30s Ad: $15 - $19
60s Ad: $18 - $22
CPM Category: Education
Different podcast categories command different CPM (cost per mille) rates based on advertiser demand and audience value.
High Theory is a produced and edited by Kim Adams and Saronik Bosu, two tired academics trying to save critique from itself, along with two amazing collaborators, Júlia Irion Martins and Nathan Kim. In this podcast, we get high on the substance of theory, and we try to explain difficult ideas from the academy with irreverence. You can learn more about us on our website, or find us on Facebook, Instagram, and Twitter.
High Theory is a produced and edited by Kim Adams and Saronik Bosu, two tired academics trying to save critique from itself, along with two amazing collaborators, Júlia Irion Martins and Nathan Kim. In this podcast, we get high on the substance of theory, and we try to explain difficult ideas from the academy with irreverence. You can learn more about us on our website, or find us on Facebook, Instagram, and Twitter.
Producers, Hosts, and Production Team
Searching
Searching for producer information... This may take a moment.
No producer information available yet. Click "Find producers" to search for the production team.
Emails, Phones, and Addresses
Contact Page Emails
Emails listed specifically on the website's official contact page.
Emails
Phone Numbers
No phone numbers found.
Addresses
No addresses found.
Form
A contact form is available on this page.
You can fill out the form at
this link.
General Website Emails
Emails found on general website pages (e.g., about, info), not the main contact page.
No website emails found.
Externally Sourced Emails
Emails discovered using automated web scraping across the internet.
No external emails found.
RSS Emails
Email addresses extracted directly from the website's or podcast's RSS feed(s).
Here's a quick summary of the last 5 episodes on High Theory.
Hosts
Kim Adams
Saronik Bosu
Previous Guests
Jason Schneiderman
Jason Schneiderman is a poet and teacher, known for his contributions to contemporary poetry. He is the author of five poetry collections, including 'Self Portrait of Icarus as a Country on Fire' (Red Hen, 2024). He has also edited an anthology titled 'Queer: A Reader for Writers' (Oxford, 2016), aimed at first-year writing courses. Currently, he serves as a Professor of English at CUNY's BMCC and teaches in the MFA Program for Writers at Warren Wilson College. His work often explores themes of identity and culture.
Jason Schneiderman is a poet and teacher, known for his contributions to contemporary poetry. He is the author of five poetry collections, including 'Self Portrait of Icarus as a Country on Fire' (Red Hen, 2024). He has also edited an anthology titled 'Queer: A Reader for Writers' (Oxford, 2016), aimed at first-year writing courses. Currently, he serves as a Professor of English at CUNY's BMCC and teaches in the MFA Program for Writers at Warren Wilson College. His work often explores themes of identity and culture.
Nasser Mufti
Nasser Mufti is an associate professor of English at the University of Illinois, Chicago, where his research and teaching focuses on nineteenth century British and postcolonial literature and theory. He is especially interested in literary approaches to the study of nationalism. His first book, Civilizing War: Imperial Politics and the Poetics of National Rupture (Northwestern University Press, 2018) argues that narratives of civil war energized and animated nineteenth-century British imperialism and decolonization in the twentieth century. He is currently working on two new projects: the first, tentatively titled Britain's Nineteenth Century, 1963-4, examines how anticolonial and postcolonial thinkers from the Anglophone world turned to nineteenth century British literature and culture as a way to think decolonization. The second project, titled Colonia Moralia, explores the dialectics of postcolonial Enlightenment through comparative readings of T.W. Adorno and V.S. Naipaul.
Nasser Mufti is an associate professor of English at the University of Illinois, Chicago, where his research and teaching focuses on nineteenth century British and postcolonial literature and theory. He is especially interested in literary approaches to the study of nationalism. His first book, Civilizing War: Imperial Politics and the Poetics of National Rupture (Northwestern University Press, 2018) argues that narratives of civil war energized and animated nineteenth-century British imperialism and decolonization in the twentieth century. He is currently working on two new projects: the first, tentatively titled Britain's Nineteenth Century, 1963-4, examines how anticolonial and postcolonial thinkers from the Anglophone world turned to nineteenth century British literature and culture as a way to think decolonization. The second project, titled Colonia Moralia, explores the dialectics of postcolonial Enlightenment through comparative readings of T.W. Adorno and V.S. Naipaul.
