An analysis of criticism of Charles Dickens by his contemporaries G. H. Lewes and Hippolyte Taine. Both assessments address Dickens’s popularity by relying on commonplace concepts from Victorian anthropology. However, Lewes argues for a new form of critical practice addressed to popular fiction and addresses the inadequacy of existing critical methods for assessing the strength of a writer like Dickens.

Deposit“Power, Eros, and Biblical Genres”, Bible and Critical Theory 3/2 (2007) 18.1-11; also in R.T. Boer (ed.), Bakhtin and Genre Theory in Biblical Studies (Semeia Studies; Atlanta: SBL, 2007), 31-42

One of M.M. Bakhtin’s contributions to the study of texts was his profound distrust of formalism. In this essay, I seek to extend this insight to the study of biblical genres. As such, I work to detach the study of biblical genres from form-criticism, and to examine genre as dialogically constructed (and thus socially situated). To do so, I draw on Bakhtin’s work on dialogism, the chronotope, and heteroglossia. However, in his work Bakhtin did not clearly provide the motive or impulse for dialogism. I seek to enhance and refine a dialogic understanding of genre by reconceptualising genre as a site of politics constructed by the operation of power and eros. In this essay, I explore power from a Foucauldian perspective, seeing it as a network of discourse relations that enfolds the struggle for domination. The dynamics of power, once understood, help to understand the development of distinct genres and development within genres. In this essay, I explore eros from the perspective of productive act (Deleuze), as well as from the perspective of desire for the lacked object (Hegel, Lacan, Foucault), both understandings being ultimately Platonic in origin. Without understanding the erotic impulse, I argue that we cannot understand the dynamics of power that explain dialogically-constructed genre. In this way, this essay takes Bakhtin as a starting point and touchstone, but moves into some different areas as well.


The article focuses on the adaptation strategies used by Lope de Vega in his play El Gran Duque de Moscovia y emperador perseguido (1617). This tragedy, built on material acquired from travelogues, represents the first depiction of the Russian Time of Troubles in fiction. In it, one can follow Lope de Vega’s shift from preserving the factual details collected from different travel sources to creating his own Baroque story placed within a purely Catholic world, as opposed to reality. In doing this, Lope de Vega creates a fictional space filled with mystery and miracles, where Heavens can intervene and punish the guilty party, whereby restoring the original status quo. Key situations turn from illustrations of an alien world into much more general depictions, namely, that of a tyrant versus a legal monarch, and the will of a ruler versus the law. The shift into tyranny provides the story with a new narrative centre and, by following Lope de Vega’s emphasis on the “Muscovian story,” discloses its universal spirit

Deposit“It’s Like Writing Yourself into a Codependent Relationship with Someone Who Doesn’t Even Want You!” Emotional Labor, Intimacy, and the Academic Job Market in Rhetoric and Composition

Drawing on forty-eight interviews with individuals who participated on the academic job market in rhetoric and composition between 2010 and 2015, this essay shows how conceptualizing the academic job search as an intimate endeavor can offer insights for understanding the rhetorical production of affective binds within institutional contexts.

TopicRelated publications

Hi all! A couple of recent presentations shared in CORE might be of interest to this group. “Going Public: How and Why to Develop a Digital Scholarly Identity” ( mentions Humanities Commons. Though it isn’t specifically focused on the platform, it covers a topic HC workshops might address. Matt Gold’s “Response to the Critical Infrastructure […]