Hermes Summer School ‘Space, Affect, Memory: Performances and Representations’

Centre for Advanced Studies (CIEDUS), Universidade de Santiago de Compostela | 22-26 June 2020


Research Group – Theory of Literature and Comparative Literature, PhD Programme in Literary and Cultural Studies. University of Santiago de Compostela (Spain)

Call for Papers

Bringing together the notions of space, affect, and memory results in an appealing intersection in the field of literary and cultural studies, as each one of them can act as an axis for setting in motion a reorientation of cultural studies, and even of social sciences (because of their strong impact on what have been called the spatial turn, the memory turn, and the affect turn). These things, we are aware, are not new. However, we believe that the interaction between these three notions opens a path for new, complex analyses of the events taking place in the context of the contemporary revival of humanities.

What’s more, this brings about new, exciting research prospects for literary studies, as well as for cinematic, artistic or visual studies. The connections between memory and space (or place) are rooted in a well-known theoretical and methodological tradition that includes classical authors as Halbwachs, Benjamin, Poulet, Nora, Assmann, and Shama. Many of them, indeed, gave an important role to the category of affect in their theories, as is the case with Poulet, who reinforced it with the notion of affective memory that he developed in his work L’espace proustien. Still, it was not until recently that affect gained a more firm, established position in cultural and literary studies, especially in spatial studies. The influence of psychogeography and, at a different level, of nonrepresentational geography has been a determining factor in this respect.

We want Hermes Summer School 2020 to set up a framework for exploring these interconnections. That is why we will certainly welcome proposals offering original theoretical analyses on the matter, but we also encourage applicants to submit case studies on artistic, visual and literary works that approach these relations aesthetically, not only in theory but also in practice. We consider the tension between practices relying on representation and those based on performativity to be especially relevant, since it constitutes one of main the turning points that currently affect the ongoing debates on gender studies, ecocriticism, memory studies, and poetry and drama studies. Applicants are free to focus on any of the suggested notions –affect, space, or memory– but we strongly encourage participants to explore the intersections between them, knowing that the spatial dimension can be used as a rallying point for structuring proposals.

Each paper will be allotted 20 minutes. In addition to presenting their own research, speakers are strongly encouraged to reflect on the concepts they employ in their analyses. Please send your proposals including an abstract (200 words) and a short bio note (150 words, with your name, email address, institutional affiliation, dissertation topic, and disciplinary anchoring) to by January 31, 2020. We welcome abstracts related but not limited to the topics listed below:

  • Theories of affect, memory and place
  • Affect and memory as space connectors in fiction
  • Affective performances of local and global spaces
  • Ecocriticism and affect theory
  • Haunted spaces in literary, cinematic, artistic or visual representations.
  • Emotional and/or mnemonic communities and the sense of place
  • Gendered and/or queer places of affect and memory
  • Affect and memory: the predicament of representation
  • Historical perspectives on affect, space and memory in literature and visual arts.
  • Walking as performance

Keynote Speakers

  • Ben Anderson, Department of Geography, Durham University.
  • Germán Labrador, Department of Spanish and Portuguese, Princeton University.
  • Helena Miguélez-Carballeira, School of Languages, Literatures and Linguistics,
  • Bangor University.

Doctoral Workshop

Iván Villarmea Álvarez, Department of Art History (Film Studies), University of Santiago de Compostela.

General Information

The University of Santiago de Compostela is a member of the Hermes Consortium for Literary and Cultural Studies, a long-standing collaboration of eleven doctoral schools in Belgium, The Czech Republic, Denmark, Finland, France, Germany, Great Britain, the Netherlands, Portugal, Spain, and the USA. The Consortium’s annual summer school, hosted in turn by each partner institution, brings together specialists, delegates from the partner universities and a selected number of PhD students. An intensive training workshop and work-in-progress presentations focus on shared methodologies and interdisciplinary themes and lead to the publication of an annual edited volume, published by UCL Press in the Comparative Literature and Culture series.


Practical Information

Participants in the conference (delegates and PhD students) will be provided accommodation by the organization at hotels and university housing facilities in the area of the conference’s venue, the Centro de Estudios Avanzados (CEA) of the University of Santiago de Compostela. The CEA building and the accommodation facilities are a 10-minute walk from the city’s historic centre. Santiago de Compostela’s airport is at a 15-minute ride from the city (transport from the airport includes bus or taxi). The railway station is located at the city centre, a 30-minute walk from the conference’s venue (the CEA building). Transportation to and from Santiago will be covered by the participants.

The conference fee (EUR 270.00 per participant) covers the applicant’s participation in the conference, accommodation, lunch on four days, and the conference dinner. The payment method will be indicated once attendance is confirmed.

Some Bibliographic References

Ben Anderson, Encountering Affect. Capacities, Apparatuses, Conditions, Ashgate, Farnham, 2014.

Aleida Assmann, Cultural memory and Western Civilization: Functions, Media, Archives, New York, Cambridge University Press, 2011.

Christine Berberich, Neil Campbell, and Roberts Hudson (eds.), Affective Landscapes in Literature, Art and Everyday Life: Memory, Place and the Senses, Ashgate Publishing, Farnham, 2015.

Kyle Bladow and Jennifer Ladino (eds.), Affective Ecocriticism: Emotion, Embodiment, Environment, U of Nebraska P., Lincoln, 2018.

Tonya K. Davidson, Ondine Park, and Rob Shields (eds.), Ecologies of Affect. Placing Nostalgia, Desire, and Hope, Wilfrid Laurier University Press, Waterloo (Ontario), 2011.

Stef Craps and others, “Memory Studies and the Anthropocene: A Roundtable”. Memory Studies, 11 (2018), 498-515.

Astrid Erll and Ansgar Nunning (eds.), A Companion to Cultural Memory Studies, De Gruyter, Berlin, 2010.

Melissa Gregg and Gregory J. Seigworth (eds.), The Affect Theory Reader, Durham, Duke University Press, 2010.

Ursula K. Heise, Jon Cristensen, and Michelle Niemann (eds.), The Routledge Companion to Environmental Humanities, New York, Routledge, 2017.

