The Objects of Jane Gardam

2024-4-2

Friendship and Art in Valerie Martin’s <i>I Give It to You</i>

2024-4-2

Alex as the Product, Producer, and Consumer of Art in the Dilapidated State, in Anthony Burgess’s <i>A Clockwork Orange</i>

2024-4-2

Reading As Conversation with the Overarching Blended Author (Or Roberto Bolaño): Joint Attention, Immersion, and Interaction

2024-4-2

Wartime for Duz and Grape-Nut Flakes: Nostalgia, Capital, and War in Don DeLillo’s “Human Moments in World War III”

2024-1-2

Reeducating <i>The Sympathizer</i> : Refugee Aesthetics and Intertextuality Recode the Western Canon

2024-1-2

Hierarchies of Identity and Non-Belonging: The Unimagined Community in K. H. Lim’s <i>Written in Black</i>

2024-1-2

The Book, Meaning, and Densities of Essential Forms in J.M. Coetzee’s <i>Foe</i>

2024-1-2

Agency, Mobility, and Constraint in Neoliberal Fiction of Female Labor

2023-10-2

Metafiction, Lexical Ostentation, and Censorship in Umezaki Haruo’s “B-tō fūbutsushi”

2023-10-2

Fiction Passing for Non-Fiction: (Un)Real Identity and Fake News in <i>The Human Stain</i>

2023-10-2

“See I Know How to Grab It”: Capturing Money in the Neoliberal Heist Film

2023-10-2

Defects of (Human) Nature? Cognitive Biases in Golding’s <i>Lord of the Flies</i>

2023-7-3

“Live in Fragments No Longer. Only Connect.”: The Alienation and Self-Restoration of the Subject in Olga Tokarczuk’s <i>Flights</i>

2023-7-3

“The Comrades are Sweet, but They Never Chat, They Make Speeches All the Time”: On Laughter and Linearity in Nancy Mitford’s <i>The Pursuit of Love</i>

2023-7-3

Roads, Misogyny, and the Rape Culture in Joyce Carol Oates’ <i>Rape: A Love Story</i> and Cara Hoffman’s <i>So Much Pretty</i>

2023-7-3

Severe Pain and Good Faith: Just War Theory’s Right Intention in the Bush-Era Torture Memos

2023-4-3

<i>Einfühlung Als Gemeinschaft</i> : Edith Stein, Emotional Numbing, and Anhedonia—A Way Forward

2023-4-3

Barack Obama’s “Drone Speech” and the Meaning of “Just War” After 9/11

2023-4-3

“Prior Justification”: Neo-World War II Films as Rhetorical Appeals for “Just War” in the New Millennium

2023-4-3

Introduction

2023-4-3

Innocence, Provocation, and Moral Injury: The Problem of Discrimination in Phil Klay’s <i>Redeployment</i>

2023-1-2

Reading Contemporary American Warfare with Just War Theory

2023-1-2

“Maimed and Naked Monks in the Bloodslaked Dust”: Augustine, Aquinas, and Cormac McCarthy on Just War

2023-1-2

Vietnam Vet Noir After 9/11: Quarry,<i>Dog Soldiers</i>, and the Anti-Ethical Appeal of a Contemporary Subgenre

2023-1-2

Structural Racism and Just War Theory in Post-World War II America: Susan Choi and Toni Morrison on Violence, Imagination, and Human Flourishing

2023-1-2

“You Can’t Stop Picturing that Beautiful Handset”: The Found Phone Trope in Twenty-First-Century Media

2022-10-2

Processes of Abjection: Toward a Marxist Theory of Horror

2022-10-2

After Peele: <i>Get Out</i>’s Influence on the Horror Genre and Beyond

2022-10-2

Emerging Trends in Horror Film and Television: Part 2

2022-10-2

Psychoanalysis and the Politics of Prestige Horror

2022-10-2

<i>Sense and Sensibility</i>and Psychoanalysis: Jane Austen and the Kristevan Semiotic

2022-7-3

“Breaking the Frame:” The Role of Artmaking in Narratives of Migration and Diaspora

2022-7-3

Moments of Being, Moments of Nonbeing: Humanism and Posthumanism in Virginia Woolf’s “A Sketch of the Past” and<i>To the Lighthouse</i>

2022-7-3

Inoperativity and Forgiveness in Paul Muldoon’s “Dirty Data”¹

2022-7-3

Contemporary Gothic Horror Cinema: The Imagined Pasts and Traumatic Ghosts of <i>Crimson Peak</i> (2015) and <i>The Woman in Black</i> (2012)

2022-4-3

Emerging Trends in Horror Film and Television: Part 1

2022-4-3

The Ghosts in the Machine: Screened Reality and the Desktop Film

2022-4-3

Contemporary Basque Horror: <i>Legado en los huesos</i> (2019) and the Value of Regional Readings within National Traumas

2022-4-3

Complex Slasher Characters in American Basic Cable Television

2022-4-3

Gastropods, Viruses, and Deep Time in <i>The Sound of a Wild Snail Eating</i>

2022-1-2

The Secret History of HB-2: Bathroom Safety in the Eighteenth Century and Beyond

2022-1-2

“The Spirit of Martyrdom is Over”: Irony, Communication, and Indifference in Daniel Defoe’s<i>The Shortest Way with the Dissenters</i>(1702)

2022-1-2

The Impossibility of (Not) Serving: Sovereignty and Subjectivity through <i>Inferno</i> IX

2022-1-2

<i>The Girl with All the Gifts</i>: Eco-Zombiism, the Anthropocalypse, and Critical Lucidity

2021-10-2

Anachronism in the Anthropocene: Plural Temporalities and the Art of Noticing in Ruth Ozeki’s <i>A Tale for the Time Being</i>

2021-10-2

From Superhero to Tragic Hero: Rethinking Genre and Character in Ryan Coogler’s<i>Black Panther</i>

2021-10-2

“You Who Called Me Scout are Dead and in Your Grave”: Fathers and Daughters in <i>Go Set a Watchman</i> and <i>to Kill a Mockingbird</i>

2021-10-2

Literary Siblings, Decoloniality, and Delinking from the State: Reading<i>Moby-Dick</i>at the Open City of Ritoque, Chile

2021-7-3

Wrestling with the Eco-Self in John Webster's <i>Duchess of Malfi</i>

2021-7-3