Nathan K. Hensley
Nathan K. Hensley is the author of 'Forms of Empire: The Poetics of Victorian Sovereignty' (Oxford, 2016), and co-editor, with Philip Steer, of 'Ecological Form: System and Aesthetics in the Age of Empire' (Fordham, 2018). He is currently coediting a collection of essays with Devin Garofalo, titled 'The Barbara Johnson Collective', which is forthcoming from Northwestern UP. His new book, 'Action without Hope: Victorian Literature after Climate Collapse', is set to be published by Chicago UP in April 2025. Hensley was born in Fresno, California and currently resides in Silver Spring, Maryland.
Nathan K. Hensley is the author of 'Forms of Empire: The Poetics of Victorian Sovereignty' (Oxford, 2016), and co-editor, with Philip Steer, of 'Ecological Form: System and Aesthetics in the Age of Empire' (Fordham, 2018). He is currently coediting a collection of essays with Devin Garofalo, titled 'The Barbara Johnson Collective', which is forthcoming from Northwestern UP. His new book, 'Action without Hope: Victorian Literature after Climate Collapse', is set to be published by Chicago UP in April 2025. Hensley was born in Fresno, California and currently resides in Silver Spring, Maryland.
Nina Studer
No additional bio available.
Ryan Ruby
Ryan Ruby is a writer known for his book-length poem 'Context Collapse: A Poem Containing the History of Poetry' (Seven Stories Press, 2024), which was reviewed in The New York Times. He has also authored a novel titled 'The Zero and the One' (Twelve Books, 2017) and has contributed book reviews and essays to prestigious publications such as The New Yorker, Harper's, The New York Review of Books, and Bookforum. Currently, he is working on a nonfiction narrative book about Berlin called 'Ringbahn' for Farrar Straus and Giroux.
Ryan Ruby is a writer known for his book-length poem 'Context Collapse: A Poem Containing the History of Poetry' (Seven Stories Press, 2024), which was reviewed in The New York Times. He has also authored a novel titled 'The Zero and the One' (Twelve Books, 2017) and has contributed book reviews and essays to prestigious publications such as The New Yorker, Harper's, The New York Review of Books, and Bookforum. Currently, he is working on a nonfiction narrative book about Berlin called 'Ringbahn' for Farrar Straus and Giroux.
Topics Discussed
Nothingism
digital culture
print culture
poetry
queer theory
Brutalism
architecture
concrete
government buildings
university libraries
hospitals
decolonizing
nationalism
postcolonial literature
Nathan K. Hensley
Action Without Hope
societal systems
compulsory happiness
nineteenth century
J.M.W. Turner
Emily Bronte
Christina Rossetti
capital
climate collapse
alcohol
French colonization
North Africa
gender
class
nation
absinthe
cultural history
Poetry
medium
information
entertainment
authority
speech act
Havelock
Detienne
magico-religious speech
Nothingismdigital cultureprint culturepoetryqueer theory
In this episode of High Theory, Jason Schneiderman talks about Nothingism. A term of his own coinage, a tongue-in-cheek manifesto, nothingism is an invitation to refuse the values of digital culture in favor of the values of print.
You can read more about poetry at the end of print culture in Jasons new book, entitledNothingism(Michigan UP, 2025).
In the episode Jaason refers to M.B. Parkess bookPause and Effect An Introduction to the History of Punctuation in the Westand the poetry of his teacherAgha Shahid Ali.
Jason Schneidermanis a poet and teacher. He is the author of five poetry collections, most recentlySelf Portrait of Icarus as a Country on Fire(Red Hen, 2024). He also edited an anthology of queer theory for first year writing courses calledQueer: A Reader for Writers(Oxford, 2016). He works as aProfessor of English at CUNYs BMCCand in the MFA Program for Writers at Warren Wilson College.
The image for this episode was made by Saronik Bosu. It shows a blue blur on a pink floral print background.
Learn more about your ad choices. Visit megaphone.fm/adchoices
In this episode of High Theory, Jason Schneiderman talks about Nothingism. A term of his own coinage, a tongue-in-cheek manifesto, nothingism is an invitation to refuse the values of digital culture in favor of the values of print.
