The Centre for the History of European Discourses was incorporated in the Institute for Advanced Studies in the Humanities in August 2015.

The information in this website is therefore out of date but retained for archival and staff purposes.

Dr Greg Hainge 
BA Hons (Nottingham), MA (Nottingham), PhD (Nottingham)

Greg Hainge a Senior Lecturer in French and the French Program Coordinator, School of Languages and Comparative Cultural Studies, University of Queensland.

Greg has many concurrent research fields and current interests, all of which are related by his emphasis on what might be termed an immanent material analysis and all of which relate to the broadly defined area of cultural history. His active research interests are:

1. 20th-century French literature.
2. Noise in the development of experimental electronic music throughout the 20th Century.
3. The development from analogue to digital technologies in sound reproduction and imaging technologies throughout the 20th Century.
3. Critical Theory or Continental Philosophy (with particular attention to Baudrillard, Deleuze and Guattari and Derrida) and its application to other cultural texts.
4. Diverse areas of cultural studies (including somatechnics, film studies—French and American independent cinema—, critical architecture, visual studies—particularly photography).


Sole-authored book:

– Capitalism and Schizophrenia in the Later Novels of Louis-Ferdinand Céline; D’un … l’autre (New York: Peter Lang, 2001), 276 p.

Chapters in collected volumes:
 

– ‘The Unbearable Blandness of Being: The Everyday and Muzak in Barton Fink and Fargo’, in Collected Essays on the Coen Brothers, edited by Joe Walker and Keith Perry (tbc: forthcoming, 2008)

– ‘No Sympathy for the Devil or Lobby Music: Spaces of Disjunction in Barton Fink, The Shining, and Muzak’, Moving Pictures/Stopping Places: Hotels and Motels on Film, ed. by Dave Clarke (tbc: forthcoming 2008).

– ‘L’Invention du Troisième Peuple: The Utopian Vision of Philippe Grandrieux’s Dystopias’, in Utopia/Dystopia, ed. by John West-Sooby (University of Delaware Press: forthcoming 2008).

– ‘Interdisciplinarity in Rhizome Minor: On Avoiding Rigor Mortis Through a Rigorous Approach to Jazz, Metal, Wasps, Orchids and Other Strange Couplings’, in Rhizomes: Connecting Languages, Cultures and Literatures. Approaches to Interdisciplinary Research in Language Studies, ed. by Nathalie Ramière and Rachel Varshney (Newcastle: Cambridge Scholars Press, 2006), pp.2-12.

– ‘To(rt)uring the Minotaur: Radiohead, Pop, Unnatural Couplings and Mainstream Subversion’, in Strobe-Lights and Blown Speakers: The Music and Art of Radiohead, edited by Joseph Tate (Aldershot: Ashgate Publishers, 2005), pp.62-84.

– ‘Allegorical Geographies: Topographical Transposition and Allegorical Function in Louis-Ferdinand Céline’s Aesthetic Spaces’, Discursive Geographies: Writing Space and Place in French, ed. by Jeanne Garane (Amsterdam: Rodopi, 2005), pp.25-38

– ‘Weird or Loopy? Specular Spaces, Feedback and Artifice in Lost Highway’s Aesthetics of Sensation’, in The Cinema of David Lynch: American Dreams, Nightmare Visions ed. by Annette Davison & Erica Sheen (London: Wallflower Press, 2004), pp.136-150.

– ‘Is Pop Music?’, in Deleuze and Music, edited by Ian Buchanan and Marcel Swiboda (Edinburgh University Press, 2004), pp.36-53.

– ‘The Death of Education, a Sad Tale: Of Anti-pragmatic Pragmatics and the Loss of the Absolute in Australian Tertiary Education’, in Innovation and Tradition: Arts, Humanities and the Knowledge Economy, ed. by Jane Kenway, Elizabeth Bullen and Simon Robb (New York: Peter Lang, 2004), pp.35-45.

– ‘Le fol amour du Dr Destouches, ou comment j'ai appris à ne plus m'en faire et à lire les pamphlets: Louis-Ferdinand Céline et Stanley Kubrick’, Actualité de Céline (Tusson: Du Lérot, 2001), pp.143-158.

