Current Editorial Board
Steven Justice, Co-Chair, is Chancellor’s Professor of English at the University of California, Berkeley. He is author of Writing and Rebellion: England in 1381 (California, 1994) and of Adam Usk’s Secret (Penn, 2015). He is writing a series of books on belief and historical inquiry.
Niklaus Largier, Co-Chair, is Professor of German Literature at the University of California, Berkeley. He has published books and articles on late medieval religious traditions. Currently, he is working on ascetic practices, the senses, and the arousal of the imagination. Recent publications include In Praise of the Whip: A Cultural History of Arousal (American trans. 2007), and Die Kunst des Begehrens: Askese, Dekadenz, und Sinnlichkeit (2007).
Weihong Bao is Associate Professor in Film and Media and East Asian Languages and Cultures at the University of California, Berkeley. She is the author of Fiery Cinema, The Emergence of An Affective Medium in China, 1915-1945 (Minnesota, 2015), which received honorable mention for the Best Book Prize from the Modernist Studies Association. She is currently working on a new book on background design and the discovery of environment in modern China.
Stephen Best is Associate Professor of English at the University of California, Berkeley and author of The Fugitive’s Properties: Law and the Poetics of Possession (University of Chicago, 2004). Currently, he is working on a new project on rumor, promiscuous speech, and slavery’s archive.
C. D. Blanton is Associate Professor of English at the University of California, Berkeley. His research interests include modernist literature and thought generally, as well as the long history of post-romantic verse. He is the author of Epic Negation: The Dialectical Poetics of Late Modernism (Oxford, forthcoming) and co-editor of two volumes of postwar poetry: Pocket Epics: British Poetry After Modernism (Yale Journal of Criticism) and A Concise Companion to Postwar British and Irish Poetry (Blackwell). He is currently working on a project on the end(s) of modernist aesthetics.
Carol J. Clover is a Professor of Rhetoric and Scandinavian at the University of California, Berkeley. Her research interests include film history and theory, narrative history and theory, and the literature and culture of early Northern Europe. Her publications include Men, Women, and Chain Saws: Gender in the Modern Horror Film (1992); “Dancin’ in the Rain,” Critical Inquiry 21 (1995); and Old Norse-Icelandic Literature: A Critical Guide, co-edited with John Lindow (1985). She’s at work on a book on the ways that Anglo-American legal process have given rise and shape to some of the most distinctively Anglo-American forms of narrative and cinematic process.
Whitney Davis teaches the history and theory of ancient and modern art in the Department of History of Art at the University of California, Berkeley. He is the author of books on prehistoric art, ancient Egyptian art, method and theory in art history and archaeology, contemporary sculpture, and the history of psychoanalysis. He has special interests in the interrelation of theories of mind and theories of imagistic and pictorial meaning. Currently he is working on a book on homoerotic aesthetics from the 1750s to the 1920s and a study of the logical foundations of visual culture.
Ian Duncan, Florence Green Bixby Professor of English at the University of California, Berkeley, works on the novel, nineteenth-century British literature and culture, and Scotland in the periods of Enlightenment and Romanticism. His books include Modern Romance and Transformations of the Novel (Cambridge, 1992), Scott’s Shadow: The Novel in Romantic Edinburgh (Princeton, 2007), and a co-edited collection of essays, Scotland and the Borders of Romanticism (Cambridge, 2004). He is currently writing a book on the novel and the science of man, from Buffon to Charles Darwin, Goethe to George Eliot.
Catherine Gallagher is a Professor of English at the University of California, Berkeley. Her research interests include nineteenth-century British literature, British novels, Victorian nonfiction prose, and British women’s literature. She is the author of Nobody’s Story: The Vanishing Acts of Women Writers in the Marketplace, 1670-1820 (1995), and Practicing New Historicism, with Stephen Greenblatt (2001), and the co-editor of The Making of the Modern Body: Sexuality and Society in the Nineteenth Century, with Thomas Laqueur (1987).
Timothy Hampton is Aldo Scaglione and Marie M. Burns Distinguished Professor of Comparative Literature and French and director of the Townsend Center for the Humanities at the University of California, Berkeley. A scholar of the Renaissance and early modern periods, he has published widely on literature in its many forms across several languages and national traditions. His books include Fictions of Embassy: Literature and Diplomacy in Early Modern Europe and Literature and Nation in the Sixteenth Century: Inventing Renaissance France.
