DOCSLIB.ORG

Abstract Keywords

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Abstract Keywords Abstract Beginning in 2004, the Minnesota Association of Rogue Taxidermists began an art movement of taxidermied animal sculptures that challenged conventional forms of taxidermied objects massively produced and displayed on an international scale. In contrast to taxidermied ‘specimens’ found in museums, taxidermied ‘exotic’ wildlife decapitated and mounted on hunters' walls, or synthetic taxidermied heads bought in department stores, rogue taxidermy artists create unconventional sculptures that are arguably antithetical to the ideologies shaped by previous generations: realism, colonialism, masculinity. As a pop-surrealist art movement chiefly practiced among women artists, rogue taxidermy artists follow an ethical mandate to never kill animals for the purposes of art and often display their sculptures in ways that are self-reflexive of speciesism and express criticisms of anthropocentrism. Through an intersectional feminist lens and alongside critical insights from (and debates within) postcolonialism, deconstruction, and affect theory, I analyze the art pieces created by Sarina Brewer, Angela Singer, Polly Morgan, Scott Bibus, and Robert Marbury. In doing so, I explore the ethical ambiguities of using postmortem animal bodies in an art movement that is informed by animal rights, and also discuss the complexity of animal-human relationships in the face of human conceptualized impressions of life and death. Brushing up against the history of public autopsies and other forms of body preservation, I look to the ways in which bodies are made ‘taxidermic’ through violence, trauma, objectification, commodification, bio-engineered artificiality, extinction, and the discriminatory practices that represented certain (animal and human) bodies as ‘unruly.’ Tackling the frames that produce ‘taxidermic’ bodies (as exposable and exploitable skins), I challenge the anthropocentrism foundational to human thought and highlight the ways that humans produce and perpetuate hollowed out crypts of meaning as it applies to animality. Essentially, this project attempts to undermine anthropocentric worldviews that construct humans as separate and unique from what is understood and described as the ‘nonhuman,’ and, also, invites readers to confront and acknowledge how vulnerability and mortality are shared among humans (animals) and other nonhuman beings. Keywords Taxidermy, Animal Studies, Art, Feminism, Colebrook, Butler, Derrida, Postcolonialism, Speciesism, Anthropocentrism, Extinction, Ethics, Deconstruction, Affect, Exceptionalism, Ontology, Post-mortem, Corporeality, Dolly, Cloning, De-extinction, Cryptozoology i Acknowledgments My warmest thank you to my lovely community of family, friends, colleagues, and intellectual partners for all of the support I have received throughout my tenure at Western. First, I extend my greatest appreciation and deepest gratitude to my amazing supervisors, Dr. Kim Verwaayen and Dr. Christopher Keep. You are both incredible people and I am so lucky to have worked under your wing. Thank you for all of your insights, thoughtful questions, and positive encouragement as I moved forward with my (sometimes obscure) ideas and interests. I have learned so much from the both of you over the years and feel I have been awarded a special gift to have the two of you collaborate with me on this project. Thank you for your confidence in me, the special care you offered my work, and all of the time you have devoted to my successes. Kim, thank you for all the guidance, kindness, and friendship you have offered me since our first encounter at the beginning of my Master’s in 2010. I admire you so much. My own strengths in writing and thinking ethically have come from the patience and direction you have extended my way ever since we began to work together. Not only have you taught me to read closely, but you have also taught me to live a generous life with so much heart. Chris, thank you for everything you have taught me ever since we met in your Hauntings course. The insights I received from your course