Chair
Literature and Comparative Media
Date of appointment 01.04.2014
Profile

Dr. Kiene Brillenburg Wurth is full professor of Literature and Comparative Media at the University of Utrecht and project leader of the VIDI-project Back to the Book (2011-2016) funded by the Dutch Research Council, on the interactions between 'analog' and electronic literature in the digital age. She has been Director of Graduate Studies since December 2013.

Kiene's research focuses on: literature and (new) media; music; aesthetic theory; intermediality in the modern and post-modern age. She is the author of Musically Sublime (New York: Fordham UP, 2009), and (with Ann Rigney) Het leven van teksten. Een Inleiding in de literatuurwetenschap (Amsterdam UP, 2006, 2008) used throughout the Netherlands. She is editor of Between Page and Screen: Remaking Literature Through Cinema and Cyberspace (Fordham/Oxford UP 2012). She is preparing a special issue on Literature and the Material Turn for Comparative Literature (2017) and, with Karí Driscoll and Jessica Pressman, is editing the volume Book Presence in a Digital Age (forthcoming in 2016 with Bloomsbury). Her new monograph Back to the Book: Fiction and the Future of Writing is due in 2017 with the MIT Press. She has published widely in peer-reviewed journals and volumes on literature and new media, intermediality, music, and music philosophy.
 
New projects include joint research on creative intelligence in education (with Evelyn Kroesbergen) and creativity as productive potentiality in post-WWII multimodal literature. Kiene is now organizing the conference Charisma's of the Book with Thomas Augst at the NYU Abu Dhabi Institute, March 2016. She is also chief organizer of the American Comparative Literature Association's 2017 conference at UU.
 
Kiene teaches MA courses on literature and digitality, and BA courses on literary theory and intermediality (literature, film, and music).
 
More information on Back to the Book: http://backbooks.wordpress.com/

Strategic themes / Focus areas
Involved in the following study programme(s)
Scientific expertise
literature and (new) media
music

Between page and Screen: Remaking Literature Through Cinema and Cyberspace

Musically Sublime

The life of Texts
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Curriculum vitae Download PDF

Kiene Brillenburg Wurth is profile professor of Literature and Comparative Media at Utrecht University and project leader of the NWO-funded VIDI research project Back to the Book (June 2011-2016). She gained both her MA and her Phd degree cum laude, and started out as an assistant professor at Utrecht University in 2001. Between September 2009 and June 2011, she worked as a senior researcher on a joint project on satire and intermediality. Between August 2010-August 2011 she was a visiting scholar at the Comparative Literature Department at Harvard University. Her books include Between Page and Screen: Remaking Literature Through Cinema and Cyberspace (NY: Fordham UP/Oxford UP), Musically Sublime (NY: Fordham UP), and with Ann Rigney, Het leven van teksten (Amsterdam: Amsterdam UP), an introductory text on Literary Studies used throughout the Netherlands. She has published widely in peer-reviewed volumes and journals. Forthcoming is a volume on Liminal Auralities: at the Thresholds of Listening, co-edited with Sander van Maas and contracted by Fordham UP/Oxford UP, and an interdisciplinary volume on screen satire. She is finishing a new monograph entitled Back to the Book, which focuses on recent experimental fictions, altered books and on altered practices of reading, writing, and authorship in the last two decades, contracted with MIT. More information: http://backbooks.wordpress.com/

Since 2013 she has been Director of Graduate Studies at the Department of TLC. As director, she is in the office on Mondays and Tuesdays, tel 2538593.

