Critical trauma theory, Critical race & legal theory, critical psychoanalysis, visual culture, critical gender studies, narrative, historiography, ethnic and American studies, semiotics

Associate Professor Maurice E. Stevens received his Ph.D. from the History of Consciousness Department at the University of California, Santa Cruz and works in the areas of American, ethnic, critical gender, and cultural studies. He is particularly interested in the formation of identities in and through visual culture and performance, and in historical memory in relation to trauma theory, critical gender studies,critical race theory, psychoanalytic theory, and popular cultural performance. He has recently completed work on Troubling Beginnings: Trans(per)forming African American History and Identity (Routledge 2003).

PUBLICATIONS

• Troubling Beginnings:Trans(per)forming African-American History and Identity, (Routledge, New York), 2003
• “Trauma’s Essential Bodies” Corpus: An Interdisciplinary Reader on Bodies and Knowledge, edited by Monica Casper and Paisley Currah, Palgrave Macmillan, 2011
• "Trauma is as Trauma Does: The Politics of Affect in Catastrophic Times" 2011
• "Subject to Counter-Memory: Disavowal and Black Manhood in Spike Lee's Malcolm X," Fight the Power! The Spike Lee Reader, ed. Janice D. Hamlet and Robin Means Coleman, Peter Lang Publishers, Spring 2008
• "Haunted by Harm: Tortured Bodies and Exceptional Spaces in the Halls of Jurisprudence," inSpace, Haunting, Discourse, ed. Maria Holmgren Troy and Elisabeth Wenno, Cambridge Scholars Publishers (New Castle, UK); 2007
• "From the Deluge: Traumatic Iconography and Emergent Visions of Nation in Katrina's Wake,"English Language Notes, 44.2 Fall/Winter, 2006
• “Ephemeral Traces: Enigmatic Signification, Race and the Sciences of Memory,” Memory, Haunting, Discourse, eds. Maria Holmgren Troy and Elisabeth Wenno, (Karlstad University Press, Karlstad Sweden) 2005, 265-279
• “Subject to Counter-Memory: Disavowal and Black Manhood in Spike Lee’s Malcolm X”; SIGNS: Journal of Women in Culture and Society, Chicago, University of Chicago Press, Vol. 28, No. 1, Autumn 2002, p.277
• “Phenotype(d) Embodiment in Haile Garima’s Sankofa” Black Arts Quarterly, Stanford, Stanford University Committee on Black Performing Arts, v3, n1, Summer 1998, p.9
• “Public (Re)Memory, Vindicating Narratives, and Troubling Beginnings: Toward a
• Critical Postcolonial Psychoanalytical Theory” in the Blackwell Critical Reader
• Series Fanon: A Critical Reader, Ed. Lewis R. Gordon, T. Denean Sharpley Whiting
• and Renée T. White, Oxford, Blackwell Publishers Ltd., 1996, p.203

• From the Past Imperfect: Towards a Critical Trauma Theory

• The formation of American identities in and through visual culture and performance.
• Historiography, and historical memory in relation to “trauma theory,” critical race theory, critical psychoanalytic theory and popular cultural performance.
• American, Ethnic, and Cultural Studies