Bruno Latour, “Agency at the Time of the Anthropocene”, New Literary History, 45 (2014), 1-18.

Doreen Massey, For Space, SAGE, London, 2005.

Helena Miguélez-Carballeira, Galicia, A Sentimental Nation: Gender, Culture and Politics, Cardiff, University of Wales Press, 2013.

Eve Kosofsky Sedgwick, Touching Feeling: Affect, Pedagogy, Performativity, Durham, Duke University Press, 2003.

Organizing Committee

Fernando Cabo Aseguinolaza, César Domínguez Prieto, Büke Saglam, Cristina Tamames Gala, Belén Tortosa Pujante

OSL Research Day 2019: Keynote Lecture by David Alworth

Groningen | 11 October 2019

Thanks again to everyone who attended this year’s Research Day! It was indeed a memorable event, packed with thought-provoking presentations, lively debates, and ideas for future collaboration.

We are particularly grateful to our keynote speaker David Alworth for his inspiring lecture on Paratextual Art (chaired by Marguérite Corporaal). For those who couldn’t make it, you can now watch our keynote lecture here.

David Alworth is John L. Loeb Associate Professor of the Humanities at Harvard, where he teaches in the Department of English and in the Program of History & Literature. His book Site Reading: Fiction, Art, Social Form (Princeton University Press, 2015) received the Erving Goffman Award for Outstanding Scholarship in the Ecology of Social Interaction from the Media Ecology Association. Together with designer Peter Mendelsund, he has just completed The Look of the Book: Jackets, Covers, and Art at the Edges of Literature (Ten Speed Press/Crown Press/Penguin Random House, 2020). A collaborative project that synthesizes literary analysis and design, The Look of the Book draws on in-depth interviews, archival research, and recent scholarship in media studies to provide a comprehensive exploration of the meaning, history, value, mechanics, and future of the book cover.


NB: The presentation on research funding by Geert Jan Arends is now also available here

2019 OSL Awards: The Winners

Groningen | 11 October 2019

The winners of the 2019 OSL Awards are Marieke Winkler and Tom Idema. They received their prize during the annual OSL Research Day in Groningen on October 11, 2019.

Each year, OSL rewards two of its members with an OSL Award for the publication of an excellent scholarly book and article. The Awards are intended to acknowledge original and innovative contributions to the field of literary studies and to highlight the work of talented scholars at the beginning of their careers. The OSL Awards come with prize money of € 500,- for each award.

Marieke Winkler is assistant professor in Literary Studies at the Open University in Utrecht. Her research mostly focuses on the interaction and mutual exchanges between literature, literary criticism and literary studies. For the OSL Awards, she submitted an article titled ‘Criticism in the History of the Modern Humanities. The Case of Literary Studies in the late Nineteenth and Early Twentieth-Century Netherlands’, published in the 2018 Fall Issue of the journal History of Humanities (University of Chicago Press).

In the words of the Jury, her article provides a ‘clear and well documented exposition of a neglected historical critical debate situated in the Netherlands,’ but also a ‘well-reflected approach to a highly relevant topic in both past and contemporary humanities, convincingly illustrated through two illuminating case studies.’

Tom Idema is a lecturer in comparative literature at the University of Utrecht. In his book Stages of Transmutation: Science Fiction, Biology, and Environmental Posthumanism, published by Routledge in 2019, he analyzes contemporary works of American science fiction, reading these novels together with biological and philosophical theories of human-environment interaction. By so doing, the book show how the novels offer biocultural stories in which bodies are socially and culturally constructed, while social and cultural systems are ecologically constructed.

Quoting from the Jury’s motivation: ‘Published by a very renowned international publisher (Routledge), this book comprises a cutting-edge study of contemporary science fiction literature in view of the concept of the posthuman and ecocriticism. The close readings of these understudied works of fiction are very solid and provide reflections on our current times and environmental change. The works are placed in the longstanding tradition of the genre in fiction and sometimes even cinema. This is a well written and compelling study, addressing a timely topic from a fresh perspective.’


The jury consisted of Dr Marguérite Corporaal (RU), Dr Monica Jansen (UU) and Dr Florian Lippert (RUG).

Congratulations to Marieke and Tom, on behalf of the jury and the OSL Board!

OSL Workshop: Cultural Branding

Cultural Branding

Date: Friday 25 October
Time: 13.30-16.30
Venue: Utrecht University, Drift 21 0.03
Instructors: Dr Helleke van den Braber and Prof. Dr Jos Joosten (Radboud University)
Organizer: Dr Jeroen Dera (Radboud University)
Credits: 1 EC
Open to: PhD Candidates and RMa Students, OSL members will have first access
Registration will open on September 2

‘Brands prefigure our experience of products’, notes Michael Bhaskar in his study The Content Machine. Towards a Theory of Publishing from the Printing Press to the Digital Network (2013). Bhaskar’s words are in line with one of the central premises of marketing theory, which conceptualizes ‘brands’ as trademarks that identify a product and differentiate it from its competitors. In the field of literary studies, however, the process of branding has hitherto gained little academic discussion. Yet literary authors and the texts they produce are constantly ‘branded’: from the early modern period onwards, they have been both the object and the initiator of a complex marketing process.

This workshop, then, will provide analytical tools to study the branding of literature. Drawing on the work of – amongst others – Clayton Childress, Philippe Mihailovich and Karl Moore, literary branding is defined as an interactive process in which producers (e.g. authors, publishers, literary agents), distributors (e.g. book traders, librarians) and consumers (e.g. critics, teachers, readers) construe a set of regimented associations with an author, oeuvre or literary text. This set of associations can be analyzed as a dynamic and constantly metamorphosing narrative about the branded author or text. In the workshop, we will discuss and analyse aspects of the ‘sets of associatons’ construed around national and international literary brands, with special emphasis on
1. the processes of inclusion and exclusion central to the branding process
2. the way these processes shape narratives about national literatures.

