Evelyne Ender holds a Doctorat ès lettres in Comparative Literature from the University of Geneva, where she taught for several years in English and in Comparative literature. Her languages are French, English, and German. She has held visiting appointments at Yale, at Harvard, as well as MIT, and was for several years Professor of French at the University of Washington in Seattle prior to joining her husband at Hunter College (where he is a Dean). A recipient of two fellowships from the Swiss National Science Foundation, she was also research fellow at The Simpson Center for the Humanities in Seattle in 2005-06. She is currently a member of the editorial board of PMLA.
She is the author of Sexing the Mind: Nineteenth-Century Fictions of Hysteria (1995) and of the Architexts of Memory: Literature, Science, and Autobiography (2005), which received the “Aldo and Jeanne Scaglione Prize for Comparative Literary Studies” awarded by the Modern Languages Association. She has published widely in English and in French. Among her recent publications are an article on déjà-vu for a special issue on literature and science in Science in Context, a chapter on The Wings of the Dove in The Blackwell Companion to Henry James and a chapter on the nineteenth-century French lyric in French Global: A New Approach to Literary History. Her articles and chapters discuss George Eliot, Thomas Hardy, Virginia Woolf, George Sand, Flaubert, Nerval, Amiel, Proust, Annie Ernaux, Sartre, Freud -- on issues relating to desire, masculinity, narcissism, trauma, and literary representation or poetics.
Professor Ender has taught graduate courses on such topics as gender and illness, literature and psychoanalysis, French literary theory, memory across the disciplines, hysteria, theories of writing, and (jointly with Prof. Kyoo Lee) on philosophical and critical approaches to reading. She is preparing a book centered on case-studies involving Proust, Mallarmé, George Sand and Chopin, and devoted to the subject of handwriting and manual inscription. She draws on current scientific research and phenomenological models of literary creation to reflect on a distinctive body-mind interaction involved in a creative act that relies on pen and paper -- and not on a keyboard and a screen.