CHAPTERS IN BOOKS

Chapters in books, or books edited:

‘Detroit and Paris: Paris as Detroit’ in Literature and the Peripheral City ed. Lieven Ameel, Jason Finch, and Markku Salmela (London: Palgrave Macmillan, 2015), 21-39.

‘Dickens and Galdós’ in The Reception of Charles Dickens in Europe ed. Michael Hollington (London: Bloomsbury, 2 vols. 2013), vol. 1., 191-196.

‘Dickens and Cosmopolitanism’ in Charles Dickens and Europe ed. Maxime Leroy (Newcastle: Cambridge Scholars 2013), 8-27.

‘Dickens and the City’ ed. Jeremy Tambling (Farnham: Ashgate, 2012), 556 pp, xi-xxvi an Introduction and Bibliography (one of six vols, entitled A Library of Essays on Charles Dickens, general editor Catherine Waters).

‘Illusion and Identity: The Looking-glass world of Inferno XXX’, in John C. Barnes and Michelangelo Zaccarello, Language and Style in Dante (Dublin: Four Courts Press 2012), 111-132.

‘Civilisation, Fear and Terror’, in Civilisation and Fear: Anxiety and the Writing of the Subject ed. Wojciech Kalaga (Newcastle: Cambridge Scholars Publishing 2012), 107-128

‘Subjectivity and Cosmpolitan Enlightenment: Music and Don Giovanni’ in David Adams and Galin Tihanov (eds.), Enlightenment Cosmopolitanism (Oxford: Legenda 2011), 94-109

‘Recalled to Life: Survival in Dickens and Dante’ in Catherine Waters, Michael Hollington and John Jordan, Imagining Italy: Victorian Writers and Travellers (Newcastle: Cambridge Scholars 2010), 115-137

‘Little Dorrit: Dickens, Circumlocution, Unconscious Thought’, in Alexis Grohmann and Caragh Wells (eds.), Digressions in European Literature. (London: Palgrave Macmillan 2010), 38-48

‘The Power of Emotion: Wagner and Film’ in Jeongwon Joe and Sander L. Gilman, Wagner and Cinema (Bloomington: Indiana University Press 2010), 273-93

‘New Prisons, New Criminals, New Masculinity: Dickens and Reade’, in Jan Alber and Frank Lauterbach (eds.), Stones of Law, Bricks of Shame: Narrating Imprisonment in the Victorian Age. (Toronto: University of Toronto Press 2009), 46-69.

‘Silvestris: “Silva”: “Selva Oscura” in Andrew Galloway and R.F. Yeager (eds.), Through a Classical Eye: Transcultural and Transhistorical Visions in Medieval English, Italian and Latin Literature in Honour of Winthrop Wetherbee (Toronto: University of Toronto Press 2009), 69-85

‘Letters and Litter’ in Tadeusz Rachwał, Rubbish, Waste and Litter: Culture and its Refuse/als (Wydawnictwo SWPS Academica: Warszawa 2008), 30-49

‘Enter Lear Mad’ in Henri Suhamy (ed.), William Shakespeare: King Lear (Paris: Ellipses 2008), 140-157

‘Scott’s “Heyday” in Opera’, in Murray Pittock (ed.), The Reception of Sir Walter Scott in Europe (London: Continuum, 2007), 285-292

‘James, European and American Opera’, in Annick Duperray, The Reception of Henry James in Europe (London: Continuum 2006), 250-259

‘Flattery in Coriolanus’ in Henri Suhamy (ed.), Coriolanus: William Shakespeare (Paris: Ellipses 2006), 127-137

‘Blake’s Night: Tanizaki’s Shadows’ in Steve Clark and Masashi Suzuki (eds.), The Reception of Blake in the Orient (London: Continuum 2006), 237-245

‘Cinematic Carmen and the ‘Oeil Noir’, in Carmen: From Silent Film to MTV ed. Chris Perriam and Ann Davies (Amsterdam: Rodopi, 2005), 167-188

‘The Good Soldier and the Sex Instinct’, in François Gallix (ed.) The Good Soldier: Ford Madox Ford (Paris: Ellipses, 2005) 69-82.

