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</o:shapelayout></xml><![endif]--></head><body lang=EN-AU link=blue vlink=purple><div class=WordSection1><p class=MsoNormal><b><span style='font-size:10.0pt;font-family:"Arial","sans-serif";color:black'>Virtual Anatomies:</span></b><b><span style='font-size:10.0pt;font-family:"Arial","sans-serif";color:#1F497D'> </span></b><b><span style='font-size:10.0pt;font-family:"Arial","sans-serif";color:black'>The Cultural Impact of New Medical Imaging Technologies</span></b><span style='font-size:10.0pt;font-family:"Arial","sans-serif";color:black'><o:p></o:p></span></p><p class=MsoNormal><span style='font-size:10.0pt;font-family:"Arial","sans-serif";color:black'> <o:p></o:p></span></p><p class=MsoNormal><b><span style='font-size:10.0pt;font-family:"Arial","sans-serif";color:black'>Date:</span></b><span style='font-size:10.0pt;font-family:"Arial","sans-serif";color:black'> August 30-31, 2011<o:p></o:p></span></p><p class=MsoNormal><b><span style='font-size:10.0pt;font-family:"Arial","sans-serif";color:black'>Venue:</span></b><span style='font-size:10.0pt;font-family:"Arial","sans-serif";color:black'> Innes Room, University of Queensland<o:p></o:p></span></p><p class=MsoNormal><b><span style='font-size:10.0pt;font-family:"Arial","sans-serif";color:black'>Registration:</span></b><span style='font-size:10.0pt;font-family:"Arial","sans-serif";color:black'> Free, but essential for catering purposes<o:p></o:p></span></p><p class=MsoNormal><span style='font-size:10.0pt;font-family:"Arial","sans-serif";color:black'><o:p> </o:p></span></p><p class=MsoNormal><span style='font-size:10.0pt;font-family:"Arial","sans-serif";color:black'>Over the last ten years, medical imaging technologies such as MRI and PET have not only come to play an increasingly central role in medical practice and research, but have also transformed the way bodies are seen and represented across a wide range of popular contexts. Images of human anatomy and biological function circulate with great frequency on television shows as well as in government health campaigns and advertising for commercial products. The speed with which the images produced by medical imaging technologies have entered into the popular sphere, along with the widespread public acceptance of these images as offering empirical proof about the truth of that body and its condition, is indicative of the profound influence imaging technologies now exert in shaping cultural attitudes towards the body and public expectations about its treatment.<o:p></o:p></span></p><p class=MsoNormal><span style='font-size:10.0pt;font-family:"Arial","sans-serif";color:black'><o:p> </o:p></span></p><p class=MsoNormal><span style='font-size:10.0pt;font-family:"Arial","sans-serif";color:black'>The aim of this symposium is to assess the cultural impact of new medical imaging technologies, taking account of their popular effects while also evaluating the medical, ethical, legal and philosophical issues they raise. Papers will consider, variously:<o:p></o:p></span></p><p class=MsoListParagraph style='text-indent:-18.0pt;mso-list:l0 level1 lfo2'><![if !supportLists]><span style='font-size:10.0pt;font-family:Symbol;color:black'><span style='mso-list:Ignore'>·<span style='font:7.0pt "Times New Roman"'> </span></span></span><![endif]><span style='font-size:10.0pt;font-family:"Arial","sans-serif";color:black'>the development and clinical application of imaging technologies<o:p></o:p></span></p><p class=MsoListParagraph style='text-indent:-18.0pt;mso-list:l0 level1 lfo2'><![if !supportLists]><span style='font-size:10.0pt;font-family:Symbol;color:black'><span style='mso-list:Ignore'>·<span style='font:7.0pt "Times New Roman"'> </span></span></span><![endif]><span style='font-size:10.0pt;font-family:"Arial","sans-serif";color:black'>the historical conditions in which they emerged and acquired their current cultural status<o:p></o:p></span></p><p class=MsoListParagraph style='text-indent:-18.0pt;mso-list:l0 level1 lfo2'><![if !supportLists]><span style='font-size:10.0pt;font-family:Symbol;color:black'><span style='mso-list:Ignore'>·<span style='font:7.0pt "Times New Roman"'> </span></span></span><![endif]><span style='font-size:10.0pt;font-family:"Arial","sans-serif";color:black'>the </span><span style='font-size:10.0pt;font-family:"Arial","sans-serif";color:#1F497D'>institutions and </span><span style='font-size:10.0pt;font-family:"Arial","sans-serif";color:black'>systems of knowledge by which they are supported and </span><span style='font-size:10.0pt;font-family:"Arial","sans-serif";color:#1F497D'>the </span><span style='font-size:10.0pt;font-family:"Arial","sans-serif";color:black'>ethical considerations they raise<o:p></o:p></span></p><p class=MsoListParagraph style='text-indent:-18.0pt;mso-list:l0 level1 lfo2'><![if !supportLists]><span style='font-size:10.0pt;font-family:Symbol;color:black'><span style='mso-list:Ignore'>·<span style='font:7.0pt "Times New Roman"'> </span></span></span><![endif]><span style='font-size:10.0pt;font-family:"Arial","sans-serif";color:black'>the range of cultural, artistic and commercial purposes to which they are put<o:p></o:p></span></p><p class=MsoNormal><span style='font-size:10.0pt;font-family:"Arial","sans-serif";color:black'><o:p> </o:p></span></p><p class=MsoNormal><span style='font-size:10.0pt;font-family:"Arial","sans-serif";color:black'>The cultural impact medical imaging technologies can be measured, in part, by the public hype surrounding the Visible Human, Digital Human and Human Genome Projects, by the commercialisation of brain imaging technologies in new fields like neuromarketing and neuroeconomics, by the submission of MRI and PET images as legal evidence in court cases, and by the appropriations of these images and technologies in contemporary visual arts. <o:p></o:p></span></p><p class=MsoNormal><span style='font-size:10.0pt;font-family:"Arial","sans-serif";color:black'><o:p> </o:p></span></p><p class=MsoNormal><span style='font-size:10.0pt;font-family:"Arial","sans-serif";color:black'>“Virtual Anatomies: the Cultural Impact of New Medical Imaging Technologies” will bring together scientists, philosophers, artists, bioethicists, medical researchers, historians and cultural theorists to discuss the cultural impact of medical imagining technologies and their ethical, aesthetic and scientific consequences. In so doing, the symposium is intended to take account of the new intersections art, science and culture produced by these technologies and their influence on changing the significance and understanding of human anatomy at the start of the twenty-first century. <o:p></o:p></span></p><p class=MsoNormal><span style='font-size:10.0pt;font-family:"Arial","sans-serif";color:black'><o:p> </o:p></span></p><p class=MsoNormal><span style='font-size:10.0pt;font-family:"Arial","sans-serif";color:black'>This free event is supported by a University of Queensland Foundation Research Excellence Award. Members of the public are welcome to attend.<o:p></o:p></span></p><p class=MsoNormal><span style='font-size:10.0pt;font-family:"Arial","sans-serif";color:black'><o:p> </o:p></span></p><p class=MsoNormal><span style='font-size:10.0pt;font-family:"Arial","sans-serif";color:black'>For further information, contact Elizabeth Stephens: <a href="mailto:e.stephens@uq.edu.au">e.stephens@uq.edu.au</a><o:p></o:p></span></p><p class=MsoNormal><span style='font-size:10.0pt;font-family:"Arial","sans-serif";color:black'><o:p> </o:p></span></p><p class=MsoNormal><span style='font-size:10.0pt;font-family:"Arial","sans-serif";color:black'><o:p> </o:p></span></p><p class=MsoNormal><b><span style='font-size:10.0pt;font-family:"Arial","sans-serif"'>Confirmed Keynotes Speakers <o:p></o:p></span></b></p><p class=MsoNormal><span style='font-size:10.0pt;font-family:"Arial","sans-serif"'><o:p> </o:p></span></p><p class=MsoNormal><b><span style='font-size:10.0pt;font-family:"Arial","sans-serif"'>Oron Catts, University of Western Australia <o:p></o:p></span></b></p><p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:"Arial","sans-serif"'>Oron Catts is Director and founder of SymbioticA, Centre of Excellence in Biological Arts at the University of Western Australia. He is an artist, researcher and a curator at the forefront of the emerging field of Biological arts. He has been a Research Fellow at the Tissue Engineering and Organ Fabrication Laboratory, Harvard Medical School, and founded the Tissue Culture and Art Project in 1996.