Liliane Campos is a lecturer in English and Theatre studies at the Sorbonne Nouvelle University in Paris, and a member of the Institut Universitaire de France. Her current research focuses on biological perspectives and questions of scale in contemporary theatre, fiction and poetry. She is the author of two books on science in theatre, Sciences en scène dans le théâtre britannique contemporain (PUR, 2012) and The Dialogue of Art and Science in Tom Stoppard’s Arcadia (PUF, 2011), has edited a special issue of Alternatives théâtrales called “Côté sciences” and co-edited Living Matter / Literary Forms (20th-21st centuries) on Liliane’s work on contemporary performance and fiction has appeared in Contemporary Theatre Review, New Theatre Quarterly, Textual Practice, Etudes AnglaisesEpistémocritiqueEtudes Britanniques Contemporaines and Interdisciplinary Science Reviews. She runs a Science and Literature seminar at the Sorbonne Nouvelle with Pierre-Louis Patoine (


Antoine Cazé is Professor at Université Paris Diderot—Paris 7, where he has been Dean of Humanities, and now currently Vice-President for International Affairs. A specialist of American poetry, he is the author of a monograph on John Ashbery (John Ashbery, à contre-voix de l’Amérique, Paris, Belin, 2000), and has published numerous articles on (among others) Emily Dickinson, William Carlos Williams, H.D., Gertrude Stein, John Ashbery, Charles Bernstein, Lyn Hejinian, and Susan Howe. After publishing a translation in 2017 of Susan Howe’s My Emily Dickinson, he is editing two books on Dickinson: one a collection of essays on the figures of death in Dickinson’s poetry, the other the proceedings of the 2016 International Symposium on Dickinson, “Experimental Dickinson”. He is currently writing a book entitled Experimental Form and Subjectivity in Contemporary American Writing.


A graduate of the École Normale Supérieure (Lyon) and agrégée, Julie Cheminaud is Asssociate Professor (Maître de conférences) in philosophy of art at Sorbonne Université. Her research focuses primarily on the relationship between art and medicine. In her first book, Les évadés de la médecine. Physiologie de l’art dans la France de la seconde moitié du 19ème siècle (Vrin, 2018) she thus explored the links that could be established in the 19th century between medical discourses and artistic practices, concentrating more particularly on the figure of the artist as a new incarnation of melancholia. She is currently conducting research on Stendhal syndrome, which seeks to re-evaluate the question of excess in an aesthetic experience, often too hastily considered from a pathological point of view. It was with this project that she was accepted as a researcher in residence at the Académie de France in Rome—Villa Medici in 2015-2016.


 Jean-Christophe Coffin is Associate Professor at Université Paris 8 and associate researcher at the Centre Alexandre Koyré for the History of Science and Technology. Among his publications: La transmission de la folie, 1850-1914 (Paris, L’Harmattan, 2003); “L’exploration du musicien italien à la fin du XIXe siècle : entre médicalisation et paradoxe”, Laboratoire italien, 2017 (17), p. 1-17; “Le genre, une notion prise au sérieux dans les années 1960. Autour du psychiatre et psychanalyste Robert Stoller”, Sociétés et représentations, 2017 (1), n°43, p. 43-63; “La réhabilitation de la folie”, in Pierre F. Daled (ed.), L’envers de la raison. Alentour de Canguilhem, Paris, Vrin, 2008, p. 141-156 ; “Henri Ey et l’histoire contemporaine” in Conceptions de la folie, pratiques de la psychiatrie autour d’Henri Ey, Perpignan, Cahiers de l’association pour la Fondation H. Ey, 2008, p. 49-62; “Alfred Maury ou l’analyse profane de la médecine mentale” in Jacqueline Carroy & Nathalie Richard (eds.), Les sciences de l’homme au milieu du 19e siècle. Alfred Maury (1817-1892 érudit et rêveur, Rennes, PUR, 2007, p. 89-103.


David E. Cohen is Senior Research Scientist with the research group, “Histories of Music, Mind, and Body” at the Max Planck Institute for Empirical Aesthetics in Frankfurt, Germany. His research focuses on the history of music theory from Greek antiquity through the nineteenth century. A PhD graduate of Brandeis University (1993), he has held professorships at Columbia, Harvard, and Tufts Universities, and visiting professorships at Yale and McGill Universities. His article, “‘The Imperfect Seeks its Perfection’: Harmonic Progression, Directed Motion, and Aristotelian Physics” received the 2001 Best Publication award of the Society for Music Theory. Among his current projects are an essay about the musical note as the “element” of music, a study on Rameau’s harmonic theory, and a book, The End of Pythagoreanism: Music Theory, Philosophy, and Science from the Middle Ages to the Enlightenment.