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All publications
  2017 - Book editorship
Driscoll, Kári, Pressman, Jessica & Brillenburg Wurth, Kiene (2017). Book Presence in a Digital Age. New York: Bloomsbury.
  2015 - Inaugural speech
Brillenburg Wurth, C.A.W. (2015). Het schrijven aan de wand: literatuur in de toekomst. (32 p.). Utrcht: Utrecht University.
  2015 - Lectures
C.A.W. Brillenburg Wurth (06.11.2015). Experimental Literature in the Digital Age.
C.A.W. Brillenburg Wurth (29.05.2015). Het schrijven aan de wand: literatuur in de toekomst. Oratie.
C.A.W. Brillenburg Wurth (25.11.2015). International COnference Tex/tures.
C.A.W. Brillenburg Wurth (11.12.2015). Reframing Creativity Through Experimental Literature.
  2014 - Articles
Brillenburg Wurth, Kiene (11.07.2014). Diffraction, Handwriting and Intra-Mediality in Louise Paillé's Livres-livres. Parallax, 20 (3), (pp. 258-273) (15 p.).
Brillenburg Wurth, Kiene (30.12.2014). The Dis-Appearance of Writing. Literature and the Imaginary. Image [&] Narrative, 15 (4), (pp. 70-79) (10 p.).
  2013 - Articles
Brillenburg Wurth, C.A.W. (04.09.2013). Berichten uit een schriftloze samenleving. De groene Amsterdammer, (pp. 54-57) (3 p.).
Brillenburg Wurth, C.A.W. (2013). Re-vision as Remediation - Hypermediacy and Translation in Anne Carson’s Nox. Image [&] Narrative, 14 (4), (pp. 20-33).
Brillenburg Wurth, C.A.W., Espi, S R & van de Ven, I.G.M. (2013). Visual Text and Media Divergence - Analog Literary Writing in a Digital Age.. European Journal of English Studies, 17 (3), (pp. 92-108) (18 p.).
  2013 - Articles in volumes / proceedings
Brillenburg Wurth, C.A.W. (2013). The Bodies of Henri Chopin. In Andrew & Keith Clark & Chapin (Eds.), Speaking of Music, (pp. 192-211) (20 p.). New York: Fordham UP.
  2013 - Lectures
C.A.W. Brillenburg Wurth (18.01.2013). “Absolutely Fabulous, Satire, and the Grotesque”. International Conference The Power of Satire, Utrecht University.
C.A.W. Brillenburg Wurth (19.11.2013). “Digital Subjects, Digital Losses: Memory, Forgetting, and the Future of Writing”. International conference Le sujet digital.
C.A.W. Brillenburg Wurth (26.09.2013). “Intermediality, Illegibility, and the Future of Writing”. keynote address international conference Intersemiotic Translation, Lodz.
C.A.W. Brillenburg Wurth (22.07.2013). “New Materialities in Contemporary Literature”. ICLA conference.
C.A.W. Brillenburg Wurth (18.04.2013). “Page and Screen: Anne Carson’s Nox”. Comparative Literature Seminar.
  2012 - Books
Brillenburg Wurth, C.A.W. & Rigney, A. (2012). Het leven van teksten. Een inleiding tot de literatuurwetenschap. Amsterdam: Amsterdam University Press (vierde herziene druk), Vierde druk.
  2012 - Book editorship
Brillenburg Wurth, C.A.W. (2012). Between Page and Screen. Remaking Literature Through Cinema and Cyberspace. (352 p.). New York: Fordham University Press/Oxford University Press.
  2012 - Articles
van de Ven, I.G.M. & Brillenburg Wurth, C.A.W. (2012). Posthumously Speaking: Thanatography in a Posthuman Age. Frame: Tijdschrift voor Literatuurwetenschap, 25, (pp. 47-65) (19 p.).
  2012 - Articles in volumes / proceedings
Brillenburg Wurth, C.A.W. (2012). Flowers, Skin, and Soul. In Heide Hatry (Eds.), Not A Rose New York, Milan: CHARTA.
  2012 - Lectures
C.A.W. Brillenburg Wurth (07.11.2012). “Literature and the Posthuman in the Digital Age: Thanatography”,. NICA Seminar Remediation and Reinvention: LIterature, Science, and Media Machines.
C.A.W. Brillenburg Wurth (05.11.2012). “Monuments to the Past, Monuments to the Book: Fabulated Histories in the Photonovellas of Kahn & Sellesnick”,. Comparative Literature Seminar.