<o:p></o:p></span></p><p class=MsoNormal><b><span style='font-size:10.0pt;font-family:"Arial","sans-serif"'>Susan Dodds, University of Tasmania<o:p></o:p></span></b></p><p class=MsoNormal><span style='font-size:10.0pt;font-family:"Arial","sans-serif"'>Susan Dodds is Professor of Philosophy and Dean of the Faculty of Arts at the University of Tasmania. She is currently conducting research on three projects funded by the ARC: human vulnerability, ethical issues relating to nanomedicine/ bionics, and democratic policy making on ethically contentious issues in bioethics.<o:p></o:p></span></p><p class=MsoNormal><b><span style='font-size:10.0pt;font-family:"Arial","sans-serif"'><o:p> </o:p></span></b></p><p class=MsoNormal><b><span style='font-size:10.0pt;font-family:"Arial","sans-serif"'>Michael Sappol, National Library of Medicine</span></b><span style='font-size:10.0pt;font-family:"Arial","sans-serif"'><br>Michael Sappol is curator-historian at the National Library of Medicine (U.S.), the author of <i>A Traffic of Dead Bodies: Anatomy and Embodied Social Identity in 19th-Century America</i> (2002), <i>Dream Anatomy</i> (2006), and co-editor of <i>A Cultural History of the Body in the Age of Empire, 1800-1920 </i>(2010). <o:p></o:p></span></p><p class=MsoNormal><span style='font-size:10.0pt;font-family:"Arial","sans-serif"'><o:p> </o:p></span></p><p class=MsoNormal><b><span style='font-size:10.0pt;font-family:"Arial","sans-serif"'>Margrit Shildrick, University of Linkoping<o:p></o:p></span></b></p><p class=MsoNormal><span style='font-size:10.0pt;font-family:"Arial","sans-serif"'>Margrit Shildrick is Professor of Gender and Knowledge Production at the University of Linkoping. She is the author of <em><span style='font-family:"Arial","sans-serif"'>Dangerous Discourses: Subjectivity, Sexuality and Disability</span></em> (2009), <em><span style='font-family:"Arial","sans-serif"'>Embodying the Monster: Encounters with the Vulnerable Self</span></em> (2002)<span style='color:#1F497D'> and</span> <em><span style='font-family:"Arial","sans-serif"'>Leaky Bodies and Boundaries: Feminism, Postmodernism and (Bio)ethics</span></em> (1997)<span style='color:#1F497D'>.</span><o:p></o:p></span></p><p class=MsoNormal><b><span style='font-size:10.0pt;font-family:"Arial","sans-serif"'><o:p> </o:p></span></b></p><p class=MsoNormal><b><span style='font-size:10.0pt;font-family:"Arial","sans-serif"'>Susan Stryker, University of Arizona<o:p></o:p></span></b></p><p class=MsoNormal><span style='font-size:10.0pt;font-family:"Arial","sans-serif"'>Susan Stryker is Director of the Institute for LGBT Studies, and Associate Professor of Gender and Women's Studies at the University of Arizona. Her works include the Lambda Literary Award finalists <em><span style='font-family:"Arial","sans-serif"'>Gay By the Bay: A History of Queer Culture in the San Francisco Bay Area </span></em>(1996; co-authored with Jim Van Buskirk) and <em><span style='font-family:"Arial","sans-serif"'>Queer Pulp: Perverse Passion in the Golden Age of the Paperback</span></em> (2001), as well as the Lammie-winning anthology (co-edited with Stephen Whittle) <em><span style='font-family:"Arial","sans-serif"'>The Transgender Studies Reader </span></em>(2006). She co-directed, wrote, and produced the Emmy-winning public television documentary <em><span style='font-family:"Arial","sans-serif"'>Screaming Queens: The Riot at Compton's Cafeteria </span></em>with Victor Silverman (2005).<o:p></o:p></span></p><p class=MsoNormal style='line-height:150%'><span style='font-size:12.0pt;line-height:150%;font-family:"Times New Roman","serif"'><o:p> </o:p></span></p><p class=MsoNormal><span style='color:#1F497D'><o:p> </o:p></span></p><p class=MsoNormal><span style='color:#1F497D'><o:p> </o:p></span></p><div><p class=MsoNormal><span style='font-size:10.0pt;font-family:"Arial","sans-serif";color:black'>Elizabeth Stephens<br>ARC Research Fellow</span><span style='font-size:12.0pt;font-family:"Times New Roman","serif";color:#1F497D'><o:p></o:p></span></p><p class=MsoNormal><span style='font-size:10.0pt;font-family:"Arial","sans-serif";color:black'>Deputy Director<o:p></o:p></span></p><p class=MsoNormal><span style='font-size:10.0pt;font-family:"Arial","sans-serif";color:black'>Centre for the History of European Discourses<br>Deputy Associate Dean of Research<o:p></o:p></span></p><p