‘Allegory and the Madness of the Text: Hoccleve’s Complaint in New Medieval Literatures’ 6 ed. David Lawton, Rita Copeland and Wendy Scase, (Oxford:  Oxford University Press 2005), pp. 223-248.

‘Listening to Schizophrenia: The Wozzeck Case’, in Arved Ashby (ed.) The Pleasure of Modernist Music (Rochester: University of Rochester Press 2004), pp. 176-194

 ‘If A is for Allegory, is P for Paranoia? Reading American Culture’ in Zhong Weihe and Han Rui (eds.) Re-reading America: Changes and Challenges (Cheltenham: Reardon, 2004) pp. 323-327 (conference proceedings)

‘”No Name, No Title”: Richard the Second’ in William Shakespeare: Richard II ed. Henri Suhamy (Paris: Ellipses, 2004) 145-160

Introduction (pp. i-xlvi) and notes (943-974) and notes to appendices to new edition of David Copperfield (Penguin, 2004).

‘James and Entitlement’, in Sophie Menoux, (ed.) Henry James and Other Essays (Saint-Denis: Université de La Reunion, 2003), pp. 91-100.

‘No Thoroughfare: Charting De Quincey’s Confessions’ in Laurent Bury (ed.) Confessions of an English Opium-Eater (Paris: Ellipses 2003) pp. 59-72.

‘“Averroes’s Search”: Dante’s Modernism and Joyce’ – in European Joyce Studies 13: Medieval Joyce ed. Lucia Boldrini (Amsterdam: Rodopi, 2002)

Entries on Walter Benjamin (pp. 143-150); The Cambridge School (Quiller Couch, Richards, Empson) (pp. 665-672) and F.R. Leavis and Scrutiny (pp. 698-702) for The Edinburgh Encyclopaedia of Modern  Criticism and Theory ed. Julian Wolfreys (Edinburgh University Press, 2002)

‘Women in Love: Or, Why the Whale is White’, in Francois Gallix (ed.) Women in Love: D.H. Lawrence (Paris: Ellipses 2001) pp. 187-198.

‘Christendom and the Police: Kierkegaard inside the Panopticon’, in Writing the Bodies of Christ: The Church from Carlyle to Derrida ed. John Schad (Aldershot: Ashgate, 2001) pp. 113-126.

Entries (2000 words each) on Opera, Mozart, Wagner and Bizet, Rossini, Verdi, Puccini, Shakespeare in Opera; Offenbach, Beethoven for The Literary Encyclopedia and Literary Dictionary (http://www.LitEncyc.com.)

‘Writing Epitaphs: Narrative in Great Expectations in Great Expectations: Charles Dickens ed. Jean-Pierre Naugrette (Paris: Ellipses 1999) pp. 141-52.

‘Dante in America: Eliot and the Politics of Modernism’ in Anglophone Modernism and Europe, special issue of  Miscelánea 20 (University of Zaragoza, 1999) ed. Stan Smith and Jennifer Birkett, pp. 155-172.

Dante: A Critical Reader. (ed.) (London: Longman 1998). Introduction (pp. 1-16, editorial matter, pp. 197-212, selection and introduction of critical essays.)

‘Dante and Blake: Allegorising the Event,’ in Dante’s Modern Afterlife ed. Nicholas Havely (London: Macmillan, 1998), pp. 33-48.

Bleak House: A New Casebook  (ed.) (London: Macmillan, 1998) pp. 1-254. Introduction, pp. 1-28

David Copperfield (Dickens: Penguin Classics 1996) Edited with an introduction (pp. 7-22) and notes (pp. 856-879)

E.M. Forster: A New Casebook (ed.) (London: Macmillan 1995) pp. 1-236, Introduction, pp. 1-13.

‘A Night in at the Opera: Media Representations of Opera’ (London: John Libbey with the Arts Council of England, 1994). edited (310 pp.), plus authorship of two chapters (pp. 1-23, 61-74).

‘Abigail’s Party: The Difference of Things in The Jew of Malt’ in In Another Country ed. Dorothea Kehler and Susan Baker (New Jersey: Scarecrow Press 1993)

Advertisements