Vita
- 01 - 04/2015
- Forschungsaufenthalt am Department of English Studies an der University of Durham, UK
- seit 10/2013
- Promotionsstipendiatin im DFG-Graduiertenkolleg Literarische Form der WWU Münster
- 04 - 09/2013
- Lehrbeauftragte am Englischen Seminar, Abt. Literatur- und Kulturwissenschaft der TU Braunschweig
- 01 - 06/2013
- Exposé-Stipendium der Leibniz Universität Hannover
- 2011 - 2012
- DAAD-Sprachassistentin am Department of German, University College Cork, Irland
- 01 - 04/2011
- Unterrichtspraktikum für Deutsch als Fremdsprache am Department of Germanic Studeis, Trinity College Dublin, Irland
- 2009 - 2011
- M.A.-Studium in Advanced Anglophone Studies an der Leibniz Universität Hannover
- 2008 - 2009
- ERASMUS-Studienaufenthalt an der University of Bristol, UK
- 2005 - 2009
- B.A.-Studium der Anglistik und Religionswissenschaft an der Leibniz-Universität Hannover
Publikationen
Im Erscheinen „Contesting and Continuing the Romantic Lyric: Eavan Boland and Kathleen Jamie.” Erscheint in: Poem Unlimited: New Perspectives on Poetry and Genre. Hg. David Kerler und Timo Müller. 2017 Mit Sandra Dinter. „Legacies of the Romantic Child: Teaching Post-Romantic Constructions of Childhood in Contemporary British Fiction.” In: Romantic Circles Pedagogy Commons. 2017 Mit dem Graduiertenkolleg „Literarische Form“: Formen des Wissens: Epistemische Funktionen literarischer Verfahren. Winter Verlag. [Herausgeberschaft] 2016 „Precision Instruments for Dreaming: Anatomizing Keats in Pauline Stainer’s The Wound-dresser’s Dream.” Romanticism 22.2: 230-241. 2013 „Jessica Nowoczien (2012): Drama in the Classroom: Dramenarbeit im Englischunterricht der Sekundarstufe I im Hinblick auf Gendersensibilisierung und interkulturelle Kommunikation.“ [Rezension] Vorträge
2017 „Wild Verse: Reading Nature in the Poetry of Ann Batten Cristall.” The Lost Romantics, Universität Vechta. 2016 „Eavan Bolands Dublin: Die Stadt als Ort romantischer Aktualisierung und Kritik in der irischen Gegenwartslyrik.“ Romantische Urbanität: Transdisziplinäre Perspektiven vom 19. bis zum 21. Jahrhundert. Friedrich-Schiller-Universität Jena. 2015 "'Out of myth into history': Contesting and Continuing Romanticism in Contemporary Scottish and Irish Poetry" Poem Unlimited: New Perspectives on Poetry and Genre, Universität Augsburg. 2015 "The Poetry of Kathleen Jamie", Centre for Poetry and Poetics Forum, Durham University, UK. 2014 "Dreaming the 'Wound-Dresser's Dream': Keats's Post-Romantic Legacies in Contemporary British Poetry." John Keats and his Circle, Keats House, Hampstead. 2014 „Ecocriticism, Post-Romanticism and the Predicament of Contemporary Environmental Poetry.“ Romantic Heirs: Receptions, Legacies, Dialogues Since 1900, University of Sheffield. 2013 „Constructions of Romanticism in Paul Farley’s and Michael Symmons Roberts’s Edgelands.“ Shifting Territories: Modern and Contemporary Poetics of Place, Institute of English Studies, University of London. 2013 „Romanticism and Negotiations of Femininity and Subjectivity in Contemporary Women’s Poetry.“ The F Word in Contemporary Women’s Writing, Queens University, Belfast. 2011 „Performing Victimhood: Sexualized Power Plays in the Serial-Queen Melodrama.“ American Pornographies: Consumerism, Sensationalism, and Voyeurism in a Global Context, Universität Leipzig. Dissertationsprojekt
Arbeitstitel: Post-Romantic Aesthetics in Contemporary British and Irish Poetry (working title)
My thesis examines responses to and dialogues with Romanticism in British and Irish poetry since 1980. The project focuses on a selection of poets, most of whom hail from the ‘Celtic’ regions Scotland, Wales and Ireland, whose works foreground questions of marginality in relation to ecological, regional and gendered constructions of subjectivity and alterity (e.g. Gillian Clarke, Eavan Boland, Kathleen Jamie, John Burnside, Alice Oswald). In contrast to the more radical formal experiments of 20th century avant-garde poetries, this kind of ‘poetry with a cause’ (Müller-Zettelmann) presents poetic language as a means of authentic emotional and political (self-)expression, For these authors, Romanticism constitutes a crucial, yet challenging point of reference – in formal as well as ideological terms. Centring on formal constructions of poetic subjectivities, my thesis seek to analyse this relationship and argues that it is, in fact, functionalised productively in the attempt to model subject positions that challenge culturally established binary oppositions.
On the one hand, these poets tend to avoid, for example, nostalgic, anthropocentric approaches to nature or the masculinisation of the lyric ‘I’ and try to find ways to dissolve the subject-centred approach of Romantic lyric poetry. On the other hand, however, they continue Romantic concepts of the creative imagination and organic form and draw on genres, specific metaphors and imagery established by Romantic poets in the intent to formally ‘naturalise’ poetic language. Moreover, the way the poets stage themselves in poetological discourse, as mediators between nature and culture, art and life, recreates Romanic ideals of authorship. Yet, at the same time, they construct specific visions of Romanticism as antithetical to environmentalist, feminist or postcolonial poetics. Taking these contradictions as a starting point, the project aims to explore which different Romanticisms are (de)constructed here and how individual aesthetic practices of Romantic poetry are simultaneously countered and appropriated (cf. O’Neill 2007) in order to find alternative ways of modelling subjective experience.
In their quest for poetic subjects and objects in-between cultural hierarchies such as the nature/culture divide, these post-Romantic authors in fact deal with the same problem Romantic literature responds to: the paradox that the particular cannot be rendered universal without being mediated, that the subjective perspective of lyric poetry can never be fully transcended. Yet, poets of the late 20th/early 21st century encounter this crisis of expression within different cultural and epistemological contexts than the Romantics. Their texts also tend to self-reflexively display an awareness of this connection with Romanticism and deliberately attempt to transcend it. Finally, Romanticism itself is an instable concept, connoting tradition and innovation, marginality and cultural prestige at the same time. However, it could be exactly this paradoxicality which accounts for its lasting productive presence in contemporary poetry and Western cultures at large. Taking these aspects into account, my study will further develop the notion of the ‘post-Romantic’, a term that so far has not been sufficiently theorised in scholarship, in order to grasp such constructions of relationships of difference.Supervisors:
Prof. Dr. Klaus Stierstorfer (Münster), Prof. Dr. Rainer Emig (Hannover), Prof. Michael O'Neill (Durham)
