Notes on Contributors

Timothy Bewes is Professor of English at Brown University. He is the author of Cynicism and Postmodernity (1997), Reification, or The Anxiety of Late Capitalism (2002), and The Event of Postcolonial Shame (2011). He has co-edited several collections of essays, including Georg Lukács: The Fundamental Dissonance of Existence (Continuum, 2011), and a special issue of the journal Novel: A Forum on Fiction on Jacques Rancière and the Novel. The subjects of his recently published essays include W. G. Sebald (in Contemporary Literature, 2014) and Mikhail Bakhtin (Mediations, 2015).

Nicholas Brown teaches in the departments of English and African American Studies at the University of Illinois at Chicago.

Michael D’Arcy is Associate Professor of English literature at St. Francis Xavier University (Nova Scotia, Canada). His research interests include twentieth-century British, Irish, and Anglophone literature, media studies, film and visual culture, and literary theory. His published work includes: The Contemporaneity of Modernism: Literature, Media, Culture (Routledge, 2016; collection co-edited with Mathias Nilges); “Beckett’s Trilogy and the Deaths of (Auto)biographical Form,” in Samuel Beckett Today / Aujourd’hui 26 (2014); “Influence,” in Samuel Beckett in Context (Cambridge UP, 2013); and “Indifferent Memory: Beckett, Naipaul, and the Task of Textuality,” in The Journal of Beckett Studies 19.1 (2010). He is currently completing a monograph titled The Slow Novel: Late Modernism and the Adventure of Narrative Stupidity.

Cristin Ellis is Assistant Professor of English at the University of Mississippi. Her book, Antebellum Posthuman: Race and Materiality in American Romanticism, is forthcoming from Fordham University Press.

Dehlia Hannah is the Research Curator of the Synthesis Center and Assistant Research Professor in the School of Arts, Media and Engineering at Arizona State University. She received her Doctorate in Philosophy from Columbia University in May 2013. Her dissertation and current book project, entitled Performative Experiments, articulates the philosophical implications of an emerging genre of contemporary artwork that takes the form of scientific experiments and deploys scientific methods and materials as new media. Timed to commemorate the 200th anniversary of the global climate crisis that formed the environmental background for the writing of Frankenstein, her current research and curatorial project, A Year Without a Winter, (2015-2018) explores possible climate futures by engaging artists and scholars in the performance of a collective thought experiment.

Leigh Claire La Berge is currently working on a book entitled Wages Against Artwork: The Social Practice of Decommodification, sections of which have been published in South Atlantic Quarterly and Postmodern Culture. Concerned with the economic trend of uncompensated work and the aesthetic trend of artwork that seeks to ameliorate social inequality, Wages Against Artwork asks what kind of claims the aesthetic can make in an expiring welfare state. Her first book, Scandals and Abstraction: Financial Fiction of the Long 1980s (Oxford, 2015) tracked the contest between postmodern and realist fictions about finance in a nascent era of financialization, and her articles have appeared in Radical Philosophy, Studies in American Fiction, Criticism, Journal of Cultural Economy, and the Radical History Review. She is the co-editor, along with Alison Shonkwiler, of Reading Capitalist Realism (Iowa, 2014). She is assistant professor of English at the City University of New York (BMCC).

Krista Geneviève Lynes is Canada Research Chair in Feminist Media Studies and Associate Professor in Communication Studies at Concordia University (Montreal). She is the author of Prismatic Media, Transnational Circuits: Feminism in a Globalized Present (Palgrave Macmillan, 2012), as well as numerous essays appearing in ADA: Journal of Gender, New Media and Technology, Signs, Third Text, Theory & Event, among others. Her current research examines the aesthetics of ‘groundedness’ on contemporary media art. She is also the director of the Feminist Media Studio (http://feministmediastudio.ca), which supports and critically engages with representations of gender under conditions of political struggle and exploitation.

Jeff Menne is assistant professor and program director of Screen Studies at Oklahoma State University. His recent publications include a study of Francis Ford Coppola and the “underground corporation,” Francis Ford Coppola(Univ. of Illinois Press, 2014), and a co-edited collection, Film and the American Presidency (Routledge, 2015). His essays have appeared in Representations, Cinema Journal, Post Script, and elsewhere. Presently he is preparing a monograph, Art’s Economy: Post-Fordist Cinema and Hollywood Counterculture, 1962-1975, which historicizes the auteur theory within the “managerial revolution” of the postwar business corporation.

Mathias Nilges is Associate Professor of English at St. Francis Xavier University in Nova Scotia, Canada. His essays have appeared in collected editions and in journals such as American Literary History, Callaloo, and Textual Practice. With Emilio Sauri, he is the co-editor of Literary Materialisms (2013) and with Michael D’Arcy of The Contemporaneity of Modernism (2015). He has recently completed a monograph titled Still Life With Zeitroman: The Time of the Contemporary American Novel.

Emilio Sauri is Assistant Professor of English at the University of Massachusetts Boston. His research focuses on twentieth- and twenty-first-century literature and visual art from the United States and Latin America, and reads these in relation to the development of the world-system.

Matt Tierney teaches media theory, American literature, and film at The Pennsylvania State University, where he is an Assistant Professor of English. He is the author of What Lies Between: Void Aesthetics and Postwar Post-Politics (2015).