class=MsoNormal><span style='font-size:10.0pt;font-family:"Arial","sans-serif";color:black'>Faculty of Arts<o:p></o:p></span></p><p class=MsoNormal><span style='font-size:10.0pt;font-family:"Arial","sans-serif";color:black'>University of Queensland Australia 4072<br>Phone: 61 7 3346 9493<br>Fax: 61 7 3346 9495</span><span style='font-size:12.0pt;font-family:"Times New Roman","serif";color:#1F497D'><o:p></o:p></span></p><p class=MsoNormal><span lang=FR style='font-size:10.0pt;font-family:"Arial","sans-serif";color:black'>Webpage: </span><span style='font-size:10.0pt;font-family:"Arial","sans-serif";color:black'><a href="https://exchange.uq.edu.au/exchweb/bin/redir.asp?URL=http://uq.academia.edu/ElizabethStephens" target="_blank"><span lang=FR>http://uq.academia.edu/ElizabethStephens</span></a></span><span lang=FR style='font-size:12.0pt;font-family:"Times New Roman","serif";color:#1F497D'><o:p></o:p></span></p></div><p class=MsoNormal><span lang=FR style='color:#1F497D'><o:p> </o:p></span></p><div><div style='border:none;border-top:solid #B5C4DF 1.0pt;padding:3.0pt 0cm 0cm 0cm'><p class=MsoNormal><b><span lang=EN-US style='font-size:10.0pt;font-family:"Tahoma","sans-serif"'>From:</span></b><span lang=EN-US style='font-size:10.0pt;font-family:"Tahoma","sans-serif"'> Elizabeth Stephens <br><b>Sent:</b> Friday, 17 June 2011 1:42 PM<br><b>To:</b> Elizabeth Stephens<br><b>Subject:</b> Conference Annoucment: Virtual Anatomies, Aug 30-31 2011, UQ<o:p></o:p></span></p></div></div><p class=MsoNormal><o:p> </o:p></p><p class=MsoNormal><o:p> </o:p></p><p class=MsoNormal align=center style='text-align:center;line-height:150%'><b><span style='color:black'>Virtual Anatomies:</span></b><span style='color:black'><o:p></o:p></span></p><p class=MsoNormal align=center style='text-align:center;line-height:150%'><b><span style='color:black'>The Cultural Impact of New Medical Imaging Technologies</span></b><span style='color:black'><o:p></o:p></span></p><p class=MsoNormal style='line-height:150%'><span style='color:black'> <o:p></o:p></span></p><p class=MsoNormal style='line-height:150%'><b><span style='color:black'>Date:</span></b><span style='color:black'> August 30-31, 2011<o:p></o:p></span></p><p class=MsoNormal style='line-height:150%'><b><span style='color:black'>Venue:</span></b><span style='color:black'> Innes Room, University of Queensland<o:p></o:p></span></p><p class=MsoNormal style='line-height:150%'><b><span style='color:black'>Registration:</span></b><span style='color:black'> Free, but essential for catering purposes<o:p></o:p></span></p><p class=MsoNormal style='line-height:150%'><span style='color:black'><o:p> </o:p></span></p><p class=MsoNormal style='line-height:150%'><span style='color:black'>Over the last ten years, medical imaging technologies such as MRI and PET have not only come to play an increasingly central role in medical practice and research, but have also transformed the way bodies are seen and represented across a wide range of popular contexts. Images of human anatomy and biological function circulate with great frequency on television shows as well as in government health campaigns and advertising for commercial products. The speed with which the images produced by medical imaging technologies have entered into the popular sphere, along with the widespread public acceptance of these images as offering empirical proof about the truth of that body and its condition, is indicative of the profound influence imaging technologies now exert in shaping cultural attitudes towards the body and public expectations about its treatment.<o:p></o:p></span></p><p class=MsoNormal style='line-height:150%'><span style='color:black'><o:p> </o:p></span></p><p class=MsoNormal style='line-height:150%'><span style='color:black'>The aim of this symposium is to assess the cultural impact of new medical imaging technologies, taking account of their popular effects while also evaluating the medical, ethical, legal and philosophical issues they raise. Papers will consider, variously:<o:p></o:p></span></p><p class=MsoListParagraph style='text-indent:-18.0pt;line-height:150%;mso-list:l0 level1 lfo2'><![if !supportLists]><span style='font-family:Symbol;color:black'><span style='mso-list:Ignore'>·<span style='font:7.0pt "Times New