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«Spatial Perspectives: Literature and Architecture, 1850 – Present Biographies of Speakers Rosa Ainley is a writer with a background in architecture ...»

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Spatial Perspectives: Literature and Architecture, 1850 – Present

Biographies of Speakers

Rosa Ainley is a writer with a background in architecture and photography and also an editor at the

Architectural Association. Her most recent book is 2 Ennerdale Drive: unauthorised biography (Zer0

2012). In 2009 she was lead artist, working with muf, on Leysdown Rose-tinted, a CABE-funded

regeneration ‘vision’, now in implementation. She is currently working on a book about ghost

buildings: the never-was and the used-to-be.

Esra Almas is an Assistant Professor in English Literature and Humanities at Doğuş University, Istanbul. She completed her PhD at the Amsterdam School for Cultural Analysis, The University of Amsterdam, where she also taught in the department of Literary Studies. Her dissertation explored the links between literary capital and Istanbul's literary cityscape in the work of the Turkish writer and the 2006 Nobel laureate Orhan Pamuk. Her research interests include critical theory, world literature, Turkish diaspora, and urban studies.

Jane Anderson is the Programme Lead for Undergraduate Architecture at Oxford Brookes University.

She is an architect and teacher. Her book Architectural Design (AVA Publishing, 2011) is written as a guide for undergraduate students of architecture. She has worked as an architect in Germany and the UK. At Sheffield University she collaborated with Ruth Morrow and others on the publication Building Clouds, Drifting Walls (published by “A Bank of Ideas”, 2003). Together with Colin Priest she established OB1 LIVE, an innovative programme of live projects commissioned by community-based clients and designed by students of architecture and interior architecture at Oxford Brookes University.

Adrienne Brown is an Assistant Professor of English at the University of Chicago specializing in American and African-American cultural production in the 20th century. Her work explores the influence of architecture and urban planning on literary form as well as the ways that narrative intervenes in our historical and experiential understandings of space. She is currently working on a book recovering the skyscraper's central role in structuring American social and aesthetic perception in the early twentieth century. Attending to both the skyscraper's fraught absence in canonical texts as well as the structure's remarkable presence at Modernism's generic borders, this project explores how an array of writers approached the skyscraper as a radical instrument of perception that was transforming modernity's modes of seeing. Her work has appeared in Criticism and The Journal of Modern Literature.

J. B. Bullen is Professor Emeritus at the University of Reading. He has had a long-standing interest in interdisciplinary studies and his books include The Expressive Eye: Vision and Perception in the Work of Thomas Hardy (OUP 1986), The Myth of the Renaissance in Nineteenth-Century Writing (OUP 1995), and The Pre-Raphaelite Body: Fear and Desire in Painting, Poetry and Criticism (OUP1998). In 2003 he published a history of the Byzantine Revival entitled Byzantium Rediscovered (Phaidon Press), and in 2005 European Crosscurrents: British Criticism and Continental Art, 1810-1910 with Oxford University Press. His critical biography of Dante Gabriel Rossetti, Rossetti Painter and Poet was published in October 2011 and he is writing a new book on Thomas Hardy.

Antony Buxton tutors courses on design history and domestic culture for the University of Oxford Department for Continuing Education and other institutions. After a first degree divided between Archaeology and Anthropology and English Literature he became a furniture designer-maker, and subsequently an historic furnishings conservator, progressing in time to doctoral research into the social and conceptual significance of furnishings and the operation of domestic culture. His current research interests embrace these topics and also the interpretation of heritage through material, pictorial and textual sources.

Harry Charrington, PhD (LSE), DipArch (Cantab), is an architect and Director of Studies for the Master of Architecture at the University of Bath. After reading architecture he combined architectural practice and academia in Britain and Finland, returning to England to set up a new school of architecture and planning at UWE Bristol. Since working in the Aalto atelier as a student he has written extensively on Alvar Aalto's social and artistic practice, including his recent oral history of the work of the atelier, Alvar Aalto: the Mark of the Hand. His other research interests centre on planning and design quality, as well as suburbia.

