My academic writing
These are my academic articles (minus reviews, review articles, encyclopedia entries, etc. etc.). Most of these are on JSTOR, Project Muse, but those that aren’t can usually be found on my academia.edu page.
Forthcoming:
50. "Literatur und Musik: Lied, Gedichtvertonung, Melodram Opernlibretto,” in Handbuch Literatur & Performance, ed. Lucia Ruprecht and Bettina Brandl-Risi (Berlin: DeGruyter, 2023) [forthcoming]
49. “Musical Obstructions: Lars von Trier and Musical Romanticism,” in Entertaining German Culture, ed. Stephan Ehrig and Ben Schaper [forthcoming]
48. “Was Silicon Valley Sitzung Nennt,” Zeitschrift für Ideengeschichte [forthcoming]
47. “Searching for Klingso(h)r: Latin American Readings of German Romanticism,” in German Romanticism and Latin America, ed. Jenny Haase and Joanna Neilly (Oxford: Legenda, 2022) [forthcoming]
46. “‘In Nature’s Good Old College’: Helene von Druskowitz, Gender Complementarity and the Legacy of Hegel,” in Hegel Bulletin. [Download here]
45. “Wagner/Kittler/Tristan: Notes on the Romance of the Media.” [under review]
44. “Franz Werfel and Thomas Mann,” in Thomas Mann’s Los Angeles, ed. Nikolaj Blaumer. [forthcoming]
43. “Psychoanalysis and Sexuality,” in Wagner in Context, ed. David Tripett. Cambridge: Cambridge University Press, 2022. [forthcoming]
42. “Sophie Mereau between Enlightenment and Revolution,” Oxford Handbook on German Women Philosophers, ed. Dalia Nassar. New York: Oxford University Press, 2023. [forthcoming]
41. “Popular Culture,” in Cultural History of Music: The Age of Industry, ed. Naomi Waltham-Smith and Alexander Rehding. London: Bloomsbury, 2020 [forthcoming]
Academic Writing (published)
40. “Die Künstleroper, Die Macht der Bewunderung und die Geburt des Modernen Publikums,” in Provozierte Bewunderung: Selbstinszenierung und Vergemeinschaftung. Munich: Fink, 2021, 57-75.
39. “The Rules of Tragedy: Johann Christoph Gottsched, Rule Aesthetics and the Persistence of Trauerspiel,” in Darkness Visible: Tragedy and Tragic Opera in the Enlightenment, ed. Blair Hoxby, 173-191.
38. “The Nuclear Family and its Discontents,” in All About Father: Psychoanalysis, Fatherhood, and the Modern Family, ed. Liliane Weissberg (London: Palgrave, 2021), 107-138.
37. “Ayn Rand und der Neoliberalimus,” Deregulation/Restauration: Eine andere Bibliothek des Neoliberalismus, ed. Nils Güttler, Fabian Grütter, Max Stadler, Monika Wulz (Berlin: Matthes & Seitz, 2021).
36. “Homophobie ohne Homophobe: Sexualität und Gender im Rechtspopulismus,” Jahrbuch Sexualitäten (2020). Göttingen: Wallstein, 2020, 15-34.
35. “Thus Spoke Kubrick: the Guide Piece, Modes of Citation and the Fate of the Temp Track,” in After Kubrick: A Filmmaker’s Legacy, ed. Jeremi Szaniawski. London: Bloomsbury, 2020, 165-178.
34. “Wagner’s Ring in Popular Culture.” In The Cambridge Companion to Wagner’s Ring, ed. Nicholas Vaszonyi and Mark Berry. New York: Cambridge University Press, 2020, 317-337.
33. “Scenes from a Marriage: Friedrich and Dorothea Schlegel, Collaboration after the Symphilosophy,” in Gender, Collaboration and Authorship in German Culture, 1750-1850, ed. John Lyon and Lauren DiIulio. London: Bloomsbury, 2019, 125-154.
32. “’Staying is Nowhere’: Precisionism and the Scandal of Being at Home in Modernity,” in Cult of the Machine: Precisionism and American Art (New Haven: Yale University Press, 2018), 63-71.
31. “Die Möglichste aller Schlechten Welten: The Good Place, die Moralphilosophie und die Frage nach der Realität,” Berliner Debatten, Vol. 29, No. 4 (2018), 84-94.
30. “A Californian Haunting: Mann, Schoenberg, Faustus,” in The Faustus Dossier, ed. E. Randol Schoenberg (Berkeley: University of California Press, 2018), 1-32.
29. “The Ballad and Its Families: Christina Rossetti, Annette von Droste-Hülshoff, Friedrich Hebbel and the Anti-Balladry of Transmission,” Colloquia Germanica, Vol. 49, No. 1 (2018), 69-86.
28. “Synaesthesia and Gesamtkunstwerk in the Music of Hermann Nitsch.” In Hermann Nitsch: Das Gesamtkunstwerk (Köln: Walter König, 2015), 752-769?.
27. “The Ob-Scene of the Total Work of Art: Strauss and Wedekind.” 19th Century Music, Vol. 39, No. 3 (Spring 2016), 272-289.
26. “’Ein Blitz, Für Uns’ — Stefan George’s Queer Dynasty.” Deutsche Vierteljahresschrift für Literaturwissenschaft und Geistesgeschichte, Vol. 90, No. 1 (March 2016), 135-159.
25. “Comments on Robert Pippin’s After the Beautiful.” Journal of Aesthetics and Art Criticism, Vol. 73, No. 3 (Summer 2015), 318-323.
