Plenaries

Plenary Session I: “Victorian Eyes” Mini-papers and Roundtable Discussion on Nineteenth-Century Visual Networks

  • Caroline Arscott is Professor at the Courtauld Institute of Art, London. Her current work extends from an interest in William Powell Frith and John Everett Millais to James McNeill Whistler, Edward Coley Burne-Jones and William Morris via investigations into the nineteenth-century armaments industry, stained glass production, thermodynamics, neurology, horticulture, sensation/ horror fiction and Victorian tattooing. She has recently been working on Darwin and aesthetics. She is particularly interested in the development of scientific and medical theory in the Victorian age and the impact that this has on the artistic imagination. Arscott came into art history from the study of English Literature at Cambridge University. She studied the Social History of Art at the University of Leeds, working with T. J. Clark, Griselda Pollock and Fred Orton. She has been lecturing at the Courtauld Institute since 1988. As Head of Research she is responsible for the Research Forum program of activities and for the Courtauld Institute’s research strategy.
  • Tim Barringer is Paul Mellon Professor of the History of Art at Yale University, where he specializes in Victorian visual culture, British art (1700 to the present), American and British landscape painting, museum studies, post-colonial studies, and gender studies. Barringer received his MA from the Art Institute at NYU and his PhD at the University of Sussex. Barringer’s books include Reading the Pre-Raphaelites (1999; new edition, 2012) and Men at Work: Art and Labour in Victorian Britain (2005). With colleagues he co-authored American Sublime, and co-edited Art and the British Empire and Art and Emancipation in Jamaica. He is currently completing a book Broken Pastoral: Art and Music in Britain, Gothic Revival to Punk Rock and is co-curator of Pre-Raphaelites: Victorian Avant-Garde (Tate, 2012). Co-edited volumes in preparation include Victorian Jamaica and Panoramic Vistas. His publications include: Colonialism and the Object: Empire, Material Culture and the Museum (1998, co-editor with Tom Flynn) and Frederic Leighton: Antiquity, Renaissance, Modernity (1999, co-editor with Elizabeth Prettejohn).
  • Julie F. Codell is Professor of Art History at Arizona State University. Her areas of specialization are Victorian culture, the Victorian press, India under the Raj, life writings and travel narratives, material culture, and world film. Codell wrote The Victorian Artist: Artists’ Life Writings in Britain, ca. 1870-1910 (2003; 2012) and edited Transculturation in British Art, 1770-1930 (2012), Power and Resistance: The Delhi Coronation Durbars (2011), The Political Economy of Art (2008), Genre, Gender, Race, and World Cinema (2007), Imperial Co-Histories: National Identities and the British and Colonial Press (2003), and co-edited with Laurel Brake Encounters in the Victorian Press: Editors, Authors, Readers (2004), and with D. S. Macleod Orientalism Transposed: The Impact of the Colonies on British Culture (1998), being translated into Japanese (2014). Forthcoming and recent essays are on material culture and Victorian art, empire films, international exhibitions, Pre-Raphaelite art, Victorian material culture, and the Victorian art press and art market.
  • Mary Roberts is currently the John Schaeffer Senior Lecturer (Associate Professor) in British Art at the University of Sydney and a leading scholar of Orientalism. In her focus on gender and Orientalism, she specializes in Ottoman art and cultural exchange. Roberts is the author of Intimate Outsiders: The Harem in Ottoman and Orientalist Art and Travel Literature (2007) and has co-edited four books: The Poetics and Politics of Place: Ottoman Istanbul and British Orientalism (2011), Edges of Empire: Orientalism and Visual Culture (2005), Orientalism’s Interlocutors (2002) and Refracting Vision: Essays on the Writings of Michael Fried (2000). In 2008-2009 she was a Fellow at the Getty Research Institute, in 2009-2010 a Fellow at the Clark Art Institute, and in Fall 2011 a Visiting Scholar in the Alice Kaplan Institute for the Humanities at Northwestern. She is currently writing a book on the artistic exchanges between Ottoman and Orientalist artists in nineteenth-century Istanbul.

Plenary Session II: “Freud’s Impossible Life: An Introduction”

Adam Phillips is a psychoanalyst, literary critic, and essayist, and is currently a visiting professor at the University of York. He is the general editor of the New Penguin translation of Freud’s work, and his many well-known books include On Kissing, Tickling, and Being Bored (1998), Going Sane (2007), On Kindness (2010), and On Balance (2011). His newest work is Missing Out: In Praise of the Unlived Life. Phillips writes, interviews, and appears widely to offer a unique psychoanalytic perspective on therapy, literature, and the human condition.

Plenary Session III: “Formation, Genealogy, Network: The Case of Liberalism”

Amanda Anderson is the Andrew W. Mellon Professor of the Humanities and English at Brown University. Anderson specializes in critical theory and nineteenth-century British literature and culture. She received her Ph.D. in English from Cornell University and taught at the University of Illinois and Johns Hopkins where she served as chair of the English department from 2003-2009. Her work has focused on questions of modern self-understanding, disciplinary methodology, and the place of critique and argumentation across philosophy and literature (with a special emphasis on liberalism and proceduralism). She is particularly interested in the legacies of philosophical modernity, the normative bases of contemporary theories, and the relation between formal argument and informing ethos (style, character, method). She is the author of The Way We Argue Now: A Study in the Cultures of Theory (Princeton, 2006), The Powers of Distance: Cosmopolitanism and the Cultivation of Detachment (Princeton, 2001), and Tainted Souls and Painted Faces: The Rhetoric of Fallenness in Victorian Culture (Cornell, 1993). She has also co-edited, with Joseph Valente, Disciplinarity at the Fin de Siècle (Princeton, 2002). Her current project, tentatively titled Bleak Liberalism, focuses on the relation between the liberal aesthetic and liberalism as a political philosophy, paying special attention to the dialectic of hope and skepticism animating many forms of liberal thought.