Fiona Curran is an artist based in London who has exhibited nationally and internationally with recent exhibitions in Moscow, Barcelona, London and Helsinki. She received a BA(Hons) in Philosophy from the University of Manchester before completing a BA and MA at The Manchester School of Art, she is currently researching for a practice-related PhD at The Slade School of Fine Art, University College London.

Dominic Davies completed his BA in English Language and Literature and MA in Victorian Literature at the University of Liverpool before coming to Oxford to start a DPhil under the supervision of Professor Elleke Boehmer. He is currently researching the literary negotiations of the impact of infrastructural and technological developments across the British Empire between 1883 and 1933, focusing on colonial writers such as Rudyard Kipling, Flora Annie Steel, Olive Schreiner and William Plomer.





Amanda Leigh Davis is undertaking her PhD in English Literature at the University of Chicago. She is in the beginning stages of her dissertation (provisionally titled “Man-eating Houses: Literature, Artificial Life, and the Architecture of Character”), which focuses on intersections between character development and architecture in the long 20th century. Her research is concerned with primary texts that foreground their artificiality but which don’t necessarily “bare the device” so much as practice intertwining the character of architecture and the architecture of character in both theme and form. These practices, she argues, constitute a much longer and richer history of human enquiries into A.I. than can be found in the hard sciences alone.

Darren R. Deane is Director of Studies at the Manchester School of Architecture. He studied Architecture at Newcastle, Nottingham and Cambridge, and holds a PhD from the University of Bath.

His research interests stem from doctoral studies into the shift from 'part' to 'element' as a method for understanding post-Enlightenment definitions of architectural order. He has since gone on to examine how this tension is manifested in modern architecture's philosophy of dematerialisation, collaboration, and the resulting impact this had upon traditional symbolic thought. He is co-editor of Nationalism and Architecture (Ashgate 2012). The current paper springs from original research undertaken at the Louis I. Kahn Archive between 2010-11.

Rebecca Devers is an Assistant Professor of English at New York City College of Technology, City University of New York, in Downtown Brooklyn. She earned her Ph.D. at the University of Connecticut, where she completed a dissertation titled “The Iron Curtain in the Picture Window: The Cold War Home in American Fiction and Popular Culture”. The paper she presents at this conference continues her investigation into the stories Americans tell about themselves through the domestic spaces they imagine, inhabit, and furnish.

Rachele Dini is a first-year PhD student in the English department at UCL, where she is writing a thesis on representations of urban waste and disrepair, 1850-present. She received her undergraduate degree in English from Cambridge University and has an MA in English from King's College London. Her main research interests include the intersection between European Modernist literature and visual culture; abstention and silence in Postmodernism; neo-Marxist urban theory;

and, in broader terms, the deployment of 20th century developments in geography, anthropology and economic theory to literature.

Henderson Downing is a PhD candidate researching psychogeography in literature and urbanism at Birkbeck, University of London where he teaches in the School of Arts. He is also a lecturer in the Department of Culture, Writing and Performance at London South Bank University. He has written for various magazines and journals and is a regular contributor to AA Files.

David Fensome was awarded his MA in Modern Literature at the University of Leicester in 2001 (dissertation: Kazuo Ishiguro and the Consolations of Memory). David is currently co-authoring The Modernist Evelyn Waugh.

Julian Ferraro is a lecturer in the School of English at the University of Liverpool. Currently, his principal areas of research and teaching are in eighteenth-century writing (particularly the poetry of Alexander Pope, which he is editing for the Longman Annotated English Poets series) and twentieth to twenty-first century writing, particularly crime writing and comics, and film noir.

Scott Freer’s research interests primarily involve literary and cinematic modernism and myth. His monograph, Modernist Mythopoeia: The Twilight of the Gods, which examines myth as an alternative language to religious discourse for expressing ideas of being and transcendence, will be published by Palgrave 2014. He has also written on Magritte and the uncanny sublime, Bob Dylan and the holy hobo, Tim Burton’s Sweeney Todd, as well as Powell and Pressburger’s A Canterbury Tale. He is currently co-authoring a book project on Evelyn Waugh.

