Tudor Balinisteanu completed his undergraduate studies in his native town of Suceava, Romania. He interrupted his studies on the BA course in English to do voluntary work as an activist against the proliferation of nuclear weapons with For Mother Earth (Belgium), advocating in favour sustainable communities with the European Youth for Action (EYFA Amsterdam), becoming eventually involved as a long-term volunteer with the Glencree Centre for Peace and Reconciliation in the Wicklow mountains in Ireland which was strongly focused on North-South reconciliation throughout the nineties. It was there that he developed a strong interest in Irish culture. Upon returning to Romania he completed his undergrad studies and proceeded to do an MA in Irish Studies in the vibrant Romanian city of Cluj. This inspired him to develop doctoral research at University of Glasgow, where he obtained his PhD in English Literature with a thesis entitled Narrative, Social Myth, and Reality in Contemporary Scottish and Irish Women’s Writing. Kennedy, Lochhead, Bourke, Ní Dhuibhne, and Carr, also published as a monograph with CSP (2009). Finding the concept of social myth intriguing and fruitful for analyses of the performativity of literary texts, he obtained postdoctoral funding from the Romanian National Research Council for a project which examined Georges Sorel's concept of social myth and explored its value for analyses of modernist writing and poetic philosophies, focused on W. B. Yeats and James Joyce. This work led to the publication of two monographs with Palgrave: Religion and Aesthetic Experience in Joyce and Yeats (2015) and Violence, Narrative and Myth in Joyce and Yeats: Subjective Identity and Anarcho-Syndicalist Traditions (2013). While working on these projects, Tudor undertook a programme of field research in Paraguay, Gabon, and India to find out what social myths might be found in the cultures of these countries. These explorations led to new understandings of the relations between art, lived experience, and social identities. In Paraguay he visited Nueva Australia to find traces of the nineteenth-century Australian settlers, which led to writing eventually developed into a chapter included in his Routledge monograph, Modern Political Aesthetics from Romantic to Modernist Literature: Choreographies of Social Performance. In Africa he learned about the role of the arts, especially dance, in engendering the experience of togetherness, and about its social value. This inspired Tudor to return to Africa to train as a dancer by completing a dance training course (Axis Syllabus) in Benin. The insight gained inspired his approach to the concept of choreographies of social performance which he further explored as author of concept for the 45 minutes dance performance entitled Tabularasa, choreographed by Natalie Cohen assisted by Momo Sanno and Emma Damarise Ste. Marie with 10 dancers from Egypt, Romania, USA, Canada, Colombia, and Finland. In India, he renewed his interest in the works of Mircea Eliade and the value of myth and religious beliefs. This gave momentum to his interest in redeveloping some of his undergrad concerns with the latter, leading to a published paper on Romanian folklore and an invited, philosophical chapter on myth and literature.

In many ways Tudor's first monograph with Routledge represents a synthesis of his entire training and research, and a stepping stone to new exciting projects linked to neuroarts, health and wellbeing, and philosophies of embodiment. Questions about the role of the arts in determining our sensual and bodily engagement with the material and social worlds we inhabit remain a major concern of his work, in a framework of thought in which empathy and love are regarded as the central emotions of human beings and, if you will, the reasons why we live, or the purpose of the lives we have been given, whether by nature, gods or goddesses, or, indeed, our mothers.
Areas of Research / Professional Expertise
1. Modern Political Aesthetics from Romantic to Modernist Literature: Choreographies of Social Performance, Routledge Interdisciplinary Perspectives on Literature (New York: Routledge, 2018).
2. Religion and Aesthetic Experience in Joyce and Yeats (Houndmills: Palgrave, 2015).
3. Violence, Narrative and Myth in Joyce and Yeats: Subjective Identity and Anarcho-Syndicalist Traditions (Houndmills: Palgrave, 2013).
4. Narrative, Social Myth, and Reality in Contemporary Scottish and Irish Women’s Writing. Kennedy, Lochhead, Bourke, Ní Dhuibhne, and Carr (Newcastle: Cambridge Scholars Publishing, 2009).

