Psychoanalysis

Samuel Rowe

I study the relationship between narrative form and social and economic history during the long eighteenth century.  My dissertation treats villain characters in eighteenth-century British fiction, arguing for their distinctive narratological function, and situating them against the historical background of shifting conceptions of economic subjectivity.  I also maintain an interest in poetry, new and old, and have published on Romantic poetry as well as essays and reviews on recent poetry.  I graduated from Oberlin College in 2011 with a BA in Engl

Edgar Garcia

I teach, research, and write about hemispheric literatures and cultures of the Americas, principally of the twentieth century. My inquiries have mostly taken place in the fields of indigenous and Latino studies, American literature, poetry and poetics, and environmental criticism, with the following questions focusing my work: How is it that conceptions of difference mediated by literary form(s) create feelings of belonging outside of national paradigms, particularly in kinship networks of race and ethnicity? And how do these values (values of what my colleague at Chicago Marshall Sahlins has sharply termed "cosmographies of difference") shape contestations for power?

Zachary Samalin

My research and teaching are anchored in the literature and culture of the Victorian period, with a particular focus on the unique blend of social criticism, high art and mass entertainment that characterizes the Victorian novel. I am also fascinated by the ways in which major theoretical innovations of the 19th century, such as Marxism and psychoanalysis, have outlived their own historical moment and continue to influence critical discourse in the present, providing the contours for ongoing debates in literary, aesthetic and cultural theory.

John Wilkinson

John WilkinsonI am a poet and scholar of poetics who joined the English department in 2010. Currently I serve as Chair of Creative Writing and of the Divisional Committee on Poetics.
 
My first collection of poetry, Useful Reforms, was published in 1976. My recent publications include Down to Earth (Salt, 2008), Reckitt’s Blue (Seagull Books 2013) and Ghost Nets (Omnidawn 2016). A selected poems, Schedule of Unrest, was published by Salt in 2014. My work is referenced in the standard guides and histories of recent British poetry and of Modernist poetry, and has been the subject of several published papers.
 
My critical publications include a collection of essays, The Lyric Touch (Salt 2007), which includes essays on poetics; on ‘Cambridge School’ poetry including J.H. Prynne, Denise Riley, and John James; and on American poetry, notably John Wieners. Subsequently I have published papers on George Oppen; the New York poets Frank O’Hara and James Schuyler and three papers on Barbara Guest; and a substantial paper on lyric titled “Repeatable Evanescence”.  I have also published on the British poet Barry MacSweeney, and additional papers on Prynne.
 
My present critical, scholarly and research work falls into three distinct but related areas. I am interested in supporting research work in these areas, in New York School poetry, and in recent poetic practice and theory. Beyond the three areas indicated below, I am also publishing papers on Andrea Brady, the persistence of the elegiac genre, and a further paper on John Wieners.
 
1.         British poetry and painting in the mid-century.  I have a paper forthcoming on Dylan Thomas, but the chief focus of my attention is W.S. Graham. In particular I am interested in Graham’s relations with the St Ives painters Peter Lanyon, Roger Hilton and Bryan Wynter, and the debates on abstraction and landscape which inform both the poetic and visual work. I am also interested in the bearing of these debates on concurrent debates in the US, particular as they bear on the painting of Willem de Kooning and the poetry of Barbara Guest.
 
2.         US-UK poetics relations in the 1960s and 1970s. I am working on a paper on Charles Olson and J.H. Prynne, drawing on their extensive correspondence, which will challenge the one-way model of influence from US to UK in this period. There is considerable scope for further study, notably in relations between Ted Berrigan and John James, and the intensive connections between British Marxist Feminist poets such as Denise Riley and Wendy Mulford and American poets including Alice Notley.
 