C.A.W. Brillenburg Wurth (11.07.2012). Erasure Texts: Derrida and Literary Reading in a Digital Age. Derrida Today Conference.
C.A.W. Brillenburg Wurth (28.05.2012). Media Divergence: Handwriting and Erasure in Artist’s Books. Utrecht University, Book Presence in a Digital Age.
C.A.W. Brillenburg Wurth (08.12.2012). OVERWRITING: A Critique of Writing; or, Words Becoming Flash. Terra Critica Workshop.
  2011 - Articles
Brillenburg Wurth, C.A.W. (2011). Posthumanities and Post-textualities: Reading The Raw Shark Texts and Woman's World. Comparative Literature, 63 (2), (pp. 119-141) (22 p.).
Brillenburg Wurth, C.A.W. (2011). Spitting Image and Pre-Televisual Political Satire - Graphics and Puppets to Screens. Image [&] Narrative, 12 (3), (pp. 113-136) (23 p.).
  2011 - Articles in volumes / proceedings
Brillenburg Wurth, C.A.W. (2011). Cinematography as a Literary Concept in the (Post)Modern Age. In CAW Brillenburg Wurth (Eds.), Between Page and Screen. Remaking LIterature Through Cinema and Cyberspace (pp. 1-23) (23 p.). New York: Fordham University Press / Oxford University Press.
Brillenburg Wurth, C.A.W. (2011). Introduction to: Between Page and Screen. In CAW Brillenburg Wurth (Eds.), Between Page and Screen. Remaking Literature Through Cyberspace. (pp. 1-26) (26 p.). New York: Fordham University Press/Oxford University Press.
Brillenburg Wurth, C.A.W. (2011). Posthuman Subjects, Assembeld Textualities: Remediated Print in the Digital Age. In CAW Brillenburg Wurth (Eds.), Between Page and Screen. Remaking Literature Through Cinema and Cyberspace (pp. 1-34) (34 p.). New York.: Fordham University Press/Oxford University Press.
  2011 - Lectures
C.A.W. Brillenburg Wurth (07.11.2011). Book Presence and Paper Trails in the Digital Age: Book Art, Hybrid Fiction, and Perzines. Seminar Comparative Literature 2011-12.
C.A.W. Brillenburg Wurth (03.04.2011). Erasure and Illumination: Reading Louise Paille Diffractively. Conference of the American Comparative Literature Organization..
C.A.W. Brillenburg Wurth (02.06.2011). Organisatie Symposium. Satire TV: Puppetry, Mimicty, Laughter..
C.A.W. Brillenburg Wurth (02.06.2011). Puppetry and Satire TV: The Case of Spitting Image. Harvard University, Cambridge, USA., Symposium Satire TV: Puppetry, Mimicry, Laughter..
C.A.W. Brillenburg Wurth (08.03.2011). Satire as a Cultural Narrative. Invited lecture for International Conference Transmediated Narratives..
C.A.W. Brillenburg Wurth (10.12.2011). Writing as Erasure: Book Art, Memory, and Forgetting in the Digital Age. Amsterdam, Digital Poetics.
  2010 - Lectures
C.A.W. Brillenburg Wurth (08.10.2010). Books and Bookishness in the Age of Digitization. Harvard University, Cambridge, USA., Invited lecture.
C.A.W. Brillenburg Wurth (26.10.2010). Music as Somatechnics: Beat Furrer and Henri Chopin. University of Pennsylvania, Philadelphia, USA, Invited lecture.
C.A.W. Brillenburg Wurth (27.10.2010). Music, Satire, and the Sublime. Invited Seminar..
C.A.W. Brillenburg Wurth (16.09.2010). Musical Painting, Musical Poetry in the 19th and early 20th centuries. Boston University, Boston, USA., Invited lecture..
C.A.W. Brillenburg Wurth (03.04.2010). The Recorded Voice and the Orpheus Myth: Mixing Media in The Raw Shark Texts. New Orleans, American Comparative Literature Association., Panel presentation..
  2009 - Books
Brillenburg Wurth, C.A.W. (2009). Musically Sublime. Indeterminacy, Infinity, Irresolvability. New York: Fordham University Press (peer reviewed).
  2009 - Articles in volumes / proceedings
