Gender and Sexuality

Elizabeth Helsinger (emerita, teaching 2016-17)

Elizabeth HelsingerI have long been fascinated with the interplay between literature and the visual and material arts. My early work focused on art and social criticism of the late eighteenth and nineteenth centuries (Ruskin, Hazlitt, Baudelaire, Pater): on the aesthetic or social assumptions that writers on the arts helped to formulate and the art that shaped their and their readers' sensibilities. Reading became a central term, as I studied how these critics borrow from and in turn shape techniques of looking and of more literary reading and interpretation. I've also worked extensively on landscape as an especially interesting aspect of the shared literary and visual culture of the first half of the nineteenth century—and as the site of competing, often highly politicized constructions of Englishness.

Bill Brown

Bill BrownIn the past, my research has focused on popular literary genres (e.g. science fiction, the Western), on recreational forms (baseball, kung fu), and on the ways that mass-cultural phenomena (from roller coasters to Kodak cameras) impress themselves on the literary imagination. Rather than assuming that historical contexts help to explain a particular literary text, I assume that literature provides access to an otherwise unrecuperable history. That is, I assume that the act of literary analysis (including formal analysis) can become an "historiographical operation" all its own.

David Bevington (emeritus, teaching 2016-17)

Professor BevingtonIt is my pleasure and my honor to teach drama at the University of Chicago, focusing on Shakespeare and his contemporaries (Jonson, Marlowe, Webster, Middleton, Dekker, etc.), as well as medieval drama and then the entire sweep of Western drama from Aeschylus and Sophocles down to Caryl Churchill and Tom Stoppard. In addition to courses on Shakespeare, Renaissance drama, and medieval drama, I co-teach in Theater and Performance Studies ((variously with Heidi Coleman, Director of University Theater, John Muse, English Department, and Drew Dir, resident dramaturg at Court Theatre) a two-quarter sequence called The History and Theory of Drama from the 5th century B.C. down to the present day.

Jennifer Scappettone

Jennifer ScappettoneMy research and teaching interests span the nineteenth through twenty-first centuries, with particular emphasis on comparative global modernism; the history and presence of the avant-garde; poetry and poetics; the evolution of cities, geographies of modernity, and current transmogrifications of place and space; literatures of travel, migration, and displacement; barbarism, polylingualism, and other futures of language in global contexts; translation; Italian culture and its echo in others; the study of gender and sexuality; relations between literary and other arts; and art history, visual culture, and aesthetics. I’m interested in the way that Anglo-American and European languages and aesthetics register changes in the coordinates of space, time, and attention.

Deborah Nelson

Deborah NelsonMy field is late twentieth-century U.S. culture and politics, what is known in shorthand as Post45 or Post War (to the confusion of many: which war?). I also am a founding member of the Post45 collective, which publishes an online journal Post45 and a book series at Stanford University Press. My interests in the field include American poetry, novels, essays, and plays; gender and sexuality studies; photography; autobiography and confessional writing; American ethnic literature; poetry and poetics; and Cold War history. 

Lauren Berlant

My work has focused on the affective components of belonging in the U.S. nineteenth and twentieth centuries—now the twenty-first: in particular, in relation to juridical citizenship, to informal and normative modes of social belonging, and to practices of intimacy as they absorb legal, normative, and fantasmatic forces. These scenes of relation articulate state, juridical, and institutional practices of zoning and more abstract boundary-drawing—between public and private, white and non-white, and/or citizen and foreigner—with other kinds of social bonds through which people imagine and practice world-making.

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