at
Brantlinger, James Rudy and College Alumni Association Distinguished
Professor, emeritus, at
Indiana
University, is a cultural historian and scholar of
literature. His work has focused on nineteenth century
Britain, its empire, and its relation to broad
questions of modernity. His
writing has concerned the history of literacy and reading; aesthetics;
postcolonial studies. He is the author of The Reading Lesson: The Threat of
Mass Literacy in Nineteenth-Century British Fiction (1998), Fictions of
State: Culture and Credit in Britain 1694-1994 (1996), Rule of Darkness:
British Literature and Imperialism 1830-1914 (1990) and Crusoe’s
Footprints: Cultural Studies in Britain and America (1990). His most recent
books are Who Killed Shakespeare? What's Happened to English since the
Radical Sixties and Dark Vanishings: Discourse on the Extinction of
Primitive Races, 1800-1930.
on
Gray is Professor Emeritus of English at Indiana University. A
long-time editor of Victorian Studies since its founding in 1957, his
most recent work has focused on pedagogy and the canon. He has edited
authoritative editions of both Alice in Wonderland and Pride and
Prejudice for W. W. Norton.
usan
Gubar, a Distinguished Professor of English and Women's
Studies, has taught at
Indiana
University for more than twenty years. Along with
Sandra M. Gilbert, she published The Madwoman in the Attic: The Woman
Writer and the 19th-Century Literary Imagination in 1979, a runner-up for
both The Pulitzer Prize and the National Book Critics Circle Award. Six years
later, in 1985, the collaborators received a Ms. Woman of the Year award for
their compilation of the Norton Anthology of Literature of Women, a work
that appeared in a revised second edition in 1996. Gilbert and Gubar also
followed up The Madwoman with a critical trilogy entitled No Man's Land: The
Place of the Woman Writer in the Twentieth Century: The War of the Words
(1988), Sexchanges (1989), and Letters from the Front (1994) use
feminist criticism to understand the achievements of British and American
literary women in modern times. The recipient of awards from the National
Endowment for the Humanities and the Guggenheim Foundation, Susan Gubar
published a book on the centrality of cross-racial masquerade in American
fiction, photography, painting, and film: Racechanges: White Skin, Black Face in
American Culture (Oxford, 1997). She recently put together a collection of her
essays in a book, Critical Condition: Feminism at the Turn of the Century,
which was published by Columbia University Press in 2000. She spent a year as a
Laurence S. Rockefeller Fellow at Princeton University's Center for Human Values
to complete Poetry After Auschwitz: Remembering What One Never Knew,
which was published by Indiana University in 2003. The recipient in 2003 of The
Faculty Mentor Award from IU's Graduate Professional Student Organization, Susan
Gubar continues to work with undergraduate and graduate students interested in
critical race and gender issues in twentieth-century British and North American
cultural contexts.
van
Kreilkamp received his PhD from
Brown
University and came to I.U. in 2001
after two years of teaching at the
University
of Chicago.
His first book, Voice and the Victorian Storyteller, was published
in 2005 by Cambridge University Press, and he has also published essays in ELH,
The Yale Journal of Criticism, Novel, Victorian Studies, Pedagogy, and Victorian
Poetry, as well as journalistic writing of various kinds, with a focus on pop
music, in such publications as The Nation, the Village Voice, Lingua Franca,
Spin, the Washington Post, and the Boston Globe “Ideas” section.
(His apotheosis as a pop music critic was being sent by Spin to London to
interview Björk, then merely the singer for the
Sugarcubes, in 1991.) He
is working on a book that examines the links between domestic fiction and
domestic animals in Britain,
considering animals as objects of sympathy and enmity, as companions and
co-habitants, as subjects of experiment, as minor or vulnerable characters, and
as figures of radical alterity.
He developed work on this project as a Harrington Faculty Fellow at the
University
of Texas at
Austin in 2005-6, in which year he was also the recipient
of an Outstanding Junior Faculty award at I.U. He
is co-editor of Victorian Studies and a member of the Executive Board of the
North American Victorian Studies Association.
oss
Marsh is an archival scholar whose work is driven by two broad
interests—in the intersections of “high” and “popular” culture (especially
film), and the history of the imagination.
