STACY CARSON HUBBARD
Ph.D., English, Cornell University, 1989
M.A., English, Cornell University, 1985
B.A., English and Psychology, California State University, Chico, 1981
Associate Professor of English and Adjunct
Associate Professor of Comparative Literature and Women's Studies, SUNY
at Buffalo, 1997-present
SELECTED FELLOWSHIPS AND AWARDS:
SUNY Chancellor's Award for Excellence in
"Mannerist Moore: Poetry, Painting, Photography," in New Essays on Marianne Moore, ed. Cristanne Miller and Robin Schultze (Lewisburg, PA: Bucknell University Press, forthcoming 2004)
"'A Splintery Box': Race and Gender in the Sonnets of Gwendolyn Brooks," in Widening the Discourse: The Florence Howe Award for Feminist Studies: 1990-2002, ed. Roseanne Dufault and Mihoko Suzuki (New York: Modern Language Association Press, forthcoming 2004); originally published in Genre 25:1 (Spring 1992): 47-64.
"Love's 'Little Day': Time and the Sexual Body in Edna St. Vincent Millay's Sonnets," in Millay at 100: A Critical Reappraisal, ed. Diane P. Freedman (Carbondale, IL: Southern Illinois Press, 1995): 100-116. (an excerpt of this article can be accessed at http://www.english.uiuc.edu/maps/poets under "Millay.")
"The Many-Armed Embrace: Collection, Quotation and Mediation in Marianne Moore's Poetry," Sagetrieb 12:2 (Fall 1993): 7-32. (an excerpt of this article can be accessed at http://www.english.uiuc.edu/maps/poets under "Moore.")
"Telling Accounts: DeQuincey at the Booksellers," in Postmodernism Across the Ages: Essays for a Postmodernity that Wasn't Born Yesterday, ed. Bill Readings and Bennet Schaber (Syracuse, NY: Syracuse University Press, 1993): 153-68.
American Literary and Cultural Criticism
New courses in the works:
A graduate seminar on Willa Cather and an undergraduate course on the literature and history of the First World War.
American women's reform writings; sentimental fiction; women's modernist fiction; American regionalism; modernism and the occult; Henry James and Edith Wharton; American modernism and film; Lorine Neidecker; Elizabeth Bishop; Marianne Moore; Modernist women and little magazines; H.D. and Djuna Barnes; American girl's literature; Gertrude Stein; Japanese influences in American modernism; Sylvia Plath; Charlotte Perkins Gilman; American literature and modern science.
My primary interests are American women's writing, women's poetry, transatlantic modernism, the literature of domesticity, literature and the visual arts, and late nineteenth century and early twentieth century American writings on architecture, urban planning, immigration and housing reform. Major authors of interest include Ralph Waldo Emerson, Emily Dickinson, Louisa May Alcott, Henry James, Gertrude Stein, Marianne Moore, Wallace Stevens, Nella Larsen, Willa Cather, Elizabeth Bishop and Gwendolyn Brooks.
My current research involves a series of essays on the modern American poet, Marianne Moore, which include exploration of the significance of photography to her poetry, her reworking of the tradition of the English house poem, and her development of a self-contradictory, recursive and quotational style in her essays (a practice I see as indebted to the essays of Ralph Waldo Emerson). Other projects include an article-length study of nervousness and American architecture in the writings of Charlotte Perkins Gilman, Jacob Riis, Jane Addams, Frank Lloyd Wright and Willa Cather; and an article on anger, eroticism and cross-racial sympathy in the fiction of Louisa May Alcott. In addition, I am currently working on a book-length study of the responses of nineteenth and twentieth century American women writers to the work of Ralph Waldo Emerson, which includes such figures as Margaret Fuller, Louisa May Alcott, Emily Dickinson, Kate Chopin, Jane Addams, Gertrude Stein, Willa Cather, Marianne Moore, Elizabeth Bishop, Marilynne Robinson and Lyn Hejinian.
My work ranges from explorations of the
gendering of language and form in women's poetry to investigations of
the intersections between literature and social and material history (which
gets me into such topics as the relations between domestic fiction and
American architectural reforms, the connections between quotational poetry
and various kinds of collecting practices, and the influence of portrait
photography on modern conceptions of authorship). In recent years I have
been teaching courses which combine art historical and photographic materials
with both canonical and popular literature and various kinds of materials
about social and cultural history. I continue to teach modern poetry courses
on a regular basis and my approach in these classes is historical (to
what political, social, and technological developments were poets responding?),
formal (with what kinds of language and structures?) and eclectic (what
sort of arguments and conversations were happening between the realists,
regionalists, socialists, feminists, aesthetes, imagists, objectivists
and "high modernists"?).