Claude-Olivier Doron is Associate Professor in the History and Philosophy of Science at Université Paris Diderot (SPHERE-Centre Canguilhem). His research focuses on the history of psychiatry in the 19th century and in particular on the notions of degeneration, perversion, and more generally on the various epistemologies dealing with “abnormal” individuals. He has written extensively on the history and actuality of the notion of “race,” and is the author of L’homme altéré, Races et degénérescence (XVIIe-XIXe siècles). He has published articles on the history of the concept of “perversion” in nineteenth-century psychiatry, on the genesis of a psychiatry of “abnormal” individuals in the first half of the nineteenth century, and on races described as “hereditary alterations” between natural history and medicine in the late eighteenth and early nineteenth centuries. He has also worked for many years on the relationship between psychiatry and justice, and is an editor of Michel Foucault’s courses at the Collège de France.


Marie Fabre is an Associate Professor at the ENS Lyon. A specialist in contemporary Italian literature, her research focuses on the forms of utopia in the works of Vittorini and Calvino, and is more largely centered on the relationship between literature and politics. In her latest work she has written on Pasolini, Morante, and De Luca. Her second main activity is translation, and notably the translation of poetry (Amelia Rosselli).


Adam Frank‘s research and teaching areas include nineteenth- and twentieth-century American literature and media, histories and theories of affect and feeling, and science and technology studies. The author of Transferential Poetics, from Poe to Warhol (Fordham University Press, 2015), co-author, with Elizabeth Wilson, of the forthcoming A Silvan Tomkins Handbook (Minnesota University Press), and co-editor, with Eve Kosofsky Sedgwick, of Shame and Its Sisters: A Silvan Tomkins Reader (Duke University Press, 1995), he has also produced recorded audiodramas in collaboration with composers in Canada, the United States, and Europe. He is Professor in the Department of English at the University of British Columbia, and will hold a residential fellowship at the Paris Institute for Advanced Study (September 2018-June 2019).


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 and agrégée in Italian Studies, 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.


Rishi Goyal MD, PhD is an Assistant Professor in the Department of Emergency Medicine and the Director of the Medicine, Literature and Society Major Track in the Institute of Comparative Literature and Society (Columbia University). He holds an MD from Columbia College of Physicians and Surgeons where he was also a Chief Resident in Emergency Medicine and a PhD in English and Comparative Literature from Columbia University. He is a regular visiting professor to the University of Southern Denmark and his writing has appeared in The Living Handbook of Narratology, Aktuel Forskning. Litteratur, Kultur og Medier, and The Los Angeles Review of Books among other places. He is a co-founding editor of the online journal, Medical Health Humanities: A Department Without Walls, and is the recipient of a recent NEH grant.


Rachel Greenwald Smith is author of Affect and American Literature in the Age of Neoliberalism (Cambridge UP, 2015) and editor of American Literature in Transition: 2000-2010 (Cambridge UP, 2017). She is also co-editor, with Mitchum Huehls, of Neoliberalism and Contemporary Literary Culture (Johns Hopkins UP, 2017). Her essays have appeared or are forthcoming in The Los Angeles Review of Books, Novel: A Forum on Fiction, American Literature, Mediations, Modern Fiction Studies, Twentieth-Century Literature, and elsewhere. She is currently associate professor of English at Saint Louis University.


Sarah Hibberd is Stanley Hugh Badock Chair of Music at the University of Bristol. Her research focuses on opera and other forms of musical theatre in Paris and London during the first half of the (long) nineteenth century. Her publications include French Grand Opera and the Historical Imagination (Cambridge, 2009), the co-edited volume (with Richard Wrigley) Art, Theatre and Opera in Paris, 1750–1850 (Farnham, 2014), and a guest-edited special issue of 19th-Century Music devoted to Music and Science in London and Paris (Fall, 2015). Her articles have appeared in a variety of journals, including the Cambridge Opera Journal, Music & Letters, Laboratoire Italien, and in a number of edited volumes. 


Professor of Theater Studies, member of the research group Passages XX-XXI at Université Lyon 2, Mireille Losco-Lena has been working since 2011 at the Ecole Nationale Supérieure des Arts et Techniques du Théâtre (ENSATT), where she is responsible for research. She has published articles and books on the staging and dramaturgy of symbolists and naturalists at the turn of the century; on comic theatrical writings in the contemporary European field, and on the crossroads between theatrical studies and visual studies (co-direction with Florence Baillet and Arnaud Rykner, of the issue “L’œil et le théâtre” of the journal Etudes théâtrales, 2016, as well as of the conference “L’oeil immersive”, May 2018, Lyon. Her activities at the ENSATT have also led her to work on research-creation and the emergence of a research paradigm in theatrical practice since the beginning of the 20th century (direction of the collective Faire théâtre sous le signe de la recherche, Rennes, PUR, 2017), and she is currently conducting a research-creation program at the ENSATT on the relationship between theater and hypnosis.


Nicholas Manning is 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.


