Elizabeth GoodsteinProfessor of English and the Liberal Arts

Research Interests

Elizabeth Goodstein's research focuses on the ways modernity and modern subjectivity have been represented, understood, and experienced in nineteenth- and twentieth-century European literature and culture.

Located at the intersections between literary studies, critical theory, and intellectual history, her work draws on her training in the classical and modern rhetorical traditions to synthesize the strategies of close textual analysis, historical interpretation, and philosophical reflection, exploring the relations between history and identity, language and experience from an interdisciplinary perspective.

Professor Goodstein is one of the founding co-directors of Emory University's European Studies Project.

In the fall of 2007, she was a Fellow at the American Academy in Berlin.

Georg Simmel and the Disciplinary Imaginary (forthcoming, Stanford UP. See http://www.sup.org/books/title/?id=26583)

“Between Affect and History: The Rhetoric of Modern Boredom,” in Boredom Studies: Postdisciplinary Inquiries (forthcoming)

Essays in English and German including “Sociology as a Sideline: Does It Matter That Georg Simmel (Thought He) Was A Philosopher?” in the Anthem Companion to Georg Simmel (2016)

“Simmel’s Stranger and the Third as Imaginative Form” in Colloquia Germanica (2015)

Experience without Qualities: Boredom and Modernity (Stanford University Press 2005)

• Awarded Modern Language Association Prize for a First Book
• Awarded German Studies Association/DAAD Book Prize

"`Behind the Poetic Fiction': Freud, Schnitzler, and Feminine Subjectivity." Psychoanalysis and History, 6 (2) 2004.

"Style as Substance: Georg Simmel's Phenomenology of Culture." Cultural Critique 52 (2002).

"Georg Simmels Phänomenologie der Kultur und der Paradigmenwechsel in den Geisteswissenschaften." In Aspekte der Geldkultur. Neue Studien zu Georg Simmels Philosophie des Geldes (Edition Humboldt, 2002).

“Das Begehren des Begehrens: Ödipus und die Metamorphose zur Weiblichkeit” in Die Philosophin (1992).