You can read more about poetry at the end of print culture in Jasons new book, entitledNothingism(Michigan UP, 2025).
In the episode Jaason refers to M.B. Parkess bookPause and Effect An Introduction to the History of Punctuation in the Westand the poetry of his teacherAgha Shahid Ali.
Jason Schneidermanis a poet and teacher. He is the author of five poetry collections, most recentlySelf Portrait of Icarus as a Country on Fire(Red Hen, 2024). He also edited an anthology of queer theory for first year writing courses calledQueer: A Reader for Writers(Oxford, 2016). He works as aProfessor of English at CUNYs BMCCand in the MFA Program for Writers at Warren Wilson College.
The image for this episode was made by Saronik Bosu. It shows a blue blur on a pink floral print background.
Learn more about your ad choices. Visit megaphone.fm/adchoices
0:0018:32
Brutalism
Hosts
Hosts of this podcast episode
Kim AdamsSaronik Bosu
Guests
Guests of this podcast episode
Nasser Mufti
Keywords
Keywords of this podcast episode
Brutalismarchitectureconcretegovernment buildingsuniversity librarieshospitalsdecolonizingnationalismpostcolonial literature
In this episode of High Theory Nasser Mufti talks with us about Brutalism. A twentieth century architectural style featuring imposing structures made of a lot of concrete, brutalist structures tend to provoke strong reactions. People either love it or they hate it – you never get a middling conversation about brutalism. Often used for government buildings, university libraries, and hospitals, Nasser suggests it represents the architecture of the state itself, massive bureaucratic structures in which we get lost, but also perhaps, nostalgia for a state that actually takes care of its citizens.
Before we recorded the episode, Nasser sent me this article about the Brutalist campus at the University of Illinois where he works, which is full of beautiful black and white images. In the episode he refers to a line in Charles Dickens’s Bleak House (1853), which describes Chesney Wold as “seamed by time.” And he reminds us that verb form “decolonizing” is quite new, even Ngũgĩ Wa Thiong’o Decolonizing the Mind: The Politics of Language in African Literature (1986) only uses the gerund in the title. The neologism “decolonizing” is distinct from the world historical project of decolonization and the historiographic method of decolonial analysis that comes from Latin American studies.
Nasser Mufti is an associate professor of English at the University of Illinois, Chicago, where his research and teaching focuses on nineteenth century British and postcolonial literature and theory. He is especially interested in literary approaches to the study of nationalism. His first book, Civilizing War: Imperial Politics and the Poetics of National Rupture (Northwestern University Press, 2018) argues that narratives of civil war energized and animated nineteenth-century British imperialism and decolonization in the twentieth century. You can read it online, open access, which is pretty damn cool! He is working on two new projects, the first, tentatively titled Britain’s Nineteenth Century, 1963-4, looks at how anticolonial and postcolonial thinkers from the Anglophone world turned to nineteenth century British literature and culture as a way to think decolonization. The second, titled “Colonia Moralia,” examines the dialectics of postcolonial Enlightenment through comparative readings of T.W. Adorno and V.S. Naipaul.
The image for this episode is a photograph of Boston City Hall, a Brutalist building mentioned in the episode. The black and white photograph shows an interior courtyard of the building, a large concrete structure with many windows, located at One City Hall Square, Boston, Suffolk County, MA. It comes from the US Library of Congress Prints and Photographs Online Collections.
Learn more about your ad choices. Visit megaphone.fm/adchoices
In this episode of High Theory Nasser Mufti talks with us about Brutalism. A twentieth century architectural style featuring imposing structures made of a lot of concrete, brutalist structures tend to provoke strong reactions. People either love it or they hate it – you never get a middling conversation about brutalism. Often used for government buildings, university libraries, and hospitals, Nasser suggests it represents the architecture of the state itself, massive bureaucratic structures in which we get lost, but also perhaps, nostalgia for a state that actually takes care of its citizens.
Before we recorded the episode, Nasser sent me this article about the Brutalist campus at the University of Illinois where he works, which is full of beautiful black and white images. In the episode he refers to a line in Charles Dickens’s Bleak House (1853), which describes Chesney Wold as “seamed by time.” And he reminds us that verb form “decolonizing” is quite new, even Ngũgĩ Wa Thiong’o Decolonizing the Mind: The Politics of Language in African Literature (1986) only uses the gerund in the title. The neologism “decolonizing” is distinct from the world historical project of decolonization and the historiographic method of decolonial analysis that comes from Latin American studies.
