Salome’s Modernity: Oscar Wilde and the Aesthetics of Transgression. Ann Arbor: The University of Michigan Press, 2011.
“The author of this lively, expansive investigation energetically takes on the challenge, claiming a formative position in the modern canon for Salome, Wilde’s flamboyant, hyper-sexual, gory tragedy—first mounted privately in Paris in 1896, while Wilde was in jail—as well as for its seductive, self-actualized eponymous woman protagonist and for the later echoes of the Salome story and character in music, dance, film, and popular culture. The book begins with an argument about the play itself: that ‘simply looking at Salome in … [its] nineteenth-century context disregards [its] truly innovative, subversive, forward-looking features’ (16)—features that would form the foundation of a ‘modernist aesthetics of transgression’ through the twentieth century and the first decade of our own (2). It then proceeds to an intricate analysis of the 1905 opera Richard Strauss based on the play, explicating problems of what one critic has discussed as the incongruous conglomeration of Wilde’s ‘delicate’ fin-de-siècle text with Strauss’s ‘brutal’ modernist score (56). Two following chapters—on Maud Allen’s loose 1908 adaptation of the play to modern dance, which led to the sensational Pemberton-Billing obscenity case, and on Russian émigré star Alla Nazimova’s 1923 transformation of the play into a cross-gendering, exoticist, bizarre fantasia of a film—provide a great wealth of historical information on fascinating, under-studied phenomena. The final chapter, a look at appearances of Wilde, the play, and the Salome character in popular culture since the 1980s, well traces the ways in which these have come to reflect and to be utilized in discourse surrounding queer and feminist issues in the contemporary age. The book is especially useful as a semi-comprehensive study of modern and postmodern incarnations of the Salome tale and figure.”
— S. I. Salamensky, Review in Modernism/modernity 19.3 (Sept. 2012): 621-23.
“Victoria Cross’s Six Chapters of a Man’s Life: Queering Modernist Middlebrow Feminism.” The Popular Imagination and the Dawn of Modernism: British Middlebrow Writing 1880-1930, 2 vols., ed. by Christoph Ehland and Kate Macdonald. London: Pickering & Chatto, 2013. Forthcoming.
“Wilde’s Comedic Takes on the New Woman: A Comparison with Ibsen and Shaw.” Wilde’s Society Plays, ed. by Michael Y. Bennett. Palgrave Macmillan. Under contract.
“Realism.” The Fin-de-Siècle World, ed. Michael Saler. New York: Routledge, 2013. Forthcoming.
“Salomé in the Comics: P. Craig Russell’s Intertextual Graphic Adaptation from Strauss and Wilde.” Special issue on Wilde’s Salomé in The Oscholars (open-access, peer-reviewed journal), ed. by Virginie Pouzet-Douzer. Spring 2013.
“Aestheticist Comedies of Manners: Oscar Wilde’s The Importance of Being Earnest.” A History of British Drama: Genres – Developments –Interpretations. Ed. by Sibylle Baumbach, Birgit Neumann, and Ansgar Nünning. WVT Handbücher zum Literaturwissenschaftlichen Studium. Trier, Germany: Wissenschaftlicher Verlag Trier, 2011. 227-40.
“’The Brutal Music and the Delicate Text’? The Aesthetic Relationship between Oscar Wilde’s and Richard Strauss’s Salome Reconsidered.” Modern Language Quarterly 69.3 (September 2008): 367-89.
“Salomé, C’est Moi? Salome and Wilde as Icons of Transgression.” Approaches to Teaching the Works of Oscar Wilde, ed. by Philip E. Smith. Modern Language Association, Approaches to Teaching World Literature series. New York: Modern Language Association of America, 2008. 171-79.
“Incest and the Trafficking of Women in G.B. Shaw’s Mrs Warren’s Profession: ‘It Runs In the Family’.” ELT (English Literature in Transition, 1880-1920) 49.4 (September 2006): 293-310.
“Arthur Symons’ Decadent Aesthetics: Stéphane Mallarmé and the Dancer Revisited.” Decadences: Morality and Aesthetics in British Literature, ed. by Paul Fox. Studies in English Literatures. Stuttgart: Ibidem, 2006. 33-65. (Revised edition in preparation by Ibidem.)
Book reviews and other publications:
“Comparisons Worth Making: Queer Studies and Comparative Literature.” Review of Comparatively Queer: Interrogating Identities Across Time and Cultures, ed. by Jarrod Haynes, Margaret R. Higonnet, and William J. Spurlin. London: Macmillan, 2010. GLQ 19.2 (2013): 264-66
“Salomé Stripped Down and Dressed Up for Today’s Stage: A New Translation of Oscar Wilde’s Play.” Review of a new edition of Oscar Wilde’s Salomé, ed. and trans. by Joseph Donohue (University of Virginia Press: Charlottesville and London, 2011). Irish Literary Supplement, September 2013.
“A Bill of Rights and Principles for Learning in the Digital Age.” Co-authored with John Seely Brown, Betsy Corcoran, Cathy N. Davidson, Todd Edebohls, Mark J. Gierl, Sean M. Morris, J. Philipp Schmidt, Bonnie Stewart, Jesse Stommel, Sebastian Thrun, Audrey Watters. First published simultaneously in several online venues and by the Chronicle of Higher Education on January 23, 2013.
Review of Imperishable Beauty: Art Nouveau Jewelry, by Yvonne J. Markowitz and Elyse Zorn Karlin. The Eighth Lamp: Journal of Ruskin Studies (Spring 2010).
“Salome by Richard Strauss.” Pittsburgh Opera Magazine (Fall 2001): 16-19.
Review of Romantic Genius: The Prehistory of a Homosexual Role, by Andrew Elfenbein. The Rocky Mountain Review of Language and Literature 54.2 (Fall 2000): 110-112.