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  • Contributors

Jimena Berzal de Dios is Professor in the Art & Art History Department at Western Washington University. Her published work, including the recent Visual Experiences in Cinquecento Theatrical Spaces (University of Toronto Press, 2018), explores reception and theatricality through an interdisciplinary lens attentive to alternative temporalities and exegetical sincerity.

Bryan Counter is a PhD candidate in Comparative Literature at SUNY Buffalo. His work primarily explores the modalities of aesthetic experience, ranging from the history of aesthetic philosophy to the portrayal of aesthetic experience in 19th- and 20th-century French literature and thought, with a particular focus on Proust.

James Dutton teaches at the University of New South Wales, Sydney. His research spans the topics of modernist literature, deconstructive and broadly “poststructuralist” philosophy, and the politics of labor and extinction studies. His essays have appeared, or are due to appear, in journals such as Textual Practice, Angelaki, Paragraph, and Symplokē. He is currently working on a project concerning the materiality of allegory and individuation.

Sharon Jane Mee is Adjunct Lecturer at the University of New South Wales, Sydney. Author of the forthcoming monograph, The Pulse in Cinema: The Aesthetics of Horror (Edinburgh University Press, 2020), her work has also been published in Film-Philosophy and M/C Journal.

Ara H. Merjian is Professor of Italian Studies at New York University, where he is an affiliate of the Institute of Fine Arts and the Department of Art History. He is the author of Giorgio de Chirico and the Metaphysical City: Nietzsche, Paris, Modernism (Yale University Press, 2014) and Against the Avant-Garde: Pier Paolo Pasolini, Contemporary Art and Neocapitalism (University of Chicago Press, 2020). His book Blueprints and Ruins: Giorgio de Chirico and the Architectural Imagination from the Avant-Garde to Postmodernism is forthcoming from Yale University Press, and he is co-editor of an anthology of Pasolini’s writing on art history, forthcoming with Verso. He teaches on the relationship of the historical avant-garde to politics, and the cultural history of fascism and anti-fascism, and his writing has appeared in Modernism/Modernity, Oxford Art Journal, Cabinet, Artforum, Word & Image, and Art in America.

Christopher Norris is Emeritus Professor in Philosophy at Cardiff University. In his early career, he taught English Literature, then moved to Philosophy via literary theory, and has now moved back toward creative writing. He has published widely on the topic of deconstruction and is the author of many books on aspects of philosophy, literature, politics, the history of ideas, and music. More recently he has turned to writing poetry in various genres, among them – unusually – that of the philosophical verse-essay. His collections include The Cardinal’s Dog (2014), The Winnowing Fan (2015), For the Tempus-Fugitives (2017), The Matter of Rhyme (2018), A Partial Truth (2019), and Socrates at Verse (2020). He has also published two collections of political-satirical verse, The Trouble with Monsters (2018) and The Folded Lie (2019).

Danielle Sands is Senior Lecturer in Comparative Literature and Culture at Royal Holloway, University of London, and Fellow of the Forum for Philosophy at the London School of Economics and Political Science. She is the author of Animal Writing: Storytelling, Selfhood and the Limits of Empathy (Edinburgh University Press, 2019) and editor of Philosophy and the Human Paradox: Essays on Reason, Truth and Identity (Routledge, 2020). She received a British Academy Rising Star Engagement Award for her 2018–19 project, “Posthumanities: Redefining Humanities for the Fourth Industrial Age,” and is currently Co-Investigator for the Arts & Humanities Research Council (AHRC)-funded network, “The Philosophy of Plants.”



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