Roman"'> </span></span></span><![endif]><span style='color:black'>the development and clinical application of imaging technologies<o:p></o:p></span></p><p class=MsoListParagraph style='text-indent:-18.0pt;line-height:150%;mso-list:l0 level1 lfo2'><![if !supportLists]><span style='font-family:Symbol;color:black'><span style='mso-list:Ignore'>·<span style='font:7.0pt "Times New Roman"'> </span></span></span><![endif]><span style='color:black'>the historical conditions in which they emerged and acquired their current cultural status<o:p></o:p></span></p><p class=MsoListParagraph style='text-indent:-18.0pt;line-height:150%;mso-list:l0 level1 lfo2'><![if !supportLists]><span style='font-family:Symbol;color:black'><span style='mso-list:Ignore'>·<span style='font:7.0pt "Times New Roman"'> </span></span></span><![endif]><span style='color:black'>the systems of knowledge by which they are supported and ethical considerations they raise<o:p></o:p></span></p><p class=MsoListParagraph style='text-indent:-18.0pt;line-height:150%;mso-list:l0 level1 lfo2'><![if !supportLists]><span style='font-family:Symbol;color:black'><span style='mso-list:Ignore'>·<span style='font:7.0pt "Times New Roman"'> </span></span></span><![endif]><span style='color:black'>the range of cultural, artistic and commercial purposes to which they are put<o:p></o:p></span></p><p class=MsoNormal style='line-height:150%'><span style='color:black'><o:p> </o:p></span></p><p class=MsoNormal style='line-height:150%'><span style='color:black'>The cultural impact medical imaging technologies can be measured, in part, by the public hype surrounding the Visible Human, Digital Human and Human Genome Projects, by the commercialisation of brain imaging technologies in new fields like neuromarketing and neuroeconomics, by the submission of MRI and PET images as legal evidence in court cases, and by the appropriations of these images and technologies in contemporary visual arts. <o:p></o:p></span></p><p class=MsoNormal style='line-height:150%'><span style='color:black'><o:p> </o:p></span></p><p class=MsoNormal style='line-height:150%'><span style='color:black'>“Virtual Anatomies: the Cultural Impact of New Medical Imaging Technologies” will bring together scientists, philosophers, artists, bioethicists, medical researchers, historians and cultural theorists to discuss the cultural impact of medical imagining technologies and their ethical, aesthetic and scientific consequences. In so doing, the symposium is intended to take account of the new intersections art, science and culture produced by these technologies and their influence on changing the significance and understanding of human anatomy at the start of the twenty-first century. <o:p></o:p></span></p><p class=MsoNormal style='line-height:150%'><span style='color:black'><o:p> </o:p></span></p><p class=MsoNormal style='line-height:150%'><span style='color:black'>This free event is supported by a University of Queensland Foundation Research Excellence Award. Members of the public are welcome to attend.<o:p></o:p></span></p><p class=MsoNormal style='line-height:150%'><span style='color:black'><o:p> </o:p></span></p><p class=MsoNormal style='line-height:150%'><span style='color:black'><o:p> </o:p></span></p><p class=MsoNormal align=center style='text-align:center;line-height:150%'><b>Confirmed Keynotes Speakers <o:p></o:p></b></p><p class=MsoNormal style='line-height:150%'><o:p> </o:p></p><p class=MsoNormal style='line-height:150%'><b>Oron Catts, University of Western Australia <o:p></o:p></b></p><p class=MsoNormal style='margin-bottom:12.0pt;line-height:150%'>Oron Catts is Director and founder of SymbioticA, Centre of Excellence in Biological Arts at the University of Western Australia. He is an artist, researcher and a curator at the forefront of the emerging field of Biological arts. He has been a Research Fellow at the Tissue Engineering and Organ Fabrication Laboratory, Harvard Medical School, and founded the Tissue Culture and Art Project in 1996.<o:p></o:p></p><p class=MsoNormal style='line-height:150%'><b>Susan Dodds, University of Tasmania<o:p></o:p></b></p><p class=MsoNormal style='line-height:150%'>Susan Dodds is Professor of Philosophy and Dean of the Faculty of Arts at the University of Tasmania. She is currently conducting research on three projects funded by the ARC: human vulnerability, ethical issues relating to nanomedicine/ bionics, and democratic policy making on ethically contentious issues in bioethics.