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English, English and Cultural StudiesOther Titles: MA in English Program Coordinator
Office: CCS 377
Graduate student supervisor
19th-century studies, including gothic studies and psychoanalysis (Freud/Jung); critical animal studies; ecofeminism; critical and literary theory, film and media studies; feminist and queer theory; ethics; social activism.
Courses & Teaching
English; Cultural Studies
Selected Publications & Presentations
Jodey Castricano has published three books on the issues germane to critical animal studies: Animal Subjects: An Ethical Reader in a Posthuman World, (Wilfrid Laurier University Press, 2008) and Animal Subjects 2.0 (Wilfrid Laurier University Press, 2016). This collection builds on the previous work in the field of critical animal studies and posthumanism, two intertwining conversations that ask us to reconsider common sense understandings of other animals, and what it means to be human. Castricano also co-edited with Rasmus Simonsen to produce and contribute to Critical Perspectives on Veganism, (The Palgrave Macmillan Animal Ethics Series, 2016), a collection that examine the ethics, politics and aesthetics of veganism in contemporary culture and thought.
In Cryptomimesis: The Gothic and Jacques Derrida’s Ghost Writing, Castricano develops the theory of cryptomimesis, a term devised to accommodate the convergence of philosophy, psychoanalysis, and certain “Gothic” stylistic, formal, and thematic patterns and motifs in Derrida’s work that give rise to questions regarding writing, reading, and interpretation.
Castricano is currently working on a book-length project provisionally called the Interventionists’ Dilemma, in which she explores the treatment of animals in other cultures and asks whether animal advocates are being ethnocentric when concerned with the use of animals in diverse cultural contexts.
Gothic Metaphysics: From Alchemy to the Anthropocene (University of Wales Press, 2021, forthcoming), is set to be published this coming fall. In this book Castricano asks, ‘What if, instead of just an entertaining or horrifying coding of human, societal and cultural neuroses and fears, the Gothic were truly thought of as a genre that seeks to engage us in the inexpressibly more-than-human; that is, also in regards the sentience of space and place?’