Brillenburg Wurth, C.A.W. (2009). Ophelia and the Musically Sublime/Ophelia en het muzikaal sublieme. In C. Santing & F. Wildschut (Eds.), Sehnsucht, Melancholia, and Desire for Death/Sehnsucht, melancholie en doodsverlangen (pp. 208-247) (40 p.). De buitenkant.
Brillenburg Wurth, C.A.W. (20.02.2009). Speaking of Sound: The Bodies of Henri Chopin. In K Chapin & A Clark (Eds.), In: Speaking of Music. (pp. 1-34) (34 p.). New York: Fordham University Press/Oxford University Press, Speaking of Music.
  2009 - Lectures
C.A.W. Brillenburg Wurth (06.01.2009). "Globalization, Migration, Digitilization: Hard-Boiled WOnderland and Beyond",. Ravenstein, keynote lecture.
C.A.W. Brillenburg Wurth (26.03.2009). Globalization and Digitilization in Contemporary Fictions. Harvard, Cambridge, Global Languages, Local Cultures.
C.A.W. Brillenburg Wurth (25.05.2009). Intermedialities in Stravinsky's Oedipus Rex. Groningen, Intermediality; terms, concepts, and approaches.
C.A.W. Brillenburg Wurth (20.02.2009). Listening at the Boundaries of Humanity. New York, Speaking of Music.
C.A.W. Brillenburg Wurth (17.12.2009). Remediating Satire: Performatives, Puppets, and Blisters. Santiago de Compostela, Spanje, Intermediality, Multimedialty, Postmediality.
  2008 - Book editorship
Rigney, A. & Brillenburg Wurth, C.A.W. (2008). Het leven van teksten: een inleiding tot de literatuurwetenschap. (432 p.). Amsterdam: Amsterdam University Press. Tweede herziene druk, Tweede herziene editie.
  2008 - Articles
Brillenburg Wurth, C.A.W. (2008). "Cyberpoetics: an Intermedial Perspective". Frame: Tijdschrift voor Literatuurwetenschap (1), (pp. 30-53) (24 p.).
  2007 - Book parts / chapters
Brillenburg Wurth, C.A.W. & van Maas, S. (2007). Radical Indeterminacy/Radicale onbepaaldheid. In L Heringa & M van Klasbeek (Eds.), Controlled Accidents (Catalogue for 'Cruel Bonsai', Stedelijk Museum CS, September-january 2007/2008) (pp. 13-27) (15 p.). Amsterdam: Flevodruk/Idea Books.
  2007 - Articles
Brillenburg Wurth, C.A.W., Brook, E., Norkus, Z., Bevir, M. & Ankersmit, F. (2007). The Musicality of the Past; Sehnsucht, Trauma, and the Sublime. Journal of the Philosophy of History, 1 (2), (pp. 219-247) (29 p.).
  2007 - Articles in volumes / proceedings
Brillenburg Wurth, C.A.W. (2007). Radical Indeterminacy: the sublime sculptures of Heringa/Van Kalsbeek/Radicale onbepaaldheid: de sublieme beelden van Heringa/Van Kalsbeek. Controlled accidents: the work of Heringa/Van Kalsbeek (pp. 45-53) (9 p.). Amsterdam: Idea Books, Catalogue for solo exhibition at Amsterdam Stedelijk Museum CS.
Brillenburg Wurth, C.A.W. (2007). Sounds Like Now: Music, Avant-Gardism, and the Postmodern Sublime. In R McParland (Eds.), Music and Literary Modernism. Critical Essays and Comparative Studies (pp. 12-32) (21 p.). Newcastle: Cambridge Scholars Press.
  2007 - Lectures
C.A.W. Brillenburg Wurth (04.07.2007). Coordinator Remediating Literature. Congres.
  2006 - Book editorship
Brillenburg Wurth, C.A.W. & Rigney, A. (2006). Het leven van teksten: een inleiding tot de literatuurwetenschap. (432 p.). Amsterdam: Amsterda University Press.
  2006 - Book parts / chapters
Brillenburg Wurth, C.A.W. (2006). Betekenis en interpretatie. Het leven van teksten. Een inleiding tot de literatuurwetenschap (pp. 263-289) (27 p.). Amsterdam: AUP.
Brillenburg Wurth, C.A.W. (2006). Intermediale poetica. Het leven van teksten. Een inleiding tot de literatuurwetenschap (pp. 115-156) (42 p.). Amsterdam: AUP.
Brillenburg Wurth, C.A.W. (2006). Literatuur als koloniaal en postkoloniaal discours. In C.A.W. Brillenburg Wurht & A. Rigney (Eds.), Het leven van teksten. Een inleiding tot de literatuurwetenschap (pp. 365-393) (29 p.). Amsterdam: AUP.