have had a lasting effect on my work and I knew back in 2013 that you would hold a very special role in this research project. I am so lucky you agreed to work with me. Your knowledge and expertise has challenged me intellectually in ways I cannot begin to count. You have truly helped me grow on so many levels and I have thoroughly enjoyed our many meetings and theoretical discussions. Thank you to the faculty, staff, and graduate students from the Women’s Studies and Feminist Research Department for providing me a special home where I could flourish, thrive, and learn from such an amazing group of people. Special thanks to my brilliant committee members, Dr. Helen Fielding and Dr. Wendy Pearson, for their thoughtful direction and excitement about my project. Thank you Dr. Chris Roulston, Dr. Erica Lawson, and Dr. Susan Knabe for your insights, support, and generosity over the years. Thank you Betty Thompson, Alicia McIntyre, and Marg Sloan for all of your help with everything, large and small. Thank you to my examining committee (again) Dr. Wendy Pearson and Dr. Erica Lawson, and Dr. Kirsty Robertson and Dr. Claire Colebrook for graciously offering their time to read my dissertation over the summer months. Thank you to all of the artists, museums, and businesses that granted me permission to use their images in this project. Special thanks to artists Sarina Brewer, Angela Singer, Scott Bibus, and Robert Marbury for their resources and for sharing their excitement in my project. Thank you Drs. Kim Marra, Jane Desmond, Margo DeMello, and Kenneth Shapiro and all the participants, faculty, and presenters who attended the 2017 Animal Studies Institute at the University of Illinois Urbana-Champaign. Thank you for providing me the space to share my work and the opportunity to build a close community with so many wonderful people that share my interests in and passions for Human-Animal Studies. ii Special thanks to my friend and colleague Dr. Clara Sacchetti. You have taught me that academe is not just a space of knowledge and intellectual debate, but is also a space of generosity, love, and family. Thank you to my fabulous community of friends, especially Alicia Guzzell, Jennifer Chisholm, Adrienne Kowalchuk, Amelia Galizia, Jacob Evoy, Kim Dority, Jacqueline Potvin, Kelly and Simon Larochette, the Dontas family, and the McLeod family for all of their encouragement, friendship, and support throughout this process. Special thanks to Brian McLeod for his patience, positive attitude, and good humor. My warmest thanks to my fantastic and lovely friends and colleagues, Andie Shabbar and Mayme Lefurgey for their unconditional love, companionship, and camaraderie throughout this process. The support, time, and encouragement you have both dedicated to my success and happiness is nothing short of divine. Thank you to my wonderful family: my parents Melanie and Dennis and my sister Meghan (and Hemi) for always believing that I can reach my academic goals and supporting me in my many adventures. Thanks Auntie Val and Uncle Bob for their love and hospitality en route to London and thank you Auntie Hez and Uncle Brian for all of your advice and confidence in my successes. Special thanks to the loved ones I have lost along the way: Auntie Debbie, Mummu, Nanny, and Uncle Sam (I miss you every day). Finally, thank you to my loving animal companion Auty for her unconditional support and patience throughout this process and, most especially, her will to stick it out until the end. My Ph.D. has been generously supported by the Social Science and Humanities Research Council (SSHRC) Doctoral Fellowship, the Ontario Graduate Scholarship Award (with distinction), the Department of Women’s Studies and Feminist Research, and the Faculty of Arts and Humanities. This financial support has allowed me to travel for research, present my researching findings at national and international conferences, and connect with a rich intellectual community within and outside of Western University. iii For Lyyli “Lily” Maria Niittynen (Mummu) & “Auty” iv Table of Contents Abstract…………………………………………………………………………………………….i Acknowledgements………………………………………………………………………………..ii Table of Contents………………………………………………………………………………….v List of Figures…………………………………………………………………………………....vii Preface…………………………………………………………………………………………....ix Chapter 1…………………………………………………………………………………………..1 1 From Botched to Rogue: Taxidermic Roots and Ruptures..