Speakers

KEYNOTE SPEAKERS

Simon Jarvis is the Gorley Putt Professor of Poetry and Poetics at the University of Cambridge. He is the author of Wordsworth’s Philosophic Song (2007), as well as of many essays in historical poetics and philosophical aesthetics. Among his works in verse are Night Office (2013) and Eighteen Poems (2012).

Yopie Prins is a professor of English and comparative literature at the University of Michigan. She has published a wide range of articles on comparative and historical poetics, Victorian poetry and prosody, translation studies, and classical reception studies. She is the author of Victorian Sappho (Princeton, 1999) and coeditor (with Virginia Jackson) of The Lyric Theory Reader: A Critical Anthology (Johns Hopkins, 2014). She received a Guggenheim Fellowship to pursue archival research for Ladies’ Greek: Translations of Tragedy (forthcoming from Princeton), and she is currently completing another book project, Voice Inverse: Meter and Music in Victorian Poetry.

PANELISTS

Kirstie Blair is chair of English at the University of Stirling in Scotland. She is the author of Victorian Poetry and the Culture of the Heart (2006), Form and Faith in Victorian Poetry and Religion (2012)and a number of articles and book chapters centering on Victorian poetry and poetic form, Victorian religion, and working-class poetics in the long nineteenth century. She is currently engaged on a new project studying working-class poets and the newspaper press in Victorian Scotland.

Andrea Brady is a senior lecturer in the department of English, Queen Mary, at the University of London. Her academic work focuses on contemporary poetry and the early modern period. She is the curator of Archive of the Now and the co-editor (with Keston Sutherland) of Barque Press. Her books of poetry include Wildfire: A Verse Essay (Krupskaya, 2010), The Rushes (Reality Street, 2012), and Mutability: Scripts for Infancy (Seagull Books, 2013).

Marshall Brown is a professor of comparative literature at the University of Washington and editor of Modern Language Quarterly. He has written five books: The Shape of German Romanticism (1979), Preromanticism (1993), Turning Points: Essays in the History of Cultural Expressions (1997), The Gothic Text (2004), and “The Tooth That Nibbles at the Soul”: Essays on Music and Poetry (2010).

Dino Franco Felluga is an associate professor of English at Purdue University, West Lafayette. Author of The Perversity of Poetry (2004), he has published articles in Victorian Studies, Critical Quarterly, Victorian Poetry, European Romantic Review, Criticism, and SEL. Forthcoming books include Critical Theory: The Key Concepts (Routledge) and the million-word, four-volume Wiley-Blackwell Encyclopedia of Victorian Literature.  He is also the general editor of BRANCH at branchcollective.org.

Debra Fried teaches English and American literature at Cornell University, with a focus on the nineteenth century, and wrote on the stanza for A Companion to Poetic Genres (2011).

Aaron Hanlon is a visiting assistant professor in the English department at Georgetown University. His research focuses on intersections of prose fiction and political theory in the long eighteenth century, and his book project, “The Politics of Quixotism,” examines the proliferation of quixotic characters in early British and American fiction as part of a transatlantic history of American and British exceptionalisms.

Caroline Levine is a professor and chair of the English department at the University of Wisconsin-Madison. She is the author of The Serious Pleasures of Suspense (2003); Provoking Democracy: Why We Need the Arts (2007); and the forthcoming Forms: Whole, Rhythm, Hierarchy, Network. She is also an editor of The Norton Anthology of World Literature.

Naomi Levine is a PhD candidate at Rutgers University. She is finishing a dissertation on the relationship between poetic form and literary historical narrative in the nineteenth century, focusing on the historiography, theory, and practice of rhyme. Her essay on William Morris’s use of terza rima was published in Victorian Studies.

D. B. (David) Ruderman is an assistant professor of English at The Ohio State University, Newark. He specializes in nineteenth-century British poetry and poetics. Other research fields include psychoanalysis, music, twentieth-century American poetry, and aesthetic theory. A recent fellow with the American Psychoanalytic Association, he has published essays in Victorian Poetry, Essays in Romanticism, and the American Psychoanalyst. David’s poems have appeared in the Nervous Breakdown, the Berkeley Poetry Review, and the San Francisco Chronicle Datebook.

Jason Rudy is an associate professor of English at the University of Maryland, College Park. He is the author of Electric Meters: Victorian Physiological Aesthetics (Ohio UP, 2009) and is currently finishing a monograph on the poetry of nineteenth-century British emigration: Nostalgia at Sea: Remembering British Poetry in the Colonies (under contract with Johns Hopkins UP).

John Sitter is the Mary Lee Duda Professor of Literature at Notre Dame and specializes in eighteenth-century poetry and satire from the Renaissance to the present. He is the author of The Poetry of Pope’s “Dunciad” (1971), Literary Loneliness in Mid-Eighteenth-Century England (1982), Arguments of Augustan Wit (1991), and the Cambridge Introduction to Eighteenth-Century Poetry (2011). His recent articles are on Samuel Johnson, climate change, and academic responsibility.

G. Gabrielle Starr is Professor of English and Seryl Kushner Dean of the College of Arts and Science at NYU, with primary research focus on genre and aesthetics. Her first book, Lyric Generations (Johns Hopkins University Press, 2004), explores the interrelation of genres in the long eighteenth century, and her most recent book, Feeling Beauty (MIT Press, 2013), offers a new view of the Sister Arts through the lens of modern cognitive and behavioral neuroscience. She is currently the head of a three-year, international project, Beauty and Beyond, undertaking a programmatic research effort on the neuroscience of our responses to music, painting, and poetry.