslovakia during World War II. As a graduate student, Isi was a Wisconsin Musicology Fellow and a Center for Southeast Asian Studies Fellow. She is also the recipient of various research fellowships including the American Musicological Society’s fellowship at the Newberry Library and the Council for Library and Information Resources-Mellon fellowship for her dissertation on the Tagalog zarzuelas. Currently, Isi is a member of the local band Forró Fo Sho, which plays Northeastern Brazilian dance music.
The government of the medieval, Christian Roman (Byzantine) Empire was permeated with religious vocabulary and ceremony. These apparently religious aspects of government have been treated simplistically as “ideology” and not addressed as expressions of religion, largely because matters such as taxes do not fit within the rubrics set by modern Greek Orthodoxy. This project is an attempt to understand the religion visible in imperial bookkeeping, administration, and acclamations, and its changes from the tenth and twelfth centuries. The civic religion of the ancient (pagan) Roman Empire provides a point of comparison that broadens the categories of analysis and offers theoretical guidance.
Leonora Neville studies the medieval eastern Roman Empire. She is the John and Jeanne Rowe Professor of Byzantine History and Vilas Distinguished Achievement Professor at the University of Wisconsin Madison. She is particularly interested in religion, gender, and the importance of the classical past for medieval Roman culture. She reconsidered the strength of the famed Byzantine bureaucracy and presented a new understanding provincial government in Authority in Byzantine Provincial Society, 950-1100 (Cambridge, 2004). The study of cultural memories of classical Roman masculinity led her to write Heroes and Romans in Twelfth-Century Byzantium (Cambridge, 2012). She offered a new interpretation of Anna Komnene’s strategies for writing classicizing Greek history as a woman in Anna Komnene: The Life and Work of a Medieval Historian (Oxford, 2016). To help open her field to broader study she wrote a Guide to Byzantine Historical Writing (Cambridge, 2018). Her interpretation of Byzantine Gender is forthcoming from Arc Humanities Press.
Abandoned lots and buildings are a ubiquitous feature of post-industrial U.S. cities, markers of the recent housing crisis, and perennial sources of concern for policymakers, researchers, and residents alike. In cities like Philadelphia, which is currently experiencing a development boom, properties deemed ‘vacant’ are increasingly contested. In this project, I argue that within these emerging conflicts the frequent disjuncture between the use, value, and ownership of these spaces provides critical analytical openings in which to reconceptualize the (im)materialities of law, property, and the commons. In doing so, I put forward a politically productive framework for reconsidering geographies of vacancy.
Elsa Noterman is a doctoral candidate in the Geography Department at the University of Wisconsin-Madison. Her work brings together feminist and critical geographies, legal scholarship, decolonial theory, and a focus on grassroots organizing in order to examine the socio-spatial contradictions that emerge through struggles over the everyday spaces of social reproduction – especially those related to housing and land. In particular, she is interested in how these contradictions destabilize normative institutions and what alternatives they might offer. Elsa centers social justice in her research practices, teaching, academic service, and scholarship in ways that aim to push academia in new directions. In doing so, she participates in interdisciplinary, collaborative, and action-oriented projects that seek to contribute to social change. Her work has been supported by the American Council of Learned Societies/Mellon Foundation, National Science Foundation, and UW-Madison. She is currently completing her dissertation, entitled “Vacant Geographies: (Dis)possession, Resistance, and Speculative Futures in Philadelphia’s Abandoned Properties."
The current project concerns volume two of a history of medieval cosmology, focusing on the twelfth century, and taking into consideration both verbal and pictorial documents (La cosmologie médiévale. Textes et images II: le XIIe siècle). There exists no synthetic history of cosmology for this pivotal period of the Middle Ages. The twelfth century is considered from the point of view of its dependence on pre-twelfth-century Roman cosmology on the one hand and the assimilations of newly-made translations from the Arabic and the Greek on the other hand. The volume replaces the currently made distinction between scientific and non-scientific activities by that of specialized and non-specialized domains. It identifies and analyze major trends by making a distinction between a cosmology that was predominantly astronomical and mathematical in approach and a cosmology that focused on natural philosophy. Moreover, it takes into consideration the cosmological tradition which interpreted the corporeal universe to be a symbol of spiritual values, and which is usually termed “symbolic".
