Society of Scholars

chairs against a blackboard

The Society of Scholars is an intellectual community of humanists of diverse generations, academic ranks, and departmental affiliations who contribute to and learn from one another’s work. Each year, approximately eight faculty and three dissertation research fellowships support members of the Society of Scholars. Scholars in year-long residence at the University of Washington may be invited to participate as well. The group meets biweekly throughout the year to discuss their research in progress. 

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Cohort Archives

2025 - 2026 Society of Scholars

Jesse Cavalari
Doctoral Candidate
History
Kavita Dattani
Assistant Professor
Gender, Women & Sexuality Studies
Agnieszka Jezyk
Maria Kott Endowed Assistant Professor of Polish Studies
Slavic Languages and Literatures
Saad Khan
Doctoral Candidate
Gender, Women & Sexuality Studies
Linh Thủy Nguyên
Associate Professor
American Ethnic Studies
Alexandria Ramos
Assistant Professor
English
Jen Rose Smith
Assistant Professor
Geography
Timeka Tounsel
Associate Professor
Communication
Natalie Vaughan-Wynn
Doctoral Candidate
Geography
Alys Eve Weinbaum
Professor
English
Kathleen Woodward
Director
Simpson Center for the Humanities
Glennys Young
Professor
History
Erica Bigelow
Doctoral Candidate
Philosophy
Francesca Colonnese
Doctoral Candidate
English
Amna Farooqi
Doctoral Candidate
School of Drama
Angel Garduño
Doctoral Candidate
English
Nastasia Paul-Gera
Doctoral Candidate
Gender, Women & Sexuality Studies
Kexin Song
Doctoral Candidate
English

2018 - 2019 Society of Scholars Fellow

Ungsan Kim

Ungsan Kim (he/him/his)

Assistant Professor

Cruising the Cityscape: Queer Temporality and the Translation of Space in Contemporary East Asian Cinema

This dissertation explores the way in which queer cinema negotiates the normativizing process of hyper-modernity in contemporary East Asia. It suggests that queer Asian cinema has developed as a collective cinematic mode as a counterforce to the intensifying neoliberalism and neo-nationalism in the region since the Asian economic crisis. By focusing on these cinemas’ stylistic investment in the non-normative representation of temporality and space, as well as their representation of counter-progressive movements such as retrospection, repetition, and strolling, it argues that queer cinema has functioned as an artistic mode of resistance to the violence of progressive time as a technology that propels the ideology of development.