Claudine Gélinas-Faucher is a PhD candidate at McGill University in Montreal, where she is writing her dissertation on representations of Montreal in the Anglo-Quebec novel. Her dissertation examines more specifically how Canadian novelists writing in Montreal after WWII have used the city to tell stories about marginality, in an attempt to come to terms with their own status as a minority within the province. Claudine is also an associate editor for The Bull Calf: Reviews of Fiction, Poetry, and Literary Criticism.

Paul Haacke is currently a lecturer at the University of California, Berkeley, where he received a doctorate in Comparative Literature with a Designated Emphasis in Film Studies in 2011. His work focuses on trans-Atlantic modernism, film and media studies, urbanism and globalization, critical theory, and the built environment. His writing has appeared or is forthcoming in a variety of

journals, magazines, and books, and he is revising his dissertation, entitled “The Vertical Turn:

Topographies of Metropolitan Modernism,” in preparation for publication.

Edward Hollis studied Architecture at Cambridge and Edinburgh Universities. For the subsequent six years he practiced as an Architect, first in Sri Lanka, and then in the practice of Richard Murphy, well known for his radical alterations to ancient and historic buildings in and around Edinburgh. In 1999, Edward Hollis began lecturing in Interior Architecture at Napier University, Edinburgh. In 2004, he moved to Edinburgh College of Art, where he now runs the undergraduate and postgraduate programmes in Interior Design. Working with follies and ruins in Sri Lanka, with modern interventions to historic buildings in Scotland, and in the notoriously slippery discipline of Interiors, has focussed Edward’s research and theoretical thinking on the notion of time, story, and building.

Edward Hollis is currently working on a number of research projects. He is involved with current plans to revive the ruins of Gillespie Kidd and Coia’s seminary at Cardross. His first book, ‘The Secret Lives of Buildings’: a collection folk tales stories about mythical buildings was published in 2009; and he is currently writing ‘The Memory Palace’ a book of lost Interiors.

Matthew Ingleby teaches literature at UCL. He initially studied English at Madgalen, Oxford (BA, M.St.), and then obtained his doctorate at UCL, where he participated in the Bloomsbury Project, funded by the Leverhulme. His thesis addressed the role of fiction in the production of one metropolitan locality, and he is more broadly interested in the interaction of space and representation. He has published one article on William Morris, another on Victorian building plots, reviews regularly for the TLS, is writing an encyclopaedia article about George Crabbe and co-editing an essay collection about G. K. Chesterton and the modern city.

Claire Jamieson is currently an AHRC funded PhD candidate at the Royal College of Art in the department of Critical and Historical Studies. Her interdisciplinary research examines the ways that fictional and narrative techniques drawn from literary theory could enrich and challenge how we think about and make architecture – towards a theory of architectural fictionality. Claire studied architecture at Cambridge University and the Royal College of Art, and has lead research at Building Futures, the think-tank of the Royal Institute of British Architects, where she authored the influential ‘The Future for Architects?’ and now holds a position on the steering group.

Susan Jaret McKinstry, Helen F. Lewis Professor of English at Carleton College in Minnesota, received her Ph.D. from the University of Michigan. She teaches courses on the Victorian novel, Victorian poetry and painting, narrative theory, literary theory, and creative writing. Jaret McKinstry co-edited Feminism, Bakhtin, and the Dialogic (1991), and has published articles on Jane Austen, Emily Bronte, Charles Dickens, Dante Gabriel Rossetti, Emily Dickinson, T. S. Eliot, Toni Morrison, Faye Weldon, Ann Beattie, and others. She is also a poet. Her current research explores the “sister arts” of poetry and painting in the work of the Pre-Raphaelites.

Jennifer Johnson is currently a doctoral student in History of Art at Oxford, and a member of St John’s College. She previously read English Literature at Cambridge, before migrating slightly via the Mst in History of Art at Oxford. Her work considers philosophical and theoretical approaches to questions of meaning in modernist painting, and her thesis is on the materiality of painting in early twentieth century French modernism. Other interests include British modernism, especially the commonalities between approaches to painting and literature, British architectural theory, and critical theory.



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