…………………………………..1 1.1 Histories of Taxidermy………………………………………………………………...….1 1.2 The Minnesota Association of Rogue Taxidermists……………………………………..15 1.3 Taxidermy’s Resurrection in Contemporary Art………………………………………...19 1.4 From Botched to Rogue………………………………………………………………….24 1.5 The Ethical Ambiguities of Rogue Taxidermy Art………………………………………30 1.6 Taxidermy as Fetish Object……………………………………………………………...36 1.7 The Role of Gender in Taxidermy……………………………………………………….45 1.8 Conclusion -- Thinking Through Skin…………………………………………………...55 Chapter 2…………………………………………………………………………………………59 2 Autopsic Gaze: Chiasmic Encounters with ‘Unruly’ Bodies………………………………..59 2.1 Taxidermic Encounters…………………………………………………………………..59 2.2 Autopsic Gaze and Animal Crypts: Spaces of Display………………………………….62 2.3 ‘Unruly’ Bodies: Animal and Human……………………………………………………65 2.4 Human and Animal Chiasm as Possible Shared Vulnerable (Worlds)…………………..70 2.5 Monstrous Foundations and Species Blendings…………………………………………79 2.6 ‘Freak’ Shows and Human Zoos…………………………………………………………88 2.7 ‘Nondescripts,’ Mermaids, and the Threats of
Load more

Recommended publications
  • Archiving Possibilities with the Victorian Freak Show a Dissertat
    UNIVERSITY OF CALIFORNIA RIVERSIDE “Freaking” the Archive: Archiving Possibilities With the Victorian Freak Show A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in English by Ann McKenzie Garascia September 2017 Dissertation Committee: Dr. Joseph Childers, Co-Chairperson Dr. Susan Zieger, Co-Chairperson Dr. Robb Hernández Copyright by Ann McKenzie Garascia 2017 The Dissertation of Ann McKenzie Garascia is approved: Committee Chairperson University of California, Riverside ACKNOWLEDGEMENTS This dissertation has received funding through University of California Riverside’s Dissertation Year Fellowship and the University of California’s Humanities Research Institute’s Dissertation Support Grant. Thank you to the following collections for use of their materials: the Wellcome Library (University College London), Special Collections and University Archives (University of California, Riverside), James C. Hormel LGBTQIA Center (San Francisco Public Library), National Portrait Gallery (London), Houghton Library (Harvard College Library), Montana Historical Society, and Evanion Collection (the British Library.) Thank you to all the members of my dissertation committee for your willingness to work on a project that initially described itself “freakish.” Dr. Hernández, thanks for your energy and sharp critical eye—and for working with a Victorianist! Dr. Zieger, thanks for your keen intellect, unflappable demeanor, and ready support every step of the process. Not least, thanks to my chair, Dr. Childers, for always pushing me to think and write creatively; if it weren’t for you and your Dickens seminar, this dissertation probably wouldn’t exist. Lastly, thank you to Bartola and Maximo, Flora and Martinus, Lalloo and Lala, and Eugen for being demanding and lively subjects.
    [Show full text]
  • An Essay in Honour of Mary-Anne Elizabeth Plaatjies-Van Huffel
    Article Recognition Discourse and Systemic Gender Injustice: An Essay in Honour of Mary-Anne Elizabeth Plaatjies-Van Huffel Robert Vosloo https://orcid.org/0000-0002-7144-9644 Stellenbosch University [email protected] Abstract Against the backdrop of the South African Reformed ecclesiologist Mary-Anne Elizabeth Plaatjies-Van Huffel’s reflections on gender insensitivity in church and society, this article engages with the notion of recognition, a concept that has found strong currency in many contemporary discourses. The first part of the article mentions the promise of recognition as a moral, political, and also theological category. In addition, it also interrogates the term in conversation with theorists who raise some critical concerns regarding accounts of recognition that are not adequately justice-sensitive. The