Friday, March 11, "Seaweed."
Kate Flint, Provost Professor of Art History and English, joined the University of Southern California in July 2011. Prior to this, she taught at Bristol and Oxford Universities before moving to Rutgers: The State University of New Jersey, in 2001. She served as Chair of the Department of Art History from Jan. 2012 to August 2015. Her research spans the C19th and C20th, and is both interdisciplinary and transatlantic. Trained at Oxford University and the Courtauld Institute of Art, she wrote her dissertation on the British reception of contemporary painting, 1870-1910. Her areas of specialization include Victorian and early twentieth-century cultural, visual, and literary history; the history of photography from its inception to now; women's writing, and transatlantic studies. Most recently, Professor Flint has published The Transatlantic Indian 1776-1930 (Princeton University Press, 2008), which looks at the two-way relations between Native Americans and the British in the long C19th, and explores the intersections of modernity, nationhood, performance, and popular culture. Her previous works include The Victorians and The Visual Imagination (Cambridge University Press, 2000) and The Woman Reader, 1837-1914 (Oxford University Press, 1993), both of which won the British Academy's Rose Mary Crawshay prize, as well as Dickens (Harvester, 1985). She is General Editor of the Cambridge History of Victorian Literature (2012) and has co-edited Culture, Landscape and the Environment (Oxford University Press, 2000), and edited Victorian Love Stories (Oxford University Press, 1996) as well as a number of works by Dickens, Virginia Woolf, D. H. Lawrence and Anthony Trollope for Penguin Classics and OUP World's Classics. Additionally, Professor Flint has published articles on Victorian, modernist and contemporary fiction; women's writing and feminist theory; Victorian and C20th painting and photography, and cultural history. She has held Fellowships at the National Humanities Center and the Huntington Library, San Marino, and in 2015-16 will return to the NHC. She will also hold an ACLS Fellowship in AY 2016, and a Fellowship at the Georgia O'Keeffe Research Center. Professor Flint is completing a book entitled "Flash! Photography, Writing, and Surprising Illumination," and her new projects deal with ordinariness, the everyday, and the overlooked, and with the internationalism of art in the C19th.
Saturday, March 12, "How the Victorian Novel Got Realistic, Reactionary, and Great."
Elaine Freedgood, Professor of English at New York University, is working on the general problem of facts in fiction. Theoretically, her work encompasses recent debates on fictionality and reference, on denotation, and on reading and naming.
Freedgood received a PhD with distinction from Columbia University in 1996, with the help of an Andrew W. Mellon Fellowship in Humanistic Studies. She has benefited from an American Fellowship from the American Association of University Women and research fellowships from Swarthmore College and the University of Pennsylvania. More recently, Freedgood was part of a Leverhulme Trust research group with participants from NYU, King's College London, and Jadavpur University, in Kolkata.
Freedgood is interested in the research imagination; archives broadly conceived--from letters in a box in a library to desk drawers, buildings, databases, landfills, and landscapes; peculiar histories of the novel; figures of prose like metonymy and metalepsis; contemporary global fiction; critical theory, especially Marxist, postcolonial and queer; Conceptual poetry, prose and visual art. Victorian Writing about Risk: Imagining a Safe England in a Dangerous World (Cambridge 2000) and The Ideas in Things: Fugitive Meaning in the Victorian Novel (Chicago 2006) are her books; her current project is called Worlds Enough: Fictionality and Reference in the Novel.