I am a thoughtful, detail-oriented, and charismatic person dedicated to quality work founded on intellectual integrity and creative rigor. I value independent work as well as collaborative engagement, and my years as a graduate student and a university writing instructor taught me how to seek balance between the two. I am a Byronist, first and foremost, and am most influenced by the theoretical works of Georges Bataille, Paul de Man, Roland Barthes, Walter Benjamin, Maurice Blanchot, and Julia Kristeva. My scholarship focuses mainly on British Romantic poetry and Post-Structuralist Literary Theory and Criticism. As a Romanticist, I remain invested in aesthetics––both in visual and linguistic production––and my skills in close rhetorical analysis allow me to apply critical strategies to improve both my work as well as the work of my colleagues and students. I strive to rethink common assumptions about literature and language through analysis that interrogates the presentation of narrative and authorial identities and the stability of rhetorical expression. I trace Romantic aesthetics and affects from past to present iterations in popular culture, finding moments that resist and rupture hegemonic paradigms. I am also a painter . . . and I sell wine.
“War on Earth: Edward Said and Romantic Literary History.” Symplokē 25.1-2 (forthcoming 2017)
“The Madness of the Master: Henry James and Maurice Blanchot at the Limit.” Henry James Review 37.3 (Fall 2016): 261-273.
“Henry James and the Sublime.” Arizona Quarterly 71.2 (Summer 2015): 87-120.
“Between the Romance and the Real: Experiencing Jamesian Reading.” Henry James Review 35.1 (Winter 2014): 12-22.
Essays in Edited Volumes
“The Intoxicated Conversation: Maurice Blanchot and the Poetics of Critical Masks.” Philosophy and Poetry: A Continental Perspective. Ed. Ranjan Ghosh. New York: Colum…
Daniel Rosenberg Nutters recently earned his Ph.D. in English from Temple University with a specialization in American and European literature from Romanticism through Modernism and critical theory. He is at work on two interrelated projects: The Humanist Critic: Lionel Trilling and Edward Said and The Man of Imagination: Henry James and Romantic-Modernism.
Colin Roust joined the University of Kansas musicology faculty in 2014, after prior experience at Roosevelt University and the Oberlin Conservatory. He holds a Ph.D. from the University of Michigan, with specializations in twentieth-century music and film music, and his areas of research interest include the French composer Georges Auric, music history pedagogy, music and politics, and the intersection of music and the other arts in multimedia genres (song, film, opera, ballet, etc.).
I’m a current PhD candidate at the University of Leeds with a diverse range of interests relating to popular culture and literature, comparative studies, genre and gender. My thesis combines these interests by looking at portrayals of masculinity in post World War Two French and British children’s literature. I previously completed my MA thesis at the University of Hull, looking at feminine power in the internationally renowned A Song of Ice and Fire series and the French historical series that inspired it: Les Rois maudits.
I work at the University of New England in the high country of New South Wales. I teach and research in children’s literature and classical reception studies. I lead the Australasian wing of the ERC-funded Our Mythical Childhood project (Grant agreement No 681202) which traces the reception of classical antiquity in children’s and young adults’ culture. I am writing a Guide to the field of recent children’s literature inspired by classical antiquity.
Hi. I am a multilingual translator with research interests in philosophy and the social sciences. I’m a certified translator and certified behavioral counselor.
Canadian literature, nationalism, modernism, contemporary poetry, travel writing, digital humanities, identity politics
I write books about — and teach classes on — children’s books and comics.
One strand of my research addresses the paradox with which Luther begins “The Freedom of a Christian”: perfectly free, perfectly bound. This has led me to examine ethical and political dimensions of freedom and work — and, less directly, to “presence” and “place.” A second strand of research attends closely to the work of poetry (and the work of art more generally). A third strand grows out of a fascination with the central place of fragments in the invention of “the West,” which, it seems to me, has often taken the form of putting fragments in their place and filling in gaps. I am interested in minding the gaps.