Articles in Journals:
1. “Romanian Folklore and Literary Representations of Vampires”, Folklore, 127:2 (2016), pp. 150-172.
2. “Spellbinding Stories: Gender Theory and Georges Sorel’s Concept of Social Myth”, Critique: Journal of Socialist Theory, 42:1 (2014), pp. 107-126.
3. “Goddess Cults in Techno-Worlds: Tank Girl and the Borg Queen”, Journal of Feminist Studies in Religion, 28:1 (2012), pp. 5-24.
4. “The Phallic Construction of Social Reality and Relationships in A. L. Kennedy’s Short Stories”, Papers on Language & Literature, 47:2 (2011), pp. 196-223.
5. “Tangled Up in Blue. Liz Lochhead’s Grimm Sisters Tales”, Marvels & Tales: Journal of Fairy-Tale Studies, 23: 2 (2009), pp. 325-52.
6. “Elements of the Eden Myth in A. L. Kennedy’s ‘Original Bliss’”, Journal of Gender Studies, 18: 3 (2009), pp. 261-76. Impact factor 0.604.
7. “States of Fancy. The Role of Fantasy and Narrative in Constructing Social Worlds”, Angelaki, 13: 3 (2008), pp. 1-16.
8. “The Land of Witch’s Heart’s Desire. Ontological Flickers in Marina Carr’s By the Bog of Cats…”, Irish Feminist Review, 3 (2007), pp. 81-96.
9. “Otherworldly Women and Neurotic Fairies. The Cultural Construction of Women in Angela Bourke’s Writing”, Irish University Review, 37: 2 (2007), pp. 492-516.
10. “My Words Should Catch Your Words: Myth, Writing and Social Ritual in A.L. Kennedy’s Everything You Need”, International Review of Scottish Studies, 32 (2007), pp. 55-78.
11. “The Cyborg Goddess. Social Myths of Women as Goddesses of Technologized Otherworlds”, Feminist Studies, 33: 2 (2007), pp. 394-423. Impact factor 0.520.
12. “The Spectator’s Pleasure: Yeats’s ‘Long-legged Fly’”, The International Fiction Review, 32: 1&2 (2005), pp. 11-20.
13. “Meaning and Significance in Beckett’s The Unnamable”, Applied Semiotics / Sémiotique appliqué, 5:13 (2003), pp. 167-75.
14. “The Queen Figure in Irish Culture”, Gender Studies, 2:2 (2003), pp. 69-82.

Chapters in Books:
15. “The Persephone Figure in Eavan Boland’s ‘The Pomegranate’ and Liz Lochhead’s ‘Lucy’s Diary’” in From Word to Canvas: Appropriations of Myth in Women’s Aesthetic Production, eds. V. G. Julie Rajan and Sanja Bahun-Radunović (Newcastle: Cambridge Scholars Publishing, 2009), pp. 23-49.
16. “Dreaming Brokenly of Deaths by Fire. Deconstructions of Social Myths in A. L. Kennedy’s Night Geometry and the Garscadden Trains” in Beyond the Anchoring Grounds: More Cross-currents in Irish and Scottish Studies, eds. Shane Alcobia-Murphy et al. (Belfast: Queen’s University Belfast, 2005), pp. 9-19.
Accepted: “Myth” in The Palgrave Handbook of Philosophy and Literature, eds. Barry Stoker and Michael Mack (Palgrave).

17. Review of Coleridge and Kantian Ideas in England, 1796-1817: Coleridge’s Responses to German Philosophy. By Monika Class. London: Bloomsbury, 2012. xiv + 245pp. $120.00, Comparative Literature Studies, 53:1 (2016), online: pp. e-8-e-12.

Other types of outcomes:
18. Author of concept, Tabularasa (contemporary dance performance), first performed at Auditorium Joseph Schmidt, University of Suceava, 24 September 2017.
Personal Interests
Tudor enjoys travelling because it is a form of embodied experience of dwelling on the shape and contours of things, their inscape, while becoming acquainted with the rich mindscapes of us, human beings. For similar reasons he likes multimedia tech which gives sound and depth to our emotions and somatic experience of vibration (he owns a large collection of CDs and a smaller one of vinyls which, he hopes, will be further enlarged with new and interesting items). And he likes all the shades of expression which can be glimpsed in the eyes of people, for which reason he occasionally draws or writes poetry.