Curriculum Vitae Claire Millikin Raymond University of Virginia Charlottesville, VA 22904 [email protected]

Education: The Graduate School and University Center of The City University of New York, PhD, 2001, English lit. New York University New York City MFA, Poetry New Haven, Connecticut BA, Philosophy

Current Teaching Position: Lecturer The University of Virginia Department of Sociology Department of Art History Publications: Books:

Witnessing Sadism in Texts of the American South: Women, Specularity, and the Poetics of Subjectivity Ashgate, 2014

Witnessing Sadism in Texts of the American South interprets the gendering of the witness figure in scenes representing violence in the American South. Focusing on photographs by Carrie Mae Weems, and writings by Toni Morrison, Flannery O’Connor, Dorothy Allison, Emily Dickinson and Carson McCullers, the book considers the spectacle of violence in representation. Bridging visual culture, literature, and social theory, Witnessing Sadism theorizes the act of representation from an interdisciplinary perspective.

Francesca Woodman and the Kantian Sublime Ashgate, 2010

Francesca Woodman and the Kantian Sublime revisits the terms of the Kantian sublime, by looking in depth at the work of the American photographer Francesca Woodman. Woodman’s photographs expose the sublime as gendered limit condition. Interpreting Woodman’s best-known photographs, the book argues that the constraint of gender, as a foundation to the aesthetic, is exploded in the volatile terms of Woodman’s photographs as also in the Kantian sublime. Woodman’s evocative, haunting self-portraits tap Kantian notions of the sublime, visually manifesting Kant’s theory of the sublime as violent limit to the terms of seeing. Locating Woodman’s influences in nineteenth-century photographers Julia Margaret Cameron and Clementina Hawarden, and in 19th Century aestheticism, Francesca Woodman and the Kantian Sublime argues that Woodman interrogates photography’s inheritance of the sublime, shaped by codes of gender and nineteenth-century aestheticism.

The Posthumous Voice in Women’s Writing from Mary Shelley to Sylvia Plath Ashgate, 2006

The Posthumous Voice in Women’s Writing from Mary Shelley to Sylvia Plath explores the formal gesture of the self-elegy, interrogating the gendering of mourning, and bringing a feminist critical perspective to its interpretation of links between the work of Mary Shelley, Emily Brontë, Emily Dickinson, Christina Rossetti, and Sylvia Plath. The book traces in these writers a poetics of mourning in which the feminine narrator stages her text as if it were written after her own death, drawing connections between women writers’ rhetorical strategies and historical modes of reading women’s writing.

Francesca Woodman’s Dark Gaze (under contract)

Francesca Woodman’s Dark Gaze is a monograph exploring Woodman’s later works, done in diazotype. The book argues for Woodman’s place in the conversation of and around art after what Arthur C. Danto dubbed the end of art, suggesting that Woodman’s use of the fragile medium of diazotype can be understood as a material expression of the thematic of evanescence.

Poems (all poetry published as Claire Millikin):

Books:

