Sie sind hier: FRIAS School of Language & … Fellows Prof. Dr. Robyn Warhol

Prof. Dr. Robyn Warhol

Englische Literatur und Kulturwissenschaften
Ohio State University
Juni - Juli 2012

Vergangene FRIAS-Aufenthalte

  • Juni - Juli 2012
  • Juni - Juli 2011



Robyn Warhol (* 1955 in Kansas, USA, B.A. Pomona College, Ph.D. Stanford University) hat in Minnesota, New Mexico, Nevada, California, Vermont und Ohio gelebt. Nach 26 Jahren als Professorin für Englisch an der University of Vermont ist sie Arts and Humanities Distinguished Professor of English an der Ohio State University geworden: 2009 hat sie sich mit dem Project Narrative (einigen Mitgliedern des dortigen Lehrkörpers, die sich auf Narratologie spezialisiert haben) verbunden. Zusammen mit Susan Lanser ist sie eine der Gruenderinnen der feministischen Narratologie. Ihre Forschungsschwerpunkte sind der englische Roman des 19. Jahrhunderts, feministische Theorie, und U.S. Popkultur, insbesondere Fernsehsoaps. Warhol war Gründungspräsidentin der International Society for the Study of Narrative, des English Institute der Harvard University und der M.L.A. Association of Departments of English.


Publikationen (Auswahl)

Bücher und Herausgerberschaften

  • Practicing Narrative Theory: Four Perspectives in Conversation, with David Herman, James Phelan, Peter Rabinowitz, and Brian Richardson. Ohio State University Press, 2011
  • Feminisms Redux, co-editor, Diane Price Herndl, Rutgers University Press, 2009
  • Women’s Worlds: The McGraw-Hill Anthology of Women’s Writing in English, editor-in-chief, 2008
  • Having a Good Cry: Effeminate Feelings and Popular Forms. Theory and Interpretation of Narrative Series, Ohio State University Press, 2003
  • Feminisms, co-editor, Diane Price Herndl, Rutgers University Press, 1991, 1997
  • Gendered Interventions: Narrative Discourse in the Victorian Novel, Rutgers University Press, 1989


Neueste Artikel

  • «Adventures in the Archives: Two Literary Critics in Search of a Victorian Subject.» Co-author Helena Michie. Victorian Studies, 52.3 (Spring, 2010): 413-439
  • «The Space Between: A Narrative Approach to Alison Bechdel's Fun Home.» Forthcoming in College Literature, 2010
  • «'What Might Have Been Is Not What Is': Dickens's Narrative Refusals.» Forthcoming in Dickens Studies Annual Vol. 41 (Summer, 2010)
  • «Teaching Gender and Narrative.» Options for Teaching Narrative. Eds. James Phelan, David Herman, and Brian McHale. New York: MLA. Forthcoming 2010
  • »Academics Anonymous: A Meditation on Anonymity, Power, and Powerlessness.» Symploke 16.1 & 2 (2009): 51-59
  • »Jasmine Reconsidered: Narrative Discourse and Multicultural Subjectivity.» Contemporary Women's Writing, 2.1 (2008): 1-16
  • «Narrative Refusals and Generic Transformation in Austen and James: What Doesn't Happen in Northanger Abbey and The Spoils of Poynton.» Henry James Review, 28.3 (2007): 259-268
  • „Neonarrative; or, How to Render the Unnarratable in Realist Fiction and Contemporary Film.” A Companion to Narrative Theory. Eds. James Phelan and Peter Rabinowitz. Malden, MA and Oxford: Blackwell, 2005. 220-231







During my 2012 fellowship at FRIAS, I will work on “Exploring the Archive: The Public and Private Lives of George Scharf,” a literary-theoretical investigation of how literary scholars move from archival evidence to conclusions about historical persons. In our book-in-progress, my co-author, Helena Michie (Agnes Cullen Arnold Professor in Humanities at Rice University) and I tell our joint story of following the archival remains of the founding director of London’s National Portrait Gallery, only to arrive at conflicting and ambiguous versions of his “self.” The book argues that humanities researchers inevitably bring expectations to the archive that affect what is found there. In particular, the book shows how the novel-based master narratives of the Bildungsroman and the marriage plot can shape equally plausible versions of the story of Scharf’s life in different and contradictory ways. The project’s significance inheres less in the revelation of the ordinary facts of Sir George Scharf’s life than in how he exemplifies identities available to a man of his class, profession, period, and nation. Most important are the ways his life story exceeds or strains the identity categories contemporary scholars typically employ such as “queer,” “middle-class,” or “Englishman.” By calling into question the received methods for finding out what Judith Butler paradoxically names “the truth of the person,” the project aims to have an impact on the way humanities scholars make statements about historical subjects.