second part of the article enters more directly into conversation with some of the writings of Plaatjies-Van Huffel, highlighting in the process her emphasis that the recognition of women should not be dislocated from a plea for a change in the dynamics of patriarchal power and structural gender injustice. The article concludes with a call to move beyond what is termed “cheap recognition.” Keywords: Mary-Anne Elizabeth Plaatjies-Van Huffel; recognition; justice; gender insensitivity; patriarchal power Studia Historiae Ecclesiasticae https://doi.org/10.25159/2412-4265/8250 https://upjournals.co.za/index.php/SHE/index ISSN 2412-4265(Online)ISSN 1017-0499(Print) Volume 47 | Number 2 | 2021 | #8250 | 13 pages © The Author(s)
    [Show full text]
  • Kelly Oliver 1 Reading Nietzsche With
    Reading Nietzsche with Irigaray Not your garden-variety philosophy By Kelly Oliver To be sure, I am a forest, and a night of dark trees: but he who is not afraid of my darkness, will find banks full of roses under my cypresses…. ― Friedrich Nietzsche, Thus Spoke Zarathustra (Z.II.32.32 The Dance- Song) I first encountered Luce Irigaray’s work in the mid-1980’s when I was writing my dissertation on Nietzsche at Northwestern. Up to the mid-1970’s, feminism was dominated by second wave notions of equality. And, philosophy still only reluctantly considered Simone de Beauvoir among its ranks (in spite of her own protestations to the contrary). Feminist philosophy was primarily aimed at criticizing masculinist ideas throughout the history of philosophy. While Irigaray’s early work engaged the history of philosophy, in addition to criticizing male- dominated philosophy on its own terms, she “talked back,” employing “double mimesis” or a reverse mimesis through which she would take up the position of the feminine allotted to women in the texts of Plato, Nietzsche, Freud, Lacan, Merleau-Ponty, Levinas, Heidegger, and others, by repeating their words back to them in the context of her own parodic and lyrical discourse. By so doing, she challenged the limited position assigned to woman as mere reflection of man, and opened up a space for another voice (see “And the One Does Not Stir Without the Other” 1981a). At the time, over thirty years ago, I’d never seen anything like it: so irreverent, clever, and passionate…and at times, wickedly funny.
    [Show full text]
  • Copyright by Berna Gueneli 2011
    Copyright by Berna Gueneli 2011 The Dissertation Committee for Berna Gueneli Certifies that this is the approved version of the following dissertation: CHALLENGING EUROPEAN BORDERS: FATIH AKIN’S FILMIC VISIONS OF EUROPE Committee: Sabine Hake, Supervisor Katherine Arens Philip Broadbent Hans-Bernhard Moeller Pascale Bos Jennifer Fuller CHALLENGING EUROPEAN BORDERS: FATIH AKIN’S FILMIC VISIONS OF EUROPE by Berna Gueneli, B.A., M.A., M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May 2011 Dedication For my parents Mustafa and Günay Güneli and my siblings Ali and Nur. Acknowledgements Scholarly work in general and the writing of a dissertation in particular can be an extremely solitary endeavor, yet, this dissertation could not have been written without the endless support of the many wonderful people I was fortunate to have in my surroundings. First and foremost, I would like to thank my dissertation advisor Sabine Hake. This project could not have been realized without the wisdom, patience, support, and encouragement I received from her, or without the intellectual exchanges we have had throughout my graduate student life in general and during the dissertation writing process in particular. Furthermore, I would like to thank Philip Broadbent for discussing ideas for this project with me. I am grateful to him and to all my committee members for their thorough comments and helpful feedback. I would also like to extend my thanks to my many academic mentors here at the University of Texas who have continuously guided me throughout my intellectual journey in graduate school through inspiring scholarly questions, discussing ideas, and encouraging my intellectual quest within the field of Germanic and Media Studies.