She also cares passionately about writing, lecturing, and graduate
teacher-training. Her last book Word Crimes: Blasphemy, Culture, and
Literature in 19th-Century England (Chicago UP, 1998) was unusual in being
described (in the British press) both as “monumental” and as “a page-turner”;
she has begun work on a related project, Heretica: Impossible Women, Impious
Lives, 1819-1898. However,
she is currently embroiled in a second project which began life as a book about
Dickens and cinema, but which has turned into a book about Dickens, cinema, and
all the popular culture that intervened between, including Victorian melodrama,
the late Victorian theatrical star system, celebrity photography, Victorian
virtual tourism, and the relationship between
performativity and anti-Semitism in
Britain.
She has lectured and published most recently on “Victorian film,”
Chaplin, the Imperial reprocessing of Sydney Carton, and the filming of
Murnau’s 1922 Nosferatu.
With her partner, David Francis, she has also recently both
lectured on the Victorian magic lantern & early cinema and recreated actual
lantern performances at a range of archives and venues, including the
Cinemateca Portuguesa, the Dickens Universe, and the
Academy of Motion Pictures.
She occasionally subjects herself to theatrical discipline, and is
probably the only woman academic ever to have played Scrooge in male drag in a
professional theatre.
ndrew
H. Miller is Director of the Victorian Studies Program at I.U. and
co-editor of Victorian Studies. His first book, Novels Behind Glass:
Commodity Culture and Victorian Narrative was published in 1995; with James
Eli Adams, he then edited Sexualities in Victorian Britain (1997). His
recent work has concerned the relation of literature to ethics, focusing
especially on how the distinctive formal features of novels and poems engage
ethical questions which more analytical, and conventionally philosophical, texts
do not. Some of the ethical
topics he studies concern fundamental matters of perspective and orientation,
considering the means by which novels frame our conceptions of particular
ethical problems. Other topics are
matters of moral psychology: helplessness, knowingness,
shame, and envy. Much of this work has been
supported by fellowships from the ACLS and the National Humanities Center.
About to conclude a book on moral perfectionism in nineteenth
century Britain,
titled The Desire to Improve, he has begun another, complementary project:
On Not Being Someone Else. He's neither played Scrooge (in drag or out)
nor ever seen Bjork, but he does host a radio show.
L
ee
Sterrenburg is Associate Professor of English (emeritus).
His research and teaching interests include literature
and science, Humboldt, Darwin,
sexual selection, environmental and ecological criticism, travel narratives,
empire, and the role of language and traveling words in science and travel
writing. His travel writing interests focus especially on South America and
Asia.
ror
Wahrman. I am a cultural historian of Western Europe in the transition from the
pre-modern to the modern, focusing especially on
Britain. Much of my work tries to understand
what the terms in the previous sentence actually mean. What are the meaning and
characteristics of modernity? How distant are we from our "pre-modern" or
"early-modern" ancestors? My previous work took apart and then put together
again some key narratives that the modern west tells about itself—first, the
rise of class society and especially the middle class; and second, the emergence
of the modern individual or modern self. In both cases I asked where do these
narratives come from and what in fact were the historical developments that
stood behind them (which were not at all those they claimed to represent). My
main topics of interest therefore have been the meanings of identity and
self—including categories of identity like gender, race and class; and their
intersection with social, cultural and political trends. In addition I have a
separate interest in the history of Palestine and
especially Jerusalem
since the eighteenth century, and of photography in the
Middle East.
teve
Watt.
My major research interests include Irish
culture of the 19th and 20th centuries, drama and theatre, and higher education,
especially the discipline of English and graduate studies. At present, I am
working on a book based on the at times ghostly presence of Samuel Beckett in
contemporary Irish writing. I have recently
written on drama and theatre in 19th-century
America
and Britain,
especially on later Victorian drama's relationship to an emergent modern drama
and modernity more generally