{"id":5757,"date":"2015-06-19T20:18:51","date_gmt":"2015-06-20T00:18:51","guid":{"rendered":"http:\/\/www-staging.bu.edu\/amnesp\/?post_type=profile&p=5757"},"modified":"2024-07-30T16:31:16","modified_gmt":"2024-07-30T20:31:16","slug":"jonathan-foltz","status":"publish","type":"profile","link":"https:\/\/www.bu.edu\/americanstudies\/profile\/jonathan-foltz\/","title":{"rendered":"Jonathan Foltz"},"content":{"rendered":"

Research Areas<\/strong>:\u00a0Modernist literature; film and media studies; philosophy; critical theory; visual culture; aesthetics<\/span><\/span><\/p>\n

My research and teaching activities concentrate on modernist literature, film and media studies, philosophy, critical theory, visual culture, and aesthetics.\u00a0 As a scholar of literature and film, I focus on how problems of expression and sensibility are reimagined through analogy and antagonism with other arts.\u00a0 For this reason, I find myself drawn to works of conflicted ambition with respect to their form, medium or genre: novels that would not like to be novels, poems obsessed with becoming the images they address to us, films that indulge their impatience with narrative in order to revel in a fascination with pure showing.\u00a0 In clarifying the cultural work of these modes of experimentation, I think about the ways that storytelling has changed in response to the developments of technological modernity.<\/p>\n

In the case of modernism, I am interested in how the character and task of literature was redefined in response to the emergence of cinema.\u00a0 My book,\u00a0The Novel After Film: Modernism and the Decline of Autonomy<\/i>, explores this by looking at the work of writers who sought to transform our understanding of the novel\u2014among them Virginia Woolf, H.D., Aldous Huxley, and Henry Green\u2014and who were also members of the first generation to address the challenge to aesthetic conventions posed by narrative film-making.\u00a0 Connecting the public discourse about film as an art to the experiments of modernist fiction, I show how basic literary notions of subjectivity, language, irony, and omniscience were reconfigured in the shadow of a medium that seemed to make those categories at once obsolete and newly urgent.\u00a0 The Russian critic Viktor Shklovsky once wrote that making literature in the style of film would be absurd, akin to making \u201cice-cream out of lilacs.\u201d\u00a0 This strikes me as a taunt and a caution, but also as a kind of thinking that is surprisingly desirous of the bad form it disavows.\u00a0 I would like to understand how this kind of drift in aesthetic value and judgment might refocus our understanding of how literature has remade itself in the last hundred years or so.<\/p>\n

I have published an article on H.D.\u2019s prose fiction in the context of her film reviews, as well as an article on Carlos Reygadas\u2019s film\u00a0Silent Light.\u00a0<\/i>I have written book reviews for the\u00a0Los Angeles Review of Books<\/i>, as well as a number of film reviews. I currently teach courses on modern literature, film, narrative theory, and the unreliable narrator.\u00a0 In my classes, I have taught experimental poetry alongside slapstick comedies, Freud\u2019s case studies alongside film noir, and in one class used the poetic donkey from the movie\u00a0Au hasard Balthasar<\/i>\u00a0to illustrate how the narrative treatment of bodies has been altered by the advent of cinematic representation.<\/p>\n

Selected Publications<\/strong>:
\nCrude Sophistication: Modernism, Media Poetics and the Transformation of Complexity\u00a0<\/span><\/i><\/em>(forthcoming)<\/p>\n

The Novel After Film: Modernism and the Decline of Autonomy<\/em><\/a> (Oxford University Press, 2018)<\/p>\n

“Vehicles of the Ordinary: W. H. Auden and Cinematic Address,” in Auden at Work<\/em>, ed. Bonnie Costello and Rachel Galvin. London: Palgrave Macmillan, 2015, 49-68.<\/span><\/p>\n

\u201cThe Laws of Comparison: H.D. and Cinematic Formalism,\u201d Modernism\/modernity<\/em> 18.1 (Winter 2011), 1-25.<\/span><\/p>\n

\u201cBetraying Oneself: Silent Light and the World of Emotion,\u201d Screen<\/em> 52.2 (Summer 2011), 151-172.<\/span><\/p>\n

For a detailed academic bio and CV, please see Professor Foltz\u2019s Department Profile<\/a>.<\/strong><\/p>\n","protected":false},"author":6528,"template":"","_links":{"self":[{"href":"https:\/\/www.bu.edu\/americanstudies\/wp-json\/wp\/v2\/profile\/5757"}],"collection":[{"href":"https:\/\/www.bu.edu\/americanstudies\/wp-json\/wp\/v2\/profile"}],"about":[{"href":"https:\/\/www.bu.edu\/americanstudies\/wp-json\/wp\/v2\/types\/profile"}],"author":[{"embeddable":true,"href":"https:\/\/www.bu.edu\/americanstudies\/wp-json\/wp\/v2\/users\/6528"}],"version-history":[{"count":8,"href":"https:\/\/www.bu.edu\/americanstudies\/wp-json\/wp\/v2\/profile\/5757\/revisions"}],"predecessor-version":[{"id":11390,"href":"https:\/\/www.bu.edu\/americanstudies\/wp-json\/wp\/v2\/profile\/5757\/revisions\/11390"}],"wp:attachment":[{"href":"https:\/\/www.bu.edu\/americanstudies\/wp-json\/wp\/v2\/media?parent=5757"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}