WORK IN PROGRESS:
America’s Corporate Art: Studio Authorship of Hollywood Motion Pictures
Romanticism at the End of History (Johns Hopkins Univ. Press: 2000; rept. 2004).
Lord Byron's Strength: Romantic Writing and Commercial Society, (Johns Hopkins: 1992).
Practicing Enlightenment: Hume and the Formation of a Literary Career (Wisconsin: 1987).
Coleridge's Blessed Machine of Language (Cornell: 1981).
“Finding Romantic Commonplaces: An Interview with Jerome Christensen,” Romantic Circles Praxis, Series, June 2002. URL: www.rc.umd.edu/praxis/christensen/index.html
“Neo-Corporate Star-Making: The Band Wagon and the Charismatic Margin, Law & Literature, Special Issue: What Should Inheritance Law Be? (Summer 2008)
“Corporate Art, Studio Authorship,” Auteurs and Authorship: A Film Reader, ed. Barry Grant (Routledge: 2007).
“Delirious Warner Bros: Studio Authorship and The Fountainhead, Velvet Light Trap (Spring 2005)
“Taking It to the Next Level: You’ve Got Mail, Havholm and Sandifer, Critical Inquiry 30 (Autumn 2003)
“The Time Warner Conspiracy: JFK, Batman, and the Manager Theory of Hollywood Film,” Critical Inquiry (Spring 2002).
“Hollywood’s Corporate Art,” The Baffler, No. 14, (Winter2001).
"Studio Identity, Studio Art: MGM, Mrs. Miniver, and Planning the Postwar Era,"
ELH, (Winter 1999).
“The Detection of the Romantic Conspiracy in England,”SAQ, (Spring 1996).
"The Romantic Movement at the End of History," Critical Inquiry (Spring, 1994).
"Spike Lee: Corporate Populist,”Critical Inquiry, (Spring 1991).
“Ecce Homo: The End of the Revolution and The Reinvention of English Verse," in Contesting the Subject: Essays on the Postmodern Theorv and Practice of of Biography and Biographical Criticism, ed William H. Epstein (Purdue University Press, 1991).
"Don Picaro: Lord Byron and the Reclassification of the Picaresque,The Picaresque: A Symposium on the Rogue's Tale, ed. Benito-Vessels and Zappala ( Delaware: 1992).
"Byron's Sardanapalus and the Triumph of Liberalism," in Studies in Romanticism (1990).
"The Romantic Movement at the End of History" in Postmodern Literary Theory: An Anthology, ed. Niall Lucy (Blackwell, 2000).
"The Method of The Friend," in Rhetorical Traditions and British Romantic Literature., ed. Bialostosky and Needham, Indiana Univ. Press, 1995.
"Spike Lee's Corporatist Art," in The Delegated Intellect, ed. Donald Morse.
"Setting Byron Straight: Class, Sexuality, and the Poet," Romantic Revisionary Criticism, ed. Karl Kroeber and Gene Ruoff (Rutgers: 1993)
"Byron's Career: The Speculative Stage," in Byron's Poetry: A Selection of Contemporary Criticism, ed. Robert Gleckner (G. K. Hall: 1993).
“Like a Guilty Thing Surprised': Coleridge, Deconstruction and the Apostasy of Criticism," in Coleridge and the BIOGRAPHIA LITERARIA: Text and Meaning, ed. Frederick Burwick (Ohio State: 1988).
"Marino Faliero and the Fault of Byron's Satire," in George Gordon. Lord
Byron: Modern Critical Views, ed. Harold Bloom (Chelsea House: 1986),
"Coleridge's Marginal Method in the Biographia Literaria," in
Coleridge: Modern Critical Views, ed. Harold Bloom (Chelsea House: 1986).
"Lancelot: Sign for the Times," Walker Percy: Art and Ethics, ed. Jac
Tharpe (Mississippi: 1980), pp. 107-20, and in Walker Percy: Modern
Critical Views, ed. Harold Bloom (Chelsea House: 1986).
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