3.         Outsider Writing. I am a Principal Investigator, along with Matt ffytche who chairs Psychoanalytical Studies at the University of Essex, for an ambitious project on Outsider Writing launching in 2016,  with its initial three years supported by the University of Chicago Neubauer Family Collegium for Culture and Society. The project will focus on post-1945 writing by people with major mental illness (but within a longer historical perspective), taking account of the antecedents of mental illness in experiences of racism, immigration and other forces of social oppression and dislocation. It will develop an archive of primary and critical materials and aims ultimately to establish a research center. The first three years will consider Outsider theory as it is now developing, connections with Outsider (visual) Art, the politics of outsider status in the art and literary markets, and define the scope of the project more broadly. It will also seek to involve practitioners as well as scholars.
 
Among other activities, I am chairing the planning group for a centennial conference on the great black Chicago poet Gwendolyn Brooks in April 2017. I am also editing with Keston Sutherland of Sussex University a special issue of Textual Practice on the aesthetic turn in criticism, with an emphasis on the implications for pedagogy. My own contribution will consider the art writing of Adrian Stokes, which connects with research area 1 above.
 
My background is unusual in that until 2005 my career was in mental health services in the UK, as a nurse, a social worker, a housing development worker, a strategic planner and a public health professional.  Although in management theory much lip service is paid to career flexibility, it is my experience that students considering an academic career don’t believe such talk, and with some reason. I’m happy to talk about the possibility and problems of sustaining an intellectual and creative life outside the academy and a creative life within it.

Maud Ellmann

Maud EllmannMy research and teaching interests focus on British and European modernism and critical theory, particularly psychoanalysis and feminism. My first book, The Poetics of Impersonality: T.S. Eliot and Ezra Pound, takes a deconstructive approach to these poets’ work, analyzing how their championship of literary impersonality – i.e. the disappearance of the poet in the poem - reveals their divided political and philosophical allegiances. My second book, The Hunger Artists: Starving, Writing, and Imprisonment, examines the phenomenon of self-starvation, ranging from Samuel Richardson’s Clarissa to Bobby Sands, the iconic martyr of the Irish Hunger Strike of 1981. 

Mark Miller

Mark MillerMy work is situated historically in late-medieval literature and culture, and conceptually in the intersections of psychoanalysis, feminism, and queer theory with ethics, theory of action, and philosophical psychology. My book Philosophical Chaucer: Love, Sex, and Agency in the Canterbury Tales (Cambridge University Press, 2004) investigates the ways Chaucer's philosophical interests can help us read his representations of gender and sexuality; one of its main concerns is to understand the often tortured logics of erotic desire and romantic love. In my current book project, I'm trying to understand the psychology and ideology of sin in the late middle ages: the structures of guilt, shame, and pollution that attend it; its erotics; its relation to the ambitions of moral perfection and utopian sociality; the centrality to it of the spectacle of Christ's crucifixion.

William Veeder (emeritus, teaching 2015-16)

Henry James - The Lessons of the Master: by William VeederIn the classroom and on paper, I am working to integrate text and context. The pleasures of reading remain paramount for me. Now that the reaction against New Criticism has crested, I am exploring how to supplement readerly pleasures with the intricate, amplifying elements to be engaged through contextual study, and through psychoanalytic and gender theories. Whether the classroom is focusing on American and British Gothic of the Nineteenth Century (Eng. 45100, 41800) or on contemporary fiction (Eng. 247, 270, 499) or on specific figures such as Henry James (Eng. 223) or Ambrose Bierce (Eng. 298), I work from James' wonderful dictum "in the arts feeling is always meaning." Each student's individual experience of the text is what I emphasize: our goal is not to agree but to define what we share and where we disagree. Respect for affective differences, rather than homage to a fashionable ideology or methodology, is the goal of my teaching.

Lisa Ruddick

Lisa RuddickI teach courses in modern British fiction, literature and psychoanalysis, and poetry and poetics. The question driving my teaching right now is: what conduces to the feeling of aliveness? Why do good poems and novels seem to draw us close to something we'd call being, and is there a way to talk about this phenomenon in non-fuzzy, theoretical terms? What do poets variously say about the sense of readiness that precedes creation, and how does the adherence to form help to enable this readiness? 

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.

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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