OSL Workshop Cultural Branding – Full description

Deadline assignment: Friday 15 November, 23:59

(‪Un)timely Crises in Europe and Beyond: Chronotopes and Critique‬‬‬‬‬‬‬‬‬‬‬‬‬‬‬‬

(‪Un)timely Crises

Dates: 17-18 October 2019 | Time: Oct 17 9.00 – 18.00 – Oct 18 10.00 – 17.00 | Venue: University of Amsterdam, exact location see below | Open to: PhD Candidates and RMa Students, OSL members will have first access | ECTS: 1, more details, see below | Registration 

Please note that you can only register for the first day of the workshop via OSL (see below, Registration and Credits).


Maria Boletsi (Leiden University and University of Amsterdam), Natashe Lemos-Dekker (University of Amsterdam), Kasia Mika (University of Amsterdam), Ksenia Robbe (currently: Leiden University; from August 2019: University of Groningen)

Theme description

This 2-day workshop will probe contemporary crisis-scapes in order to explore the ways ‘crisis narratives’ structure experiences and representations of time and space, i.e., the ways ‘crisis’ as a framework, concept, rhetoric, affective or discursive structure forms or taps into specific chronotopes.

Historically, the term ‘crisis’ has denoted choice, decision, judgment or critique; it can signal a turning point but also a perpetual state without prospect of resolution. Discursive uses and experiences of ‘crisis’ may involve a sense of disconnection and disorientation, collapsing linear temporality. Crisis can also function as an immobilizing framework for regions deemed to be in chronic crisis. ‘Crisis’ in Europe and elsewhere today often becomes an instrument of rule in neoliberal governmentality, legitimizing ‘states of emergency’ that limit people’s rights and access to public space. Crisis-scapes, however, can also trigger a heightened awareness of the present and foster critical or creative practices that question received notions of the past, initiate different conceptions of history and futurity or form alternative communities and infrastructures.

By approaching crises as chronotopes—what Mikhail Bakhtin termed the enmeshing of temporal and spatial experience into a common condition of a given era—we seek to explore questions of crisis, time and space, as experienced, imagined and represented across a range of contexts, and particularly in Europe and its margins. Chronotopes of crisis partake in complex constellations of meanings, discourses, and affective structures that call for interdisciplinary engagement. The workshop will thus combine perspectives from literary and cultural studies with sociology, cultural anthropology, memory studies, migration studies, post- and decolonial studies, and the energy and environmental humanities, to consider how recent and contemporary crises—economic, environmental, social, political, humanitarian—trigger memories of earlier historical narratives, traumas or practices of resistance, and how they foster or foreclose specific visions of the future.

We are also interested in the ways alternative narratives—what Janet Roitman has called “noncrisis” narratives (2013)—that sidestep ‘crisis rhetoric’ may form alternative chronotopes in the present. Through exploring crises as chronotopes, the workshop also aims to revisit the relation of “crisis” with its cognate, critique, in order to ask which narratives or practices could effectively address problematic mobilizations of ‘crisis’ today and shape other, more inclusive, chronotopic structures. To that end, emphasis will be laid on literary narrativizations of ‘crisis’ as a means of disrupting or reconfiguring the chronotopic structures involved in contemporary crisis-scapes.

The workshop will thus ‘think through’ how the study of crises as chronotopes can take shape across diverse disciplinary contexts and critical debates (e.g., in the context of debt and economic crises; in rethinking infrastructures and repair; in (re)tracing and conceptualizing memory-scapes emerging in crisis-situations); and how crisis figures or disfigures the ongoing question mark about the fate of critique in a postcritical world.

The talks, discussion, and writing that will take place during the workshop will be organized around the following thematic streams:

  • Crisis Rhetoric and Alternative Grammars: Dominant representations of subjects of/in crisis (e.g. the tropes of the “victim” or “threatening agent” in the ‘migrant crisis’) often fall short of accounting for dispossessed individuals and their experiences. Which ‘grammars’ can help articulate alternative subjectivities and accounts of agency? Which expressive forms, narrative structures, and reading practices can articulate alternatives to the “slow cancellation of the future” (Berardi, Fisher) and disrupt restrictive or violent chronotopes of crisis?
  • Crisis and Memory: How are the periods of revolution and eventful socio-political transformation remembered in current times? This stream will address the ways in which 20th-century global historical junctures are recollected in political rhetoric, projects of memorialization, critical discourses, and artistic productions. It will explore the temporalities and cultural sensibilities shaped through these interpretations of turning points. How can past crises be imagined beyond narratives of traumatization which have spread globally, producing subject positions of victimhood and moral superiority? Which critical approaches to remembering crises could foster ‘redistribution of the sensible’?
  • Critique Under Duress: What is the role of critique and radical critical theory in times of crisis? Rather than decrying an ‘’end of theory’’, the theme aims to rigorously engage with the Frankfurt School, opening it up to the concerns of postcolonial, decolonial (Allen 2016), and environmental theory and its theorizations of the present in crisis. If critique aims to historicize the present, which periodizing schemes have helped bring the contemporary into relief, such as Ernst Mandel’s “late capitalism,” Elizabeth Povinelli’s “late liberalism,” or Eugene Stoermer and Paul Crutzen’s “the Anthropocene”? And which no longer bring descriptive or diagnostic weight to the structures of feeling folding in on the changing climate of crises (and crisis of climate) today? In this context, we will take up the task of trying to ‘think otherwise’ and challenge, in Ann Stoler’s gloss, some of the “ready-made concepts on which we rely and [the] work we call on them to do.” As such, the theme, among others, aims to work across meanings of duress (Stoler 2016)—as “a relation to a condition, a pressure exerted, a troubled condition borne in the body, a force exercised on muscles and mind”—and conceptualize what can critique be and do across shared, yet asynchronous, crises.
  • Chronic Crisis: This theme addresses instances where crisis becomes chronic. It asks how the duration and integration of the disruptive and the normal reorient our engagement with past, present, and future as it affects modes of anticipation, waiting, and endurance. Crisis and uncertainty can produce what Rebecca Bryant (2016) has termed the ‘uncanny present’, disrupting the possibility of imagining and acting upon the future. When and how do crises, including illness and economic and environmental crises, fade into chronicity and normality, and what futures does this enable or foreclose? How do we continue living in the face of chronic disruption and finitude?