David Henkin teaches U.S. History at the University of California, Berkeley, and is the author of City Reading: Written Words and Public Spaces in Antebellum New York (Columbia University Press, 1998), The Postal Age: The Emergence of Modern Communications in Nineteenth-Century America (University of Chicago Press, 2006), and (with Rebecca McLennan) Becoming America (McGraw-Hill, 2014).
Carla Hesse is Dean of Social Sciences and Peder Sather Professor of European History at the University of California, Berkeley. She writes about politics and culture since the French Revolution, and is author of Publishing and Cultural Politics in Revolutionary Paris (1991) and The Other Enlightenment: How French Women Became Modern (Princeton, 2001). She is currently completing a book on political justice in the French Revolution and writing about the cultural afterlives of Jean Jacques Rousseau.
Andrew F. Jones, Professor and Louis B. Agassiz Chair in Chinese, teaches modern Chinese literature and media culture at the University of California, Berkeley. His research interests include music, cinema, and media technology, modern and contemporary fiction, children’s literature, and the cultural history of the global 1960s. He is the author of Like a Knife: Ideology and Genre in Contemporary Chinese Popular Music (Cornell East Asia Series, 1992) and Yellow Music: Media Culture and Colonial Modernity in the Chinese Jazz Age (Duke University Press, 2001). His latest book is Developmental Fairy Tales: Evolutionary Thinking and Modern Chinese Culture (Harvard University Press, 2011).
Thomas Laqueur works on European cultural history. A founding editor of Representations, he writes about the history of the body and of sexuality (Solitary Sex: A Cultural History of Masturbation, 2003) and about the history of death (a new book, The Dead Among the Living, is almost finished).
Michael Lucey is Professor of Comparative Literature and French at the University of California, Berkeley. His recently completed book manuscript is called Someone: The Pragmatics of Misfit Sexuality in French Literature from Colette to Hervé Guibert, and he is at work on a new project called Proust, Sociology, Talk, and Novels. Previous books include Never Say I: Sexuality and the First Person in Colette, Gide, and Proust andThe Misfit of the Family: Balzac and the Social Forms of Sexuality.
Colleen Lye is Associate Professor of English at the University of California, Berkeley, and teaches courses in Asian American literature, postcolonial theory, and American Studies. She is the author of America’s Asia: Racial Form and American Literature, 1893-1945 (Princeton, 2005), which won an outstanding book award from the Association for Asian American Studies and honorable mention for the John Hope Franklin Prize from the Association for American Studies. Currently, she is working on theoretical questions of Asian American literary history.
David Marno, Associate Professor of English at the University of California, Berkeley, has published on religious and secular concepts of attention, on apocalypse as a literary and political figure, and on philosophy of history and comparative literature. His first book Death Be Not Proud: The Art of Holy Attention (Chicago, 2016) reads John Donne’s Holy Sonnets as a site where the bonds between premodern devotional, literary, and philosophical investments in attentiveness become visible. His current project focuses on prayer in the aftermath of the Reformation.
Nicholas Mathew‘s published work has mainly focused on the relationships between music and politics in the eighteenth and nineteenth centuries: the place of music in political institutions, the role of music in public life, and the ways in which music constructs collective identity – as well as issues of political appropriation, subversion, musical trashiness, and political kitsch. In his book Political Beethoven (2013) he reexamines the politically charged rhetoric of Beethoven’s music and its later reception, teasing out relationships between his canonical music and the political schlock of the Napoleonic era, including his own alleged potboilers. The essays in the volume The Invention of Beethoven and Rossini (edited with Benjamin Walton in 2013) revisit the history of the fraught opposition between the two eponymous composers, and the artistic and philosophical traditions they have come to represent.
Geoffrey Nunberg, a linguist, teaches at the UC Berkeley School of Information. His linguistics research includes work on semantics and pragmatics, information access, the structure of written language, and language policy; he has also written on the history and cultural implications of information technologies. His recent books include Talking Right (2006), about the language of contemporary American politics, and Ascent of the A-Word (2012), about the changing lexicon of civility in everyday life. He is winner of the Linguistic Society of American Language and the Public Interest Award.
Todd Olson is the author of Poussin and France: Painting, Humanism and the Politics of Style (Yale University Press, 2002). His main areas of interest are class and sexuality in visual representation, history of art criticism and theory, and the politics of collecting. He is currently writing a book entitled Caravaggio’s Pitiful Relics: Painting History after Iconoclasm. He has published aspects of this book as “Pitiful Relics: Caravaggio’s Martrydom of St. Matthew” (Representations 77, 2002). His publications include “‘Long Live the Knife’: Andrea Sacchi’s Portrait of Marc’Antonio Pasqualini” (Art History) and “Caravaggio’s Coroner: Forensic Medicine in Giulio Mancini’s Art Criticism” (Oxford Art Journal).
