I’m a historian with a deep interest in digital humanities, history of historiography and historical theory.
Global Studies; Early Modern Literature and Culture; Sovereignty and theories of government; Women and Gender Studies; History and Historiography
Eighteenth- and Nineteenth-Century British Literature, Writing by Women, Age Studies, Histories of the Novel, Historiography, Jane Austen, Jane and Anna Maria Porter, Feminist Theory and Criticism
I am a professor of art history at Western Washington University, where I teach courses on early modern art history, historiography, and aesthetics. My research studies viewership and reception in early modern culture and contemporary theory through an interdisciplinary lens. My recent writing and professional activities are especially attentive to alternative temporalities, discursive sincerity, and mental health inclusivity.
I am a researcher on the project Cultural Conflict 2.0 which is headed by Professor David Herbert. The project investigates the development of cultural conflicts, as well as production and reproduction of social order, via social media, collective rituals, city promotion and planning, etc. in different cities in Denmark, Norway and the Netherlands. My research interests are located at the intersection of modern social and technological history, historiography and theory of history, and secularity studies and political theology. As a historian of modernity, I am interested in the material technological/performative mediation of “modern” concepts of temporality, autonomy, and immanence. I have taught modules in the theory of history, religious studies, culture and communication, worldview pluralism, and philosophy of science. I have lectured on rhetoric, nineteenth-century British history, and theories of secularity and secularisation.
Jonathan Schmidt-Swartz is a doctoral candidate in the Department of Hebrew and Judaic Studies at New York University focusing on Hebrew Bible and the Ancient Near East. His primary research interests and dissertation focus broadly on the intersection of ancient scribal culture, critical theory, and kingship. More specifically, his dissertation aims to trace the intellectual history and historiography of kingship in more concrete terms, namely, by determining how post-monarchic scribes reinterpreted sources they inherited; how the juxtapositions of monarchic sources to their post-monarchic framings entails a two-way reinterpretation between older and newer texts. Unlike previous studies on the history of kingship in Israel-Judah, his work seeks to unpack the differing notions of kingship — the power dynamics between the king, Yahweh, and the people — through the lens of specific scribal practices as his guiding method. His objective is to understand, recognize, and begin to pull apart the layered conceptions of kingship on display in the Bible’s primary narrative about the kingdoms and recognize at once the conscious diachronic juxtaposition of sources by scribes and their synchronic multivalent unity. Dissertation: Recasting Kingship: Power, Disrupted History, and Scribal Adaptation Interests: Hebrew Bible, Ancient Near East, Critical Theory, Scribal Culture, Religious Studies/History of Religions, History/Historiography, Jewish Studies, Interdisciplinary Humanities, Public Humanities
My primary research focuses on African American expression in the context of slavery and its aftermath. I have secondary interests in legal history, cultural theory, and popular music. My first book, Disturbing the Peace: Black Culture and the Police Power after Slavery, a study of black vernacular expression and its entanglement with the law, was published by Harvard University Press in 2009. I’m currently working on two books: Fables of Moral Economy, a close analysis of African-derived global traditions engaged with problems of property and subsistence, and Fugitives, Contrabands, Spies, Servants & Laborers, an experiment in historiography that imagines the new social history of slavery from the standpoint of its source materials.
I am a postdoctoral researcher at the Institute of Media Studies at Philipps University of Marburg, Germany. Previously, I worked at Bayreuth University and Freie Universität Berlin, where I received my doctoral degree in Film Studies, and at University of Michigan, where I received a Master of Arts in German. I published my dissertation on aesthetic experience, feminist theory and chick flicks with Palgrave Macmillan (2016) and as a hybrid self-publishing project on my website oabooks.de, where I also blog about academic publishing (in German). I am the co-editor of the Open Media Studies Blog (ZfM) and the co-leader of the Open Media Studies scholarly interest group (GfM), which I both inititated in 2018. My current research and teaching focus on digital film historiography and research data, scholarly media practices, open access, feminist theory and media aesthetics. Since 2019, I have the privilege to direct the International Research Network “New Directions in Film Historiography”, funded by the German Research Foundation (DFG), and to collaboratively explore how digital technologies shape our understanding of film and cinema history.
I am an art historian specializing in the 20th and 21st centuries, with emphasis on the period from 1945 to the present. Previously, I worked in the curatorial departments of art museums in Philadelphia and Detroit and in leadership for nfp organizations. My current research explores how Americans engaged with a foreign art form in projects that intersected international agendas with domestic everyday life, and linked the United States and Vietnam on questions of diplomacy, domestication and belonging in the Free World during the 1950s. I use historical texts and contemporary theory to illuminate archival materials, object practices, and discursive meanings that arise at the intersection of politics, economy and art. Course topics I teach in relation to my research examine craft and decorative art in historiographies of modernism; visual culture, refugees and migrants; art and suffering; objects of diplomacy; heritage and memory; and the politics of exhibitions.