“Records in Motion: Migrants and Mobile Spectatorship.” Gegen\Dokumentation: Operationen-Foren-Interventionen. Eds. Esra Canpalat et al. Bielefeld: Transcript, 2020. 29-38.

“Face Time with Hitler.” Visualizing Fascism: The Twentieth-Century Rise of the Global Right. Eds. Julia Adeney Thomas and Geoff Eley. Durham: Duke University Press, 2020. 111-133.

“The Nightmares of Reason: Janet Cardiff and George Bures Miller’s Murder of Crows.” Thyssen-Bornemisza Art Contemporary: The Commissions Book. Eds. Eva Ebersberger and Daniela Zyman. Berlin: Sternberg Press, 2020. 374-389.

 “Äolische Variationen.” Diskurse des Sonalen: Klang-Kunst-Kultur. Eds. Britta Hermann and Lars Korten. Berlin: Vorwerk, 2020. 230-240.

“Transatlantic Passage: Cinema and the Figure of the Migrant.” Transatlantic Cinema: Production—Genres—Encounters—Negotiations. Eds. Karsten Fitz and Jürgen Kamm. Passau: Ralf Schuster Verlag, 2020. 163-180.

“The Aesthetics and Politics of Slowness: A Conversation.” Kevin Hamilton, Lutz Koepnick, Katja Kwastek, Erin La Cour. ASAP/Journal 4.3 (2019): 467-483.

“Benjamin’s Baudelaire.” Philosophy and Poetry: Continental Perspectives. Ed. Ranjan Ghosh. New York: Columbia University, 2019. 43-55.

 “Cave | Cinema. Höhle(n) | Kino.” Display | Dispositiv: Ästhetische Ordnungen. Ed. Ursula Frohne, Lilian Haberer, and Annette Urban. Paderborn: Fink Verlag, 2019. 577-594.

“Trumping the Transnational: World Cinema im Zeitlater des Populismus.” Montage / AV 28.1 (2019): 41-54.

“Figures of Resonance: Reading at the Edges of Attention.” SoundEffects: An Interdisciplinary Journal of Sound and Sound Experience. 8.1 (2019): 4-19.

 “East of Berlin: Berlin School Filmmaking and the Aesthetics of Blandess.” The Berlin School and its Global Contexts: A Transnational Art Cinema. Eds. Marco Abel and Jaimey Fisher. Detroit: Wayne State University Press, 2018. 211-231.

“Digitus: Bausteine einer anderen Poetik digitalen Lesens.” Akten des XIII.Internationalen Germanistenkongresses Shanghai 2015: Germanistik: Germanistik zwischen Tradition und Innovation. Eds. Jianhua Zhu, Jin Zhao and Michael Szurawitzki. Vol. 11. Berlin: Peter Lang, 2018. 381-384.

“Literaturwissenschaft im Zeitalter neuer Medien.” Akten des XIII.Internationalen Germanistenkongresses Shanghai 2015: Germanistik: Germanistik zwischen Tradition und Innovation. Eds. Jianhua Zhu, Jin Zhao and Michael Szurawitzki. Vol. 13. Berlin: Peter Lang, 2018. 129-132.

“Introduction: Ambiguity in Contemporary Art and Theory: Introduction.” Co-authored with Frauke Berndt. Ambiguity in Contemporary Art and Theory. Eds. Frauke Berndt and Lutz Koepnick. Hamburg: Felix Meiner, 2018. 5-16.

“Framing Ambiguity: Contemporary Art Cinema and the Aesthetics of Blandness.” Ambiguity in Contemporary Art and Theory. Eds. Frauke Berndt and Lutz Koepnick. Hamburg: Felix Meiner, 2018. 107-122.

“Deep Sounds and the Wondrous.” Archäologie der Spezialeffekte. Eds. Natascha Adamowsky, Nicola Gees, Mireille Schnyder. Hugues Marchal and Johannes Bartuschat. Paderborn: Wilhelm Fink Verlag, 2018. 31-46.

“Laura Mulvey the Curious Cinephile.” New Review of Film and Television Studies 15.4 (2017): 441-445.