Isabelle Moindrot is a professor of theater studies at Université Paris 8. Her research focuses on the staging of contemporary opera, operatic dramaturgy, and the history of spectacular theatre from the nineteenth to twenty-first centuries. She has edited Le Spectaculaire dans les arts de la scène du romantisme à la Belle Époque (CNRS-Édition, 2006), Victorien Sardou. Le théâtre et les arts (PUR, 2011), as well as the critical edition of Victorien Sardou’s Drames et pièces historiques (Classiques Garnier, 2017, volumes I to VI). With Alain Perroux, she coordinated the dossier “Le Théâtre à l’opéra, la voix au théâtre” in Alternatives théâtrales (n° 113-114, 2012) and with Nathalie Coutelet, the book Altérités en spectacle. 1789-1918 (PUR, 2015). She regularly collaborates with L’Avant-Scène Opera and writes for the programmes of various opera houses. With François Ribac and Nicolas Donin, she coordinates the international seminar “Le Son de l’anthropocène » (Ircam, 29-30 June 2018, 12-13 September 2018).


Stéphane Poliakov is an Associate Professor at Université Paris 8 (Theatre Department), member of the EA1573 Research Group. He is a director and actor (Spectacle-Laboratoire company, Paris). He graduated from the École Normale Supérieure, holds an Agrégation in Philosophy and a PhD in Theatre Studies from Université Lyon 2. He studied acting and directing with A. Vasiliev in Moscow and Lyon (ENSATT). His research focuses on theories of acting and directing in Russia, theatre aesthetics, and on the history of theatrical makeup. He has published Constantin Stanislavski (2015), Anatoli Vassiliev : l’art de la composition (2006) and has translated Maria Knebel’s books on active analysis (L’Analyse-Action, 2006). He is working on a new translation of Stanislavsky as part of the project “Translating, transferring, putting into play the Stanislavski ‘system'” (Labex Arts-H2H). He is also working on a performance based on Plato’s Gorgias and The Trust D.E. by I. Ehrenburg.


Carmel Raz’s research focuses on the influence of philosophical and medical theories of mind-body interaction on musical works, aesthetics, and conceptions of volition and musical performance between approximately 1650 and 1900. She received her PhD in music theory from Yale in 2015, and also 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 academic work has been recognized and supported by the Theron Rockwell Field Dissertation Prize, a Whiting Dissertation Fellowship, a Mellon Graduate Achievement Award, and the Baden Württemberg Stiftung. From 2015-2018 she was a Postdoctoral Research Fellow at the Society of Fellows at Columbia University, and from July 2018, she will be a Research Group Leader at the Max Planck Institute for Empirical Aesthetics in Frankfurt, leading a group entitled “Histories of Music, Mind, and Body.”


François Ribac  is a composer of musical theater, a sociologist, and Associate Professor at the University of Bourgogne-Franche-Comté. He is currently on a CNRS delegation at IRCAM (Équipe Analyse des Pratiques Musicales). His research focuses on popular music, on the history of recording, on cultural expertise, and on the ways in which the music world can cope with ecological challenges. He is the author of L’avaleur de rock (La Dispute, 2004) and, with Catherine Dutheil-Pessin, of La Fabrique de la programmation culturelle (La Dispute, 2017). He is coordinating a three-year research project (2016-2019) entitled “Arts de la Scène et Musique dans l’anthropocène”. He has composed (and performed) seven (pop) operas, as well as music for silent films and television. His records have been released by the labels No Man’s Land and Muséa.


Vincent Verroust is a doctoral researcher at the Centre Alexandre-Koyré, School of Advanced Studies in the Social Sciences, PSL (Paris, France), and associate researcher at the Institut des humanités en médecine (University Hospital of Lausanne, Switzerland). While studying eco-anthropology at the Muséum national d’Histoire naturelle for his postgraduate degree, he stumbled upon the works of Prof. Roger Heim on psilocybin mushrooms. After some ethnographic field work in the Mount Nimba Biosphere Reserve (Guinea) where he investigated the technical and symbolic uses of natural resources by the residents of the reserve, he worked in humanitarian aid, then in environmental education, before starting his academic investigations in the History of Science. He is currently working on the discovery of the divinatory mushrooms of Mexico, focusing primarily on Heim’s archives. Within this framework, he notably came across a scientific documentary from 1963 showing mushroom rituals in Mexico and experiments with volunteers in France.


Anne Whitehead is Senior Lecturer in Modern and Contemporary Literature at Newcastle University. She has published the monographs Trauma Fiction (Edinburgh UP, 2004), Memory: New Critical Idiom (Routledge, 2008) and Medicine and Empathy in Contemporary British Fiction (Edinburgh UP, 2017). She has also co-edited W. G. Sebald: A Critical Companion (Edinburgh UP, 2004), Theories of Memory: A Reader (Edinburgh |UP, 2007), a special issue of Feminist Theory on ‘Affecting Feminism’ (2012) and, most recently, The Edinburgh Companion to the Critical Medical Humanities (Edinburgh UP, 2016). She is currently developing an interest in contemporary botanical literature and art. She is also writing a memoir of her sister, herself a trained botanical illustrator, developing a conversation with her paintings and drawings as a way of narrating her life.