– ‘When the End is the Means; Becoming-Music in Louis-Ferdinand Céline’s German Trilogy’, Dialogues, 2, ed. by Ann Amherst and Katherine Astbury (Exeter: Elmbank Publications, 1999), pp.77-83

– ‘Quand je ne peut être autre; Féerie pour une autre fois de Louis-Ferdinand Céline’, in Le Moi littéraire, ed. by Russell King, Essais sur la Littérature Française et Francophone, 1 (Nottingham: University of Nottingham, Department of French, 1999), pp.85-93

Sole-authored refereed journal articles:

–‘A Tale of (at least) Two Hiroshimas: Nobuhiro Suwa’s H Story and Alain Resnais’s Hiroshima mon amour’, Contemporary French Civilization (forthcoming: 2008)

– ‘Unfixing the Photographic Image: Photography, Indexicality, Fidelity and Normativity’, Continuum (forthcoming: 2008).

– ‘Vinyl is Dead, Long Live Vinyl: The Work of Recording and Mourning in the Age of Digital Reproduction, Culture Machine 9 (2007). <http://culturemachine.tees.ac.uk/frm_f1.htm>

– ‘Of Glitch and Men: The Place of the Human in the Successful Integration of Failure and Noise in the Digital Realm’, Communication Theory 17 (2007), 26–42

– ‘The Architect’s Scalpel: The Monstrous Digital Futures of Alexa Wright’s Precious’, Social Semiotics 17.3 (2007), 327-340.

– ‘Le corps concret: Of Bodily and Filmic Material Excess in Philippe Grandrieux’s cinema’, Australian Journal of French Studies 44.2 (2007), 153-171.

– ‘Tempest in Another Time: Shakespeare, Greenaway, Céline’, Romanic Review 97.1 (2006), 15-32.

– ‘“Pagan Poetry”, Piercing, Pain and the Politics of Becoming’, Scan 1.3 ‘Bodily (Trans)Formations (2004) <http://scan.net.au/scan/journal/display_article.php?recordID=43> (11/01/05)

– ‘No(i)stalgia: On the Impossibility of Recognising Noise in the Present’, Culture, Theory and Critique 46.1 (2005), 1-10.

– ‘The Language of Suffering: The Place of Pain in Louis-Ferdinand Céline’s Féerie pour une autre fois’, L’Esprit créateur 45.3 (2005), 18-28

– ‘The Sound of Time is not tick tock: The Loop as a Direct Image of Time in Noto’s Endless Loop Edition (2) and the Drone Music of Phill Niblock’, Invisible Culture 8 (2004), <http://www.rochester.edu/in_visible_culture/Issue_8/hainge.html>

– ‘Le Prologue de Guignol’s band comme porte vers l’espace lisse, ou, chronique manquée d’une réussite à venir’, Essays in French Literature 40 (2003), 57-79.

– ‘Platonic Relations: The Problem of the Loop in Contemporary Electronic Music’, in m/c: a journal of media and culture 5.4 (2002), <http://www.media-culture.org.au/0208/platonic.html> (08/08/2002).

– ‘Come on Feel the Noise: Technology and its Dysfunctions in the Music of Sensation’, To The Quick 5 (2002), 42-58.

– ‘Seeing Silence: Filmic and Acoustic Convergences in the Work of Thierry Knauff and Francisco López’, Culture, Theory and Critique 43.2 (2002), 155-170.

– ‘A Whisper or a Scream? Experimental Music Sounds a Warning for the Future of Theory’, in Continuum: Journal of Media and Cultural Studies 16.3 (2002), 285-298.

– ‘Impossible Narratives: Colonial Spaces of Dissolution in Voyage au bout de la nuit and To Have and to Hold’, Australian Journal of French Studies 38.2 (2001), 253-271.

– ‘The Art of Automythography: The Role of Myth in Louis-Ferdinand Céline’s German Trilogy’, New Comparison 32 (2001), 53-65.


email: g.hainge@uq.edu.au

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