“Kluge’s Moments of Calm.” Stichwort: Kooperation. Keiner ist alleine schlau genug. Eds. Rainer Stollmann, Thomas Combrink and Gunther Martens.Göttingen: V&R Unipress, 2017. [Special edition of Alexander Kluge-Jahrbuch 4 | 2017]

“Gesamtkunstwerk.” Cambridge History of Modernism. Ed. Vincent Sherry. Cambridge: Cambridge University Press, 2016. 273-288.

“Critical Theory and the German Studies Association.” German Studies Review 39.3 (2016): 553-563.

“Dreamtime: The Specter of Cinema.” The Art of Dreams: Reflections and Representations. Eds. Barbara Hahn and Meike G. Werner. Berlin: de Gruyter, 2016. 161-180.

“Concepts of Reading in the Digital Age.” Oxford Research Library of Literature. DOI: 10.1093/acrefore/9780190201098.013.2. Online Publication Date: August 2016.

“Introduction: On 24/7: Neoliberalism and the Undoing of Time.” Co-authored with Necia Chronister. Neoliberalism and the Undoing of Time. Eds. Necia Chronister and Lutz Koepnick. Special Issue of Studies in 20th & 21st Century Literature. Volume 40.2 (2016): 1-10.

“Fields of Resonance.” Philadelphia: Napoleon Gallery, 2016.

“Ripples of Sound.”  The Promise of Cinema, 2016.

“Inside Kluge’s Cosmic Cinema: Critical Theory and Mobile Spectatorship Today.” Glass Shards: Echoes of a Message in a Bottle. Eds. Richard Langston, Gunter Martens, Vincent Pauval, Christian Schulte and Rainer Stollmann. Göttingen: V&R Unipress, 2015. 125-143. [Special edition of Alexander Kluge-Jahrbuch 2 | 2015]

“Writing after Kittler.” German Studies Review 38.1 (2015): 148-150.

“Not the End: Fritz Lang’s War.” A Companion to Fritz Lang. Ed. Joe McElhaney. Oxford: Wiley Blackwell, 2015. 415-429.

“Looping Trauma.” New Literary Observer (Moscow) 126 (2014): 18-28. [In Russian]

“Can Computers Read?” Distant Readings: Topologies of German Culture in the Long Nineteenth Century. Eds. Matt Erlin and Lynne Tatlock. Rochester: Camden House, 2014. 333-346.

“Lorres Hände und die ‘Sprache des Exils’.” Peter Lorre: Der Mann der zuviel wusste. Eds. Brigitte Mayr and Michael. Vienna: Synema, 2014. 23-35.

“Experimental Television @50: Paik and Screen-Based Installation Art Today.” NJP Reader #4: Exposition of Music. Ed. Seong Eun Kim. Seoul, South Korea: Nam June Paik Art Center, 2014. 110-121.

“실험 텔레비전, 그 후 50년: 백남준과 오늘날의 스크린-기반 설치 미술.” NJP Reader #4 음악의 전시. Ed. Seong Eun Kim. Seoul, South Korea: Nam June Paik Art Center, 2014. 96-109.

“Wagner and New Media.” The Cambridge Wagner Encyclopedia. Ed. Nicholas Vaszonyi. Cambridge: Cambridge University Press, 2014. 655-658.

“Landscapes of Ice, Wind, and Snow: Alexander Kluge’s Aesthetic of Coldness.” Co-authored with Nora Alter and Richard Langston. Grey Room 53 (Fall 2013): 60-87.

“Herzog’s Cave: On Cinema’s Unclaimed Pasts and Forgotten Futures.” The Germanic Review: Literature, Culture, Theory 88.3 (2013): 271-285.

“German Art Cinema Now.” German Studies Review 36.3 (2013): 651-660.

“The Berlin School—Under Observation.” Co-authored with Roger Cook and Brad Prager. Berlin School Glossary: An ABC of the New Wave in Germany. Co-edited with Roger Cook, Kristin Kopp, and Brad Prager. Bristol, UK: Intellect, 2013. 1-25.