Barbara Obrist holds a PhD degree in Art History from the University of Geneva. She is currently Directeur de recherche émérite at the /Centre national de la recherche scientifique and the Université Paris Diderot (Paris). She is a scholar of medieval history of science and philosophy and of scientific images, specializing in history of alchemy and cosmology. Among her books are Les débuts de l'imagerie alchimique: XIVe-XVe siècles (Paris: 1982) and La cosmologie médiévale. Textes et images. I. Les fondements antiques (Florence: 2004). She is co-editor (with Irene Caiazzo) of Guillaume de Conches: philosophie et science au XIIe siècle (Florence: 2011). A study of Abbo of Fleury’s computistical works and their edition, by Alfred Lohr, are to be published in Corpus Christianorum, Continuatio Mediaevalis (Turnhout: forthcoming).
"Slipping Sideways" proposes alternativity as a key to redefining the individual as subject and citizen within the contemporary in literature. The project attempts to theorize the contemporary by concentrating on slipstream literature and other forms of speculative fiction, examining how they disrupt teleologies of the Novel form and thus offer alternatives to idealized narratives of justice. Inspired by challenges only partially addressed by Digital Humanities, this project expands on the traditional scholarly monograph through a persistent mode of collaboration and digitization, moving past limits of the Humanities in form and not only in content, attempting a digital posthumanities.
Keren Omry is Assistant Professor of American Studies at the Dept. of English Language & Literature at the University of Haifa. Her work concentrates on literature of the late 20th early 21st century, jazz & hip hop aesthetics in literature, and speculative fiction and alternative histories, as they intersect with stories of personal and collective accountability. Omry was awarded her PhD in English Literature at the University of London, where she explored the relationship between jazz and African-American literature of the twentieth century. Her publications include Cross-Rhythms: Jazz Aesthetics in African-American Literature (Continuum, 2008); “Bond, Benjamin, Balls: Technologised Masculinity in Casino Royale”, in Revisioning 007 (Wallflower Press, 2010); “Literary Free Jazz,” in African American Review (2007); “A Cyborg Performance: Gender and Genre in Octavia Butler,” in Phoebe (2005); and “A Capital Alternative: Alternative Histories And The Futural Present," in Paradoxa (2016).
To what extent did the belief in an omnipotent deity (the kind of deity that can upset the standard way things are by performing miracles) influence the development of some of the basic concepts by which Western intellectuals have been thinking about the deep structure of the reality? In my research, I will consider this question by focusing on the the later medieval thinker, John Duns Scotus (d. 1308). Duns Scotus left a lasting mark in both philosophy and theology. His contributions to metaphysics have been long recognized as both original and influential on foundational early modern figures such as Descartes and Leibniz. My research project is to write the first book-length new treatment of his metaphysics in English in about 70 years. My monograph will be structured as a series of investigations on key topics and will make use of hitherto unexplored sources. The focal point of my project will be the relationship between God’s omnipotence and metaphysics. By focusing on this topic, I also hope to shed some light on the extent to which people and cultures with different religious commitment or no religious commitment might agree on a “neutral” interpretation of the structure of reality independent of those very commitments.
Giorgio Pini (PhD 1997, Scuola Normale Superiore, Pisa, Italy) is professor of philosophy at Fordham University in New York City, where he has been teaching since 2005. He held fellowships in Toronto (Pontifical Institute of Mediaeval Studies), Leuven (Katholieke Universiteit Leuven, Belgium), and Oxford (All Souls College). He has published extensively on later medieval metaphysics and theory of cognition with a particular focus on the thought of the Franciscan theologian and philosopher, Joh Duns Scotus. His most recent book is the critical edition of an hitherto unknown treatise on metaphysics by Duns Scotus, which was published by Brepols in 2017 in the series Corpus Christianorum Continuatio Mediaevalis.