Workshop format

The format for this event aims to facilitate collaboratively generated output. Instead of sharing finalized research in a traditional conference format, our primary aim is to establish key concepts, questions, and frames for interdisciplinary research on crisis across the humanities and social sciences. This will unfold across the following structures during the 2 days of the workshop:

Day One (October 17)

Plenary Talks and discussion; the program of Day 1 is open to a wide academic public. Confirmed Plenary Speakers: Rebecca Bryant (Utrecht University); Nick Nesbitt (Princeton University); Dimitris Papanikolaou (University of Oxford); Oxana Timofeeva (European University in St. Petersburg).

Day Two (October 18)

This part of the workshop will involve the plenary speakers as well as a group of invited scholars that will form reading and writing groups. The main objective will be to start co-writing a prospectus on the present and future of crisis research, to be submitted to an open access journal. Format:

  1. Parallel reading & discussion groups on the 4 thematic streams
  2. Collaborative writing in break-off groups on the 4 thematic streams
  3. Reconvening: Conclusions and Next Steps

The reading groups on Day 2 will discuss selected pre-circulated articles and set the ground for moving to the writing groups with a shared sense of the major positions, debates, and findings brought together under each thematic heading.

In the second part of the day, the groups will engage in collaborative writing: each group will be asked to compose a document on each thematic stream. Each group will receive a set of common questions in advance to facilitate the writing and ensure the coherent structure of the final output (prospectus).

This workshop is sponsored by OSL and ASCA. It is organized by members of the following networks: the ASCA Cities project and its “Repairing Infrastructures” seminar, the ASCA research group “Crisis, Critique and Futurity,” the “Memory and Identity” reading group at the Leiden University Centre for the Arts in Society (LUCAS), and the “Anthropology of Health, Care and the Body” program group of the Faculty of Social and Behavioural Sciences at the UvA.

Registration and credits

The lectures on the first day of the workshop are open to anyone who wishes to attend. Research Ma students and Phd candidates who wish to earn 1 EC by participating in this workshop should register through OSL. Those who wish to attend the lectures without earning EC credits are welcome to do so and do not have to register through OSL. OSL members will have first access. NB: It is not possible to register for the second day of the workshop, which will only involve a smaller group of invited scholars. OSL RMA and PhD students can acquire 1 EC by:

a) Attending the first day of the workshop and participating actively in discussions;
b) reading the assigned texts for one of the thematic streams (Crisis Rhetoric and Alternative Grammars; Crisis and Memory; Critique Under Duress; Chronic Crisis)
c) writing a response of 600-800 words to one or more of the questions or topics of the thematic stream of their choice by engaging with (some of) the assigned texts.

This will be a pass / fail assignment (not graded). The deadline for submitting the assignment is October 22, 2019.

Programme: (Un)Timely Crises – workshop description and full program

Day 1: October 17

Venues: Oudemanhuispoort 4-6, Amsterdam
9:30 – 12:00: D0.08 (Oudemanhuispoort)
12:00 – 17:10: D1.08 (Oudemanhuispoort)

9:30 – 10:00: Registration  and Coffee

10:00 – 10:20: Welcome by OSL director and introduction by organizers

10:20 – 11:30: Lecture by Rebecca Bryant & discussion (location: D0.08) | Chair: Natashe Lemos Dekker

11:30 – 12:00: Coffee break

12:00 – 13:10: Dimitris Papanikolaou, “Past Continuous, Archival Present, Queer Future: Rethinking Our Critical Grammars” (location: D1.08) | Chair: Maria Boletsi

13:10 – 14:10: Lunch (at the hall of Oudemanhuispoort)

14:10 – 15:20: Nick Nesbitt, “Crisis and Critique” (location: D1.08) | Chair: Kasia Mika

15:20 – 15: 40: Coffee break

15: 40 – 16:50: Oxana Timofeeva, “The Time of Catastrophe” (location: D1.08) | Chair: Ksenia Robbe

16: 50 – 17:10: Closing remarks


Day 2: October 18

(NB: Day 2 is only open for a small number of invited participants; it is not open to the public or to those registered through OSL)

The parallel group meetings will take place in the University Library, in the following rooms:

  • Belle van Zuylenzaal
  • Vondelzaal
  • Potgieterzaal

Theme groups

10:00 – 12:00: Theme group meetings I: Discussion of readings

12:00 – 13:30: Lunch break (at Belle van Zuylenzaal)

13:30 -15:30: Theme group meetings II: Collaborative writing

16:00-17:00: Final discussion & next steps

Additional Information

Google Directions

Day 1:-from Amsterdam Centraal Station to Oudemanhuispoort (15min walk):

Day 2:-from Amsterdam Centraal Station to the University Library (20 min walk):

Download a poster of the event here.

OSL Seminar: Europe as Narrative

OSL Seminar: Europe as Narrative

Dates: Friday 1/11, 8/11, 15/11, 29/11, 6/12 from 1-4 pm. On Friday 13/12 there is an obligatory day-long excursion to the House of European History in Brussels. For this, a small individual financial contribution will be requested.
Venue: University of Amsterdam, room see below. On 13/12 we meet “on location” in Brussels.
Open to: PhD Candidates and RMA students; OSL members have first access. In case places are available, interested MA students are welcome to participate, but are not able to receive official credits for the course.
Format: Three-hour seminars, active discussion and participation
Credits: 5 EC
Registration will open on September 2

OSL – The Netherlands Research School for Literary Studies (
Prof. Dr. Margriet van der Waal (
Dr. Astrid Van Weyenberg (
For questions regarding content, please contact either Margriet or Astrid. For questions regarding practical matters, please contact the OSL office.

As Delanty (1995) reminds us, Europe is more than a geo-political reality, it is also an idea
that is continuously reinvented as collective identities transform. In essence, ‘Europe’ is a signifier that different actors fill with competing narratives and meanings. But although the way in which Europe is given meaning has never been stable or unifold, in the contemporary political climate the debate about what and where ‘Europe’ is, and who Europeans are or should be, seems increasingly heated. In this debate two types of narratives about ‘Europe’ can be discerned, with some referring to Europe as a culture and as a civilization, and others primarily understanding Europe as a polity, de facto using it as a synonym for the EU. That these types of narratives can clash violently is clear, for example, from the populist rhetoric of politicians such as Geert Wilders in the Netherlands or Victor Orban in Hungary.

