Céline Frigau Manning is Associate Professor in Performance Studies and Italian at the University of Paris 8 and a member of the Institut universitaire de France. A graduate of the École Normale Supérieure, she was a researcher at the Bibliothèque Nationale de France and a resident scholar at the Villa Medici. She is the author of Chanteurs en scène : L’œil du spectateur au Théâtre-Italien (Champion, 2014), and editor of La Scène en miroir : Métathéâtres italiens (Classiques Garnier, 2016). She co-edited Traduire le théâtre (PUV, 2017) and Collaborative Translation (Bloomsbury, 2016). Her articles have appeared in 19th-Century Music, Opera Quarterly, and L’Avant-Scène Opéra, and she edited a special issue of Laboratoire italien on “Italian Music and Medicine in the 19th Century” (2017). In 2015, she was awarded a five-year grant entitled “Clinic of the Singer” by the Institut universitaire de France to investigate the relationships between nineteenth-century music, opera, and the medical sciences. She is currently working on a book entitled Spectacles de l’esprit. Hypnose, musique et sciences au XIXe siècle.


Nicholas Manning is an  Associate Professor in American Literature at the Sorbonne. A graduate of the École Normale Supérieure (Ulm), he is the author of Rhétorique de la sincérité. La poésie moderne en quête d’un langage vrai (Honoré Champion, 2013), Signs of Eternity: H.D.’s Trilogy (with Clément Oudart, Fahrenheit, 2013), and articles in Textual PracticeTransatlantica, or the French Journal of American Studies. Founding editor of The Continental Review, his research is devoted to the interactions between modern literature, psychology, emotion and affect. He is the editor of a forthcoming issue of the French Journal of American Studies entitled “American Psychotrope”, and is currently working on a book entitled The Artifice of Affect. Emotional Truth in Modern American Realist Fiction.


Carmel Raz  is a Postdoctoral Fellow in the Society of Fellows at Columbia University. She received her PhD in music theory from Yale in 2015, and holds a Masters degree in composition from the University of Chicago and a Diplom in violin performance from the Hochschule für Musik “Hanns Eisler” in Berlin. Her research interests focus on the relationship between music, neural science, and theories of cognition in the early Romantic period. Her academic work has been supported by the Theron Rockwell Field Dissertation Prize, a Whiting Dissertation Fellowship, a Mellon Graduate Achievement Award, and the Baden Württemberg Stiftung.  Starting in July 2018, she will be a Research Group Leader at the Max Planck Institute for Empirical Aesthetics in Frankfurt, Germany, leading a group entitled “Histories of Music, Mind, and Body.”