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ispartof: American Novelists’ Autobiographical Acts: Nonfictional Disruptions location:Aix-Marseille Université date:6 Jul - 7 Jul 2023 status: published

Phoebe Apperson Hearst měla velmi úspěšného vlastního syna Williama, který byl ale více jako jeho otec: tvrdý obchodník. Našla však jemnou, uměleckou duši v malíři Orrinu Peckovi (1860–1921), který byl údajně gay a který ji, ještě za života své vlastní matky, začal oslovovat „má druhá mámo.“ Na základě podrobného výzkumu jejich vzájemné korespondence v Peckově pozůstalosti se můžeme ptát, jak moc si byla progresivní, bohatá žena 19. století, jakou byla Phoebe Hearst, vědoma Peckovy sexuality a pokud ano, jestli s tím neměla problém, nebo šlo o nevyřčené tajemství mezi nimi? Jejich příběh představí historik umění Ladislav Zikmund-Lender. Phoebe Apperson Hearst had a very successful son of William, but he was more like his father: a tough businessman. However, she found a delicate, artistic soul in the painter Orrin Peck (1860–1921), who was allegedly gay and who, while still his own mother's life, began to address her as “my second mother.” Based on a detailed study of their correspondence in Peck's estate, we may ask how much a progressive, rich 19th-century woman like Phoebe Hearst was aware of Peck's sexuality, and if so, if she had no problem with it, or was it an unspoken secret between them? Their story will be presented by art historian Ladislav Zikmund-Lender.

ispartof: OpenCast Community Summit location:Valencia, Spain date:1 Mar - 3 Mar 2017 status: accepted

ispartof: BILETA Annual Conference location:online date:14 Apr - 16 Apr 2021 status: published

The Romantic sublime, which has influentially shaped the Western relationship with nature, is no longer viable in the Anthropocene because it views nature as separated from humans and does not fully represent the intricacy of human/non-human relationship (Caracciolo 2021). This paper assesses the limits and affordances of the notion of the “haptic sublime” (McNee 2016) for challenging the Eurocentrism, androcentrism, and ocularcentrism of the Romantic sublime in a way that would also lead to heightened self- and/or environmental awareness. To that end, it analyzes extracts from American ecobiographical memoirs that build on American Romanticism’s, and more specifically Henry D. Thoreau’s multisensorial approach to nature (Lombard 2019), which suitably integrates the subjective and embodied dimensions of the haptic sublime. Inspired by insights from affective ecocriticism and rhetorical (eco)narratology, these analyses show that the haptic sublime involves bodily and multisensorial contact with material environments which induce affects such as guilt, satisfaction, and joy, that move beyond the confines of the romantic experiences of awe and horror. Jon Krakauer’s Into Thin Air and Silvia Vásquez-Lavado's In the Shadow of the Mountain are considered so as to argue that recent mutations in the rhetoric of the sublime retrospectively unearths haptic dimensions to the experience of the sublime. ispartof: The American Comparative Literature Association's 2023 Annual Meeting location:Chicago, IL, United States date:16 Mar - 19 Mar 2023 status: published

Guest lecture within a course on human rights frameworks Invited lecture, invited by: Amy Weatherburn (ULB) ispartof: location:Brussels (ULB Campus) status: published

ispartof: Ethical Governance of Surveillance Technologies in Times of Crisis: Global Challenges and Divergent Perspectives location:Utrecht University, Centre for Global Challenges date:30 Oct - 5 Nov 2020 status: accepted

ispartof: 39th American Indian Workshop: arrows of the past location:Ghent University date:10 Apr - 13 Apr 2018 status: published

Im März 1926 hat Siegfried Kracauer einen in der Frankfurter Zeitung veröffentlichten Artikel under dem Titel “Kult der Zerstreuung: Über die Berliner Lichtspielhäuser”. Dieser Text ist keine Verteidigung der derzeitigen Unterhaltungsindustrie, sondern ein Versuch, den Begriff der Zerstreuung von seinem üblichen pejorativen Sinne zu retten, um zu verstehen, wie die Massen ihre Emanzipation durch den Film erleben können. Wir werden untersuchen, wie diese kritische Stellungnahme auch eine Antwort auf die Steigerung der Propaganda in Europa durch die Staatsapparate ist, die im Gegensatz zu Kracauers Zerstreuung die Massen unausweichlich entfremden. Wir werden deshalb auch diesen Artikel von 1926 mit dem 1942 von Kracauer geschriebenen Text über die Nazipropaganda (“Propaganda und der nazistische Kriegsfilm”) verknüpfen. Letztendlich möchten wir zeigen, wie der “Kult der Zerstreuung” ein politisches Werkzeug für unsere Zeiten ist, in denen Politiker wie etwa Donald Trump oft durch Zerstreuung regieren, in dem sie die Massen von ihren wirklichen Alltagsproblemen entfernen.