Motels Where We Lived, a book of poems, Unicorn Press, 2014

After Houses, a book of poems, 2Leaf Press, 2014

Sodium Glass, a chapbook of poems, Finishing Line Press, 2014

Museum of Snow, a book of poems Grayson Books, September, 2013

The Gleaners, a chapbook of poems about gleaning, Tiger’s Eye Press, 2013

Individual poems placed in journals: “Having Crossed Over,” placed in Iris: A Journal About Women (2003); “Fire Journal,” “Journeys” and “First Snow,” placed in Willow Review (2001; 2002; 2005); “Young Girl from Paros” placed in Ekphrasis (2000); “Black Dress,” and “Plover,” placed in The Southern Poetry Review (2000, 2001); “Young Woman with Water Jug,” placed in The W.B.Yeats' Society Newsletter (1995); “Tea-Pot,” and “Hunters at Dusk,” and “Ocracoke,” “Delphic” and “Crocus” and “The Dogs” placed in “Off the Coast” (2001; 2003; 2004; 2005; 2007; 2008); “Drawing the Scars,” placed in Compass Rose (2001); “Hunters,” and “Mourning,” placed in The Recorder (2002); “Mothers,” placed in Puckerbrush Review (2003); “Outer Banks,” placed in the North Carolina Literary Review (2005); “Gesture” appears in Ultimate Lighting Design (teNeues, 2006); “Swan” appears in Timber Creek Review (2007); “Park” appears in Crab-Orchard Review (2007); “Weaning” and “The Next Day” appear in White Ink (Demeter Press, 2007); “Fox” and “Elegy of House” appear in Puckerbrush Review, (2008); “The Foxes” appears in the Journal of the Association for Research on Mothering, (Demeter Press, 2008); “Snow,” “Scraps,” “Ariadne,” and “Jewels” appear in Puckerbrush Review (2009); “Rite,” “Plastic,” and “Half-House” placed in the Alabama Literary Review (2009); “In the Kitchen” placed in the North American Review (2009); “Snow House” placed in Connecticut Review (2011); “Styrofoam” placed in Chautauqua Literary Journal (2011); “Twilight of Lead” placed in the Louisiana Review (2011); “Orchard,” “Stone,” “Burning Child,” “The Wounds,” and “The Typewriter” placed in Tigers Eye (2011); “Charm School” placed in North American Review (2011); “Pieta” placed in Folio (2011); “Kerosene” placed in North American Review (2012); “Greyhound Incantation” Rockland Maine Poetry Project (August, 2012); “Eating the Home Dirt," "Garden of Lost Objects," "Meat at the Edge of Snows," and "The Ruins," placed in Grain (2012); “List of Worlds” and “Slideshows” placed in Tiger’s Eye Poetry Journal (2013); “Snow Rooms” placed in Stone Voices (2013); “Hand in Glove” placed in Cold Mountain Review (2014) “Light Writer” placed in Grain (2014)

Fellowships, Honors, Grants, and Awards:

2014-2015 AHSS Faculty Grant, The University of Virginia 2011-2012, Excellence in Diversity Fellow, The University of Virginia 2003, The Carolyn G. Heilbrun Dissertation Prize 2002, The Adrienne Auslander Munich Dissertation Prize 2000-2001, The Helene Newstead Dissertation Year Fellowship (granted by The Graduate Center, City University of New York)

2013, Literary Distinction, Stone Voices 2011, Finalist, James Hearst Memorial Poetry Prize 2009, 3rd Place, James Hearst Memorial Poetry Prize, judged by Robert Pinsky 2008, Finalist, Lynda Hull Memorial Poetry Prize, judged by Billy Collins 2006, Honorable Mention for “Translator,” in the Snowbound PoetryChapbook Competition, judged by Marie Howe 2005, Finalist, Lynda Hull Memorial Poetry Prize, judged by Allen Goldbarth 1995, First Prize, W.B.Yeats' Society Poetry Contest, judged by Eamon Grennan (All poetry awards under the name Claire Millikin)

Conferences, Colloquia, and Presentations:

