The Humanities and Planetary Change

A One-Day Graduate Symposium featuring round tables, panels, and performances. See full schedule here.

Tuesday, May 1st | 9:00am – 5:30pm | New North 311, Georgetown University


9:00 am | Coffee and Registration

9:30 – 10:45 am | Roundtable: Watery Places                                                                               Chair: Dana Luciano

Participants: Daniel Breen, Erin Torbett, Anh Nguyen, Sally Baker

10:45-11:00 am | Coffee Break

11:00 am-12:15 pm| Panel: Divisions, Recombinations, Solidarities                                            Chair: Megan Dean

Annie Gala, “Black Moth, White Moth: Reading Urban Renewal and the Division of the Anthropocene.”

Stephanie Albrecht, “How Mutabilitie in them doth play”: A Reading of Endless Forms and Decay in Spenser’s The Faerie Queene

Valeria Meiller, “Argentine Slaughterhouses: Why Look at Animals in the Global South?”

12:15-1:45 | Lunch Break with Art & Performance

Two short performances: “Homo Sapiens” by Chantal Bilodeau & “Swing Among the Stars,” by Philip Braithwaite; Caroline Kennealy (Col. ’18) presents “Dancing in the Anthropocene” and Sam Lee (Col. ’18) presents “We the Coral”

2:00-3:15 pm | Roundtable: Social and Ecological Forms                                                               Chair: Nathan Hensley

Participants: Daniel Giguere, Carrie Lebel, Luís Sanchez, Dominique Ebedes, Emily Bezold

3:15-3:30 pm | Coffee Break

3:30-4:45 pm | Panel: Uneven Time and Possible Futures                                                                 Chair: Mabel Gergan

Travis Smith, “Detropia: Capturing Fossils of the Anthropocene.”

Mary Galli, “‘Robbery with Violence’: Ivory Extraction in Joseph Conrad’s Heart of Darkness.”

Tess Henthorne, “A Monument of Existence: Textual Futurity in Mary Shelley’s The Last Man

Bridget Sellers, “Games and the Logic of Ecological Recovery”

4:45-5:30 pm | Reception with Refreshments & heavy hors d’oeuvres. During reception, a short performance: “The Project Hope,” by Catherine Banks