We are living in an “economic moment” in the field of Jewish history. Scholars around the world are examining how Jewish entrepreneurs, who were often excluded from full participation in national economies, nonetheless managed to build networks that spawned and sustained Jewish communities. Traditionally, scholars in the Jewish economic history of the United States have focused on the clothing business, from sweatshops to department stores. However, outside of the New York-to-Philadelphia corridor, a dominant Jewish economic niche has been the trade in scrap, surplus, and second-hand materials. Beginning in the late 19th century, Jewish immigrants from Eastern and Central Europe rode booming markets in these areas but, due to scrap’s unsavory, “dirty” associations, were excluded from philanthropic activity outside of Jewish communities. As a result, Jewish dealers in scrap, surplus, and second-hand materials created Jewish institutions from synagogues to Jewish day schools to Jewish community centers. My project will exhume this past from the scrap heap, due to the stigma of earlier generations. In a broad sense, my project sheds light on the ways that ethnic economic networks, even among marginalized people, can lead to the creation of strong ethnic communities.
Jonathan Z. S. Pollack earned his PhD in History from the University of Wisconsin Madison in 1999, and he has been a full-time Instructor in History at Madison Area Technical College since 1998, where he teaches courses in African-American History, Native American History, the history of the Vietnam War, and Jewish history. He has published articles in American Jewish History, Journal of Jewish Identities, and several conference volumes. His article, “Shylocks to Superheroes: Jewish Scrap Dealers in Anglo-American Popular Culture,” will be published in Business History later this year. This fall, he will be completing his book, Wisconsin, The New Home of the Jew: 150 Years of Jewish Life at the University of Wisconsin—Madison. He held an Honorary Fellowship at the IRH in Fall of 2007, and served as the first Madison Area Technical College Fellow at IRH from 2008-2011. He has continued his affiliation with IRH during summers from 2012 to the present, and has been an Honorary Fellow during the 2017-18 and 2018-19 academic years.
My project takes an interdisciplinary approach to investigate Berlin's musical history from the reign of Wilhelm II to the building of the Berlin Wall. It seeks to understand how a city that never managed to host renowned composers succeeded in maintaining a world-class musical reputation despite the political, economic, and social turmoil of two world wars, a failed democracy, a dictatorship, and the Cold War. My approach draws on archival and published materials to explore how the interplay of economics, politics, musical taste, and Berlin’s highly diverse population sustained and enhanced its musical life through one crisis after another.
Pamela Potter's research concentrates on relating music, the arts, and the writing of cultural history to ideological, political, social, and economic conditions in twentieth-century Germany. She is the author of Most German of the Arts: Musicology and Society from the Weimar Republic to the End of Hitler's Reich (1998; German ed. 2000; Portuguese ed. 2015; Chinese ed. forthcoming) and Art of Suppression: Confronting the Nazi Past in Histories of the Visual and Performing Arts (2016); and she is co-editor of Music and German National Identity (2002) and Music and World War II (forthcoming). Previous honors include the Alfred Einstein Award of the American Musicological Society, the Vilas Associate Award, the Romnes Faculty Fellowship, and the Kellett Mid-Career Award from the University of Wisconsin, and she has received grant support from the National Endowment for the Humanities, the German Academic Exchange, the Andrew W. Mellon Foundation, and the Social Science Research Council.
This project examines the reinvention of the Reformation in modern Germany and Europe through the making of the Corpus Reformatorum (1834–60), the state-sponsored, critical edition of texts from the sixteenth-century reformer Philip Melanchthon. It uniquely indicates the contested alliance between Protestantism and “progress,” the latter understood especially in terms of scientific achievement and modernization in religious and cultural life, with political consequences. Through the investment of Prussia’s powerful Ministry of Culture, backed by the Crown, and edited by the one of the leading rationalists of the day, the series came to signify the new scholarly ethos, progressive theological spirit, and distinct cultural and ecclesiastical sensibilities the state pursued over much of the nineteenth century.