    [Show full text]
  • Sexual Difference, Animal Difference: Derrida and Difference
    H Y P A 1032 Dispatch: 18.2.09 Journal: HYPA CE: Nikhil Journal Name Manuscript No. B Author Received: No. of pages: 23 Op: Sumesh 1 Sexual Difference, Animal Difference: 2 3 Derrida and Difference ‘‘Worthy of its 4 5 Name’’ 6 7 8 KELLY OLIVER 9 10 11 12 13 14 15 I challenge the age-old binary opposition between human and animal, not as philos- 16 ophers sometimes do by claiming that humans are also animals, or that animals are 17 capable of suffering or intelligence, but rather by questioning the very category of ‘‘the 18 animal’’ itself. This category groups a nearly infinite variety of living beings into one 19 concept measured in terms of humans—animals are those creatures that are not 20 human. In addition, I argue that the binary opposition between human and animal is 21 intimately linked to the binary opposition between man and woman. Furthermore, I 22 suggest that thinking through animal differences or differences among various living 23 creatures opens up the possibility of thinking beyond the dualist notion of sexual 24 difference and enables thinking toward a multiplicity of sexual differences. 25 26 27 28 Reading the history of philosophy, feminists have pointed out that ‘‘female,’’ 29 ‘‘woman,’’ and ‘‘femininity’’ often fall on the side of the animal in the human– 30 animal divide, as the frequent generic use of the word ‘‘man’’ suggests. From 31 Plato through Hegel, Freud and beyond, women have been associated with 32 Nature and instincts to procreate, which place them in the vicinity of the an- 33 imal realm.
    [Show full text]
  • 26 the Exploration of Humanism Through Prejudice
    The Exploration of Humanism through Prejudice: 19th Century Freak Shows and the Images of the “Human” Body Andrea Poppiti Posing a Question Throughout the modern era, the definition of “the human” has been explored and defined countless times in response to an ever-changing society, constant political and social upheavals, and the classification of morals. Philosophers, psychologists, and scholars alike have contemplated the idea of the human in an effort to gain a more comprehensive understanding of the mind in a social, personal, and cultural context. While multiple historical events and social studies can provide evidence for an argument regarding human nature, one could further pursue a definition of the human being by exploring its presumable antithesis: the physically abject and abnormal individual. The term “freak” was used throughout the 19th century to describe these individuals: people with “physical, mental, or behavioral anomalies, both alleged and real” (Freak Show 2). Despite its negative connotation and offensive implication, the present use of the word “freak” will ensure historical accuracy and realistic accounts of circus-life. The American freak show, which reached the height of its popularity during the 19th century, showcased those with physical abnormalities and intriguing anomalies in order to attract a crowd of paying customers. While seen as a sick and twisted business venture by our modern society, the 19th century freak show industry thrived during an age of constant change. By exploring the perception of circus freaks during the heyday of American freak shows in the 19th century, one may question whether it is possible to interpret the norms of humanness and understand the implications of social prejudice from a post-modern perspective.
    [Show full text]
  • Real Fit: Identity, Society, and Viewer Investment in Fitness Reality TV
    Real Fit: Identity, Society, and Viewer Investment in Fitness Reality TV By Juliana Lewis Dissertation Submitted to the Faculty of the Graduate School of Vanderbilt University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY in Philosophy May 2015 Nashville, Tennessee Approved: Kelly Oliver, Ph.D. José Medina, Ph.D. Lisa Guenther, Ph.D. Ellen Armour, Ph.D. Dedicated to my parents for their encouragement and support. ii ACKNOWLEDGMENTS I am grateful to my dissertation chair Kelly Oliver for expanding my philosophical world to explorations of visual media and psychoanalytic theory, and for her guidance; this work would not have been possible without