Formerly Purdue University Calumet was renamed Purdue University Northwest in 2016.
It is a public university with two campuses located in Northwest Indiana, near Chicago and the Indiana Dunes National Lakeshore.
It offers more than 70 undergraduate and graduate degree programs to approximately 10,500 students and has more than 64,000 alumni.
AREAS OF SPECIALIZATION: Aesthetics, Metaphysics
AREAS OF COMPETENCE: Ethics, History of Early Modern Philosophy
Purdue University Northwest (formerly, Purdue University Calumet (PUC))
Associate Professor of Philosophy 2015-present
Assistant Professor of Philosophy 2009-2015
Interim Associate Dean, College of Humanities, Education, and Social Sciences 2017-present
Philosophy Program Coordinator 2012-2017
University of Washington
Pre-Doctoral Teaching Associate 2005-2009
Graduate Teaching Assistant 2003-2005
Dr. Conroy’s primary research interests are in aesthetics and the philosophy of art with her publications predominantly focusing on issues related to dance and human movement performance.
The ontology of fiction
The cognitive value of literature
The aesthetic appreciation of nature
The places of intersection between ethical and aesthetic values
SELECTED PEER-REVIEWED PUBLICATIONS:
“Rust Belt Ruins” in Philosophical Perspectives on Ruins, Monuments, and Memorials: Artifact and Memory, Carolyn Korsmeyer, Jeannette Bicknell, and Jennifer Judkins (eds.) (Routledge), forthcoming 2019.
“Kinesthetic Imagining and Dance Appreciation” in Art and Imagination, ed. Ananta Sukla (Bloomsbury Academic Press), forthcoming TBA. [For a related paper see Noel Carroll and William P. Seely’s “Kinesthetic Understanding and Appreciation in Dance”, Journal of Aesthetics and Art Criticism, 71:2 Spring 2013.]
“Body Matters: The Aesthetic Relevance of ‘Dancing Along’” in Feminist Aesthetics and the Philosophyof Art: The Power of Critical Visions and Creative Engagement, ed. Ryan Musgrave (Springer Press), Chapter 10, forthcoming 2019.
“Gestural Fiction: Dance” in Fiction and Art: Explorations in Contemporary Theory, ed. Ananta Sukla (Bloomsbury Academic Press), 2015, pp. 284-300.
In his Review of Fiction and Art: Explorations in Contemporary Theory, Anders Pettersson of Umeå University comments on Conroy’s essay:
“Conroy’s “Gestural Fiction: Dance” is a critical but generous discussion of Susan Langer’s theory of dance as virtual spontaneous gesture in her Feeling and Form (1953). Conroy also introduced —— at least for me —— rewarding things to say about the multiplicity of dance performances and about the “complex imagined landscape” (p. 299) such a performance can create.”
“The Beat Goes On: Reconsidering Dancework Identity” in Thinking Through Dance: The Philosophy of Performance and Practices, eds. Jenny Bunker, Anna Pakes, and Bonnie Rowell (Dance Books Ltd.), 2013, pp. 20-44.
Describing some of Conroy’s accomplishments in the above paper, Aili Bresnahan in her Stanford Encyclopedia of Philosophy article , “The Philosophy of Dance,” comments on Conroy’s positions: ,
“Both Van Camp and Renee Conroy have argued that the ontology of dance needs to be more reflective of and responsive to actual danceworld and artworld practice. . . . Conroy (in “The Beat Goes On: Reconsidering Dancework Identity”) has instead of a definition provided an argument for what she calls three “minimal desiderata” for an adequate account of dancework identity, two of which require that any theory be responsive to and applicable in danceworld practice, and one that requires that criteria of metaphysical adequacy be met.”
“Responding Bodily,” Journal of Aesthetics and Art Criticism 71, no. 2, (Spring 2013): 203-210.
“Review of The Philosophical Aesthetics of Dance: Identity, Performance and Understanding by Graham McFee, November 2012, Journal of Aesthetics and Art Criticism 70(4). DOI: 10.1111/j.1540-6245.2012.01531_3.x.
Review of Before, Between, and Beyond: Three Decades of Dance Writing by Sally Banes,
in Journal of Aesthetics and Art Criticism 66(3), (July 2008): 312-314 . DOI: 10.1111/j.1540-6245.2008.00311_7.x.
“Dancework Reconstruction: Kinesthetic Preservation or Danceworld Kitsch?,” American Society for Aesthetics Quarterly Newsletter, eds. Sondra Bacharach and Sheila Lintott, Spring 2007, pp. 1-3.
“Engaging Berleant: A Critical Look at Aesthetics and Environment: Variations on a Theme,” in Ethics, Place and Environment, vol 10, no. 2 (June 2007): 217-227. See the entire text uploaded by the author of Arnold Berleant’s Aesthetics and Environment: Theme and Variations on Art and Culture. Berleant has also recently uploaded a related paper, “Art, Environment, and the Shape of Experience,” originally published in Environment and the Arts; Perspectives on Art and Environment, Ashgate, 2002.
For the second presentation in the Philosophy Matters Series, Renee Conroy gave a talk entitled “Moral Monstrosity and Horror Fiction: The Case of Hannibal Lecter,” for the Department of Philosophy, Purdue University Calumet (now Purdue University Northwest), October 30, 2013.
Speaker at The Calumet Round Table
on dance as philosophical literature and the aesthetics of dance, November 2015.
Responsibilities included: (1) instruction of upper-division aesthetics course in the Department of Dance; (2) oversight of Bachelor of Arts dissertations on dance with philosophical content, (3) two public presentations for the University of Roehampton Centre for Dance Research, (4) public presentation at the Open University in the philosophy colloquium series, (5) public presentation of “Rust Belt Ruins” for the British Society for Aesthetics Cambridge Lecture Series at Cambridge University
Purdue University Northwest News article, “Purdue Calumet professor combines philosophy & dance as Fulbright Scholar,” November 30, 2015 reporting on Dr. Conroy’s Fullbright Scholarship