Congratulations to Cannon Schmitt, Professor of English at the University of Toronto, who has received the Donald Gray Prize for best essay published in the field of Victorian Studies. The essay, “Technical Maturity in Robert Louis Stevenson,” appeared in “Denotatively, Technically, Literally,” a special issue of Representations 125 (Winter 2014).
Technical language in novels, rare in itself, is still more rarely interpreted. Focusing on Robert Louis Stevenson’s bildungsromans, in this essay Cannon Schmitt argues that a technical maritime lexicon marks their protagonists’ accession to maturity. But that lexicon and the love for the world it attests to and demands also forces a redefinition of what it means to be mature, offering an open, adventurous, never-to-be completed Bildung that refuses the stasis of marriage or a settled profession.
“Progress of the Bell Rock Works,” engraving by William Miller, Figure ix, An Account of the Bell Rock Lighthouse by Robert Stevenson (Edinburgh and London, 1824)
The Donald Gray Prize is awarded annually by the North American Victorian Studies Association (NAVSA). The prize has previously been awarded to other Representations articles, including Sue Zemka’s “The Death of Nancy ‘Sikes’” (2010), Sarah Winter’s “Darwin’s Saussure: Biosemiotics and Race in Expression” (2009), Andrew Miller’s “Lives Unled in Victorian Fiction” (2007), and Herbert Tucker’s “Rossetti’s Goblin Marketing: Sweet to Tongue and Sound to Eye” (2003).
Congratulations to Representations editorial board member Beate Fricke. Fricke and Finbarr Barry Flood (NYU) have been awarded an ACLS Collaborative Research Fellowship for their research project, Object Histories—Flotsam as Early Globalism.
Fricke (associate professor in the History of Art Department at UC Berkeley) and Flood (William R. Kenan Jr. Professor of the Humanities at New York University) have received a 2016-2017 ACLS Collaborative Research Fellowship. The program provides support to small teams of two or more scholars to collaborate on a single, substantive project.
In Object Histories—Flotsam as Early Globalism, Fricke and Flood draw from case studies in the medieval European and Islamic worlds to tackle methodological and theoretical issues of writing histories of flotsam, when the only source one has is a unique surviving artifact, image, or monument divorced from other documentation of its contexts. The authors describe the project as follows:
“The past decade has witnessed the proliferation of histories written on and from objects. This reflects a number of significant developments in the humanities, from increased attention to circulation, gifting, and the early history of commodities, to a renewed concern with materiality and the potential agency of material things. Historians of medieval art often face the challenge of writing histories for which unique artifacts, images, or monuments are the only available archives. In these cases, the object functions as its own archive, the absence of related written sources compelling the researcher to pursue compensatory lines of historical inquiry. But how does one choose where to start, which lines to trace, and which to ignore or neglect? The collaboration between Finbarr Flood and Beate Fricke considers such questions in relation to the writing of connected histories focused on medieval flotsam—artifacts or images that appear as unique survivals. It explores the pre-modern reception of such objects, their capacity to stimulate new artistic trends, and the methodological problems inherent in treating artifacts as archives to facilitate the writing of medieval histories in the present.”
For more information about Object Histories, visit the ACLS project site.
Congratulations to Representations editorial board member Andrew F. Jones.
Jones, professor and Louis B. Agassiz Chair in Chinese in the East Asian Languages and Cultures Department at UC Berkeley, has been awarded a 2015 John Simon Guggenheim Memorial Foundation fellowship. Jones was selected as one of 175 scholars, scientists, and artists across the United States and Canada who have shown “prior achievement and exceptional promise” in their work.
At Berkeley, Jones teaches modern Chinese literature and media culture. His Like a Knife: Ideology and Genre in Contemporary Chinese Popular Music (Cornell East Asia Series, 1992) was the first book-length study of the emergence of Chinese rock music in the years before and after the Tiananmen movement of 1989. Yellow Music: Media Culture and Colonial Modernity in the Chinese Jazz Age (Duke University Press, 2001) explored the cultural history of modern Chinese music, tracing its emergence from out of the complex musical and media topography of colonial Shanghai in the 1920s and 1930s. With the support of the Guggenheim foundation, he will complete a book entitled Circuit Listening: Chinese Popular Music in the Transistor Era, which will listen to the sonic history of the long global 1960s from the perspective of a place that is usually dismissed as marginal to the musical revolutions of those years. The book will attempt to write China back into the narrative of how we hear the explosion of new popular musics for which these years are famous; and by the same token, reinsert the “global” into our sometimes hermetic sense of Chinese cultural history in those years.
“Building on actor-network theory and the history of photographic and cinematic technologies, Inge Hinterwaldner’s article is an elegant, smart, and meaningful contribution to scholarship in science and technology studies that examines the use of experimental visualization to model turbulence in air and water around 1900. The essay discusses how two physicists–Etienne-Jules Marey and Friedrich Ahlborn–contrived to make visible, to measure, and to record these phenomena.” —from the SLSA prize announcement
The Schachterle Prize is awarded annually by the SLSA in recognition of the best new essay on literature and science written in English by a nontenured scholar.
Inge Hinterwaldner’s research interests include computer-based art and architecture, image theory, model theory, and temporality in the visual arts. Her first book is entitled Das systemische Bild (The systemic image; Munich, 2010).