Zachary Purvis is Leverhulme Early Career Fellow at the University of Edinburgh. He completed his D.Phil. at the University of Oxford (2014). He is the author of Theology and the University in Nineteenth-Century Germany (Oxford University Press, 2016), awarded Best First Book by the Ecclesiastical History Society. His articles and essays have appeared in such venues as Church History, Journal of the History of Ideas, and The Oxford Handbook of Nineteenth-Century Christian Thought, among others. His research has been supported by the German Academic Exchange Service (DAAD), Fulbright Program, Leibniz-Institute for European History, Fritz Thyssen Stiftung, Leverhulme Trust, and other institutions.
In arguing for renewed focus on imagination, the purpose of this project is to enrich thinking about traits needed for effective democratic citizenship today. Imagination is not often studied for its role in democracy. Usually, it is confined to serious study as of value to art proper or subsumed as part of practical wisdom. Joining other studies of phenomena undervalued in democratic life, this project illuminates today's civic need for imagination in its role in creativity, innovation, and even resistance. Through an original interpretation of works by various early modern political thinkers, it shows how imagination functions in politically relevant moral activities—like empathizing and perspective-taking—while demonstrating the benefit of democracy for its expression and cultivation.
Katherine M. Robiadek is a Ph.D. Candidate in the Department of Political Science at the University of Wisconsin, Madison. Her first field of study is Political Theory with a second field in Comparative Politics, along with a minor in Early Modern Studies and a graduate certificate in European Studies. Her primary research focuses on early modern political thought.
The book demonstrates how Senegalese artist-activists are mobilizing HipHop to impact formal politics on an unprecedented scale. My core argument is that Senegalese rappers organically deploy an anticolonial notion of democracy that challenges orthodox democratic theory’s framing of possibilities. Through an emphasis on participatory democracy and global justice, they implicitly challenge the compatibility of democracy with economic liberalism and the contemporary world order. I construct an interdisciplinary account of how Senegalese artist-activists mobilize HipHop’s aesthetic power and association with the Black freedom struggle to contest both narrow nationalist and fatalistic globalization narratives by forging a HipHop Africanity that is simultaneously diasporic and indigenous, racially conscious and anti-essentialist.
Artist, activist, and academic Damon Sajnani is a HipHop polymath. He is Harvard’s inaugural Nasir Jones HipHop Fellow, and assistant professor of African Cultural Studies at the University of Wisconsin-Madison. He has authored numerous scholarly chapters and articles on global HipHop and social justice and released several critically acclaimed albums under the moniker, “Professor D.” His primary research interests include Africana cultural studies and critical theory, postcolonialism and decolonization, social stratification and political philosophy, and critical HipHop studies. He is currently preparing his tenure manuscript, The African HipHop Movement: Youth Culture and Democracy in Senegal.
This will be the first academic biography of comedian and activist Dick Gregory. Gregory broke the color line in standup comedy in the early 1960s and subsequently threw himself into the rising tide of the black freedom struggle, with a conviction unparalleled among entertainers. Gregory soon became more activist than entertainer, working at the leading edge of the other movements for social change that coalesced from the late 1960s onward. This study traces the roots of Gregory’s activism from his impoverished upbringing in St. Louis through his solitary sacrifices of the 1970s and beyond, and it will outline and assess Gregory’s important roles in the larger historical developments of the period, including the emergence of modern popular culture and movements for equality and empowerment in American life.
Edward Schmitt is an associate professor of history at the University of Wisconsin-Parkside, where he has taught since 2002. His research and teaching focuses on the intersections of politics, social movements, and culture, particularly as these have addressed inequality in American life. His first book, President of the Other America: Robert Kennedy and the Politics of Poverty, was published by the University of Massachusetts Press in 2010.
