Elizabeth Athens

Announcing the 2020–21 UConn Faculty Fellows

The University of Connecticut Humanities Institute (UCHI) is proud to announce its incoming class of UConn faculty fellows. The Class of 2020–21 will consist of seven faculty who embody the creative drive and energy of the arts and humanities scholarship at the University of Connecticut. More information about each fellow, including their biographical information, will be provided at a later date:

 

 

Elizabeth Athens sitting against a background of flowers

Elizabeth Athens

 

Department of Art & Art History

Project Title: Figuring a World: William Bartram’s Natural History

Amanda Crawford headshot

Amanda Crawford

 

Department of Journalism

Project Title: The Sky is Crying: the Sandy Hook Shooting and the Battle for Truth

Melanie Newport headshot

Melanie Newport

 

Department of History

Project Title: This is My Jail:  Reform and Mass Incarceration in Chicago and Cook County

Helen Rozwadowski headshot

Helen Rozwadowski

 

Department of History - Avery Point

Project Title: Science as Frontier: History Hidden in Plain Sight

Sara Silverstein headshot

Sara Silverstein

 

Department of History & Human Rights Institute

Project Title: Toward Global Health: A History of International Collaboration

Scott Wallace headshot

Scott Wallace

 

Department of Journalism

Project Title: The Bleeding Frontier: Indigenous Warriors in the Battle for the Amazon and Planet Earth

Sarah Winter headshot

Sarah Winter

 

Department of English

Project Title: The Right to a Remedy: Habeas Corpus, Empire, and Human Rights Narratives

You Should…Read: Micrographia Illustrata

George Adams, Micrographia Illustrata, 4th ed. (London, 1771), retrieved from babel.hathitrust.org

Visual technologies have conditioned us to dramatic alterations of size and scale, but in the eighteenth century, they still retained a considerable shock factor. Microscopy, for instance, was likened to a type of travel, a way to enter a previously unknown “Magazine of Wonders.” The London instrument-maker George Adams endeavored to popularize it among non-specialists and, not incidentally, improve his sales through the many editions of his Micrographia Illustrata. He assured his readers that everything they took for granted—blight on rose leaves, mold on bread—would transform into something new and entirely unanticipated when magnified. “The whole Earth is full of Life,” he wrote, “and then if we call in the Assistance of Art, what a new Scene of Wonder opens to our View? What an infinite Variety of living creatures present themselves to our Sight?” Even more exciting was the practice of solar microscopy, in which the magnified view was projected on a wall, giving observers the sense of entering into the object itself. In his book, Adams describes the act of magnification as an early form of virtual reality that allowed viewers to set off into new and bewildering landscapes. And, of course, he provided a catalogue of instruments and prices at the end of the volume, just in case anyone was interested.

-Elizabeth Athens 
Assistant Professor
Department of Art and Art History
University of Connecticut