Jan Niklas Howe studied German Literature, Comparative Literature, and Philosophy at Freie Universität and Humboldt-Universität Berlin. He completed his Magister Artium in 2007 with a thesis on the function of the ornament in Romantic political theory. He studied French Literature and Art History at Paris 8 – Saint Denis and Comparative Literature at Johns Hopkins University. He has been the recipient of grants by the Studienstiftung des Deutschen Volkes and the Fulbright Commission.
Since October 2008, Jan Niklas has been working on a PhD thesis at the Friedrich Schlegel Graduate School of Literary Studies. His dissertation focusses on the banalisation and universalisation of monsters in 19th century literature, medicine, psychiatry and early evolutionary theory. Current research interests include theories of emotion and political theory. He has co-organized a conference on “Techniques of the Uncanny” at the ICI Berlin in April 2009.
In 2011/12 he has concluded his doctoral studies at the Friedrich Schlegel Graduate Schools. His thesis is entitled Monsters and Monstrosities (General and Comparative Literature).
Since April 2011, Jan Niklas Howe is a "Wissenschaftlicher Mitarbeiter" at the Peter Szondi Institute for Comparative Literature, FU Berlin.
Further information will follow.
Abstract to "Monsters and Monstrosities":
To early modern scientific research, Francis Bacon proposes three disciplines: the history of nature, the history of artifacts and the history of marvels. The objects of the latter he alternately labels “instantiae deviantes”, “errores naturae”, or “monstra”. Due to the very bizareness of its object, this third discipline assumes a privileged epistemological status within the Novum Organon. According to Bacon, nature in its radical deviations “behaves” like art and thereby reveals the conditions on which the natural as well as the artificial are predicated.
Within modernity’s second interdisciplinary inflation of monsters as scientific objects, nineteenth century monster studies designate their purpose more moderately. However, as Michel Foucault has observed, all discourses within the sciences humaines are reorganised around the figure of the monster. This is particularly the case in medical teratology, psychiatry, criminology and literary genres preoccupied with monsters such as gothic novels and detective novels. Additionally the monster assumes a central function in discourses as heterogeneous as early evolutionary theory, statistics, science fiction and the pre-psychoanalytic fiction of Henry James or Guy de Maupassant.
My thesis investigates the dialectic framework of a modern aesthetics of the monstrous. Nineteenth century teratological discourses do not, as Foucault assumes, follow a linear path of banalisation. Rather, they oscillate between allegorical and highly stylised individuations of singular monsters on the one hand and a complete dispersion of monstrous traits on the other hand. I will attempt to show that banalisation/universalisation and figural reorganisation are simultaneous processes within one and the same historical paradigm of atopic monstrosities, one that nevertheless maintains a tendency towards singularisation. I will analyse the process of permanent defiguration and refiguration of the monstrous with regard to its poetic conception and its social function.