This is the Introduction to my new book, _Victorian Skin: Surface, Self, History_.

This is the Introduction to my new book, _Victorian Skin: Surface, Self, History_.

Sinclair Ross’s “As For Me and My House” as a (nefarious) safe-space whereby readers can subsume themselves within a locale that promises the sense of being taken care of, that they experienced within the maternal home but on one condition: ready willingness to defer; acquiesce to “mother’s” leadership. Written just before a culture pivoted from…[Read more]

Explores Maureen Folan, in Martin McDonagh’s “The Beauty Queen of Leenane,” as a psychological borderline, someone who is afraid to achieve a man she can have a relationship with, and so defaults to using him as simply another object she can use in warfare against a mother she is only yet capable of playing at being able to leave behind her.

In this article, through a reading of Mark Blacklock’s 2015 novel, I’m Jack, alongside the history of erasure poetry, I suggest that an apt literary-critical metaphor for reading redaction in contemporary literature comes from the term “metadata.” This article schematizes the ways in which redaction can work in literary contexts and points to the…[Read more]

Compares Evelina, from Frances Burney’s “Evelina,” and Werther, from Goethe’s “Young Werther.” Argues that though they could readily be made to seem opposite to one another, as they seek company with such disparate groups of people, the difference is superficial, and their motivations, the same — namely, to make use of their associations with…[Read more]

The belief that Francis Bacon was, from the start, a stalwart defender of royal absolutism has prevailed in scholarship despite occasional comments about Bacon’s pluralist or collaborative legal and political imagination. Building on recent revisionist work, this article questions the standard historiography. It argues that Bacon’s jur…[Read more]

Explores Quentin Tarantino’s “Pulp Fiction” as if it were experienced by many viewers of a particular type — SCM’s: suburban, collegiate young men — as a feeling out of how they might contrive themselves so that their future development would not place them as identifiable as losers by he-men pulp figures they’d learned early represent…[Read more]

Exemplaria review essay by Sarah Elliott Novacich of recent books by Simon Gaunt, Jonathan Hsy, and Shirin Khanmohamadi on medieval contact zones.

Personal perspective on the current state of open access and publishing practices in the fields of Television and Media Studies, and pointers to a variety of scholar-led initiatives and options of where scholars can actually publish open access in their field without the payment of Article Processing Charges (APCs).

Explores a passage of Angela Carter’s “The Company of Wolves.” Delineates how Carter makes play with such things as the dialogue between the subconsciously experienced meanings of actual words ostensibly serving as only overt alphabetic components within words, to dramatize the fitfulness of the protagonist’s emergence at the finish of the story…[Read more]

Explores a passage of Angela Carter’s “The Company of Wolves.” Delineates how Carter makes play with such things as the dialogue between the subconsciously experienced meanings of actual words ostensibly serving as only overt alphabetic components within words, to dramatize the fitfulness of the protagonist’s emergence at the finish of the story…[Read more]

Explores a passage of Angela Carter’s “The Company of Wolves.” Delineates how Carter makes play with such things as the dialogue between the subconsciously experienced meanings of actual words ostensibly serving as only overt alphabetic components within words, to dramatize the fitfulness of the protagonist’s emergence at the finish of the story…[Read more]

Explores a passage of Angela Carter’s “The Company of Wolves.” Delineates how Carter makes play with such things as the dialogue between the subconsciously experienced meanings of actual words ostensibly serving as only overt alphabetic components within words, to dramatize the fitfulness of the protagonist’s emergence at the finish of the story…[Read more]

Daphne Marlatt’s “Healing” as a poem about re-cooperating from the infliction of a triggering, caustic word upon one’s mental composition, using efficacy, experience in knowing composure and competency, as a rebutting counter.