Director of the Centre for the Study of Theory and Criticism
Editor, English Studies in Canada
BA Theatre, University of Ottawa, 1990
BA Linguistics, University of Ottawa, 1994
BA English, University of Ottawa, 1994
MA English, University of Ottawa, 1995
PhD English, University of Toronto, 2001
University College Room 3418
519 661-2111 ext. 85816
Fall 2018 Office Hours: Wednesday 1:00-3:00 pm, or by appointment
My teaching and research is focused on Modern British, Irish and American Literature, Drama, Psychoanalysis and Cultural Theory. Currently, I am working on a book-length project exploring the historical and philosophical underpinnings of Camp in modernism (Camp as in “How campy, dahling!”). I am also working on An Encyclopedia of Cultural Theory for the University of Toronto Press.
Co-Editor (with Gyllian Phillips) and Contributor, The Many Façades of Edith Sitwell (University P of Florida, 2017).
Co-Author, "Introduction" The Many Façades of Edith Sitwell. University P of Florida (2017): 1-20.
“'Sunshades will usurp their space': Edith Sitwell, Sacheverell Sitwell, and the Dreaming Clowns of Melancholy," The Many Façades of Edith Sitwell. University P of Florida (2017): 75-93.Articles and Chapters:
“Appalling Tabernacle of Self and Unbelief”: Wyndham Lewis’s Enemy of the Stars in Closet Drama: History, Theory, and Genre; New York and London: Routledge; September 2018: 83-94). Editor: Catherine Burroughs
“A Corporal Radioscopy”: Lacan, the Baroque, and the Posthuman in Lacan and the Posthuman, (Basingstoke: Palgrave Macmillan; May 2018: 47-65). Co-Editors: Judith Roof and Svitlana Matviyenko
“The Call of the Anterior”: Blanchot, Lacan, and the Death Drive in Understanding Blanchot, Understanding Modernism. (New York and London: Bloomsbury Press; June 2018: 247-262). Editor: Christopher Langlois
“Like Chasing a Scrap of Paper”: Hysterical Detection in The Good Soldier," Ford Madox Ford's The Good Soldier, Ed. Rossitsa Terzieva-Artemis (Amsterdam: Brill Rodopi 2017): 175-90.
“A Fugue on Camp,” Modernism/modernity, 23.1 (January 2016): 28-36.
“Dispersed Are We: Voice as Technology in Between the Acts,” Virginia Woolf Miscellany, 85.1 (Spring 2016): 23-25.
“Jigging away in nothingness”: Knowledge, Language, and Feminine Jouissance in “Bliss” and “Psychology,” Katherine Mansfield and Psychology, Eds. Clare Hanson, Gerri Kimber, W. Todd Martin. Edinburgh: Edinburgh U P (September 2016): 100-112.
“A Voice in the Alethosphere: Analysis and the Discourse of Economics” in CNPC 1: The Freudian Legacy Today (2015) (online)
"Camp: Kant’s Unwritten Fourth Critique,” The Word Hoard: Vol. 1: 3 (2015) (online)
“A Box and Cox Melodrama”: Love, Politics, and Truth in The Revenge for Love, Journal of Wyndham Lewis Studies 4 (2014): 95-111.
Roy Kiyooka on the side of dirt and angels, Arc: Canada’s Poetry Magazine 71, (Summer 2013): 24-30.
“Look for one thing and you find another”: The Voice and Deduction in Muriel Spark’s Memento Mori, Muriel Spark: Twenty-First-Century Perspectives, Ed. David Herman. Baltimore: Johns Hopkins U P (2010): 187-202.
Introduction, Wyndham Lewis’ Self Condemned Toronto: Dundurn P (2010): 7-22.
“The Feast of Nemesis Media: Jean Cocteau’s The Eiffel Tower Wedding Party,” Modern Drama, 52.2 (2009): 192-206.
The Chiasm of Revolution: Badiou, Lacan, Lefebvre, The Symptom 10, (2009) (online)
“The Crux of Melancholy: Edward Albee’s A Delicate Balance,” Modern Drama, 49.2 (Summer 2006): 174-187.
Faculty of Arts and Humanities Teaching Excellence Award, 2013