This project is a historical study of the Ottoman Armenians in the Ottoman Empire from 1918-1923. It seeks to delineate how the Ottoman Armenians reorganised their political position against the massive socio-political crises that led to the collapse of the Ottoman Empire. This study employs Armenian and Ottoman Turkish media sources published in Istanbul and Anatolia during the Armistice years (1918-1923) to track the post-war interrelationship of Ottoman society in general and the Armenian community in particular, the social and political reorganisations of the Armenian community and the transformation of the Armenian political position in the last years of the Ottoman Empire.
Ari Şekeryan recently received his DPhil from the University of Oxford Faculty of Oriental Studies. His thesis was entitled “The Armenians in the Ottoman Empire After the First World War (1918-1923)”. His PhD thesis sought to bridge the disciplines of history, international relations, and area studies by analysing the minority-majority relations in the final years of the Ottoman Empire, primarily focusing on the relations between the Armenians and Turks. The research was grounded in detailed archival research conducted at the library of the Armenian Mekhitarist Congregation in Vienna, Austria; the Prime Minister’s Ottoman Archives in Istanbul, Turkey; and the State Archives and the National Library of Yerevan, Armenia. Ari Şekeryan’s main research interests include the theories of minority-majority relations and the Muslim-non Muslim relations in the Ottoman Empire. He edited The Adana Massacre 1909: Three Reports and An Anthology of Armenian Literature 1913. His latest articles appeared in the British Journal of Middle Eastern Studies, the Journal of the Ottoman and Turkish Studies Association and War in History. His research has been supported by the Calouste Gulbenkian Foundation.
Recent scholarship disputes the common idea that science and religion have always been in conflict, and today we often see Christian apologists appealing to science to answer questions that strike at the core of human experience. Likewise, we see secular scientists claiming expertise for answering these same questions, but in very different ways. Interestingly, both Christians and scientists misunderstand the limits or implications of science for addressing questions that are fundamentally philosophical in nature. I propose a book that will examine how both scientists and Christians misuse science to answer the Big Questions, further illuminating the nature of these questions.
Lawrence Shapiro received his Ph.D. from the University of Pennsylvania and is now a Professor of Philosophy at UW-Madison. His main research areas are in philosophy of mind and philosophy of psychology. Among his books are The Mind Incarnate (MIT Press, 2004), the award-winning Embodied Cognition (Routledge, 2011) and, with Professor Thomas Polger, The Mutliple Realization Book (Oxford, 2016). Relevant to his project with the IRH is his The Miracle Myth: Why Belief in the Resurrection and Supernatural is Unjustified (Columbia, 2016), in which he presents some fundamental epistemological principles that are relevant to assessing justification in beliefs about extremely improbable events and applies these to claims about miracles.
I’m researching and writing a trio of essays that consider belonging and global black identity through the theoretical frameworks of Island and Archipelagic American studies. The first follows nineteenth-century abolitionist life-writer Mary Prince’s journey from slavery to emancipation through colonial Bermuda’s archipelagic plantocracies; the second explores the significance of salt as commodity, practice, and pan-Caribbean archetype; the final takes up the notion of sanctuary from an ecological, legal, and experiential perspective. These essays will ultimately fold into a larger book project addressing the flow of insurgency, of anti-colonial thought and action, manifest in the literature of the Americas through the hybridized bodies of black women.Some of the broader questions I address include: how is racial difference elided as we reconfigure the studies of early American literature or Afro-Caribbean literature along transnational lines? Why do particular locations, like Haiti, occupy a fractious space within the global South? In this book, “new world" literary mappings intertwine with personal inquiry and critical investigations about the nature of belonging, identity and indigeneity as I follow an elastic circuit that unveils relationships between fragile environments, dynamic objects, and the human/nonhuman beings that circulate through the archipelagic diaspora.
