Bart Eeckhout is specialized in the writings of the American modernist poet Wallace Stevens. He has published Wallace Stevens and the Limits of Reading and Writing (University of Missouri Press, 2002), edited Wallace Stevens across the Atlantic (with Edward Ragg; Palgrave Macmillan, 2008), Wallace Stevens, New York, and Modernism (with Lisa Goldfarb; Routledge, 2012, paperback 2016), Poetry and Poetics after Wallace Stevens (with Lisa Goldfarb; Bloomsbury, 2017, paperback 2018), Wallace Stevens, Poetry, and France: "Au pays de la métaphore" (with Juliette Utard and Lisa Goldfarb; Éditions Rue d'Ulm/Presses de l'École normale supérieure, 2017), as well as nine thematic issues of The Wallace Stevens Journal ("International Perspectives on Wallace Stevens"; "Wallace Stevens and British Literature"; "Stevens and the Everyday"; "Wallace Stevens and W.H. Auden"; "Helen Vendler's Stevens"; "Re-triangulating Yeats, Stevens, Eliot"; "The Bogliasco Seminars: A Collective Reading of Neglected Poems"; "Stevens into Music"; "Stevens's Letters, Part 1"). Since 2011 he has been Editor of The Wallace Stevens Journal, an election that occurred simultaneously with the journal's transition to the Johns Hopkins University Press, where it has joined Project MUSE. Eeckhout has coorganized several international conferences on Stevens (in Oxford, New York, Antwerp, Paris, Stockholm, twice Bogliasco, and one at the Huntington Library in California) and is an Officer of the Wallace Stevens Society. Two volumes of Stevens translations into Dutch are forthcoming and he also supervised two doctoral dissertations on the poet, one in Antwerp (Anna Jamieson; defended August 2020) and one in Stockholm (Gül Bilge Han; defended September 2015). He is currently working on two monographs, The Poetic Music of Wallace Stevens (coauthored with Lisa Goldfarb, under contract with Palgrave Macmillan) and Wallace Stevens's Worldwide Web, and preparing two coedited collections of essays, The New Wallace Stevens Studies (with Gül Bilge Han, forthcoming from Cambridge University Press) and Wallace Stevens as World Literature.
Eeckhout's other main research emphasis is interdisciplinary LGBTI+/queer studies. As an LGBTIQ+ activist (see çavaria) he constantly seeks to stimulate collaboration between the worlds of activism and academia. Within academia he collaborates closely with colleagues in the history department (Henk de Smaele) and media studies (Alexander Dhoest). He is also a founding member of A*, the Antwerp Gender & Sexuality Studies Network. Individually or collectively, he supervises various doctoral dissertations in the field, with topics ranging from the underrated lesbian writer Rebecca Brown (Lies Xhonneux; defended April 2013) to online LGBT self-representations in Poland and Turkey (Lukasz Szulc; defended February 2015), gender aspects in the theory of interior architecture/design (Inge Somers; defended September 2017), the role of music in the construction of LGBT subcultures and identities (Marion Wasserbauer; defended June 2018), queer masculinities in Antwerp fashion (Nicola Brajato; ongoing), contemporary trans* poetry in English (Tine Kempenaers; ongoing at Ghent University), and transgender narratives in Dutch fiction (Sven Van den Bossche; ongoing). With Alexander Dhoest and Lukasz Szulc, he edited LGBTQs, Media and Culture in Europe (Routledge, 2017).
Eeckhout's third main research background is in interdisciplinary urban studies, including the correlation between literature and architecture. He is a member of the steering group of the Urban Studies Institute at the University of Antwerp. As a member of the Ghent Urban Studies Team (GUST) he previously coauthored and coedited two books in urban studies, The Urban Condition: Space, Community, and Self in the Contemporary Metropolis (010 Publishers, 1999; translated into Chinese) and Post Ex Sub Dis: Urban Fragmentations and Constructions (010 Publishers, 2002). He has also published widely on urban topics in literary-critical, sociological, architectural, and cultural studies journals. His principal research focus in this regard has long been New York City, where he has studied (Columbia University), taught as a guest lecturer (Fordham University & the Gallatin School of NYU), and stayed as a research fellow (NYU).
Eeckhout has been a Francqui Fellow of the BAEF, a Marjorie Hope Nicolson Fellow at Columbia University, a Fulbright-Hayes Fellow at Fordham University, a Residential Fellow of the Bogliasco Foundation, a Salzburg Seminar Fellow, a Fletcher Jones Foundation Fellow of the Huntington Library, and twice a Residential Fellow at NYU. During the academic year 2016-17 he was Fellow-in-Residence at the Netherlands Institute for Advanced Study in the Humanities and Social Sciences (NIAS) in Amsterdam.
For the academic years 2017-23, Eeckhout serves as Director of the Antwerp Research Institute for the Arts (ARIA). In this context, he supervises five doctoral dissertations: one by a composer on synaesthesia (Umut Eldem), one by a pianist on musical phrasing (Nadav Katan), one by a literary writer on surrealism (Vincent Van Meenen), and two by musicians on the main Greek traditions of mandolin playing (Maria & Styliani Markatatou).
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