My research interests include medieval and nineteenth-century French literature and cultural studies, the reception of medieval art, architecture, and literature in nineteenth- and twentieth-century Europe and America, early photojournalism, celebrity interviews, European and American writer house museums, naturalism, decadence, mysticism, cabaret culture, nineteenth-century French theater, the collection and study of Asian art in nineteenth-century France, and global food politics and sustainability studies. I teach a variety of courses from Beginning French I to advanced French language, literature, and culture courses with particular emphasis on the medieval period and the nineteenth and early twentieth centuries. I currently serve as Book Review Coeditor for the journal Nineteenth-Century French Studies and as a board member of the Interdisciplinary Nineteenth-Century Studies Association.
Jill Robbins has published numerous books, articles and book chapters about poetry, film, narrative, and the book industry that engage with theories of affect, celebrity activism, disability studies, urban space, gender, violence, migration, memory, and sexuality. Her most recent book, Poetry and Crisis: Cultural Politics and Citizenship in the Wake of the Madrid Bombings, funded in part by a fellowship from the National Endowment for the Humanities and forthcoming this Fall from the University of Toronto Press, argues that the March 11, 2004 attacks, known in Spain as 11-M, marked a critical turning point in Spanish society in which poetry played a unique and vital role, reflecting a new political sensibility defined by mutable, informal, non-hierarchical, and affective networks of communication and memorialization that contested neoliberal forms of identification, politics, and urban reorganization. She is the author of two other published monographs, Crossing through Chueca: Lesbian Literary Culture in Queer Madrid (University of Minnesota Press, 2011) and Frames of Referents: The Postmodern Poetry of Guillermo Carnero (Bucknell University Press, 1997); editor of the book P/Herversions: Critical Studies of Ana Rossetti (Bucknell University Press, 2004); coeditor with Roberta Johnson of Rethinking Spain from Across the Seas, a special issue of the journal Studies in XX/XXI Century Literature (2006); and coeditor, with Adolfo Campoy-Cubillo, of a special issue of Transmodernity about the Western Sahara (2015).
Anthony Curtis Adler is professor of Comparative Literature at Yonsei’s Underwood International College in South Korea, where he has taught since 2006. He is the author of Celebricities: Media Culture and the Phenomenology of Gadget Commodity Life (Fordham: 2016), a critical edition of Fichte’s The Closed Commercial State, and a short book titled The Afterlife of Genre: Remnants of the Trauerspiel in Buffy the Vampire Slayer. He has also published numerous articles, in such journals as Continental Philosophy Review, Angelaki, Cultural Critique, Diacritics, and Seminar. He is currently working on a book on Friedrich Hoelderlin’s Hyperion.
I am about five foot nine inches, about 40 lbs. overweight, thinning hair, gray beard, with a wide assortment of debilitating medical conditions. My hair is about brown in color and I am about fifty-seven years of age. Mentally, about seventeen. My work as Dean of Creative Writing and History of Magic at Bardwood is characterized by a great deal of thinking and reading, especially in the field of history of magic, boarding school stories, nineteenth-century Brit Lit. and philosophy. I am at present celebrating my tenth year as a Free Mason and soon to be retired Secretary for Lake Harriet Lodge No. 277 A.F. & A.M. in Minnesota. I’m a practicing druid, which means I spend a lot of time bathing in the spirits of the trees, the birds, and the animals; and that I confer regularly with elves and other otherworld beings. My head is most often to be found in the clouds (or vice versa) and my lap under Minerva, my tabby cat and too-familiar familiar. My favorite color is aquamarine blue and my favorite Harry Potter character is Luna Lovegood. My favorite poet is either Keats or Yeats (they have to work it out between them), and my favorite nineteenth century novelist is Jane Austen, followed by Anthony Trollope. I’m quite a fan of Thomas Hardy too, but its hard not to get depressed by his endings sometimes. My favorite author of magical fantasy is Susanna Clarke, author of Jonathan Strange and Mr. Norrell. I can identify very strongly with Mr. Norrell. (Not that I wear a wig.) (Not usually.)
Romanticism, Book History, Print Culture, Cultural History of Celebrity.
consumer culture, celebrity, mass culture, popular entertainment, fandom
My current book project, Contested Records: The Turn to Documents in Contemporary North American Poetry (University of Iowa Press, forthcoming), accounts for why so many contemporary poets have turned to source material, from newspapers to governmental records, as inspiration for their poetry. Synthesizing research in social ontology, cultural memory studies, art history, public sphere theory, and the history of the humanities, Contested Records argues that poems driven by the remixing and reframing of found texts powerfully engage with the collective ways we remember, forget, and remember again. Going well beyond Wordsworthian recollections in tranquility, authors of such research-driven and mnemotechnic work use previous inscriptions as a springboard into public intellectualism and social engagement. This is the first book-length study to examine conceptual writing and documentary poetry under the same cover, showing how diverse writers associated with different poetry communities have a common interest in documentation. Putting into provocative conversation writers such as Amiri Baraka, Kenneth Goldsmith, R.B. Kitaj, Mark Nowak, M. NourbeSe Philip, Vanessa Place, and Claudia Rankine, I analyze a range of twenty-first-century poems that have been reviled, celebrated, or in some cases met with equally telling indifference. In doing so, I offer nuanced and non-polemical treatments of some of the most controversial debates about race and ethnicity in twenty-first century literary culture.
I teach Russian language, literature, and culture at Williams College, and my research focuses on performance–construed in the broadest possible sense–in Russian culture. I’ve published on topics ranging from early Soviet show trials to the cult of personality surrounding Vladimir Putin.
Alexa teaches Shakespeare, performance, film, literary theory and globalization studies at George Washington University in Washington, D.C. Her teaching and publications are unified by a commitment to understanding the mobility of early modern and postmodern cultures in their literary, performative, and digital forms of expression.