In this seminar we will explore different narratives of/on/about Europe. For this, we will depart from a number of questions. Firstly, how are ideas about the past utilized, for example by constructing Europe as a teleological narrative with clear historical origins, or by rewriting history in order to serve a contemporary political agenda? Secondly, how do narratives of Europe function as a space of in- and exclusion, by formulating an ‘us’ in opposition to a range of specific and less specific ‘others’? Thirdly, what do narratives of Europe tell us about the way in which Europeans are perceived, either as a homogeneous group, or diversely as a social constitution of different identities that overlap or conflict? We will approach these questions by focusing on a number of concepts that are central to how Europe is narrated: heritage, citizenship, crisis, migration, and (trans)nationalism. In our discussions, we will engage with a selection of topical theoretical texts and we will close read different cultural objects that reflect, talk back, deconstruct and challenge specific narratives of Europe.

Study material and costs
See programme. All other reading material will be made freely available via OSL.

1) Individual presentation (20%): students give a 15-minute presentation in which they connect the theoretical texts of that session to a cultural object of their own choice. This cultural object is made available to the other participants in advance.
2) Group presentation (20%): during our excursion to the HoEH in Brussels, students will be given a group assignment, resulting in a presentation at the end of that same day. Further instructions will be given during the first meeting.
3) Short paper of 2000 words (60%): in this paper students engage with at least one of the sessions (theoretical readings and discussion) and use this to close-read one cultural object of their choice (to be consulted with the lecturers). They are also required to further develop their own theoretical framework with additional theoretical sources. The paper needs to contain a well-formulated research question/problem statement, as well as a convincing motivation of the relevance of the research. It needs to be situated within a broader framework of existing scholarship and to present a relevant analysis and interpretation of primary material. The paper needs to be written in English and it needs to follow in all respects the current MLA guidelines (re. footnotes, bibliography, citation, format). Papers will be checked for plagiarism. In order to receive the credits for this seminar, students need a minimum grade of 5,5 for the paper.

Deadline paper (20/12 midnight): submit as word.doc file via e-mail to Margriet and Astrid, with a CC to the OSL office.

Preliminary programme
Session 1 (1/11): Introduction (Margriet van der Waal, Astrid Van Weyenberg)
Session 2 (8/11): Migration (Florian Lippert, University of Groningen)
Session 3 (15/11): Nationalism (Sabine Volk, Jagiellonian University, Kraków)
Session 4 (29/11): Crisis (Liesbeth Minnaard, Leiden University)
Session 5 (6/12): Citizenship (Margriet van der Waal, University of Groningen/University of Amsterdam)
Session 6 (13/12): Heritage (Astrid Van Weyenberg, Leiden University): Excursion to the House of European History in Brussels

1/11 – University Library | Belle van Zuylenzaal
8/11 – University Library | Potgieterzaal
15/11 – REC-B |  BK.02
29/11 – University Library | Potgieterzaal
6/12 – University Library | Potgieterzaal
13/12 – House of European History in Brussels


OSL Research Day (11 October 2019, Groningen)

OSL Research Day

The fourth OSL Research Day will take place on October 11, 2019 at the University Library in Groningen. We invite scholars from all Dutch universities to explore affinities in their research interests and possibilities for future collaboration around a number of research topics (mentioned below).

The Research Day hopes to stimulate more collaboration between literary scholars and existing research groups in the Netherlands. Although literature is the main scope of the OSL Research School, we explicitly encourage multidisciplinary research.

The Research Day will start with the presentation of the 2019 OSL Award, followed by a PhD Forum and a session on Research Funding. After a short lunch break, our special guest Prof. David Alworth (Harvard) will give a keynote lecture presenting his current research project on ‘Paratextual Art’.

In the afternoon, the participants will discuss their own research projects and interests in sessions organised by existent and emerging research groups. Sessions are planned on the topics of literature and law, European crises, literature and the region, literary prizes and cultural transfer, as well as arts and the public sphere. These sessions take 1.5 hour each, and are open to all researchers; they will take different shapes and forms, dependent upon the ideas of the organizers and participants (please see descriptions below).

Seed Money
We would explicitly like to invite participants to think about future collaborations with other OSL members. The OSL Board will make € 1000,- of seed money available for the most promising initiative, including for instance:

  • planning of symposia
  • book publications
  • joint funding applications
  • organization of OSL budgeted academic events such as the Ravenstein Seminar in January 2020 (in this case, the seed money will be added as an extra to the budget already made available by OSL).

Applications (short description of the collaborative project and estimation of expenses, approx. 500 words) should be sent to the OSL office by 15 November 2019 ( The OSL Board will notify the recipients by Dec 9.

Participants can register for the Research Day by sending an email to before 7 October 2019; please be aware that places are limited, and will be granted on a ‘first come first served’ basis. NB: Please indicate in your email in which sessions you would like to participate, including the parallel sessions in the afternoon.

The event will take place in the RUG University Library, Broerstraat 4, Groningen.

We look forward to meeting you all in Groningen on Oct 11!