Cherene Sherrard-Johnson is the Sally Mead Hands-Bascom Professor of English at the University of Wisconsin-Madison where she teaches nineteenth and twentieth century American and African American literature, cultural studies, and feminist theory. Recent publications include: A Companion to the Harlem Renaissance (Wiley, 2015), Dorothy West’s Paradise: A Biography of Class and Color (Rutgers, 2012), “Insubordinate Islands and Coastal Chaos: Pauline Hopkins Literary Land/Seascapes” in Archipelagic American Studies (Duke, 2017), and Vixen, a poetry collection (Autumn House Press, 2017).
How does knowledge evolve and reconfigure itself when it crosses disciplinary and national boundaries? How do concepts travel from one field of inquiry to another? This book project investigates the diffusion of Gestalt psychology in France, notably in the works of Merleau-Ponty, Lacan, and Bourdieu. Through a close examination of academic curricula, translations, publications, and personal papers, I analyze the impact of this theoretical paradigm and the ways in which the aforementioned thinkers appropriated and transformed the notion of “Gestalt.” This case study sheds light on the cultural transfers between France, Germany, and the US, and on processes of knowledge formation.
Florence Vatan is a Professor in the Department of French and Italian at UW-Madison and an affiliate in the Department of German, Nordic, and Slavic. She received her doctorate in Germanic Studies from the University of the Sorbonne, Paris 3, and her doctorate in French from the University of Chicago. Her research focuses on the dialogues between literature, science, and philosophy in early twentieth-century Austrian and nineteenth-century French literatures and cultures. She has published Robert Musil et la question anthropologique (Presses Universitaires de France, 2000), Robert Musil, Le “virtuose de la distance” (Belin, 2013), as well as numerous essays on Flaubert, Baudelaire, Balzac, Musil, and Canetti. She has co-edited, with Anne Vila, a special issue of L’Esprit créateur on “L’Esprit (dé)réglé: Literature, Science, and The Life of the Mind in France, 1700-1900” (Winter 2016). With Marc Silberman, she has co-edited the collective volume Memory and Post-War Memorials. Confronting the Violence of the Past (Palgrave, 2013).
In Promiscuous Grace: Reimagining Religion and Beauty with St. Mary of Egypt I study the immensely popular story of Mary of Egypt’s conversion from promiscuous twelve-year old to venerable anchorite as mediated by her interaction with an image of the Virgin Mary. This figure, though rarely studied from a theoretical perspective, emerges in this project as a productive transhistorical vehicle for reflecting on the role of beauty and appearances in works that are ostensibly about asceticism and Christian doctrine. Through the study of three instantiations of the legend from the thirteenth to the seventeenth centuries, I show how these works—on the page, on the stage, and on canvas—engage openly with questions of generosity and promiscuity, belief and appearances, mediation and immediacy, feminine charm and the grotesque. Examining how the legend of this saint mediates the presence of the divine in this world, I ultimately seek to recuperate for grace its double meaning as the gratuitous gift of salvation (holiness) and the allure of the senses (beauty) as well as to challenge our contemporary understandings of hagiography as synonymous with uncritical acclamation, of belief as the static acceptance of dogma, and of beauty as that which “one does not have to work at” (Arthur Danto).
Sonia Velázquez has a joint appointment as Assistant Professor in the departments of Religious Studies and Comparative Literature at Indiana University, Bloomington. Her research focuses on the intersection of aesthetics and religion, especially in the medieval and early modern periods in Europe. She has co-edited a volume on pastoral and the humanities with Mathilde Skoie (Exeter/Bristol Press, 2007) and a Critical Cluster on Giorgio Agamben and early modern Spanish poetry for MLN in 2017. Her publications include articles on Pascal’s wager and theatrical stagings of conversion; on style as a vehicle of political and ethical engagement with questions of politics and anthropology in Cervantes’ Los trabajos de Persiles y Sigismunda; on poetry and hospitality in Théophile Viau’s La maison de Sylvie, and on the fallacy of secularization in Alexandre Hardy’s stage adaptation of Cervantes’ short story La fuerza de la sangre. Her article, “Didacticism and the Ends of Storytelling: Walter Benjamin’s Medievalism and Forms of Knowledge in Sendebar” received the Allen and Judy Shoaf Award for the Best Essay Published in Exemplaria (2013).
