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W3-Professur für Englische Philologie mit einem Schwerpunkt Literatur des Mittelalters und der Renaissance
|2019-||Cluster Director (together with Anita Traninger) of the Cluster of Excellence Temporal Communities: Doing Literature in a Global Perspective (EXC 2020 Temporal Communities)|
|2016-||Mitglied der DFG-Forschergruppe 2305 Diskursivierungen von Neuem an der FU Berlin, Teilprojekt 02 (zusammen mit Prof. Dr. Wolfram Keller, Humboldt-Universität zu Berlin): "Troynovant Revisited. Strategische Hybridisierungen in den konkurrierenden Antikentraditionen der englischen Literatur zwischen ca. 1380 und 1680"|
|2015-||Assoziiertes Mitglied der Kolleg-Forschergruppe Cinepoetics an der FU Berlin|
|2012-||Assoziiertes Mitglied der Kolleg-Forschergruppe BildEvidenz an der FU Berlin|
|2012-||Stellvertretender Sprecher DFG-Sonderforschungsbereich 980 Episteme in Bewegung: Wissenstransfer von der Alten Welt bis in die Frühe Neuzeit|
|2011-2015||Prodekan für Forschung des Fachbereichs Philosophie und Geisteswissenschaften der Freien Universität Berlin|
|2009-2011||Geschäftsführender Direktor des Instituts für Englische Philologie an der Freien Universität Berlin|
|2009-2011||Sprecher des Interdisziplinären Zentrums Mittelalter - Renaissance - Frühe Neuzeit an der Freien Universität Berlin|
|2009||Ruf an die Heinrich-Heine-Universität Düsseldorf auf die W3-Professur für Ältere Anglistik (abgelehnt)|
|2006||W3-Professur für Englische Philologie mit einem Schwerpunkt Literatur des Mittelalters und der Renaissance an der Freien Universität Berlin|
|2005||Habilitation an der Technischen Universität Dresden: "Performing the Middle Ages from Beowulf to Othello"|
|2004||Juniorprofessur für Literatur des Mittelalters an der Humboldt-Universität zu Berlin|
|1999-2003||Wissenschaftlicher Assistent an der Freien Universität Berlin|
|1998||Dissertation an der Freien Universität|
|1995-1999||Wissenschaftlicher Mitarbeiter an der Freien Universität Berlin|
|1994-95||Visiting Affiliate Graduate Research Student an der Yale University|
2015 - Stellvertretender Sprecher der Friedrich Schlegel Graduiertenschule
2015 - Member, Editorial Board, Frühmittelalterliche Studien
2012 - Member, Editorial Advisory Board, Anglia
2012 - Series Advisor, Manchester Medieval Literature and Culture
2009 - Mitglied im Beirat des Mediävistenverbands
2008 - Mitglied der Friedrich Schlegel Graduiertenschule
keine aktuellen Meldungen
keine aktuellen Termine
17315 -GK-Surveying English Literatures I
17322 -PS-Surveying English Literatures II: The Beauty of Survival - Writing the Second World War
17326 -PS-Medieval English Literatures II: The Rise and Fall of Camelot: Sir Thomas Malory
17393 -HS-Medieval English Literatures: The Canterbury Tales: The Gentils
17394 -MÜ-Medieval English Literatures: The Canterbury Tales: The Churls
17425 -C- Englische Philologie Colloquien:
17352 -S- Literatures of Medieval Britain: Modernity and Alterity in the Literature of Medieval Britain II: The Pearl Poet
17355 -S- Literary Studies: Periods - Genres - Concepts: The Historical Novel
17397 -HS- Medieval English Literatures: Troilus and Criseyde
17398 -MÜ- Medieval English Literatures: The House of Fame
17317 -PS- Surveying English Literatures II: Jane Austen
17325 -PS- Introduction to Cultural Studies II: Pomp and Circumstance: Filming the Monarchy
17333 -PS- Medieval English Literatures II: The Canterbury Tales
17348 -VS- Modernity and Alterity in the Literatures of Medieval Britain II: J.R.R. Tolkien
Für frühere Semester siehe http://userpages.fu-berlin.de/~ajjohnst/teaching.html
The past persists in material objects, perhaps most profoundly in the bodies of the long-dead and the artefacts associated with them. Such bodies, like those of Richard III and Cervantes, are erupting into view in contemporary Europe with increasing frequency. Whilst offering opportunities for education and the promotion of heritage, such encounters with the dead can also pose unsettling questions about cultural identity, the collective past, and the shape of time.