Brillenburg Wurth, C.A.W. (2006). Tussen hoog en laag. In C.A.W. Brillenburg Wurth & A. Rigney (Eds.), Het leven van teksten. Een inleiding tot de literatuurwetenschap (pp. 335-362) (28 p.). Amsterdam: AUP.
  2006 - Articles
Brillenburg Wurth, C.A.W. (2006). Digitality, Intermediality, and the Miracle of the Monomedium. Revue des Littératures de l’Union Européenne, 5 (juillet). Tijdschrift is digitaal: Revue des litteratures Europeenne. Special issue: Litteratures numeriquees en Europe, etat de l'art.
  2006 - Articles in volumes / proceedings
Brillenburg Wurth, C.A.W. (2006). Decorum, duplicity, and faith: afterthoughts on the sublime. In Jurgen Pieters & Bart Vandenabeele (Eds.), Histories of the sublime (pp. 135-146) (12 p.). Brussel: Akademie van Wetenschappen.
  2005 - Articles
Brillenburg Wurth, C.A.W., van buuren, m., doorman, m., Hendrix, H.A. & mooij, j.j.a. (2005). Klanken zonder ritme: een genealogie van het muzikaal sublieme. Feit & fictie: tijdschrift voor de geschiedenis van de representatie, VI (1).
Brillenburg Wurth, C.A.W., van den Abeele, B., Kerslake, l., Krul, W. & Scheunemann, D. (2005). Reconsidering the Postmodern Sublime: From Kant to Lyotard, and Back to Burke. Phrasis: Studies in Language and Literature, 46 (1), (pp. 63-74) (12 p.).
Brillenburg Wurth, C.A.W. (2005). Schopenhauer, Wagner, Nietzsche: een genealogie van het muzikaal sublieme. Feit & fictie: tijdschrift voor de geschiedenis van de representatie, VII (1), (pp. 80-98) (19 p.).
  2005 - Articles in volumes / proceedings
Brillenburg Wurth, C.A.W. (2005). Beethoven en het muzikaal sublieme. In Eric Heijermans & Albert van der Schoot (Eds.), Wat is de taal van muziek? Muziekfilosofie in Nederland (pp. 129-143) (15 p.). Best: Damon.
Brillenburg Wurth, C.A.W. (2005). Decorum, Duplicity, and Faith: Afterthoughts on the Sublime. In C. Madelein & J. Pieters (Eds.), Histories of the Sublime (pp. 135-146) (12 p.). Brussel: KVAB (Koninklijke Vlaaamse Academie van België voor W & K.
  2004 - Book parts / chapters
Brillenburg Wurth, C.A.W. (2004). Coleridge's Kantian appropriation of sublime nature in the Lake District. In Amanda Gilroy (Eds.), England's green and pleasant land. English culture and the romantic countryside (pp. 19-31) (13 p.). Brussel: Peeters.
  2004 - Articles
Brillenburg Wurth, C.A.W. (2004). The grand style and the aesthetics of terror in eighteenth-century musical performance practices. Journal of Music Theory, 9 (1), (pp. 44-55) (12 p.).
  2003 - Articles
Brillenburg Wurth, C.A.W. (2003). De cultuurindustrie en het hoog-laag probleem. Tsjip. Tijdschrift voor literaire vorming, 13 (3), (pp. 3-9) (7 p.).
  2000 - Articles
Brillenburg Wurth, C.A.W. (2000). Verlangen in onzekerheid: Sehnsucht, muziek en het sublieme. Feit & fictie: tijdschrift voor de geschiedenis van de representatie, IV (4), (pp. 39-56) (18 p.).
  1999 - Articles in volumes / proceedings
Brillenburg Wurth, C.A.W. (1999). Burke, Bartram, and the Sublime: The spectacle of death and the limits of reprsentation. In Wil Verhoeven & Beth Dolan Kautz (Eds.), Revolutions and watersheds. Transatlantic Dialogues 1775-1815 (pp. 27-39) (13 p.). Amsterdam: Atlanta: Rodopi.
  1998 - Articles
Brillenburg Wurth, C.A.W. (1998). De muziek als nachtmerrie - of: het geheim van de verrukking. Groniek, 31 (140).
  0 - Lectures
C.A.W. Brillenburg Wurth (0). Media Mnemonics: Jasper de Beijer and the Staging of a Colonial Past. International Symposium Technologies of Memory.
C.A.W. Brillenburg Wurth (0). Panel with & about Hayden White: History, Historiography and the Novel. Panel with & about Hayden White: History, Historiography and the Novel.
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Completed projects

