Narrative theory; narrative and time; science and literature; eighteenth-century and early nineteenth-century novel; eighteenth-century literature.
I’m interested in Central and Eastern European literature, culture, film, and intellectual history, from Germany to Russia. My current research focuses on the intersection of literature, philosophy, narrative, and aesthetics from the 18th century to the present day. I work primarily on the 20th and 21st centuries, although I have a continuing interest in the 19th century as well (particularly Romanticism and the development of narratological paradigms). I am currently finishing a book project on constructing non-narrative temporalities in Central Europe. I argue that Central European authors rejected narrative constructions of time, opting instead for forms of episodes, collage, and spectral traces to develop alternative temporal constructions. My next project takes me to the 1980s in Central Europe where the second generation of dissidents rejected not only the socialist regimes but also the opposition of the previous generation.
Özen Nergis Dolcerocca is an Assistant Professor of English and Comparative Literature at Koç University, Istanbul. She received her doctoral degree in Comparative Literature from New York University in 2016. She is the editor of the special issue entitled “Beyond World Literature: Reading Ahmet Hamdi Tanpınar Today,” which appeared in the journal of Middle Eastern Literatures in 2017. The issue offers new ways to read Turkish literature, beyond its common perception as the phantasmic union of ‘East’ and ‘West.’ Her most recent articles “Free Spirited Clocks: Tanpınar’s Modernism and Time Regulation Institute,” and “Chronometrics in the Modern Metropolis: The City, the Past and Collective Memory in A.H. Tanpınar,” which was published in Modern Language Notes, both mark out a transnational comparativism that contribute to the current debates on comparative methodologies and modernist studies. Her book project, provisionally entitled Against Chronometry: Modernism’s Politics and Poetics of Time, explores the theorization and imagining of time in the early twentieth-century literature and thought, based on a transnational and translational model of literary history. A comparative study of modernism from Turkish, French and German literary traditions, the monograph focuses on the underexamined counter-tendency in the time-mind of modernism, which has long been associated with the cardinal modes of recovering lost time and streaming it back to consciousness. Foregrounding the major texts of the Turkish modernist A.H. Tanpinar, who provides a unique and particularly relevant insight into the crisis of time, it shows that the modernists in this study, namely H. Bergson, W. Benjamin and R. Walser, invite us to rethink time in a durational mode of becoming, and to consider temporal multiplicities in cultural periodicity and in political modernities. She is currently working on a second project, called “In Defense of Translatability after the Cultural Turn,” a series of articles which engage with Comparative Literature and political philosophy, arguing against narratives of ‘alternative modernity.’ A draft of the first essay, “The Daemon of Europe: Europe’s Refugee Policy and the Turkey Paradox” was presented at the ACLA’17.
Presently a Visiting Assistant Professor at the United States Military Academy in West Point, New York, I previously taught at Boston College after earning my Ph.D. in May 2015. My research focuses on twenty-first century American immigration narratives and I read literature and nonfiction alongside domestic policy relating to 9/11. My current book project, “Who Am I With? Disaffiliation in Contemporary Immigration Narratives,” recently won the 2017 NeMLA Book Prize for outstanding unpublished manuscript.
Julie Shoults is currently a Lecturer in German at Muhlenberg College in Allentown, Pennsylvania. She received her PhD in German Studies in 2015 from the University of Connecticut, where she also earned her M.A. in German Studies (2009) and her Graduate Certificate in Women’s Studies (2011). She was an instructor in the Department of Literatures, Cultures, & Languages and in the Women’s, Gender, & Sexuality Studies Program while at UConn. Before attending the University of Connecticut, Julie earned her B.A. in German and English at Moravian College (2005) and spent a year as a Fulbright Teaching Assistant in Berlin, Germany (2005-2006). Her research interests include life writing and autobiographical genres, women and socialism, and German Expressionism, and her dissertation, “Narrating a Tradition: Socialist Women with a Feminist Consciousness in the German Bildungsroman” was awarded the 2016 Dissertation Prize by the Coalition of Women in German. Her current projects focus on the intersections of gender and violence in the contexts of WWI, WWII, and the GDR.