her mentorship and support. Thanks also to my committee members, José Medina, Lisa Guenther, and Ellen Armour for their time and feedback. I am grateful to my friends and colleagues Rebecca Tuvel, Alison Suen, and Elizabeth Edenberg for keeping me connected to the Philosophy Department while working at a great distance. Finally, I am thankful for the Vanderbilt Philosophy Department’s support. iii LIST OF FIGURES Figure Page 1—Protester outside the White House protesting Ebola Response (Messing 2014)....................................................22 2—Dolvett talks to his team (DeGroot 2014b, 16:10) .................................................................................................35 3—Jessie and Laurie's Conversation (DeGroot 2014a, 28:40).....................................................................................37 4—Jennifer and
    [Show full text]
  • The Censored Paintings of Paul Cadmus, 1934-1940
    THE CENSORED PAINTINGS OF PAUL CADMUS, 1934-1940: THE BODY AS THE BOUNDARY BETWEEN THE DECENT AND OBSCENE by ANTHONY J. MORRIS Submitted in partial fulfillment of the requirements For the degree of Doctor of Philosophy Department of Art History and Art CASE WESTERN RESERVE UNIVERSITY May 2010 CASE WESTERN RESERVE UNIVERSITY SCHOOL OF GRADUATE STUDIES We hereby approve the dissertation of Anthony J. Morris, candidate for the PhD degree*. ________________ Henry Adams ________________ (chair of the committee) ________________ Ellen G. Landau ______________ ________________ T. Kenny Fountain ____________ ________________ Renée Sentilles _______________ Date: March 15, 2010 *We also certify that written approval has been obtained for any proprietary material contained therein. Table of Contents: Table of Contents: ii. List of Figures v. Acknowledgements xi. Abstract xiii. Chapter I Introduction: Censorship and the American Scene 1. Censorship of Sex: The Comstock Laws 3. Censorship of Hate Speech: Griffith’s “The Birth of a Nation” 10. Censorship of Political Ideology: Diego Rivera 13. Censorship and the New Deal Mural Program 16. Paul Cadmus and Other Painters of the American Scene 21. The Depiction of the Working Class 23. The Depiction of Women and Sexuality 27. The Depiction of Alcohol Following the Prohibition Era 31. Chapter II Historiography of Paul Cadmus: The Gay Satirist 34. 1930s: Repulsive Subjects and Garish Color 35. 1941-1968: Near Silence 41. 1968-1992: Re-emergence and Re-considered 44. 1992-present: Queering Paul Cadmus 51. ii Chapter III The Navy, The New Deal, and The Fleet’s In! Reconsidered 59. The National Exhibition of Art by the Public Works of Art Project 60.
    [Show full text]
  • Bearing Witness: Hope for the Unseen [Post-Print]
    Trinity College Trinity College Digital Repository Faculty Scholarship 3-2016 Bearing Witness: Hope for the Unseen [post-print] Tamsin Jones Trinity College, Hartford Connecticut, [email protected] Follow this and additional works at: https://digitalrepository.trincoll.edu/facpub Part of the Religion Commons Bearing Witness: Hope for the Unseen Accepted Manuscript for Political Theology 17.2 (2016): 137-150 Tamsin Jones For ere this the tribes of men lived on earth remote and free from ills and hard toil and heavy sickness which bring the Fates upon men; for in misery men grow old quickly. But the woman took off the great lid of the jar with her hands and scattered all these and her thought caused sorrow and mischief to men. Only Hope remained there in an unbreakable home within under the rim of the great jar, and did not fly out at the door… (Hesiod, Works and Days II: 90-100).1 To try to make sense of one’s life is to gather one’s own and the community’s memories in an attempt to produce some kind of fit, some kind of mutual accommodation. But this project is continually undone by the world, by deep, open attention to the world.2 In Hesiod’s myth of Pandora, after she unwittingly unleashes a world of evil and suffering upon man (whom she was sent to companion3), one gift remains captive within the jar—ἐλπίς, or hope. At first glance, this would seem to be humanity’s saving grace. However, within the commentary on Hesiod, there is some disagreement regarding just how we are to interpret this remaining gift.