24. with Thomas Grey, “Opera after Freud: Stages of Analysis.” Opera Quarterly, Vol. 31, No. 1-2 (Spring 2015), 116-133.
23. “The Sonic Yardstick: The Pianoforte and Musical Knowledge around 1800.” In Performing Knowledge in the Long Eighteenth Century, ed. Sean Franzel. New York: Peter Lang, 2015, 323-341.
22. “Defense of Marriage Acts: Wagner on Marriage.” In: Richard Wagner: Neue Kulturwissenschaftliche Perspektiven, ed. Georg Mein, Elisabeth Strowick and Stefan Börnchen. Munich: Fink, 2014, 83-97.
21. “An All-Too Secret Wagner: Ernst Bloch the Wagnerian.” Opera Quarterly, Vol. 30, No. 2-3, 188-204.
20. With Elisabeth Bronfen, “Broomhilda Unchained: Tarantino’s Wagner.” Jump Cut, No. 55 (Fall 2013).
19. “Die Familie als Geste — Das Käthchen von Heilbronn und die Ästhetik des Als Ob.” In Kleist Revisited, ed. Hans-Ulrich Gumbrecht and Friederike Knüpling. Munich: Fink, 2013, 243-253.
18. “’Ein allzu geheim gebliebener Wagner’ — Ernst Bloch als Wagnerianer.” Wagnerspectrum, Vol. 9 (2013), No. 1, 159-176.
17. “Hermann Nitsch — Austria in the Age of Post-Scandalous Culture.” German Life and Letters, Vol. 66, No. 3, 256-274.
16. “Platen’s Retreat: On the Poetics and Ethics of Memorizing Ballads.” German Quarterly, Vol. 84, No. 2 (Spring 2012), 137-155.
15. “From Maximin to Stonewall: The Sexual Afterlives of the George Circle.” The Germanic Review, Vol. 87, No. 1, 19-34.
14. “The Politics of Longevity: Hans Jürgen Syberberg’s Essayism and the Art of Outliving Oneself.” New German Critique, No. 120, 137-170.
13. “Erotische Akustik: Walter Benjamin geht (nicht) zur Oper.” In Klang und Musik im Werk Walter Benjamins. Tobias Klein, Asmus Traut, eds. Munich: Fink, 2013, 105-116.
12. “’All Evil is the Cancellation of Unity”: Joseph de Maistre in late German Romanticism.” In Joseph de Maistre and his European Readers: Receiving Early Conservatism in the Nineteenth and Twentieth Centuries. Carolina Armenteros and Richard Lebrun, eds. Leiden/Netherlands: Brill Publishers, 2012, 113-140.
11. “On the Power of the ‘Verfluchte Lohe’: (Post-)Wagnerian Redheads in Das Rheingold, Fredegundisand Irrelohe.” Opera Quarterly, Vol. 26, No. 4, 526-551.
10. “The State a Family: German Romanticism and French Counter-Revolutionary Thought on Paternity and Sovereignty.” Republics of Letters, Vol. 2, No. 2, 127-157.
9. “Sphinxes Without Secrets — W. G. Sebald’s Albums and the Aesthetics of Photographic Exchange.” In On Writing with Photography, ed. Liliane Weissberg and Karen Beckman. Minneapolis, MN: University of Minnesota Press, 2013, 254-296.
8. “’Hannah, can you hear me?’ — Charlie Chaplin, Schtonk and the Vicissitudes of Voice.” Criticism, Vol. 51, No. 3 (Summer 2009), 451-482.
7. “Taceat Mulier in Theatro — Richard Strauss’s Guntram, Arthur Schopenhauer and the Female Voice.” Opera Quarterly, Vol. 25, No. 3-4 (Summer-Autumn 2009), 230-246.
6. “Sonic Dreamworlds: Benjamin, Adorno and the Phantasmagoria of the Opera House.” In A Companion to the Works of Walter Benjamin. Rolf Goebel, ed. New York: Camden House, 2009, 273-293.
5. “Mother Mime — Siegfried, the Fairy Tale and the Metaphysics of Sexual Difference.” Nineteenth Century Music (Vol. 32, No. 2 (Fall 2008), 160-177.
4. “’The Abyss of the Scream’ — On the Music of Hermann Nitsch.” In Blood Orgies: Hermann Nitsch in America. Aaron Levy, ed. Philadelphia: Slought Books, 2008, 34-75.
Reprinted in the Exhibition Catalogue for The Theatre of Performance at the Galleria Civica d’Arte Moderna e Contemporanea, Torino/Italy, January 2010: Danilo Echer (ed.), The Theatre of Performance. Turin: Umberto Allemandi, 2009, 65-106.
“Die Abgründe des Schreis” — Die Musik Hermann Nitschs.” In: Hubert Klocker (ed.), Existenz Fest. Hermann Nitsch und das Theater. Berlin/Ostfildern: Hatje Cantz, 2015.
3. “Donner à voir — The Logic of the Caption in W.G. Sebald’s Rings of Saturn and Alexander Kluge’s Devil’s Blind Spot.” In Searching for Sebald — Photography after W.G. Sebald. Lise Patt and Christel Dillbohner, eds. Los Angeles: ICI Press, 2007, 306-330.
2. “Adorno’s Schreker: Charting the Self-Dissolution of the Distant Sound.” Cambridge Opera Journal, Vol. 18, No. 3 (Autumn 2006), 247-271.
1. “Half Necessity, Half Accident — Thinking the Abolition of Good Health Through Adorno’s Concept of Natural History.” Rethinking Marxism, Vol. 18, No. 1 (Spring2006), 141-151.