Ilias Chrissochoidis is a scholar, author, composer and pianist. He received his Ph.D. in Music from Stanford University where he has been teaching since 1997 (as Lecturer since 2005). A Geballe Dissertation Prize Fellow at Stanford’s Humanities Center (2001-2), he was elected, in 2010, Fellow of the American Council of Learned Societies, and in 2010-11 he was appointed Kluge Fellow at the Library of Congress. In 2009, he became the first musicologist to be hired at an Economics department (University College London) and in 2015 he joined the Berlin Social Science Center. As a Research Associate at the Center for Economic Learning and Social Evolution, he engaged in innovative research on game theory applications in Wagner’s operas. A leading expert on Handel, he has championed Greek composer Nicolas Astrinidis and introduced Spyros P. Skouras in American and film historiography, editing his memoirs. Chrissochoidis has received over 30 grants and fellowships from world-class universities and research centers, professional societies, private foundations, and the Greek state. He has authored more than 50 research articles and essays, which can be found in leading musicological journals. In recognition of his musicological activity, the Academy of Athens awarded him a special commendation in 2005. As an author, Chrissochoidis has written six non-academic books in Greek and has published dozens of articles on educational, social, and political issues in the Stanford Daily, the Chronicle of Higher Education, and in the Greek newspapers Ta Nea, Kathimerini, Sunday Vima, and Vima Ideon. Composing music since his teens, he has written extensively for the piano and has released four albums of instrumental music.
Anne Adele Levitsky is a scholar and musician living in New York City. She is a graduate of Stanford University and earned her PhD in Historical Musicology from Columbia University in May 2018. At present, she is Lecturer in Music at Columbia, and has also taught at Stony Brook University. As an academic, she is interested in medieval vernacular song, poetry, and narrative literature. She is currently at work on two projects. The first, Singing the Physical: Song and Materiality in Troubadour Lyric Poetry, employs new methods for the melodic analysis of medieval monophonic song, and ultimately offers an analytical method that pays particular attention to the metaphysical nature of what is being described in the poetic text. The second project, Gendered Song: Song and the Shaping of Medieval Identity, stems from an interest in the formation of human identities in the Middle Ages explored in her dissertation, and seeks to understand the relationship between medieval gender identities and the medieval lyric as viewed through musical, poetic, and cultural lenses. She supplements this academic interest in vernacular song with a love of performance, and has studied and performed lyric poetry with the Narbonne-based Troubadours Art Ensemble, and recorded troubadour and trouvère songs both with the group and as a soloist. She performs regularly in the New York area with professional chamber ensemble GHOSTLIGHT Chorus, singing an eclectic mix of repertoire from the 12th to the 21st centuries (including a June 2013 performance with the Rolling Stones in Washington, DC). In addition to her choral performances, she studies voice privately in the city. Dr. Levitsky has also served as the director of the Collegium Musicum, one of Columbia University’s leading choral ensembles.
I recently completed a PhD, titled Investigating Irish Antiquarianism: a Comparative Study of Protestant and Catholic Antiquarian Cultures, 1830-1876 (National University of Ireland, Galway, 2017). The aim of this study is to investigate the differences in and similarities between Protestant and Catholic antiquarian cultures in Ireland in the period 1830 to 1876. The thesis demonstrates that there were notable differences, which were largely due to matters of religion. It focuses upon a select group of scholars (John O’Donovan, Eugene O’Curry, James Henthorn Todd, William Wilde, George Petrie, Denis Henry Kelly, William Reeves, John Windele, Owen Connellan, James Hardiman, and Robert Shipboy MacAdam) from both religious confessions, who were the most prolific antiquarians of this time, and it examines their works and the contexts in which they were written. Using a new historicist methodology, this thesis highlights trends in antiquarian research, its dissemination, and modes of working and ascribes them to a particular religious community. This work is organised in three separate parts. In part one, a brief overview of the development of Irish antiquarianism from the early seventeenth to the late eighteenth century is presented in order to illustrate long-standing sectarian differences and their impact upon antiquarian pursuits in the nineteenth century. Previous scholarship has traditionally categorised the antiquarians studied in this thesis according to ethnicity (Gaelic Irish versus Anglo-Irish). Conversely, part two demonstrates that religion, and not ethnicity, was the greatest dividing social factor in Irish antiquarian circles in the first half of the nineteenth-century. Furthermore, it is demonstrated that emphasis on ethnicity and race only emerged after works had been published relating to that topic from the 1850s. Thus, part two is a comparative study between Protestant and Catholic antiquarian cultures in the nineteenth century, focusing particularly on the differences between the two in terms of subject matter and methodology employed. Part three traces the influence of antiquarian works on Cultural Nationalist ideology and thought at the end of the nineteenth century and in the first decades of the twentieth. In focusing specifically on the influence of antiquarian works on the images of ‘Irishness’ advanced by the Cultural Nationalists during this period, I determine that it was in fact Catholic antiquarian works that had a greater impact on the Cultural Nationalist discourse.
I am Assistant Professor of German Studies at the University of British Columbia. Prior to my appointment at UBC, I served as Assistant Professor of German and Coordinator of the German Program at Sam Houston State University. I received my Ph.D. in Germanic Languages and Literatures and Film & Media Studies at Washington University in St. Louis (2015) and hold a B.A. (2007) and M.A. (2009) in German Studies from the University of Illinois at Chicago.