Pablo Valdivia, Alberto Godioli, Judith Jansma, Camilla Sutherland, Florian Lippert, Elizabeth Pinilla and the OSL Board


10:00-10:15Coffee Reception – Welcome by Prof. dr. Gerry Wakker (Dean Faculty of Arts), Prof. dr Pablo Valdivia and Dr Alberto GodioliJantina Tammeszaal (University Library, Broerstraat 4, 4th floor)
10:15-10:30OSL AwardsJantina Tammeszaal
10:30-11:30PhD Forum (Judith Jansma, Elizabeth Pinilla, Clara Vlessing, Kim Schoof, Juan del Valle Rojas, Gonzalo Albornoz Barra — Chair: Dr Camilla Sutherland)Jantina Tammeszaal


11:30-12:00 Life Beyond ERC & NWO: Research Funding by Geert Jan Arends (RUG Senior Consultant Research Funding)Jantina Tammeszaal
12:00-13:00LunchUniversity Canteen, Academy Building
13:00-14:00Paratextual Art

Lecture by Prof. David Alworth (Chair: Dr. Marguérite Corporaal)

Jantina Tammeszaal


14:00-15:30Parallel Session 1: Research Group Literature, Law and Society (Convenors: Prof. dr. Frans-Willem Korsten, Tessa de Zeeuw, Dr Ted Laros and Dr Alberto Godioli)


Parallel Session 2: Literature and the Region: Transnational Perspectives (Convenors:
Dr Marguérite Corporaal & Dr Tom Sintobin)


Parallel Session 3: Roundtable on academic publishing (Convenor: Masja Horn, Brill)


Parallel Session 1 – Jantina Tammeszaal


Parallel Session 2 – Turftorenstraat, Room 12


Parallel Session 3 – Academy Building, Room A8


15:30-16:00Coffee BreakJantina Tammeszaal
16:00-17:30Parallel Session 4: Research Group Beyond Borders in Cultural Transfer, session on Literary Prizes and Cultural Transfer (Convenors Dr Petra Broomans, Prof. dr Mathijs Sanders, Dr Jeanette den Toonder)

Parallel Session 5: Arts and the Public Sphere: The Art of Criticism (Convenors: Prof. dr Margriet van der Waal and Dr Thijs Lijster)

Parallel Session 6: European Crises (Convenor: Dr Florian Lippert)

Parallel Session 4 – Jantina Tammeszaal


Parallel Session 5 – Harmony Building, Room 1315:0036

Parallel Session 6 – Academy Building, Room A7

17:30-18:00BreakJantina Tammeszaal
18:00-19:00Book presentation Dr Konstantin Mierau, Capturing the Pícaro in Words: Literary and Institutional Representations of Marginal Communities in Early Modern Madrid (Routledge, 2019).

Chair: Prof. dr Pablo Valdivia

Jantina Tammeszaal

Description of Parallel Sessions:

  1. Literature, Law and Society: Format = Introduction + open discussion; description available here
  2. Literature and the Region: Format = Invited speakers + open discussion; description available here
  3. Roundtable on academic publishing: Description: ‘At this publishing panel we like to discuss with you some challenges involved in academic publishing in the field of literary studies. Currently there are tensions created by 1) decrease in library budget for literary studies and an increasing pressure on academics to create output; 2) increased engagement with Open Access publishing in the humanities, but lack of funding supplied by universities in these areas to pay for the article or book publication charge; 3) decreased interest by librarians in collected volumes and theses (at times rightly so) though unwavering interest to propose these to a publisher in order to get tenure or connect with other researchers. Based on this we’ll offer you some pointers on what we consider a good (or bad) proposal, and will offer tips on how to write an academic title for your article or monograph. There will also be plenty of room to share your burning questions about academic publishing or to throw in topics for us to discuss from our points of view. We’ll be happy to share all you wish to know.’
  4. Literary Prizes and Cultural Transfer: Description available here
  5. Arts and the Public Sphere: Format = Introduction + roundtable discussion; description available here
  6. European Crises: Format = invited speakers + open discussion; description available here

OSL Course Creative Writing: ‘Poetics: A Practitioner’s Guide’

OSL Course Creative Writing

Dates: 6, 13 and 20 November, 4 and 11 December 2019 (13:00-16:00)
Venue: University of Groningen
Open to: PhD Candidates and RMa Students, OSL members will have first access
Organization: Dr David M. Ashford (University of Groningen)
Language: English
Credits: 5 ECTS
Registration opened on September 2

Module Description

This course will introduce participants to poetic genres, forms and metres, enabling them to develop, or to expand upon their own practice, as creative writers. Participants will study poetry from a variety of traditions, in order to understand how poetic form is determined by its original context in performance, and by the information, musical and theatrical technologies necessary to that original performative context. Far from being arbitrary or inorganic restrictions upon individual creativity, poetic form will emerge as the response to a context in performance that may since have been lost; as something organic, evolving and (potentially) still very much alive. Over a series of seminars and creative writing workshops, featuring poets invited to reflect upon their own practice, participants will investigate how ancient poetics have been (and might be) adapted for the creation of contemporary poetries, being introduced to recent research on creative writing as an historical and a discursive phenomenon. In addition, participants will learn to use creative-writing techniques as a form of artistic research and as an element of their methodologies.

Module Aims

  • To equip students with the knowledge and skills necessary to understand, analyse, and enjoy poetry;
  • To introduce students to various critical and theoretical approaches to reading and studying poetry (i.e. poetics);
  • To examine key issues, terminologies, and historical contexts required for academic study of poetry;
  • To develop skills required for the critical analysis of, and creative engagement with, poetic language, imagery, and form.

Learning Outcomes

  • A detailed knowledge of the formal elements of poetry;
  • A detailed knowledge of the relevant historical performative context;
  • An ability to research, interpret, analyse and evaluate poetry;
  • An ability to apply insights gained from the course to the creation of new poetry.

Teaching Programme

Week 1 — EPIC (6 November 2019, 13:00-16:00, Harmony Building, 1315:0048)
A revisionist account of epic, considering the genre as a response to ancient forms of information technology; to be followed by a workshop exploring how this insight might inform contemporary creative-writing.

Week 2 — LYRIC (13 November 2019, 13:00-16:00, Turftorenstraat 21, Room 7)
A introduction to poetic forms, considering these in relation to their original performance context in song, and the ancient musical technology associated with particular forms; — exploring in a workshop how one might adapt and reinvigorate those forms in the present.

Week 3 — DRAMA (20 November 2019, 13:00-16:00, University Library, Jantina Tammeszaal)
An introduction to poetic drama – from the Ancient Greek, Medieval English, Indian and Japanese traditions; to be followed by a workshop exploring how poetic drama has been (and might be) adapted for contemporary western audiences.