Joanna Picciotto is Associate Professor of English at the University of California, Berkeley. Her book Labors of Innocence in Early Modern England (2010) explores practical efforts to restore paradise and their afterlife in seventeenth- and early eighteenth-century England. She is currently at work on a book about natural theology.
Kent Puckett is Associate Professor of English at the University of California, Berkeley, and author of War Pictures: Cinema, Violence, and Style in Britain, 1939-1945 (Fordham, 2017), Narrative Theory: A Critical Introduction (Cambridge, 2016), and Bad Form: Social Mistakes and the Nineteenth-Century Novel (Oxford, 2008).
Debarati Sanyal is Professor of French at the University of California, Berkeley. The author of The Violence of Modernity: Baudelaire, Irony, and the Politics of Form (Johns Hopkins University Press, 2006) and Memory and Complicity: Migrations of Holocaust Remembrance (Fordham University Press, 2015), she is currently at work on a study of testimony, cultural form, and the refugee “crisis.”
Mary Ann Smart is Professor of Music at the University of California, Berkeley. Her research focuses on opera and on European music, with particular interests in staging (historical and contemporary), the representation of gender, and the role of opera in the formation of political opinion. She is author of Mimomania: Music and Gesture in Nineteenth-Century Opera (California, 2004) and the editor of the collection Siren Songs: Representations of Gender and Sexuality in Opera. Her book, Waiting for Verdi: Opera and Political Opinion in Italy, is forthcoming from the University of California Press.
Elisa Tamarkin is Associate Professor of English at the University of California, Berkeley, and author of Anglophilia: Deference, Devotion, and Antebellum America (Chicago, 2008). She is writing a book on ideas of relevant and irrelevant knowledge since 1830.
Alan Tansman writes about modern Japanese literature and culture. He is the author of The Writings of Kôda Aya (Yale) and, forthcoming, The Culture of Japanese Fascism (Duke), and The Aesthetics of Japanese Fascism (California). He is writing a book comparing Japanese and Jewish responses to atrocity, about which he also teaches, and is completing an annotated translation of Tokyo as an Idea: Isoda Kôichi’s Essays on Literature and Space (California). Tansman has also published on Japanese cultural criticism, popular music, film, East-West cultural relations, Area Studies, and the sublime in Japanese literature. He has also translated Japanese fiction and criticism.
Alexei Yurchak is Associate Professor in the Department of Anthropology and an affiliated faculty member in the Department of Theater, Dance, and Performance Studies at the University of California, Berkeley. He is the author of Everything Was Forever, Until It Was No More: The Last Soviet Generation (Princeton, 2006), which won the 2007 Vucinich Book Prize for the most important contribution to Russian, Eurasian, and East European studies from the American Association for the Advancement of Slavic Studies. He is working on a book on urban transformation in postsocialist St. Petersburg and on a book about experimental artistic scenes in Russia at the time the Soviet Union was imploding (late 1980s–early 1990s).
Svetlana Alpers, Professor Emerita of the History of Art at the University of California, Berkeley, is the author of The Decoration of the Torre de la Parada, The Art of Describing, Rembrandt’s Enterprise, The Making of Rubens and, with Michael Baxandall, Tiepolo and the Pictorial Intelligence.
R. Howard Bloch is Sterling Professor of French at Yale University. He is the author of Etymologies and Genealogies, The Scandal of the Fabliaux, Medieval Misogyny and the Invention of Western Romantic Love, God’s Plagiarist: Being an Account of the Fabulous Industry and Irregular Commerce of the Abbe Migne, and many other books.
T. J. Clark, Professor Emeritus of the History of Art at the University of California, Berkeley, is the author of The Absolute Bourgeois: Artists and Politics in France, 1848-1851 (1973), Image of the People: Gustave Courbet and the 1848 Revolution (1973), The Painting of Modern Life: Paris in the Art of Manet and His Followers (1984), Farewell to an Idea: Episodes from a History of Modernism (1999), and The Sight of Death: An Experiment in Art Writing (2006), and Picasso and Truth (2013).
Stephen Greenblatt is Cogan University Professor of the Humanities at Harvard University. A founding editor and original co-chair of Representations, he is the author of nine books, including Renaissance Self-Fashioning: From More to Shakespeare ; Shakespearean Negotiations: The Circulation of Social Energy in Renaissance England; Learning to Curse: Essays in Early Modern Culture; Marvelous Possessions: The Wonder of the New World; Practicing New Historicism (with Catherine Gallagher), and Hamlet in Purgatory. He is the general editor of The Norton Shakespeare and the associate general editor of The Norton Anthology of English Literature, as well as the editor of many other volumes. In 2002 he served as president of the Modern Language Association and is among the first recipients of the Mellon Distinguished Humanist Prize.