I specialize in late-18th to 21st-century German media and cultural history. In particular, my research focuses on 19th-century literary cultures, film history (Imperial Germany, Weimar Germany, cinema of the 60s and 70s), narrative theory, queer theory, and critical pedagogy.
Currently, I am writing a book examining the influence of fluctuating literary markets on authorial agency and narrative form provisionally titled Fragile Literary Cultures in Early Imperial Germany. Part and parcel of this research is my work on a volume titled The Becoming and Afterlife of Literature: Agents in the German Literary Field (co-edited with Vance Byrd).
My scholarship in film studies includes a book project examining the primacy of melodramatic form in the articulation of queer experiences in popular culture and the intellectual sphere of Weimar Germany. In addition, I am completing an article, which examines the queer potential of slapstick in Ernst Lubitsch’s early comedies. This article is part of my work on an edited volume titled An Interdisciplinary Companion to Slapstick Cultures (co-edited with Alena Lyons and under advanced contract with de Gruyter).
In 2016, I co-founded the international scholarly collective “Diversity, Decolonialization, and the German Curriculum” (DDGC). Following DDGC’s inaugural conference March 2017 at the University of North Carolina, Asheville, DDGC has been institutionalized into a biannual conference (the next conference will take place Spring 2019 at St. Olaf College). I also serve as the co-editor of DDGC’s official blog.
My work is concerned with Greek and Roman literature, religion, and philosophy, from Homer to late antiquity, and their reception in European intellectual history.
I am a research associate at the Orient-Institut Beirut of the Max Weber Foundation. I completed my Ph.D. with a thesis titled “To Whom Belong the Streets? Property, Propriety, and Appropriation: The Production of Public Space in Late Ottoman Damascus, 1875-1914.” in 2014 at the Berlin Graduate School Muslim Cultures and Societies. My current research project under the working title “women in the street” aims at establishing a genealogy of urban food riots in the Eastern Mediterranean between the eighteenth and the twentieth centuries. In addition to the social and spatial history of late Ottoman cities, I am interested in digital humanities and the socio-linguistics of early Arabic newspapers. This resulted in the online publication of a chronology of nineteenth century Arabic periodicals and known holdings (Project Jarāʾid’s first iteration) and a contribution to the recent collection of essays titled “Digital Humanities and Islamic & Middle East Studies” (ed. Elias Muhanna, 2016). I currently work on open, collaborative and scholarly digital editions of early Arabic periodicals such as Muḥammad Kurd ʿAlī’s journal al-Muqtabas and ʿAbd al-Qādir Iskandarānī’s al-Ḥaqāʾiq in the framework of my research project “Open Arabic Periodical Editions” (OpenArabicPE). I occasionally blog at tillgrallert.github.io.
I teach French and Francophone literature and film in the Department of Romance Languages at the University of Georgia. My book, From Split to Screened Selves: French and Francophone Autobiography in the Third Person, was published by Stanford University Press in 2006. My essays on African film in a global context appear in Italian Neorealism and Global Cinema (Wayne State, 2007), Global Art Cinema (Oxford, 2010), and The Global Auteur: Politics and Philosophy in 21st Century Cinema (Bloomsbury, 2016). I am currently at work on “Reclaiming Realism: From Documentary Film in Africa to African Documentary Film,” a book-length study of documentary film in West and Central Africa based on research supported by the Fulbright Scholar Program, the National Endowment for the Humanities, and the American Philosophical Society. I have published two recent articles on this topic; “War by Documentary” appeared in Romance Notes (55.3, 2015), and “From Ethnography to Essay: Realism, Reflexivity, and African Documentary Film” is included in A Companion to African Cinema (Wiley-Blackwell, 2018).
Max Marmor is President of the Samuel H. Kress Foundation. An art librarian by profession, he began his career in the 1980s as curator of special collections at the UCLA Art Library, where he was responsible for managing the collections and services of the west coast branch of the Princeton Index of Christian Art, the premier photographic archive devoted to medieval art and iconography, and the Elmer Belt Library of Vinciana, the premier research collection devoted to Leonardo da Vinci and his milieu. Mr. Marmor has also been professionally affiliated with Avery Library at Columbia University (1988-90), the NYU Institute of Fine Arts Library (1990-94), and the Yale Arts Library, of which he was the director for seven years (1994-2001). He left Yale to assume a position at the Andrew W. Mellon Foundation, as part of the planning team for the ARTstor digital initiative, serving as Director of Collection Development (2001-2007). He was appointed President of the Kress Foundation in July 2007. Mr. Marmor’s scholarly interests lie in the field of Leonardo studies and in the bibliography and historiography of art. He is co-editor of the standard reference work, Guide to the Literature of Art History (ALA Editions, 2004) and author of numerous articles, translations and book reviews. Notable publications include: “Par che sia mio destino: the Prophetic Dream in Leonardo and in Dante,” in Raccolta Vinciana (2005); “One for the Books: A Bibliographical Gleaning for C[arlo] P[edretti],” in Illuminating Leonardo. A Festschrift for Carlo Pedretti Celebrating His 70 Years of Scholarship (1944–2014), ed. by Constance Moffatt and Sara Taglialagamba (Brill, 2016); and most recently, “Art History and the Digital Humanities,” an invited response to Hubertus Kohle, “Kunstgeschichte und Digital Humanities. Einladung zu einer Debatte/Art History and the Digital Humanities. Invitation to a Debate,” in Zeitschrift fuer Kunstgeschichte Bd. 79, no., 2 (2016).