I recently received a Ph.D. in English with doctoral certificates in American Studies and Film Studies from the Graduate Center of the City University of New York and currently teach at Queens College, CUNY. I specialize in nineteenth- and twentieth-century American literature, film and media studies, and the interrelations of literary and technological culture. My articles have been published in Modernism/modernity, the Journal of the Short Story in English, and Studies in American Naturalism. At present, I am working on a book project that examines U.S. writers’ critical engagement with the screen from pre-cinematic media to early motion pictures.
In this article, I address the challenge of fostering better student engagement with ancient material, and discuss my experience with designing a course around creative use of technology. In my recent course, “The Ancient Christian Church: 54–604 CE,” I employed several tactics to encourage student engagement with ancient and modern sources, which also promoted active participation at the level of pedagogy. By designing the classroom experience to allow for student-centered technology use, students were enabled to explore the ancient world in creative ways. In the end, I noticed greater student participation and higher-quality understanding of the ancient church when compared with lecture- or seminar-focused classroom experiences.
Mad Max: Fury Road has been critiqued for its feminist, masculine, biblical, and environmental themes, but these critiques fail to engage with the connection between humans, machines, and the Earth in Fury Road. Nuclear technology may have produced the apocalyptic wasteland in which the film is set, but machines and industrial technology remain coupled to humanity to the point of symbiosis. Through the images of Fury Road, director George Miller reveals an ideology of ecomobility that demands an assemblage of human and machine. To exist in the wild and desolate spaces of the Earth is to become one with machines. Further, despite the distraction of subjective violence, the film is a critique of the ideological fantasy of modernity’s regime of automobility and its connection to capitalism.
PhD researcher working on contemporary (im)migrant literature, the urban environment and embodiment, geospatial data visualization, interface design, and the poetics of technology
I teach modernism, sound studies, and film & media at the New School. I am a postdoctoral fellow in the Price Lab for Digital Humanities at the University of Pennsylvania, working on a project titled, “The Sound of Yoknapatawpha: An Acoustic Ecology.” I am particularly interested in the history of sound technology, its entanglements with race, and what these can tell us about the novel as form.
I teach modern Japanese literature and film at the University of Southern California. I was previously Assistant Professor of Japanese at The Ohio State University and had visiting appointments at Boston University and the University of Notre Dame. I was the East Asian Studies-Cotsen Postdoctoral Fellow in the Society of Fellows in the Liberal Arts at Princeton University between 2009-12.
I am a historian of science and technology. My research interests include hunger, nutrition, political economy, the human sciences, feminist theory and technopolitics. My book, Vital Minimum: Need, Science and Politics in Modern France, traces the history of the concept of the “vital minimum”–the living wage, a measure of physical and social needs. In the book I am concerned with intersections between technologies of measurement, such as calorimeters and social surveys, and technologies of wages and welfare, such as minimum wages, poor aid, and welfare programs. How we define and measure needs tells us about the social authority of nature and the physical nature of inequality. I am faculty co-organizer of the UCR Science Studies group, which is committed to building a community inclusive of indigenous, minority and marginalized knowledge makers in STS.
The attached syllabus was written for my undergraduate seminar “Renaissance Media” (ENGL 281) taught Spring 2016 at UNC Chapel Hill. The learning objectives for the course were as follows: “During this course, students will: * learn the basic history and culture of media technologies in England during the early modern period (roughly 1500-1700); * use this historical knowledge to interpret a wide array of non- and para-canonical literary texts; * understand the Renaissance as a moment of media in transition; * relate contemporaneous responses to that transition to our own moment of technological upheaval; * practice close reading of both texts and their material forms; * practice communicating ideas and arguments across a variety of modes, media, and platforms; * and gain a deeply historicized appreciation for literature as always embedded in and produced by a technological milieu in which not only authors, but communities of readers, designers, publishers, and patrons collaboratively produce meaning.”
I specialize in sixteenth- and seventeenth-century English poetry and women’s writing, with secondary expertise in history of science. I am currently a Postdoctoral Research Fellow at the Hall Center for the Humanities, University of Kansas. In Fall 2019, I will take up a position as Assistant Professor of English at the Rochester Institute of Technology. My research explores the relationship between tangibility and intangibility. In my digital work, this relationship informs my efforts to put bodies back into data and to experiment with how technology helps us engage differently with historical literary texts. In my current book project, Perverse Intimacies: Poetry, Anatomy, and the Early Modern Female Form, I explore the heretofore undetected collisions between feminist poetic practice and Renaissance anatomical methods. Perverse Intimacies establishes early modern women writers as active interlocutors within emerging scientific discourses and offers a new definition of poetic form shaped by the informational models of early science.