Project:
Back to the Book: Analog Literature in a Digital Age 01.06.2011 to 01.06.2016
General project description

Since the late 1980s, scholars have claimed that the future of Western literature as an art form would be electronic: innovations in literature would come from the electronic technology of hypertext, replacing paper and books as state-of-the-art bearers of the literary. Such claims have been part of a growing tendency in media studies to consider the digital as the integration of all media. In line with this tendency, Henry Jenkins has identified media convergence as a key dynamic of the present: different media meeting and merging. However, since the 2000s, claims for the electronic-literary future and media convergence stand in need of being corrected. From the 1990s on, literature has been transformed on paper and in book-form as much as, if not more radically than, it has been innovatively transformed in electronic environments. My project investigates these reinventions, and then investigates if they point to a more complex dynamic of media-interaction in the present: one typified by divergence rather than convergence alone; by material diversity rather than digital unification alone. How has the literary evolved as an analog art alongside the digital, and how does this evolution complicate existing models of media convergence? The question is probed on the basis of three integrated cases regarding the re-materialization of the novel and the book as a hybrid mode, and the subculture of paper-based networks of self-expression in personal zines.

 
Role Project Leader
Individual project description

Palimpsests: Altered Books and Treated Texts as Analog Hypermedia 1990-2010 Description A. Etchings THE IDEA: Cut the bindings off of books found at a used book store. Find poems in the pages by the process of obliteration. Put pages in the mail and send them all around the world. Lather, rinse, repeat. Altered Books (http://www.logolalia.com/alteredbooks/) Altered Books is a collaborative artistic project: recalling object trouvé and mail art (Welch 1995), it is part of an analog network aesthetics that can be traced to the 1960s, but that has been claimed as a novelty of the digital age (Scholder & Crandall 2001; Pressmann 2006). As a work of obliteration, Altered Books builds specifically on the classic example of Tom Phillips’ A Humument (1970-),the brilliant and ongoing visual re-inscription of W.H. Mallock’s novel A Human Document (1892) (http://humument.com/), and on excised word-poems like Ronald Johnson’s Radi os(1977), a reduction of Milton’s Paradise Lost. Thus, Altered Books creatively eradicates texts, (by means of pencil strikethroughs, painted images, graphic design, or pasted images) leaving only a few legible words on a page, which can be read as poetic fragments (cf. “He reached rolled pulled closed refused” – extracted from one paragraph). As a communal activity, the eradicating is interactive, as the members of the network respond to each other’s work. Even where book-altering is performed by a single author-designer (Will Ashford, Karen Hatzigeorgiou), it is still ’collaborative’ in the creative engagement with found print texts. B. Excavations I begin with an existing book and seal its edges, creating an enclosed vessel…I cut into the surface of the book and dissect through it from the front. I work with knives, tweezers and surgical tools to carve one page at a time, exposing each layer while cutting around ideas and images of interest…Images and ideas are revealed to expose alternate histories and memories. My work is a collaboration with the existing material and its past creators. Brian Dettmer (http://www.flickr.com/photos/briandettmer/) Apart from etching, book-altering has evolved as a mode of creative, sculptural excavation in the last two decades, with new and established artists like Brian Dettmer and Douglas Beube leading the field. Using discarded books of knowledge (maps, encyclopaedia’s) (Brian Dettmer) or works of fiction (Jennifer Khoshbin) excavators