Isabel Jacobs
I studied Philosophy and Slavic Languages and Literatures in Heidelberg, Prague, Saint Petersburg, and Turin. I hold an MA with Distinction in Russian and East European Literature and Culture from University College London, SSEES. I am finalising my PhD thesis on Alexandre Kojève and Aesthetics at the Department of Comparative Literature and Culture, Queen Mary University of London. My research has been funded by the London Arts & Humanities Partnership (2020–2024).
I am an Affiliated Member of the Aleksanteri Research Group for Intellectual History (ARGIH), Aleksanteri Institute, University of Helsinki; and a member of the ASEEES Association for Slavic, East European, and Eurasian Studies; the ASEEES Working Group on Philosophy and Intellectual History; and the BASEES British Association for Slavonic and East European Studies.
During my PhD, I was a Research Member at the Centre for Eurasian, Russian, and East European Studies, QMUL (2023–2025), an Associate Postgraduate at the Centre Marc Bloch Berlin (2024), and a Research Fellow at the DFK Paris – German Center for Art History Paris (2022). I co-organised international conferences, including Images of the Ideal: Evald Ilyenkov at 100, Leibniz Center for Literary and Cultural Research – ZfL Berlin (2024), Ex Oriente Lux: Émigré Culture in Interwar France, QMUL (2023), and Kojève: Here and Now, QMUL/Virginia Tech (2021). I delivered over 25 conference papers and was invited to speak at more than 15 universities, most recently in China, US, UK, Czech Republic, France, Belgium, Germany, and Netherlands.
Together with Dr Katerina Pavlidi (University College Dublin), I co-founded in 2022 the study group Soviet Temporalities, with 130 members globally, exploring Soviet conceptions of time. The network is supported by BASEES. We run a monthly reading group, book launches, and have organised panels on Late Soviet Buddhism, Russian Metamodernism: Affect, Ambiguity and Recycling, and the Aesthetics of Return in Soviet and Post-Soviet Culture. Substack: https://latesoviettemporalities.substack.com
At Queen Mary, I taught across a wide range of modules, including Literature and Philosophy, The Scene of Writing, and The East in the West. Together with Professor Tihanov, I co-designed the course Adventures in World Literature (2023/24). I also co-created and delivered the seminar Philosophy in the Soviet Union and in Exile, Department of Slavic and Hungarian Studies, Humboldt University of Berlin (2024). I am committed to integrating decolonial and feminist frameworks into teaching and researching Soviet culture. Current research interests include nonhuman agency, animal and plant philosophy, socialist AI, and the environmental humanities.
Supervisors: Professor Galin Tihanov
I am an Affiliated Member of the Aleksanteri Research Group for Intellectual History (ARGIH), Aleksanteri Institute, University of Helsinki; and a member of the ASEEES Association for Slavic, East European, and Eurasian Studies; the ASEEES Working Group on Philosophy and Intellectual History; and the BASEES British Association for Slavonic and East European Studies.
During my PhD, I was a Research Member at the Centre for Eurasian, Russian, and East European Studies, QMUL (2023–2025), an Associate Postgraduate at the Centre Marc Bloch Berlin (2024), and a Research Fellow at the DFK Paris – German Center for Art History Paris (2022). I co-organised international conferences, including Images of the Ideal: Evald Ilyenkov at 100, Leibniz Center for Literary and Cultural Research – ZfL Berlin (2024), Ex Oriente Lux: Émigré Culture in Interwar France, QMUL (2023), and Kojève: Here and Now, QMUL/Virginia Tech (2021). I delivered over 25 conference papers and was invited to speak at more than 15 universities, most recently in China, US, UK, Czech Republic, France, Belgium, Germany, and Netherlands.
Together with Dr Katerina Pavlidi (University College Dublin), I co-founded in 2022 the study group Soviet Temporalities, with 130 members globally, exploring Soviet conceptions of time. The network is supported by BASEES. We run a monthly reading group, book launches, and have organised panels on Late Soviet Buddhism, Russian Metamodernism: Affect, Ambiguity and Recycling, and the Aesthetics of Return in Soviet and Post-Soviet Culture. Substack: https://latesoviettemporalities.substack.com
At Queen Mary, I taught across a wide range of modules, including Literature and Philosophy, The Scene of Writing, and The East in the West. Together with Professor Tihanov, I co-designed the course Adventures in World Literature (2023/24). I also co-created and delivered the seminar Philosophy in the Soviet Union and in Exile, Department of Slavic and Hungarian Studies, Humboldt University of Berlin (2024). I am committed to integrating decolonial and feminist frameworks into teaching and researching Soviet culture. Current research interests include nonhuman agency, animal and plant philosophy, socialist AI, and the environmental humanities.
Supervisors: Professor Galin Tihanov
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Papers by Isabel Jacobs
At the crossroads of phenomenology, art theory and existential thought, Kienzler explores three artists who embody the transition to modernism like no others: Paul Cézanne, Paul Klee, and Wassily Kandinsky. Engaging with their artistic visions as a phenomenologist and theologian, Kienzler examines the ways in which each artist deals with time (Zeit) and motion (Bewegung), two phenomena that already played a central role in Kienzler’s previous book on the theologian Klaus Hemmerle. Rooted in the tradition of German phenomenology, Kienzler was over many years part of the German-French circle around Emmanuel Levinas, Paul Ricœur and Bernhard Caspar. A professor of fundamental theology in Augsburg, Kienzler is, unlike other members of this circle, virtually unknown in the Anglophone world. As his new book demonstrates, Kienzler’s perspective on phenomenology is less academic than it is enriched by his personal experience. The reader who expects a concise study that engages with recent scholarship on art and phenomenology will thus be disappointed.