<o:p></o:p></p><p class=MsoNormal style='line-height:150%'><b><o:p> </o:p></b></p><p class=MsoNormal style='line-height:150%'><b>Michael Sappol, National Library of Medicine</b><br>Michael Sappol is curator-historian at the National Library of Medicine (U.S.), the author of <i>A Traffic of Dead Bodies: Anatomy and Embodied Social Identity in 19th-Century America</i> (2002), <i>Dream Anatomy</i> (2006), and co-editor of <i>A Cultural History of the Body in the Age of Empire, 1800-1920 </i>(2010). <o:p></o:p></p><p class=MsoNormal style='line-height:150%'><o:p> </o:p></p><p class=MsoNormal style='line-height:150%'><b>Margrit Shildrick, University of Linkoping<o:p></o:p></b></p><p class=MsoNormal style='line-height:150%'>Margrit Shildrick is Professor of Gender and Knowledge Production at the University of Linkoping. She is the author of <em><span style='font-family:"Calibri","sans-serif"'>Dangerous Discourses: Subjectivity, Sexuality and Disability</span></em> (London and New York: Palgrave Macmillan, 2009), <em><span style='font-family:"Calibri","sans-serif"'>Embodying the Monster: Encounters with the Vulnerable Self</span></em> (London: Sage 2002), Shildrick, Margrit (1997) <em><span style='font-family:"Calibri","sans-serif"'>Leaky Bodies and Boundaries: Feminism, Postmodernism and (Bio)ethics</span></em> (London and New York: Routledge, 1997)<o:p></o:p></p><p class=MsoNormal style='line-height:150%'><b><o:p> </o:p></b></p><p class=MsoNormal style='line-height:150%'><b>Susan Stryker, University of Arizona<o:p></o:p></b></p><p class=MsoNormal style='line-height:150%'>Susan Stryker is Director of the Institute for LGBT Studies, and Associate Professor of Gender and Women's Studies at the University of Arizona. Her works include the Lambda Literary Award finalists <em><span style='font-family:"Calibri","sans-serif"'>Gay By the Bay: A History of Queer Culture in the San Francisco Bay Area </span></em>(1996; co-authored with Jim Van Buskirk) and <em><span style='font-family:"Calibri","sans-serif"'>Queer Pulp: Perverse Passion in the Golden Age of the Paperback</span></em> (2001), as well as the Lammie-winning anthology (co-edited with Stephen Whittle) <em><span style='font-family:"Calibri","sans-serif"'>The Transgender Studies Reader </span></em>(2006). She co-directed, wrote, and produced the Emmy-winning public television documentary <em><span style='font-family:"Calibri","sans-serif"'>Screaming Queens: The Riot at Compton's Cafeteria </span></em>with Victor Silverman (2005).<o:p></o:p></p><p class=MsoNormal><o:p> </o:p></p><p class=MsoNormal><span style='font-size:10.0pt;font-family:"Arial","sans-serif";color:black'>Elizabeth Stephens<br>ARC Research Fellow</span><span style='font-size:12.0pt;font-family:"Times New Roman","serif"'><o:p></o:p></span></p><p class=MsoNormal><span style='font-size:10.0pt;font-family:"Arial","sans-serif";color:black'>Deputy Director<o:p></o:p></span></p><p class=MsoNormal><span style='font-size:10.0pt;font-family:"Arial","sans-serif";color:black'>Centre for the History of European Discourses<br>Deputy Associate Dean of Research<o:p></o:p></span></p><p class=MsoNormal><span style='font-size:10.0pt;font-family:"Arial","sans-serif";color:black'>Faculty of Arts<o:p></o:p></span></p><p class=MsoNormal><span style='font-size:10.0pt;font-family:"Arial","sans-serif";color:black'>University of Queensland Australia 4072<br>Phone: 61 7 3346 9493<br>Fax: 61 7 3346 9495</span><span style='font-size:12.0pt;font-family:"Times New Roman","serif"'><o:p></o:p></span></p><p class=MsoNormal><span lang=FR style='font-size:10.0pt;font-family:"Arial","sans-serif";color:black'>Webpage: </span><span style='font-size:10.0pt;font-family:"Arial","sans-serif";color:black'><a href="https://exchange.uq.edu.au/exchweb/bin/redir.asp?URL=http://uq.academia.edu/ElizabethStephens" target="_blank"><span lang=FR>http://uq.academia.edu/ElizabethStephens</span></a></span><span lang=FR style='font-size:12.0pt;font-family:"Times New Roman","serif"'><o:p></o:p></span></p><p class=MsoNormal><span lang=FR><o:p> </o:p></span></p></div></body></html>