re-present the book as an object, testing its limits, its known functions, and/or the interpretations attached to it: the selective removal and reworking of book- and page matter allows new ideas to emerge. Research has been performed into the history of altered books as visual artefacts (Drucker & Bernstein 1998, Bright 2005, Wasserman et al 2006, Murphet 2009) and their artistic lineage –My project focuses on etching and excavation as book-altering practices that have flourished among (groups of) professional and amateur artist/author/designers during the last two decades. It develops critical tools to analyze the ways in which such practices: 1. evolve in material contrast to the digitization of print, though they depend on the internet as a network of marketing and display, distribution and communication; 2. explore the potential of paper, print, and book as hybrid material, refashioning the book and the page as Gesamtkunst (newly integrating word & image, word & sculpture, or word & graphic design); 3. display book- and page-works as the visible imprint of an act of reading/scanning, forged as a singular, auratic materiality, yet based on an appropriated source text/book; 4. may thus indicate a recycling of pre-modern manuscript culture (Avrin 1991, Marotti 1995, Chartier 2005) in which texts were freely erased, reused, or enriched (palimpsests), foregrounding reading and writing as intertwined, interactive processes; 5. thus help us to rethink the cultural significance of authorship in an age when copyrights and open access are hotly debated and authorship is becoming increasingly complex. Central aim This project aims to make an integrated inventory and analysis of two currents of book-altering (etching and excavating) that have evolved during the last two decades, and account for the ways in which they reshape autography and authorship in the age of media multiplicity. On this basis, and on the basis of the 2 phd-projects, the project offers a synthesis of the (inter)disciplinary transformations of literature and their consequences for academic research.

Funding
Utrecht University: NWO - Dutch Research Council
Project members UU
Project:
The power of satire: cultural boundaries contested 01.08.2009 to 01.08.2013
General project description

The power of satire investigates the cultural impact of satire in different countries, different media and different time periods. 


The research project proposes a strategic intervention into the deadlocked scholarly debate on satire. In this debate satire has been mainly considered as an 'artistic', particularly a 'literary' genre per se – which has proved to be an unproductive approach. We consider satire as an intercultural mode of performance that is intermedially charge; A mode with the power to contest cultural boundaries in different communities and in different periods of time, a mode that travels between multiple media and challenges traditional media oppositions. The project concentrates on one fundamental issue: migrating from one medium to another - and, as such, using the creative tensions and interactions between them - how has the cultural impact of satire been framed and conditioned?


 
 
Role Researcher Funding
NWO grant
Project members UU
External project members:
  • prof. dr. Frans Grijzenhout
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Currently prof. dr. Kiene Brillenburg Wurth teaches the following course(s):
CodeDescriptionF/PLevelECTS
TLRMV16203 Tlc-Research Lab V M 7.5
LI2V13001 Lit-Literature and the Cinema V 2 7.5
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Additional functions and activities

Chair evaluation panel Nordic and Comparative Literature for the Norwegian Research Council.

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Full name
prof. dr. C.A.W. Brillenburg Wurth Contact details
Transcomplex

Trans 10
Room 1.42
3512 JK  UTRECHT
The Netherlands


Phone number (direct) +31 30 253 8593
Phone number (department) +31 30 253 6130
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Last updated 26.05.2017