Nasser Mufti is an associate professor of English at the University of Illinois, Chicago, where his research and teaching focuses on nineteenth century British and postcolonial literature and theory. He is especially interested in literary approaches to the study of nationalism. His first book, Civilizing War: Imperial Politics and the Poetics of National Rupture (Northwestern University Press, 2018) argues that narratives of civil war energized and animated nineteenth-century British imperialism and decolonization in the twentieth century. You can read it online, open access, which is pretty damn cool! He is working on two new projects, the first, tentatively titled Britain’s Nineteenth Century, 1963-4, looks at how anticolonial and postcolonial thinkers from the Anglophone world turned to nineteenth century British literature and culture as a way to think decolonization. The second, titled “Colonia Moralia,” examines the dialectics of postcolonial Enlightenment through comparative readings of T.W. Adorno and V.S. Naipaul.
The image for this episode is a photograph of Boston City Hall, a Brutalist building mentioned in the episode. The black and white photograph shows an interior courtyard of the building, a large concrete structure with many windows, located at One City Hall Square, Boston, Suffolk County, MA. It comes from the US Library of Congress Prints and Photographs Online Collections.
Learn more about your ad choices. Visit megaphone.fm/adchoices
0:0021:05
Action Without Hope
Hosts
Hosts of this podcast episode
Kim AdamsSaronik Bosu
Guests
Guests of this podcast episode
Nathan K. Hensley
Keywords
Keywords of this podcast episode
Nathan K. HensleyAction Without Hopesocietal systemscompulsory happinessnineteenth centuryJ.M.W. TurnerEmily BronteChristina Rossetticapitalclimate collapse
In his new book, Nathan K. Hensley describes a mood or a vibe or an intuitive response to the contemporary moment when one feels powerless in the face of collapsing societal systems. Given the entrenched nature of the present crisis, with compulsory happiness being marketed by the culture industry, how does one work within systems from which no true escape is possible?
In order to uncover a prehistory of this feeling, he goes back to the nineteenth century - to artists like J.M.W. Turner and writers like Emily Bronte and Christina Rossetti who were thinking about what it means to inhabit a world omnivorously captured by capital.
Nathan K. Hensley is the author of Forms of Empire: The Poetics of Victorian Sovereignty (Oxford, 2016), and co-editor, with Philip Steer, of Ecological Form: System and Aesthetics in the Age of Empire (Fordham, 2018). With Devin Garofalo, he is currently coediting a collection of essays that's forthcoming from Northwestern UP, The Barbara Johnson Collective. His new book is Action without Hope: Victorian Literature after Climate Collapse, forthcoming from Chicago UP in April 2025. He was born in Fresno, California and lives in Silver Spring, Maryland.
Image: J.M.W. Turner, The Burning of the Houses of Lords and Commons, 1834-35. Public Domain. Original at the Philadelphia Museum of Art.
Learn more about your ad choices. Visit megaphone.fm/adchoices
In his new book, Nathan K. Hensley describes a mood or a vibe or an intuitive response to the contemporary moment when one feels powerless in the face of collapsing societal systems. Given the entrenched nature of the present crisis, with compulsory happiness being marketed by the culture industry, how does one work within systems from which no true escape is possible?
In order to uncover a prehistory of this feeling, he goes back to the nineteenth century - to artists like J.M.W. Turner and writers like Emily Bronte and Christina Rossetti who were thinking about what it means to inhabit a world omnivorously captured by capital.
Nathan K. Hensley is the author of Forms of Empire: The Poetics of Victorian Sovereignty (Oxford, 2016), and co-editor, with Philip Steer, of Ecological Form: System and Aesthetics in the Age of Empire (Fordham, 2018). With Devin Garofalo, he is currently coediting a collection of essays that's forthcoming from Northwestern UP, The Barbara Johnson Collective. His new book is Action without Hope: Victorian Literature after Climate Collapse, forthcoming from Chicago UP in April 2025. He was born in Fresno, California and lives in Silver Spring, Maryland.
