PLENARY PANEL DISCUSSION:
Interdisciplinary Perspectives on Memory and Monumentality
Moderated by Elizabeth Bacon Eager, Art History, SMU
Friday, March 22 11:15 – 12:45 Plaza BC
Jo Guldi is a historian of Britain and the infrastructure state and a digital historian. She authored Roads to Power: Britain Invents the Infrastructure State and co-authored The History Manifesto, which was named by the Chronicle of Higher Education as one of the twenty most influential books across all fields in the last twenty years. Her current project involves text-mining and Hansard’s parliamentary debates.
Daniel Hack is Professor of English at the University of Michigan. He is the author of two books: The Material Interests of the Victorian Novel and Reaping Something New: African American Transformations of Victorian Literature, which received Honorable Mention for the 2018 Best Book Prize of the North American Victorian Studies Association. He is also, along with Rachel Ablow, editor of the journal Victorian Literature and Culture, which received Honorable Mention for Best Special Issue of 2018 from the Council of Editors of Learned Journals, for its “Keywords” issue, which he will be discussing today. His current, ill-defined project is on literary allusion, foreshadowing, quixotism, and the meaning of life.
Nancy Henry is the Nancy Moore Goslee Professor of English, University of Tennessee, and author most recently of Women, Literature and Finance in Victorian Britain: Cultures of Investment (Palgrave Macmillan, 2018) and The Life of George Eliot: A Critical Biography (Wiley-Blackwell, 2012).
Peter Mondelli teaches Music History at the University of North Texas. His research considers the impact of print culture and bourgeois capitalism on nineteenth-century Parisian opera. Other areas of interest include orality and literacy in late eighteenth-century song, early music and musicology in fin-de-siècle France, and the relationship between music studies and the posthumanities. Recent publications include articles in Acta Musicologica, The Opera Quarterly, and The German Quarterly. He is currently finishing revisions on his first book – Opera, Print, and Capital in Nineteenth-Century Paris.
Ariel Ron is on the faculty of SMU’s history department, where he teaches nineteenth-century U.S. political economy. His articles have appeared in the Journal of American History and other scholarly publications, and a book, Grassroots Leviathan: Agricultural Reform and the Rural North in the Slaveholding Republic, is forthcoming from Johns Hopkins University Press.
Lauren Woods is a conceptual artist based in Dallas, Texas, whose hybrid media projects engage history as a lens by which to view the socio-politics of the present. Some of her work, which has been exhibited throughout the United States and internationally, explores how traditional monument-making can be translated into new contemporary models of commemoration with new media. One of her better-known works is Drinking Fountain #1, a new media monument to the American civil rights movement, located underneath the remnants of a recently rediscovered Jim Crow “White Only” sign in the Dallas County Records Building in Dallas, Texas, the installation is part sculpture, part intervention, and part of a larger public artwork. She has been the recipient of grants and awards from numerous institutions including the Creative Capital Foundation, The Tribeca Film Institute, College Art Association, Alliance of Artists Communities and The San Francisco Foundation.