Why do the long-dead become flashpoints of identity for the living? Harnessing the disciplines of literature and archaeology, DEEPDEAD will examine historic and prehistoric encounters with human remains and related artefacts in England and Central Europe in order to shed light on their cultural and social power. Through a series of case studies juxtaposing distinct eras, cultures, and modes of recording the encounter, the project will reveal what is constant and what is locally and historically specific in our ways of interacting with the long-dead. Our research will explore the relationship between long-dead bodies and myths of national or community origin, and the ways in which they have been used to reinforce or challenge historical narratives. The project will thus lead to a better understanding of why these forms of matter provoke such a range of responses, and how stakeholders including archaeologists, curators, policy-makers, and the public might better anticipate and understand the reactions they elicit.
The discussion about the authority of the Past and the right of the New has been repeatedly marked as the watershed moment between pre-modernity and the modern.Pitted against this backdrop several individual studies have suggested that, rather than presuming a radical break, longer periods of time and complex agency would also have to be considered.
The research unit “The Discursivation of the New. Tradition and Renewal in Medieval and Pre-modern Texts” aims to create a systematic foundation for individual research. By analysing predominantly literary texts of differing European language and cultural spheres - ranging from the 12th to the 18th century - the question of how these texts negotiate the relationship between Old and New will be explored, theoretically and in practice.
It is the central hypothesis of the project that the representation of archaeological objects – ruins, treasures and especially (fragmentary) archaeological artefacts – in the literature of the English and Scottish Middle Ages generates alternative discourses of historical knowledge which are not voiced in the historiographical grands récits of the Christian Middle Ages. They go beyond these master narratives and potentially question them in the form of a counter-discourse.
The literary studies project, which is part of the work of the ‘Topics and Tradition’ interdisciplinary research group, examines the topos of ekphrasis in late Medieval and Early Modern literature.
The focus is the question of how ekphrasis generates new and theoretical, yet largely implicit knowledge of representation. It examines how this knowledge, which is developed by making conscious use of tradition, plays a vital role in staging literariness in English language writing in the late medieval and Early Modern periods, and how this knowledge can be used in the discussion of tradition itself.
The 14th century witnesses the development in England of a literary field in Bourdieu’s sense. Central issues of literariness are negotiated via a discourse of courtly love which finds its most ambitious expression in Geoffrey Chaucer’s romance Troilus and Criseyde (c. 1385). Here love is established as a kind of umbrella emotion which integrates and generates other emotions, such as fear, hope, or mourning. Chaucer’s text scrutinizes love both in terms of its textual and narrative genesis and in terms of its being socially and culturally constructed. Moreover, the romance elevates love to a privileged site for discussing the problem of subjectivity.
As we see how the generation, development and encoding of the emotion are placed at the centre of attention we understand how the narrative production of complex emotional phenomena turns into a marker of literariness as well as into an element of social distinction. It does not, therefore, come as a surprise that Troilus and Criseyde succeeds in retaining its status as a model text for questions of courtly love until well into the Renaissance.
This project seeks to analyse first, the process according to which a broad Chaucerian textual tradition makes use of Troilus and Criseyde for the purposes of giving expression to and critiquing increasingly complex notions of emotion, and second, how that same tradition becomes the site on which the emotions are conceptualized not only as literary phenomena but also as phenomena which participate in defining the very idea of literariness.