Image: J.M.W. Turner, The Burning of the Houses of Lords and Commons, 1834-35. Public Domain. Original at the Philadelphia Museum of Art.
Learn more about your ad choices. Visit megaphone.fm/adchoices
0:0020:00
Alcohol
Hosts
Hosts of this podcast episode
Kim AdamsSaronik Bosu
Guests
Guests of this podcast episode
Nina Studer
Keywords
Keywords of this podcast episode
alcoholFrench colonizationNorth Africagenderclassnationabsinthecultural history
In this episode of High Theory, Nina Studer tells us about alcohol. The restrictions and prohibitions, medical and moral discourses surrounding alcohol reveal a great deal about a given society in a particular historical moment. Nina uses alcohol as a lens to analyze the history of French colonization in North Africa. Who consumed alcohol, in what places, how much, and what kinds, what was viewed as healthy and what was viewed as dangerous, even criminal, can help us approach larger questions of gender, class, and nation.
If you want to learn more, check out her new book, Hour of Absinthe: A Cultural History of France's Most Notorious Drink (McGill-Queens University Press, 2024). The book explores how the mythologizing of one distilled alcohol led to the creation and fabrication of a vast modern folklore. Mystique and moralizing both arose from the spirit’s relationship with empire. Some claim that French soldiers were given daily absinthe rations during France’s military conquest of Algeria to protect them against heat, diseases, and contaminated water. In fact, the overenthusiastic adoption of the drink by these soldiers, and subsequently by French settlers, was perceived as a threat to France’s colonial ambitions - an anxiety that migrated into French medicine. At the height of its popularity in the late nineteenth century, absinthe reigned in the bars, cafés, and restaurants of France and its colonial empire. Yet by the time it was banned in 1915, the famous green fairy had become the green peril, feared for its connection with declining birth rates and its apparent capacity to induce degeneration, madness, and murderous rage in its consumers.
Dr. Nina Studer is a historian working on the 19th and 20th century history of French colonies in North Africa and the Middle East. Her work focuses on the history of drinks, in particular tea, coffee, Fanta/Coca-Cola, Orangina, wine and absinthe. Her doctorate, published as
The Hidden Patients: North African Women in French Colonial Psychiatry (Böhlau, 2015) is available via Open Access. Currently she works as an associate researcher at the Institut Éthique Histoire Humanités at the University of Geneva, part of Dr. Francesca Arena’s team looking into the medical history of wet dreams between the 18th and the 20th century. The SNSF-project has the title: “Nuits polluantes: masculinité et médecine en Suisse et en France (XVIII – XX siècles)”.
The image for this episode is an advertisement for the Algerian wine "Sénéclauze" from 1933, from the personal collection of Nina S. Studer. Many thanks to Nina for sharing it with us.
Learn more about your ad choices. Visit megaphone.fm/adchoices
In this episode of High Theory, Nina Studer tells us about alcohol. The restrictions and prohibitions, medical and moral discourses surrounding alcohol reveal a great deal about a given society in a particular historical moment. Nina uses alcohol as a lens to analyze the history of French colonization in North Africa. Who consumed alcohol, in what places, how much, and what kinds, what was viewed as healthy and what was viewed as dangerous, even criminal, can help us approach larger questions of gender, class, and nation.
If you want to learn more, check out her new book, Hour of Absinthe: A Cultural History of France's Most Notorious Drink (McGill-Queens University Press, 2024). The book explores how the mythologizing of one distilled alcohol led to the creation and fabrication of a vast modern folklore. Mystique and moralizing both arose from the spirit’s relationship with empire. Some claim that French soldiers were given daily absinthe rations during France’s military conquest of Algeria to protect them against heat, diseases, and contaminated water. In fact, the overenthusiastic adoption of the drink by these soldiers, and subsequently by French settlers, was perceived as a threat to France’s colonial ambitions - an anxiety that migrated into French medicine. At the height of its popularity in the late nineteenth century, absinthe reigned in the bars, cafés, and restaurants of France and its colonial empire. Yet by the time it was banned in 1915, the famous green fairy had become the green peril, feared for its connection with declining birth rates and its apparent capacity to induce degeneration, madness, and murderous rage in its consumers.
