Arina Codruta ROTARU - 北京师范大学-香港浸会大学

个人简介

Dr. Arina Rotaru is an assistant professor in the General Education Office and at the Center for Foreign Languages and Cultures at BNU–HKBU United International College. Her work explores minoritarian cultures, sound and performance studies, contemporary German literature and culture as well as world literature and film. She has studied or done research in multiple European countries such as Germany, Austria, Romania, Italy and France, and has taught at Cornell University, Ithaca College, New York University Shanghai and the University of Hong Kong. She has additional pedagogic expertise through her fellowships with the Center for Teaching Excellence (now Innovation) at Cornell University. Between 2018-2022, she was an affiliate of the Center for the Study of Globalization and Cultures at the University of Hong Kong. Her research has been sponsored by the German Academic Exchange Service, the New York University Visual Arts Council, the Max Kade Foundation and the Project "1968 in Global Archives" at the Deutsches Literaturarchiv Marbach.

研究领域

Global Cultural Studies and Global Cultures, World Literature, Sound and Performance Studies, Critical Theory, Gender Studies, Postcolonial Studies, Foreign Language Pedagogy

近期论文

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"European Utopias/Dystopias in Ayaan Hirsi Ali's Submission: Part I (2004) and Michel Houellebecq's Submission (2015)", in The Journal of European Studies 53, no. 1 (2023): 37-52. (A&HCI) https://doi.org/10.1177/00472441221141982 “The Sound of Life in Marcel Beyer’s Flughunde [The Karnau Tapes],” Seminar: A Journal of Germanic Studies 57, no. 4 (2021): 360-381 doi.org/10.3138/seminar.57.4.2 (A&HCI) “The Retrospective Glance in Soyoung Kim’s Exile Trilogy” in philoSOPHIA: A Journal of Transcontinental Feminism 11, no. 2 (2021) , 90-107 (ESCI) “May Ayim and Diasporic Poetics,” The Germanic Review: Literature, Culture, Theory 92, no. 1 (2017): 86-107. http://dx.doi.org/10.1080/00168890.2016.1239061 (A&HCI) “Yoko Tawada’s Kafka Kaikoku: Modernity, Sacrifice, and World Literature,” Journal of World Literature 2, no. 4 (2017): 454-474. DOI: 10.1163/24056480-00204005 (ESCI) “Colonial Sounds and Aural Interferences in the Dadaist Sound Poetics of Hugo Ball and Tristan Tzara” in Studia Theodisca 24 (2017): 5-28. DOI: https://doi.org/10.13130/1593-2478/9203 (A&HCI) “Totality and Destruction in Contemporary German Culture: Playing on Fascism in the Total Art of Serdar Somuncu,” in TOTalitarian ARTs: THE VISUAL ARTS, FASCISM(S) AND MASS-SOCIETY, eds. Mark Epstein, Fulvio Orsitto and Andrea Righi (Newcastle upon Tyne: Cambridge Scholars Publishing, 2017), 300-320. “Herta Müller’s Art of Reverberation. Sound in the Collage Books Die blassen Herren mit den Mokkatassen (2005) and Este sau nu este Ion (2005)” in Herta Müller: Aesthetics and Politics, eds. Bettina Brandt and Valentina Glajar (Lincoln and London: University of Nebraska Press, 2013), 230-251. “Contemporary German Poetry and Avant-Garde Reappraisals in the Work of Thomas Kling and Oskar Pastior,” Forum for Modern Language Studies: Special Issue: Contemporary Poetry in Europe and the Americas, ed. Steven Winspur, Oxford University Press, Vol. 47 (October 2011): 364-378. https://doi.org/10.1093/fmls/cqr035 (A&HCI) Review of Caroline Rupprecht. Asian Fusion: New Encounters in the Asian-German Avant-Garde. Peter Lang, 2020, in Feminist German Studies, 2021, vol. 37, no. 2 , 129-131. (ESCI)