    [Show full text]
  • The Jim Crow Museum's Traveling Exhibit ―Hateful Things‖ Is Drawn from Some 4,000 Pieces That Represent Nearly 150 Years of Anti-Black, Racist Objects and Images
    The Jim Crow Museum's traveling exhibit ―Hateful Things‖ is drawn from some 4,000 pieces that represent nearly 150 years of anti-Black, racist objects and images. Each object in the exhibit is accompanied by a didactic panel explaining its historical and cultural significance. The traveling exhibit has made its way around the state of Michigan at various colleges and universities but has never been on display at a high school venue. In addition to the 39 pieces and didactic panels, the exhibit includes a documentary (DVD format). Installation requirements call for a minimum linear wall space of 150 feet, minimum floor space of 300 feet and proper lighting and security. Additional information is available at the Museum Website at http://www.ferris.edu/jimcrow/menu.htm HATEFUL THINGS DETAILED INVENTORY C1-01 JOLLY NIGGER BANK 11 x 11 x 11 This is the infamous Jolly Nigger Bank that first appeared in the 1880s. Its eyes roll back when it swallows coins. Many companies produced versions of the bank. It was mass-produced until the 1960s. The Civil Rights Movement sensitized many Americans to the horrors of racial stereotyping and racial caricaturing; hence, objects like the Jolly Nigger Bank lost some of their appeal in the 1960s and 1970s. However, in the 1980s racist collectibles were again in high demand. Vintage versions of the Jolly Nigger Bank escalated in value, and cheap reproductions of the bank became commonplace. This bank is from the 1920s. C1-02 TOBACCO TIN 8 x 9 x 8 Beginning in 1878, the B. Leidersdory Company of Milwaukee, Wisconsin, produced NiggerHair Smoking Tobacco.
    [Show full text]
  • Apparitional Economies: Spectral Imagery in the Antebellum Imaginaton
    University of Kentucky UKnowledge Theses and Dissertations--English English 2014 Apparitional Economies: Spectral Imagery in the Antebellum Imaginaton Holly F. Osborn University of Kentucky, [email protected] Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Osborn, Holly F., "Apparitional Economies: Spectral Imagery in the Antebellum Imaginaton" (2014). Theses and Dissertations--English. 12. https://uknowledge.uky.edu/english_etds/12 This Doctoral Dissertation is brought to you for free and open access by the English at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--English by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. I agree that the document mentioned above may be made available immediately for worldwide access unless an embargo applies. I retain all other ownership rights to the copyright of my work.
    [Show full text]
  • Curriculum Vitae
    CURRICULUM VITAE CHAD KAUTZER Philosophy Department 161 Lafayette Avenue 15 University Drive Apt. 3A Lehigh University Brooklyn, NY 11238 Bethlehem, PA 18015 720-288-5236 EDUCATION 2008 Ph.D., Stony Brook University, Philosophy 2006-2007 Transatlantic Collegium of Philosophy Fellow, Johann Wolfgang Goethe- Universität, Frankfurt, Germany 2004-2005 German Academic Exchange Service (DAAD) Fellow, Johann Wolfgang Goethe-Universität, Frankfurt, Germany 1998 B.A., University of Wisconsin-Madison, Philosophy & German PROFESSIONAL EXPERIENCE 2016 - Associate Professor, Philosophy Department, Lehigh University, Bethlehem, Pennsylvania 2015 - 2016 Visiting Research Scholar, Philosophy Department, Graduate Center of the City University of New York 2015 - 2016 Associate Professor, Philosophy Department, University of Colorado Denver 2008 - 2015 Assistant Professor, Philosophy Department, University of Colorado Denver 2011 - 2012 Adjunct Professor, Department of Germanic and Slavic Languages and Literatures, University of Colorado Boulder 2002 - 2007 Lecturer, Philosophy Department, Stony Brook University PUBLICATIONS Books 2015 Radical Philosophy: An Introduction (Routledge, 2015). 2009 Pragmatism, Nation, and Race: Community in the Age of Empire (Bloomington, IN: Indiana University Press), co-edited with Eduardo Mendieta. Contributors include Mitchel Aboulafia, James Bohman, Robert Brandom, David Kim, Eduardo Mendieta, Lucius T. Outlaw, Jr., Max Pensky, Richard Rorty, Tommie Shelby, Shannon Sullivan, Robert Westbrook, and Cynthia Willet. 1 In Preparation Good Guys with Guns: Whiteness, Masculinity, and the New Politics of Sovereignty. A study of the emergence of a new form of political subjectivity in American gun culture. In Preparation Hegel and the Colonial World: From European Freedom to Decolonial Resistance. A study of the role of European colonialism in Hegel’s philosophy of history and right as well as Hegel’s influence on twentieth-century decolonial theory.
    [Show full text]