Стивен Кевин Коннор: Британдық әдебиет зерттеушісінің өмірбаяны мен еңбектері

British literary scholar

Steven Kevin Connor, FBA (born 11 February 1955) is a British literary scholar. Since 2012, he has been the Grace 2 Professor of English in the University of Cambridge and a Fellow of Peterhouse, Cambridge. He was formerly the academic director of the London Consortium and professor of modern literature and theory at Birkbeck, University of London.

Connor was born on 11 February 1955 in Chichester, in Sussex, England. From 1966 to 1972, he was educated at Christ's Hospital, Following his expulsion, he attended Bognor Regis School, a comprehensive school in Bognor Regis. He graduated with a first class Bachelor of Arts (BA) degree in 1976. Though he never published his thesis in book form, all of the work that has followed it may be seen as concerned with the mechanics of fantasy.

In 1979 or 1980, Connor joined Birkbeck College, University of London, as a lecturer in English. He was promoted to senior lecturer in 1990, made Reader in Modern English Literature in 1991, and appointed Professor of Modern Literature and Theory in 1994. From 2002 to 2012, he additionally served as Academic Director of the London Consortium, a graduate school of the University of London that specialised multidisciplinary programs. In 2023 he became Director of Research in the Digital Futures Institute, King's College, London.

In 1984, Connor married Lindsey Richardson. Together they had one daughter. They divorced in 1988. In 2005, Connor married Lynda Nead. Together they have two sons.

In 2012, Connor was elected an Honorary Fellow of Birkbeck, University of London. In July 2016, he was elected a Fellow of the British Academy (FBA), the United Kingdom's national academy for the humanities and social sciences.

‘Spelling Things Out’, New Literary History, 45 (2014): 183 97. ‘Guys and Dolls‘, Women: A Cultural Review, 26 (2015): 129 41. ‘Blissed Out: On Hedonophobia’. in On Happiness: New Ideas For the Twenty First Century, ed. Camilla Nelson, Deborah Pike and Georgina Ledvinka (Crawley: University of Western Australia Publishing, 2015), pp. 65 80
‘The Art of Foam and Froth’ and ‘The Matter of Air’, in Choreographie des Klangs – Zwischen Abstraktion und Erzählung/Choreography of Sound: Between Abstraction and Narration, ed. Ekkehard Skoruppa, Marie Louise Goerke, Gaby Hartel and Hans Sarkowicz (Göttingen: Vandenhoeck & Ruprecht, 2015), pp. 275 81, 313 6. ‘Literature, Technology and the Senses’, in The Cambridge Companion to the Body in Literature, ed. David Hillman and Ulrika Maude (Cambridge: Cambridge University Press, 2015), pp. 177 96. ‘Choralities’, Twentieth Century Music, 13 (2016): 3 23. ‘Decomposing the Humanities’, New Literary History 47 (2016): 275 88. Reprinted in Latour and the Humanities, ed Rita Felski and Stephen Muecke (Baltimore: Johns Hopkins University Press, 2020), pp. 158 74. ‘The Return of Finitude’, Textual Practice, 30 (2016): 1165 6. ‘Vocus Pocus’, in This Is A Voice: 64 Exercises to Train, Project and Harness the Power of Your Voice,  ed. Jeremy Fisher and Gillyanne Kayes (London: Profile, 2016). ‘Numbers It Is: The Musemathematics of Modernism’, in Moving Modernisms: Motion, Technology, and Modernity, ed. David Bradshaw, Laura Marcus and Rebecca Roach (Oxford: Oxford University Press, 2016), pp. 98 109. ‘The Game of Work: Ai Weiwei and Wittgenstein’, in Ai Wewei: Cubes and Trees (Cambridge: Heong Gallery, Downing College, 2016), pp. 23 7. ‘How To Do Things With Writing Machines’, Writing, Medium, Machine: Modern Technographies, ed. Sean Pryor and David Trotter (London: Open Humanities Press, 2016), pp. 18 34. ‘Modernism After Postmodernism’, The Cambridge History of Modernism, ed Vincent Sherry (Cambridge: Cambridge University Press, 2017), pp. 820 34. ‘Two step, Nerve tap, Tanglefoot: Tapdance Typologies in Cinema’, in Sounding Modernism: Rhythm and Sonic Mediation in Modern Literature and Film, ed. Julian Murphet, Helen Groth and Penelope Hone (Edinburgh: Edinburgh University Press, 2017), pp. 211 27. ‘Acousmanie’ [in French], trans. Marie Verry, in Max Feed: Oeuvre et héritage, ed. Daniele Balit, special issue hors série, Revue d’ailleurs (Besançon) (2018), 67 72. ‘Unwired’, Dirty Furniture. 4 (2018): 136 43. ‘Telling the Future’, Cabinet, 65 (2018): 69 71. ‘Parables of the Para ’, in Parasites: Exploitation and Interference in French Thought and Culture, ed. Matt Phillips and Tomas Weber (Oxford: Peter Lang, 2018), pp. 13 29. ‘The Matter of Beckett’s Facts’, Journal of Beckett Studies, 28 (2019): 5 18. ‘Professing’, Critical Quarterly, 61 (2019): 41 8. ‘Imaginary Energies: The Arts of Perpetuity’, in Energies in the Arts, ed. Douglas Kahn (Cambridge MA and London: MIT Press, 2019), pp. 57 85. ‘In Public’, in Further Reading, ed. Matthew Rubery and Leah Price (Oxford: Oxford University Press, 2020), pp. 51 61. ‘Admiring the Nothing of It: Shakespeare and the Senseless’, in Shakespeare/Sense: Contemporary Readings in Sensory Culture, ed. Simon Smith (London: Bloomsbury 2020), pp. 40 61. ‘Datelines’, in The Palgrave Handbook of Mathematics and Literature, ed. Alice Jenkins, Robert Tubbs and Nina Engelhardt (Cham: Palgrave Macmillan, 2021), pp. 513 28. ‘Scaphander’, in Extinct: A Compendium of Obsolete Objects, ed. Barbara Penner, Adrian Forty, Olivia Horsfall Turner and Miranda Critchley (London: Reaktion, 2021), pp. 277 9. ‘Terry Eagleton’s Divine Comedy‘, Theory Now, 5 (2022): 82 98. ‘Consorting‘, Critical Quarterly, 64 (2022), 14 19. ‘Asphyxiations’, SubStance, 52 (2023), 74 8.