My primary research project examines vocality (the voice’s sonorous materiality) in literature, opera, film, and digital media. Drawing on anti-ocular or videocentric criticism, sound studies, Derridean deconstruction, and Lacanian psychoanalysis, the project investigates figures of singers in literary and musical history in order to trace intermedial networks of sonorous voices from early modernity onward. This work has been supported by doctoral fellowships from the Richard J. Schmeelk Foundation of Canada, as well as doctoral and post-doctoral fellowships from the Social Sciences and Humanities Research Council of Canada.
The project contributes to literary studies on intermediality, opera studies, and anti-ocular criticism by confronting antithetical representations of the singing voice as either an embodiment of ideology or a subversive resistance to discourse. Part of this research has already been published in the Journal of Performance Art and Digital Media, where I argue that theories of immersion in media are predicated on the attribution of sonorous characteristics to visual media. Another article has been recently published in the Journal of Musicological Research; it advocates an extension of intertextuality in musicological research in order to support intermedial analyses that further open the field to recent developments in critical theory. A third article on literary historiography’s problematic relation to figures of singers is currently under revision.
I recently started work on a second research project, Posthumanist Vocality and Performance. Posthumanism has two major contributions to offer fields interested in voice, namely the re-evaluation of the voice as sole producer of self-presence and technology’s displacement of both the self and presence. I have recently published an article on interactive digital scenography, mimesis, and Robert Lepage’s production of Wagner’s Ring Cycle in the Journal of Aesthetics and Culture. Another article on posthumanist voices, queer theory, and film was recently published in Synoptique. A contracted book chapter on posthumanism and voice is awaiting publication. It discusses vocal imitation in Mozart’s The Magic Flute and Philip K. Dick’s Do Androids Dream of Electric Sheep? In the past two years, I have co-organized conference panels on posthumanist vocality and on vocal remediation for the American Comparative Literature Association’s annual congress.