Week 4 — ACCENT (4 December 2019, 13:00-16:00, University College Groningen, Room 210)
A revisionist account of metre in English, exploring the history of accentual or stress-based metre, its original context in Anglo-Saxon Britain, its demise following the introduction of Classical quantitive metres, and its resurgence over the nineteenth- and twentieth-centuries; with a workshop considering its most vibrant contemporary manifestations (i.e. hip-hop) and its future potential.

Week 5 — IDEOGRAM (11 December 2019, 13:00-16:00, University Library, Jantina Tammeszaal)
An introduction to imagery, consisting chiefly of an overview on the history of the translation (or rather mis-translation) of Chinese and Japanese poetry into English, tracing its formative impact on Imagism and thus on Modernist poetry in general; to be followed by a workshop exploring the creative possibilities of techniques such as Dadaist “cut ups”, machinegenerated translation, and Kathy Acker’s “recriture feminine”.

Module Assessment

1. Creative Portfolio (50%)
Prior to each session, students will produce a short piece of creative writing relating to that week’s reading material (no more than 500 words). Specific instructions for these assignments will be provided separately. At the end of the module, each student will collect their creative-writing assignments into a portfolio.

2. Reflective Essay (50%)
You will finish the course by writing a paper of 2500 words (excl. notes and bibliography) in which you give evidence of the capacity to comprehend and reflect critically both on the reading material and on seminar discussions. In this paper, you will analyse a poetic text and research a topic we considered in class that is relevant to your own poetic practice (in one of the poems in the creative portfolio). You are expected to engage with literature explored in class, and to make use of additional sources. Students must have a research question they attempt to answer, and one central thesis statement they set out to substantiate. You will submit a proposal for the essay prior to the last session (no more than 100 words) and receive feedback on that proposal within one week.

STUDIEDAG Stichting Psychoanalyse en CULTUUR

Psychoanalyse en Cultuur

De tijd hangt uit zijn naad, Hamlet en de psychoanalyse

5 oktober  2019
Leiden, Cleveringaplaats 1 (LIPSIUSGEBOUW),  zaal 005

Entreeprijs  40 euro (studenten op vertoon van collegekaart 25 euro) all-in.
OSL Promovendi en RMa studenten hoeven geen entree te betalen | OSL Promovendi en RMa studenten kunnen zich aanmelden via

Meer informatie over de registratie, zie onderaan dit bericht.

dagvoorzitter : Sjef Houppermans

10.00-10.30  Inloop met koffie/thee (koffiebar UB)

10.30 – 11.15  Bart Vieveen: De ‘Hamlet-constellatie’

11.15 – 12.00  Marc de Kesel: To be or not to be the phallus: over Lacans Hamlet-interpretatie

12.00 – 12.30 Annelies van Hees: De Scandinavische ‘wortels’ van Hamlet

12.30 – 13.00  Vragen / discussie

13.00-14.30  LUNCH (ter plaatse, inbegrepen)

14.30 – 15.15 Yasco Horsman: De Hamlet-figuur in diverse genres

15.15- 16.15  Tom Lanoye: Vraaggesprek met Peter Verstraten

16.15-16.45   Discussie met publiek

16.45- 17.30  BORREL

18.00- 20.00  Diner voor genodigden (sprekers en bestuur)

Over de sprekers en hun bijdrage

Tom Lanoye

De carrière van de in Sint-Niklaas geboren Tom Lanoye omspant zo’n veertig jaar. Hij schrijft poëzie, romans, columns, kritieken, essays en toneelstukken. Zijn werk is veelvuldig bekroond, en met name de roman Sprakeloos was een publieksfavoriet. Behalve oorspronkelijke theaterstukken maakt hij ook toneelbewerkingen van o.a. Tsjechov, Marlowe, Shakespeare. Zijn Ten oorlog (1997) werd verkozen tot meest belangwekkende stuk uit de Nederlandstalige theaterliteratuur. Hamlet versus Hamlet (2014) zal centraal staan in een gesprek met Peter Verstraten, opleidingsvoorzitter van Film- en Literatuurwetenschap aan de Universiteit Leiden.

Annelies van Hees

Hamlet was er al voor Shakespeare

Lang voor Shakespeare was er al een Hamlet (of Amleth) in Scandinavië, allereerst in de IJslandse Hrolf Saga, in de proza Edda van Snorri en later, in de 12e eeuw in het werk van de Deense historicus Saxo, de Gesta Danorum. Er wordt gekeken naar hoe verschillend of gelijk deze Amleth is aan de latere van Shakespeare.

Annelies van Hees was gedurende haar werkzame leven Hoofddocent Scandinavische Letterkunde aan de UvA, waar zij met psychoanalytische blik naar de literatuur keek. Zij maakt deel uit van het bestuur van de Stichting Psychoanalyse en Cultuur. Tegenwoordig houdt zij zich vooral bezig met vertalen van de Deense klassieken.

Bart Vieveen

Van oedipuscomplex naar hamletconstellatie: de teloorgang van de vaderrol.

In de toneeltekst Hamlet versus Hamlet, van Tom Lanoye spreekt Hamlet de volgende woorden:

De tijd hangt uit zijn naad. Vervloekte kwelling,
Dat jij degeen bent die hem moet herstellen!

Lanoye geeft Shakespeares quote ‘The time is out of joint. O cursed spite, That ever I was born to set it right!’ niet alleen een volwaardig Nederlands equivalent, hij geeft Hamlet ook een ander perspectief. Hamlets subjectpositie is bij Lanoye een andere dan bij Shakespeare door een wezenlijke verandering van de vaderrol in de betekenisconstructie. Die verandering duidt Bart Vieveen aan de hand van de ‘hamletconstellatie’.

Bart Vieveen verdedigde in mei 2019 in Leiden met succes zijn proefschrift Kortsluiting in het symbolische: Hamlet, Katadreuffe en Van Egters verkennen de grenzen van het bedreigde Vader-land. Hij studeerde Nederlands en Theaterwetenschap en werkte onder meer bij het Ro-theater. Momenteel is hij rector/bestuurder bij het Stedelijk Gymnasium in Leiden.

Marc De Kesel

To be or not to be the phallus: over Lacans Hamlet-interpretatie.