Dr. Nina Studer is a historian working on the 19th and 20th century history of French colonies in North Africa and the Middle East. Her work focuses on the history of drinks, in particular tea, coffee, Fanta/Coca-Cola, Orangina, wine and absinthe. Her doctorate, published as
The Hidden Patients: North African Women in French Colonial Psychiatry (Böhlau, 2015) is available via Open Access. Currently she works as an associate researcher at the Institut Éthique Histoire Humanités at the University of Geneva, part of Dr. Francesca Arena’s team looking into the medical history of wet dreams between the 18th and the 20th century. The SNSF-project has the title: “Nuits polluantes: masculinité et médecine en Suisse et en France (XVIII – XX siècles)”.
The image for this episode is an advertisement for the Algerian wine "Sénéclauze" from 1933, from the personal collection of Nina S. Studer. Many thanks to Nina for sharing it with us.
Learn more about your ad choices. Visit megaphone.fm/adchoices
In this episode of High Theory, Ryan Ruby talks to us about Poetry. Our standard definition of poetry today is an institutional one, much like contemporary art: if art is what artists and museums and collectors call art, poetry is what poets and professors and publishers say is poetry. Ruby argues that this indefinable thing humans have been doing well nigh forever is better understood as a medium than a form. Poetry is a way of storing and transmitting information, a mechanism of entertainment and authority, and a speech act that attends to changes of state.
In the episode, Ryan references Eric Havelock, author of The Muse Learns to Write (Yale UP, 1986), who described the Homeric poems as the encyclopedia of Bronze age Greece. He also cites Marcel Detienne’s book The Masters of Truth in Archaic Greece (trans. Janet Lloyd, Zone Books, 1996) who describes poetry as a form of “magico-religious speech.”
Ryan Ruby is a writer, most recently of the book length poem Context Collapse: A Poem Containing the History of Poetry (Seven Stories Press, 2024). It got reviewed in The New York Times. He has also written a novel, titled The Zero and the One (Twelve Books, 2017), and book reviews and essays for all the fancy places: The New Yorker, Harper’s, The New York Review of Books, The New York Times, Bookforum, New Left Review, etc. He is currently at work on a nonfiction narrative book about Berlin called Ringbahn for Farrar Straus, and Giroux.
The image for this episode is a still from an animation of a supercomputer simulation of a pair of neutron stars colliding, merging and forming a black hole, created at the NASA Goddard Space Flight Center. Image courtesy of the NASA Goddard Photo and Video Flickr account. This image is in the public domain.
Learn more about your ad choices. Visit megaphone.fm/adchoices
In this episode of High Theory, Ryan Ruby talks to us about Poetry. Our standard definition of poetry today is an institutional one, much like contemporary art: if art is what artists and museums and collectors call art, poetry is what poets and professors and publishers say is poetry. Ruby argues that this indefinable thing humans have been doing well nigh forever is better understood as a medium than a form. Poetry is a way of storing and transmitting information, a mechanism of entertainment and authority, and a speech act that attends to changes of state.
In the episode, Ryan references Eric Havelock, author of The Muse Learns to Write (Yale UP, 1986), who described the Homeric poems as the encyclopedia of Bronze age Greece. He also cites Marcel Detienne’s book The Masters of Truth in Archaic Greece (trans. Janet Lloyd, Zone Books, 1996) who describes poetry as a form of “magico-religious speech.”
Ryan Ruby is a writer, most recently of the book length poem Context Collapse: A Poem Containing the History of Poetry (Seven Stories Press, 2024). It got reviewed in The New York Times. He has also written a novel, titled The Zero and the One (Twelve Books, 2017), and book reviews and essays for all the fancy places: The New Yorker, Harper’s, The New York Review of Books, The New York Times, Bookforum, New Left Review, etc. He is currently at work on a nonfiction narrative book about Berlin called Ringbahn for Farrar Straus, and Giroux.
The image for this episode is a still from an animation of a supercomputer simulation of a pair of neutron stars colliding, merging and forming a black hole, created at the NASA Goddard Space Flight Center. Image courtesy of the NASA Goddard Photo and Video Flickr account. This image is in the public domain.
Learn more about your ad choices. Visit megaphone.fm/adchoices
Ratings
Global:
Global ratings are aggregates of the individual countries