Lucas Hollister
Biographic Data
| ID | 759297 |
|---|---|
| NAME | Lucas Hollister |
| GIVEN NAMES | Lucas |
| FAMILY NAME | Hollister |
| SIGNATURE | HOLLISTER L |
| AFFILIATIONS | Dartmouth College |
| ORCID | 0000-0003-2761-7732 |
| VERIFIED | Yes |
| TOTAL WORKS | 5 |
| TOTAL CITATIONS | 0 |
| WORKS AS AUTHOR | 5 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2013 |
| LATEST PUBLICATION YEAR | 2021 |
| H-INDEX | 0 |
Conversation questions for Professors Anne Simon and Stephanie Posthumus
These conversations highlight the ways in which Stéphanie Posthumus and Anne Simon, who work in different academic fields but often look at similar literary texts written in French, envision ecocriticism and zoopoetics. Drawing on their research of the last twenty years, they discuss intersections and differences of these two approaches within their respective geographical contexts, North American and European (and more specifically French). They…
Virginie Despentes’ queer crime fiction
Virginie Despentes has become one of France’s most commercially successful and celebrated novelists. However, while the French press has often labelled Despentes’ novels as crime fiction (‘polars’), there has been little in-depth scholarly discussion of how her work engages and transforms the conventions of the genre. Studies of Despentes’ queer/feminist themes and rhetoric would benefit from a more sustained attention to her ambivalent appropria…
Missing Modernism (Gide)
Through an examination of the paradoxical case of André Gide—who is at once a towering intellectual figure and, for scholars ranging from Paul de Man and Roland Barthes to Emily Apter and Michael Lucey, a “missing” writer—this article proposes a broad reflection on French modernism as a “missing” aesthetic-political concept. Specifically, it shows how different conceptions of Gide’s relation to modernism and postmodernism inform subsequent and co…
Fatale Revisited
Fatale Revisited: Reflections on the “Radical” in Radical Crime Fiction Lucas Hollister (bio) Je me flatte de penser que mon travail (très imparfaitement mené à bien dans Fatale, d’ailleurs) contribue à la suppression du polar. —Jean-Patrick Manchette1 Anyone studying crime fiction in the twentieth and twenty-first centuries eventually must confront a basic question of terminology and critical methodology: what allows us to qualify crime fiction …
Blaise Cendrars in Hollywood
In the various accounts of cinema's arrival as a cultural force, Blaise Cendrars’ views on the new art form are often presented as emblematic of the shifting positions of the early twentieth-century avant-garde. It is frequently argued that Cendrars’ writings demonstrate a gradual movement from exaltation of cinema as a new, superior language (what Jacques Rancière has called “l’utopie première du cinéma”), to the disparagement of cinema found in…
No prominent works on this page.
Blaise Cendrars in Hollywood
In the various accounts of cinema's arrival as a cultural force, Blaise Cendrars’ views on the new art form are often presented as emblematic of the shifting positions of the early twentieth-century avant-garde. It is frequently argued that Cendrars’ writings demonstrate a gradual movement from exaltation of cinema as a new, superior language (what Jacques Rancière has called “l’utopie première du cinéma”), to the disparagement of cinema found in…
Missing Modernism (Gide)
Through an examination of the paradoxical case of André Gide—who is at once a towering intellectual figure and, for scholars ranging from Paul de Man and Roland Barthes to Emily Apter and Michael Lucey, a “missing” writer—this article proposes a broad reflection on French modernism as a “missing” aesthetic-political concept. Specifically, it shows how different conceptions of Gide’s relation to modernism and postmodernism inform subsequent and co…
Fatale Revisited
Fatale Revisited: Reflections on the “Radical” in Radical Crime Fiction Lucas Hollister (bio) Je me flatte de penser que mon travail (très imparfaitement mené à bien dans Fatale, d’ailleurs) contribue à la suppression du polar. —Jean-Patrick Manchette1 Anyone studying crime fiction in the twentieth and twenty-first centuries eventually must confront a basic question of terminology and critical methodology: what allows us to qualify crime fiction …
Conversation questions for Professors Anne Simon and Stephanie Posthumus
These conversations highlight the ways in which Stéphanie Posthumus and Anne Simon, who work in different academic fields but often look at similar literary texts written in French, envision ecocriticism and zoopoetics. Drawing on their research of the last twenty years, they discuss intersections and differences of these two approaches within their respective geographical contexts, North American and European (and more specifically French). They…
Virginie Despentes’ queer crime fiction
Virginie Despentes has become one of France’s most commercially successful and celebrated novelists. However, while the French press has often labelled Despentes’ novels as crime fiction (‘polars’), there has been little in-depth scholarly discussion of how her work engages and transforms the conventions of the genre. Studies of Despentes’ queer/feminist themes and rhetoric would benefit from a more sustained attention to her ambivalent appropria…
Art (5 works) · Literature (5 works) · Philosophy (5 works) · History (4 works) · Law (4 works) · Philosophy (4 works) · Aesthetics (3 works) · Art history (3 works) · History (3 works) · Law (3 works)