In zijn zesde seminarie, Le désir et son interprétation (1958-1959) voltooit Lacan voor een eerste keer zijn psychoanalytische theorie van het subject. Daarin spendeert hij acht lessen aan een close-reading van Shakespeares Hamlet. Dit commentaar is cruciaal in de vorming van zijn theorie. Marc De Kesel doet een poging dit commentaar helder uit te leggen en het belang ervan voor de psychoanalytische praktijk aan te tonen.

Marc De Kesel publiceerde over religie- en mystiektheorie, holocaustreceptie, lacaniaanse theorie en kunst- & cultuurkritiek. Recent verscheen van hem Het Münchhausenparadigma. Waarom Freud en Lacan ertoe doen (Nijmegen: Vantilt, 2019). Website:

Yasco Horsman

Strips, Crypts, Spoken (Hamlet, Haddock, Vladek)

Met ‘The Phantom of Hamlet: or the Sixth Act’ (1975) schreef psychoanalyticus Nicolas Abraham een act die volgens hem zou moeten worden toegevoegd aan het stuk van Shakespeare, waarin het familiegeheim onthuld wordt dat de Deense prins bespookt. Deze apocriefe act en Abrahams notie van het ‘familiegeheim’ zijn het startpunt voor een analyse van spookvaders in drie strips: het tweeluik Kuifje en het Geheim van de Eenhoorn en De Schat van Scharlaken Rackham (Herge, 1943, 1944), waar Haddock geconfronteerd wordt met een voorouder, en de autobiografische grafische romans Maus (Spiegelman, 1989), Kraut (Pontiac, 2000) en Fun Home (Bechdel 2006) waarin telkens een onverteerbare erfenis van een vader centraal staat.

Yasco Horsman, Universitair Docent Film- en Literatuurwetenschap publiceerde over trauma, recht en psychoanalyse (Theaters of Justice: Staging, Judging and Working Through in Arendt, Brecht and Delbo (Stanford University Press 2010), over literatuur (Coetzee, Kafka, Brecht), Cinema (Resnais, Eisenstein), Strips (Spiegelman, Ware) en animatie (Disney).

Dr. Sjef Houppermans is emeritus universitair hoofddocent Moderne Franse Literatuur aan de Universiteit Leiden en voorzitter van de Stichting Psychoanalyse en Cultuur

Voor informatie over de stichting zie :

Entreeprijs  40 euro (studenten op vertoon van collegekaart 25 euro) all-in.
OSL Promovendi en RMa studenten hoeven geen entree te betalen.

Men dient zich op te geven vóór 20 september bij dr. Daan Rutten (penningmeester)
Via het adres
OSL Promovendi en RMa studenten kunnen zich aanmelden via

De inschrijving is definitief na het ontvangen van de entreeprijs, over te maken op

rekeningnummer IBAN NL77INGB0007583937   BIC  INGBNL2A
op naam van Stichting Psychoanalyse en Cultuur

Tijdens de studiedag zijn onze publicaties te koop waarvan nieuw:


Psychoanalyse en architectuur –  uitgeverij GARANT

Red. Trees Traversier, Sjef Houppermans, Marc De Kesel  (nr. 11)

Als ook Bart Vieveen, De hamletconstellatie  (nr. 12)


Eerder verschenen in de reeks Psychoanalyse en Cultuur bij Garant

Nr. 1: P. Verstraten, M. De Kesel & S. Houppermans (Red.) Spreken, zwijgen, … schrijven. Psychoanalyse en taal

Nr. 2: M. Kinet, M. De Kesel & S. Houppermans (Red.) Het nieuwe onbehagen in de cultuur

Nr. 3: S. Houppermans, M. Kinet & M. De Kesel (Red.) De bedrieger bedrogen. Dromen in psychoanalyse en cultuur

Nr. 4: M. Kinet, M. De Kesel & S. Houppermans (Red.) For your pleasure? Psychoanalyse over esthetisch genot

Nr. 5: S. Houppermans, J. de Kroon & P. Verstraten (Red.) Psychose en de kunsten

Nr. 6: M. Kinet, K. Vuylsteke Vanfleteren & S. Houppermans (Red.) Als het lichaam spreekt

Nr. 7: P. Verstraten & S. Houppermans (Red.) Oedipus heerst!?

Nr. 8: M. Kinet, T. Traversier & S. Houppermans (Red.) Dwingende vrijheid

Nr. 9: P. Verstraten & S. Houppermans (Red.) Oog om oog. Psychoanalyse en tv-series

Nr. 10: M. Groen & P. Kuijpers (Red.) Woorden breken. Het demografisch tekort




OSL Schrijfcursus voor geesteswetenschappers – Framen, schrappen en herschrijven  

Framen, schrappen en herschrijven

Data: 28, 29, 30 en 31 januari 2020 (exacte tijden, zie onderaan)
Locatie: Universiteit Utrecht, Drift 23 – 104, LET OP: ingang via Drift 27
Credits: 3
Bestemd voor: Promovendi en RMa Studenten, OSL leden hebben voorrang bij inschrijving


Valorisatie wordt in de wetenschap steeds belangrijker. En dan gaat het er niet alleen over dat je onderzoek aansluiting vindt bij maatschappelijke thema’s, maar ook dat je aan het brede publiek duidelijk kunt maken waar het over gaat en wat er interessant aan is. In deze korte, intensieve schrijfcursus leer je in verschillende tekstgenres je onderzoek te presenteren. Hoe kun je in een opiniërende column de aansluiting zoeken bij de actualiteit? Welke offers moet je (niet) brengen wanneer je in de media komt of een boek schrijft voor een publieksuitgeverij? Hoe kun je je onderzoek ‘framen’? De cursus bestaat uit schrijfoefeningen en discussies.

Docent: Geert Buelens, hoogleraar Moderne Nederlandse Letterkunde Universiteit Utrecht en meermaals bekroond en vertaald essayist, columnist en schrijver van literaire non-fictie.

Dinsdag 28 januari – 10.00-17.00
Woensdag 29 januari – 10.00-13.00
Donderdag 30 januari – 10.00-17.00
Vrijdag 31 januari – 10.00-13.00

Meer informatie volgt zsm.