Jennifer Rhodes is a Core Lecturer in Literature Humanities at Columbia University. Her research investigates sites of interchange between literature and the visual and performing arts in Europe and the Americas. Her current book project explores the influence of Richard Wagner on the 20th century novel. Jennifer draws extensively upon the disciplines of film studies, performance studies, translation studies, and gender studies in her research. She spends summers on the staff of The Santa Fe Opera, where she runs and writes subtitles and speaks frequently on opera and drama. Jennifer is particularly interested in the ways in which narratives move across the permeable membranes of medium, culture, and time. She is the recipient of Columbia’s Meyerson Award for Excellence in Core Teaching for Literature Humanities and is deeply invested in experimental pedagogy, particularly in strategies that incorporate performing and visual arts practices into the literature classroom.
Jan Susina is a professor of English at Illinois State University where he specializes in courses on children’s and adolescent literature, Victorian studies, and visual narratives. His book, The Place of Lewis Carroll in Children’s Literature (Routledge 2009, 2011), examines how the author of Alice’s Adventures in Wonderland significantly changed not only literature for children but book publishing as well. Interviews with Susina about children’s and adolescent literature and Alice’s Adventures in Wonderland in particular have appeared in The New York Times, The Washington Post, NPR, Huffington Post, Newsweek, and USA Today. Susina has taught at Illinois State University, Kansas State University, Wheaton College in Massachusetts, and Indiana University-Bloomington.
I’m originally from Ireland, lived for many years in Germany, and entered academia late(-ish) in life. I lived for ten years in Southern California, during my doctorate at UCLA and after that, working at Pomona College and Claremont Graduate U. Sometimes I miss the earthquakes and the range of food options. I’ve been in Knoxville at the University of Tennessee for eleven years now, and I appreciate the daily opportunity to work with engaging and supportive colleagues.
I am a full-time lecturer at UCLA in Writing Programs. My pedagogical and scholarly interests include early modern transnational encounter, English travelers (to the Persian Empire), Safavid Persia, race and ethnicity, and Critical Diversity Studies.
I am an associate professor in the English Department at Temple University, specializing in English and Scottish literature during what scholars now refer to as the Long Eighteenth Century (1660-1832), which includes the Restoration, the eighteenth century, and the Romantic era. I am also interested in discussions about the state of the academy and the value of the humanities, organizing academic labor, community-based learning, and the literature of Philadelphia.I am in the early stages of a book with the working title, Time for the Humanities: Competing Narratives of Value from the Scottish Enlightenment to the 21st Century Academy. It begins with the work of Adam Smith and then a trio of Scottish writers in the next generation–Robert Burns, Joanna Baillie, and Walter Scott, who reflect on the writers the emergence in the Scottish Enlightenment of three ways of talking about value: political economy, aesthetics and belles lettres, and moral philosophy. Together, they offer a pluralistic way of valuing not only persons and objects but also narrative itself, including a reflexive turn toward narratives of education that underscore the value of studying the humanities. The latter half of the book tracks the fission of these ways of valuing into the disciplines of the modern university, disciplines that tend more toward competition and exclusion rather than mutual illumination. This fission in narratives of value shapes the public’s understanding and misunderstanding of those of us who work in the humanities, who have unfortunately assisted in our isolation from and eclipse by disciplines typically accorded more explanatory power, such as economics. To make concrete these mutual communications and miscommunications, the latter half of the book is a series of case studies of practices and institutions in which university departments play only a partial role and yet offer opportunities for rethinking the value of the humanities: our students’ pre-professional desires as revealed in personal statements for graduate study, especially medical school; institutes and think-tanks seeking to influence humanities curricula; branches of US, UK, and Australian universities recently established in China and elsewhere; and experiments by universities in administering public high schools.I have taken up some of these topics as editor of Temple’s Faculty Herald, starting in January of 2013: see http://www.temple.edu/herald.Many of my scholarly interests coalesced in Ballad Collection, Lyric, and the Canon: The Call of the Popular from The Restoration to the New Criticism (University of Pennsylvania Press, 2007). Focusing on the motives behind and the effects of the sustained interest by elite British writers in popular songs, it revises historicist accounts of the establishment of what we know now as the canon of English literature. While ballads allow elite authors to draw tendentious distinctions between high and low and idealize both the folk and the literary, they also use ballads to imagine a common world in opposition to modes of literary commodification and the overpowering of readerly agency. Among the figures I consider and continue to be interested in are better-known authors such as John Gay, Joseph Addison, William Wordsworth, William Blake, and Felicia Hemans, as well as lesser-known figures like Thomas D’Urfey, Allan Ramsay, eighteenth-century Shakespeare scholars and progressive educational theorists in the early twentieth century. Tracing the appropriation of ballads by elite authors puts me into touch with other topics that interest me, including nationalism, lyric, the history of English as a discipline, and the relationship between literary form and history.