Lorna Hutson is the Merton Professor of English at Oxford. She is the author of The Usurer’s Daughter: Male Friendship and Fictions of Women in Sixteenth Century England(Routledge, 1994) and recently editor, with Victoria Kahn, of Rhetoric and Law in Early Modern Europe (Yale, 2001). She is currently editing Ben Jonson’s Discoveries (1641) for the Cambridge Complete Works of Ben Jonson, and working on a study of “suspicion” in law, rhetoric and literature in Renaissance England.
Jeffrey Knapp is the Eggers Professor of English at UC Berkeley. The recipient of a Guggenheim Fellowship and an NEH Fellowship, he has written four books: An Empire Nowhere: England and America from Utopia to The Tempest (1992); Shakespeare’s Tribe: Church, Nation, and Theater in Renaissance England (2002), which won the Best Book in Literature and Language award from the Association of American Publishers, the Book of the Year award from the Conference on Christianity and Literature, and the Roland H. Bainton Prize for the Best Book in Literature from the Sixteenth Century Society and Conference; Shakespeare Only (2009), which Choice named an Outstanding Academic Title of the year; and Pleasing Everyone: Mass Entertainment in Renaissance London and Golden-Age Hollywood, forthcoming from Oxford University Press.
Steven Knapp is Provost and Senior Vice President for Academic Affairs at The Johns Hopkins University. A specialist in 18th- and 19th-century English literature and literary theory, he is the author of Personification and the Sublime: Milton to Coleridge.
Robert Post is David Boies Professor of Law at Yale University. He is the author of Constitutional Domains: Democracy, Community, Management(Harvard University Press 1995); the co-author, (with K. Anthony Appiah, Judith Butler, Thomas C. Grey and Reva Siegel) of Prejudicial Appearances: The Logic of American Antidiscrimination Law (Duke University Press 2001); the editor of Censorship and Silencing: Practices of Cultural Regulation (Getty Research Institute for the History of Art and the Humanities: Issues & Debates 1998) and of Law and the Order of Culture (University of California Press 1991); the co-editor (with Nancy Rosenblum) of Civil Society and Government (Princeton University Press 2002); the co-editor (with Carla Hesse) of Human Rights in Political Transitions: Gettysburg to Bosnia (Zone Books 1999); and the co-editor (with Michael Rogin) of Race and Representation: Affirmative Action (Zone Books 1998).
Randolph Starn is a Professor Emeritus of History and Italian Studies and former Director of Townsend Center for the Humanities at the University of California, Berkeley. His scholarly interests range from Renaissance Italy and early modern cultures to philosophies of history and the institutional practices of scholarship in the humanities. His most recent book is Varieties of Cultural History: Collected Essays (2002).
Jean Day, Associate Editor, is a writer and professional editor. She is the author of many books of poetry, including Daydream (Litmus Press, 2017), Enthusiasm: Odes & Otium (Adventures in Poetry, 2006), and Early Bird (O’Clock Books, 2014). Her Triumph of Life is forthcoming from Insurance Editions this spring. Selected works have also been anthologized in a number of collections, including Out of Everywhere 2: Linguistically Innovative Writing by Women in North American and the UK (Reality Street, 2015), Nineteen Lines: A Drawing Center Writing Anthology (Drawing Center/Roof Books, 2007) and Moving Borders: Three Decades of Innovative Writing by Women (Talisman House, 1998), and her translations (with Elena Balashova) of the contemporary Russian poet Nadezhda Kondakova appear in Third Wave: New Russian Poetry (University of Michigan, 1992). She is the recipient of awards from the California Arts Council, the Fund for Poetry, the George A. and Eliza Gardner Howard Foundation, and the National Endowment for the Arts.
Founding Editorial Board
The editorial board around 1984. Left to right, Seated: Stephen Greenblatt, Svetlana Alpers, co-chairs. standing: Paul Alpers, Frances Ferguson, Randolph Starn, Paul Rabinow, Michael Rogin, Joel Fineman, Steven Knapp, Thomas Laqueur, Catherine Gallagher, Walter Benn Michaels. Not pictured: Denis Hollier, Lynn Hunt, R. Howard Bloch.
Photo by Benjamin Ailes.