March 2014, “Utopia and the (Dead) Female Body: Ana Mendieta, Francesca Woodman, and ” University of North Carolina Wilmington, Southeastern Women’s Studies Association conference. April 2013, “Barthes, Mendieta and Genres of Erosion” at the Renaissance of Roland Barthes Conference, the Graduate Center of the City University of New York April 2013, “In the Badlands: Foucaultian Heterotopes and College Date Rape Patterns” University of North Carolina-Greensboro, Annual Southeastern Women’s Studies Association Conference October 2012, “Vigils: Afterimages of Violence Against Native Women,” DVAM Speaker Series, Sponsored by Sigma Psi Zeta, University of Virginia, Charlottesville May 2012, “Ana Mendieta and the Citizenry of Ghosts,” Athens Institute for Education and Research, Athens, Greece (paper accepted, not presented). April 2012, “Portrait of a Reputation: Francesca Woodman and Violent Inscription,” part of an Interdisciplinary Conference Gender and Violence in Photography, at the University of Virginia, Alderman Library Graduate Conference Room. February 2012, Studies in Women and Gender Colloquium, “East Village Women and Francesca Woodman’s Blueprint for a Temple,” University of Virginia, Charlottesville. August 2011, Colrain Poetry Workshops, presented the manuscript of poems, Salt Birds; Colrain, Massachusetts April 2011, Associated Colleges of the South's Women's and Gender Studies Conference, Emancipating Knowledge, "Witnessing with Hard Eyes: Representing Sadistic Violence in Morrison and O'Connor," University of Richmond, Richmond, Virginia April 2011, Amnesty International Human Rights Festival, Speaker to introduce and discuss the film, Very Young Girls March 2011, Southeastern Women’s Studies Association Conference, Structural Adjustments: Queering Privatization, Framing Disaster, "“Ghosts of Zora Neale Hurston: Surface and Depth in Witnessing Trauma.” Georgia State University, Atlanta, Georgia February 2011, Respondent, Spinoza: Feminists Perspectives/Aspects of Embodiment, American University, Washington, D.C. December 2005, Presiding; Worldly Women: Imagining Cosmopolitan Feminisms, MLA Conference, Washington, D.C. August 2005; Holderlin’s Deviant Translation, Annual Conference of the North American Society for the Study of Romanticism, Montreal. August 2005; Francesca Woodman’s Gothic, The International Gothic Association’s conference, Deviance and Defiance, Montreal. September 2004; Fox’s Heart: The City in Mary Shelley’s Mathilda, Annual Conference of the North American Society for the Study of Romanticism at the University of Colorado, Boulder. June 2004; Divine Wanderer, Nameless Father: Paternity in Mary Shelley’s Mathilda, Romanticism and Parenting Conference at Stanford University, Palo Alto. March 2001; On Kleist’s Marionettentheater, graduate student conference at The Graduate School of The City University of New York, New York City. August 1999; Over the Deep Grave of my Secret: Elided Confessions, The International Gothic Association's conference Gothic Spirits--Gothic Flesh, Halifax, Nova Scotia. April 1999; Eurydice's Translation, Translation: Themes and Variations, a conference at New York University, New York City.

Essays, Reviews: “Barthes, Mendieta, and the Orphaned Image” in Conversant, September 2014 “Better Yet When Dead: Melancholy Vistas of the Dead Female Body” in Palaver, May 2014 “Projects of Identity in Carrie Mae Weems’s From Here I Saw What Happened and I Cried” forthcoming Meridians: A Journal “On Ellie Hogeman’s Geographic Tongues” in Meridian spring 2014 “Response to Elena Anastasaki’s ‘The Trials and Tribulations of the Revenants” in Connotations 2009 "Emily Dickinson as the Un-named, Buried Child," in The Emily Dickinson Journal, Spring 2003 “Moments of Seeing: Ruth Moore’s ‘The Fire Balloon,’” in Puckerbrush Review, Fall, 2005 “Archeology: the Short Stories of Ruth Moore and Eleanor Mayo,” in Puckerbrush Review, Fall 2005

In development: “In the Badlands: Foucaultian Heteropia and College Rape Patterns”

Title of Dissertation: The Trope of the Posthumous Voice in Women's Writing. Dissertation Advisor and Readers: Distinguished Professor Wayne Koestenbaum, Distinguished Professor Meena Alexander, Professor Joseph Wittreich, Professor Anne Humpherys

References

Professor Alison Booth, Department of English, Bryan Hall The University of Virginia Charlottesville, VA 22904 [email protected] 434-924-7105

Professor Sarah Corse, Department of Sociology, Dynamics Building The University of Virginia Charlottesville, VA 22904 [email protected]

Professor Wayne Koestenbaum, Department of English The Graduate Center of the City University of New York 365 Fifth Avenue New York, New York 10016 [email protected]