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Jo Alyson Parker, PhD
I conduct seminar-style courses. In all courses, students can expect collaborative-learning exercises, reading responses drafting for formal papers, peer-editing workshops, and a concluding an end-of-semester self-evaluation.
My areas of interest include the eighteenth- and early nineteenth-century novel, literary theory, narrative theory, literature and science, narrative and time, and gender issues.
- Education
- B.A., University of California, Irvine, 1981
- M.A., University of California, Irvine, 1984
- Ph.D., University of California, Irvine, 1989
From 2014-18, I was the Managing Editor for KronoScope: Journal for the Study of Time. I have served on the International Society for the Study of Time Council since 2001, and I am currently the Vice-President.
- Time in Variance, The Study of Time XVII. Ed. Arkadiusz Misztal, Paul A. Harris, and Jo Alyson Parker. Leiden: Brill, 2022.
- “Out of Repetition Comes Variation”: Varying Time-Lines, Invariant Time, and Dolores’s Glitch in Westworld.” With Thomas Weissert. Time in Variance, The Study of Time XVII, co-edited with Paul A. Harris and Arkadiusz Misztal. Leiden: Brill, 2022.
- “Ted Chiang’s Braided Stories of Memory, Narrative, and Technology: ‘The Truth of Fact, the Truth of Fiction.’” Performing Memories. Media, Creation, Anthropology, and Remembrance, edited by Gabriele Biotti. Cambridge Scholars Press, 2021, 184-98.
- “Eternal Recursion, the Emergence of Metaconsciousness, and the Imperative for Closure.” With Thomas Weissert. Time’s Urgency: The Study of Time XVI, edited by Robert Daniel and Carlos Montemayor, Brill, 2019, pp. 1
- “Mind the Gap(s): Holly Sykes’s Life, the ‘Invisible’ War, and the History of the Future in The Bone Clocks.” C21 Literature: Journal of 21st-century Writings, vol. 6, no. 3, 2018, pp. 1-21. DOI: https://doi.org/10.16995/C21.47
- “The Chaotic Trace: Stoppard's Arcadia and the Emplotment of the Past.” Time and Trace: The Study of Time XV. Ed. Sabine Gross and Steven Ostovich. Leiden: Brill, 2016.
- “From Time’s Boomerang to Pointillist Mosaic: Translating Cloud Atlas into Film.” SubStance: A Review of Theory and Literary Criticism 44:1 (2015): 123-35.
- “A Brief History of the International Society for the Study of Time.” KronoScope: Journal for the Study of Time 13:2 (2013): 269-94.
- “Crusoe’s Foe, Foe’s Cruso, and the Origins and Future of the Novel.” KronoScope: Journal for the Study of Time 11:1 (2011): 17-40.
- Time: Limits and Constraints: The Study of Time XIII. Ed. Jo Alyson Parker, Paul Harris, and Christian Steineck. Leiden: Brill, 2010. Includes Jo Alyson Parker, “David Mitchell’s Cloud Atlas of Narrative Constraints and Environmental Limits,” 201-17.
- Narrative Form and Chaos Theory in Sterne, Proust, Woolf, and Faulkner. New York: Palgrave Macmillan, 2007.
- Time and Memory: The Study of Time XII. Ed. Jo Alyson Parker, Michael Crawford, and Paul Harris. Leiden: Brill, 2006. Includes “Preface to Section 1: Inscribing and Forgetting.”
- “Teaching Emma’s Narratives and the Narrative of Emma.” In Approaches to Teaching Jane Austen’s Emma. Ed. Marcia Folsom. New York: Modern Language Association, 2004. 141-50.
- “The Indeterminate Temporality of Hypertext.” In Time and Uncertainty: The Study of Time XI. Ed. Paul A. Harris and Michael Crawford. Leiden: Brill, 2004. 39-57.
- “Remembering the Future: Memento, the Reverse Arrow of Time, and the Defects of Memory.” KronoScope: Journal for the Study of Time 4:2 (2004): 239-57.
- “‘The Clockmaker’s Outcry’: Tristram Shandy and the Complexification of Time.” In Disrupted Patterns: On Chaos and Order in the Enlightenment. Ed. Theodore E.D. Braun and John McCarthy. Amsterdam-Atlanta, GA: Rodopi, 2000. 147-60.
- The Author’s Inheritance: Henry Fielding, Jane Austen, and the Establishment of the Novel. DeKalb: Northern Illinois University Press, 1998.
- “Complicating a Simple Story: Inchbald’s Two Versions of Female Power,” Eighteenth-Century Studies 30 (1997): 255-70.
- “Spiraling Down ‘the Gutter of Time’: Tristram Shandy and the Strange Attractor of Death.” Weber Studies 14 (1997): 102-14.
- “Strange Attractors in Absalom, Absalom!" in Reading Matters: Narrative in the New Media Ecology. Ed. Joseph Tabbi and Michael Wutz. Ithaca: Cornell University Press, 1997. 99-118.
- “Gendering the Robot: Stanislaw Lem’s ‘The Mask,’” Science-Fiction Studies 19 (1992): 178-91
- “Pride and Prejudice: Jane Austen’s Double Inheritance Plot,” REAL: The Yearbook of Research in English and American Literature 7 (1990): 159-190.
- Michael J. Morris Grant for Scholarly Research (2018-19)
- Lindback Award for Distinguished Teaching (2004)
- Sabbatical Research Grants (2019, 2012-13, 2000)
- Summer Research Grants (2016, 2010, 2003, 1996, 1993).
- Curriculum Development Grant (2011)
- Faculty Merit Teaching Awards (2005, 2004, 1995)
- Faculty Merit Research Award (1998)
I conduct seminar-style courses. In all courses, students can expect collaborative-learning exercises, reading responses drafting for formal papers, peer-editing workshops, and a concluding an end-of-semester self-evaluation.
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Reviews for "Addressing the Stigma Surrounding Wutx Donnw Vise"
1. John - 1 star
This album was a complete disappointment. The songs were monotonous and lacked any memorable hooks. The lyrics were uninspired and the production felt lackluster. I was hoping for something innovative and fresh, but instead, I got an album that sounded like a collection of B-sides from the artist's previous work. Overall, Wutx donnw vise failed to captivate me and failed to live up to the artist's previous releases.
2. Sarah - 2 stars
Wutx donnw vise didn't do it for me. The vocals were often off-key and the melodies felt forced. It felt like the artist was trying too hard to be avant-garde and ended up producing a messy and disjointed album. The experimental nature of the songs didn't pay off, as they lacked cohesion and direction. I appreciate artists who push boundaries, but this album felt more like a failed experiment than a successful artistic endeavor.
3. Mike - 2 stars
I found Wutx donnw vise to be a confusing and pretentious album. The lyrics were cryptic and hard to decipher, and the music often felt dissonant and incoherent. It seemed like the artist was trying to be intentionally obscure, but it came across as contrived and self-indulgent. The album lacked any real emotional depth, and the experimental elements felt forced rather than organic. Overall, I was left feeling frustrated and disconnected from the music.
4. Emily - 3 stars
While I appreciate the artist's attempt to push boundaries and explore new sounds, Wutx donnw vise fell short for me. The songs lacked structure and often felt meandering and aimless. The production was muddy and made it difficult to fully appreciate the artist's vocals. There were moments of brilliance scattered throughout, but they were overshadowed by the overall lack of cohesion. While I can see others finding merit in this album, it simply didn't resonate with me.