My book, tentatively titled Bionetworks and the Ontological Turn: Aleatory Materialism and the Making of the Geohumanities, is a critical analysis of life's precariousness at a time of rising economic, environmental, and social conflicts, and the way contemporary (post)humanities interpret this precarity as ontological. Through a sustained dialogue with representatives of the "ontological turn"—including New Materialism, Speculative Realism, and Object-Oriented-Ontology—I argue understanding life's increasing precarity requires an earthly and worldly "geohumanities," by which I mean a re-turn to history not as existing on a flat, ontological plane, but as a dialectical relation of the human and the nonhuman.
Rob Wilkie is an Associate Professor in the Department of English at the University of Wisconsin-La Crosse. His books include The Digital Condition: Class and Culture in the Information Network (Fordham University Press, 2011) and the co-edited collection Human, All Too (Post)Human: The Humanities After Humanism (Lexington, 2016). In addition, his work on digital culture, posthumanism, and pedagogy has appeared in such books and journals as Media and Class (Routledge, 2017); Post-Industrial Society (Sage, 2010); the minnesota review; International Critical Thought; Nature, Society, and Thought; JAC; and Textual Practice.
During my time in the Race, Ethnicity, and Indigeneity Fellowship I am finishing a book manuscript which is a historiographical project about how have Black women survived and thrived in and beyond higher education amidst formidable challenges. In the book, entitled, The Chosen We: Black Women’s Oral Histories of Self and Group Empowerment in and Beyond Higher Education, I compare oral histories from 101 Black women who were living in five metropolitan areas in the United States and who graduated college across a 60-year time period, from 1954-2014. I argue that Black women used their individual and collective identities to persevere, amidst significant racism and sexism, through and beyond higher education across multiple decades and geographic spaces.
Rachelle Winkle-Wagner is an Associate Professor in the Education Leadership and Policy Analysis department at the University of Wisconsin-Madison. Her research focuses on how students of color survive and thrive in college. She is an author or editor of six books including, The Unchosen Me: Race, Gender, and Identity Among Black Women in College (Johns Hopkins University Press, 2009) and Diversity and Inclusion on Campus: Supporting Racially and Ethnically Underrepresented Students (with Angela Locks, Routledge Press, 2014). Her work also has been published in journals such as Review of Educational Research, Review of Higher Education, and The Journal of Higher Education.
Asian American writers have historically been read as minority writers within U.S. national culture, responding to practices of exclusion, racism, and discrimination that have characterized American relations with Asian immigrants and their descendants. Recently, the study of Asian Americans has moved toward diasporic frameworks that reject cultural nationalism in favor of an emphasis on the ongoing connections between Asian Americans and their countries of origin. Diasporic Poetics investigates diasporic Asian writing not through reference to origins, but through comparisons among “Asian” writers in majority-white Anglophone societies: the U.S., Canada, and Australia. The perspective on diaspora that emerges from this study emphasizes intellectual and textual circulation among groups racialized as “Asian” in divergent national spaces. The panethnic racial category of the “Asian” is revealed as a traveling concept that has circulated and adapted in three different national contexts.
Timothy Yu is professor of English and Asian American studies at the University of Wisconsin-Madison. He is the author of Race and the Avant-Garde: Experimental and Asian American Poetry since 1965 (Stanford UP, 2009), which won the Book Award in Literary Studies from the Association for Asian American Studies, and the editor of Nests and Strangers: On Asian American Women Poets (Kelsey Street, 2015). He is also the author of a collection of poetry, 100 Chinese Silences (Les Figues Press, 2016). His writing has recently appeared in the New York Times Magazine, The New Republic, and Poetry. He has served as director of the Asian American Studies Program at UW-Madison and as editor for Contemporary Literature.