19th- and 20th-century poetry and drama in English, German, French; opera; Holocaust history; history of aesthetic theory
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.
My teaching centers upon English literature of the 16th and 17th century, especially the drama of Shakespeare, Marlowe and Jonson and the poetry of Spenser and Milton, but I also frequently teach the intersection of that literary archive with political philosophy, metaphysics, medical writing, affect theory, eco-materialism, queer theory and psychoanalysis. In a separate stream of writing and thinking, I work on musical subculture and performance. When I’m not doing those things, I also make electronic music with my partner in a group called Matmos and by myself as The Soft Pink Truth.
Parkorn’s research considers realism in opera and music drama as a means of inventing racial difference across the colonial modern. His work diagnoses the practice of dramatizing and musicalizing another/an Other’s ethnicity as an imperial tool for race-making in the colonial liminal, historicizing the discourse on race and opera away from contemporary identity politics. His current project focuses on Western art practices in nineteenth-century Siam, and examines how the selective emulation and criticism of Italian opera at the Siamese court served as a discursive site for negotiating ethnological imperialism. Parkorn’s broader interests in opera studies include the performance of race and racialization, operatic masculinities and queer opera culture, new and old technologies of operatic sound reproduction, and colonial histories of Western opera. His article “Excavating operatic masculinity” is forthcoming with Cambridge Opera Journal.
The group has the objective of bringing together researchers who are dedicated to examine the history and culture of Brazil from the nineteenth to the twentieth century.
20th-century British literature, 20th-century American literature, media studies, WWII literature, digital humanities, Anglophone literature
I am a Junior Research Fellow at Emmanuel College. Having received my BA from the University of Cambridge in 2013, I went on to do an MA at the University of Nottingham the following year. I completed my PhD (funded by the AHRC) at Cambridge under the supervision of Dr Benjamin Walton in October 2017. My research focuses on operatic mobility in the nineteenth century, using the translation of opera into non-European environments as a way of examining questions of international cultural transfer in the period more broadly. So far, I have worked on New Orleans, which was home to the first (and, for some thirty-five years, the only) permanent opera company in North America, and recruited its performers each year from Europe. I have explored the city’s place within growing global operatic systems, arguing for the centrality of human agency to the long-term development of transatlantic networks of production, as well as the role of material culture in promoting an increasingly international operatic discourse. At the same time, I have sought to understand the more distinctively local aspects of the city’s operatic life, in terms of the theatre-going experience and the adaptation/reception of particular works. During my research fellowship, I look forward to beginning a larger project about touring opera in the Caribbean and southern United States, exploring the ways in which operatic translocation might challenge dominant narratives of nineteenth-century globalisation. My other research interests include Jules Massenet, operatic realism, and the influence of media technologies on the production and reception of opera in the late nineteenth century.
contemporary American poetry, 19th and 20th century literatures, feminist theory, queer theory, gender studies, 20th century feminist and queer visual cultures
19th and 20th century Peninsular literature. Disease and dictatorship language.
Literature and general education; 19th and 20th century French literature.