“Cars.” Berlin School Glossary: An ABC of the New Wave in Germany. Co-edited with Roger Cook, Kristin Kopp, and Brad Prager. Bristol, UK: Intellect, 2013. 75-82.

“Long Takes.” Berlin School Glossary: An ABC of the New Wave in Germany. Co-edited with Roger Cook, Kristin Kopp, and Brad Prager. Bristol, UK: Intellect, 2013. 195-204.

“Learning to Read all Over Again.” Symposium Magazine. August 2013.

“The Sounds of Others.” “The Lives of Others” and Contemporary German Film: A Companion. Ed. Paul Cooke. Berlin and Boston: de Gruyter, 2013. 179-198.

“Reading on the Move.” PMLA 128.1 (January 2013): 232-237. (Special Section on “Reading in the Digital Age.”)

“Learning to Read All Over Again.” Symposium Magazine: Where Academia Meets Public Life. August 2013

“Myths of the Prefix.” German Studies Review 35.3 (October 2012): 501-504.

“3 June 1929: Lloyd Bacon’s The Singing Fool Triggers Debate about Sound Film.” A New History of German Cinema. Eds. Jennifer M. Kapczynski and Michael D. Richardson. Rochester, New York: Camden House, 2012. 197-201.

“TXT BCK? On the Poetics of Electronic Writing.” Literarische Experimente: Medien, Kunst Texte seit 1950. Ed. Christoph Zeller. Heidelberg: Winter, 2012. 97-108.

“Archetypes of Emotion: Werner Herzog and Opera.” A Companion to Werner Herzog. Ed. Brad Prager. Chichestser, UK: Wiley-Blackwell, 2012. 149-167.

“In Kracauer’s Shadow: Physical Reality and the Digital Afterlife of the Photographic Image.” Culture in the Anteroom: The Legacies of Siegfried Kracauer. Eds. Gerd Gemünden and Johannes von Moltke. Ann Arbor: University of Michigan Press, 2012. 111-127.

“Disembodied / Körperlos,” Janet Cardiff & George Bures Miller: Works from the Goetz Collection. Ed. Léon Krempel. Ostfildern: Hatje Cantz, 2012. 72-75.

“Фашизм и парадоксы кинематографического времени.” Культура и искусство 5 (2011): 16-23. [“Fascism and the Contingency of Cinematic Time,” Culture and Art 5 (2011): 16-23.]

“Culture in the Shadow of Trauma?” The Oxford Handbook of Modern German History. Ed. Helmut Walser Smith. Oxford: Oxford University Press, 2011. 711-729.

“The Speed of Turtles.” The Figure in the Carpet 10.4 (December 2011): 7-8.

“Archetypik der Gefühle: Werner Herzog und die Oper.“ Lektionen in Herzog: Neues über Deutschlands verlorenen Filmautor Werner Herzog und sein Werk. Ed. Chris Wahl. Munich: Edition Text und Kritik, 2011. 234-259.

“Die Macht der Gefühle: Oper und Filmmusik im Kino der 1970er und 1980er Jahre.“ Film im Zeitalter neuer Medien I: Fernsehen und Video. Ed. Harro Segeberg. Munich: Fink Verlag, 2011. 311-338

“The Violence of the Aesthetic.” Contemplating Violence: Critical Studies in Modern German Culture. Eds. Stefani Engelstein and Carl Niekerk. Amsterdam: Rodopi, 2011. 227-243.

“Public Viewing: Soccer Patriotism and Post-Cinema.” The Collapse of the Conventional: German Film and Its Politics at the Turn of the Twenty-First Century. Eds. Jaimey Fisher and Brad Prager. Detroit: Wayne State University Press, 2010. 63-80.

“Introduction.” Co-authored with Erin McGlothlin. After the Digital Divide? German Aesthetic Theory in the Age of New Media. Eds. Lutz Koepnick and Erin McGlothlin. Rochester, NY: Camden House, 2009. 1-19.

 “Benjamin in the Age of New Media.” A Companion to the Works of Walter Benjamin. Ed. Rolf J. Goebel. Rochester, NY: Camden House, 2009. 112-129.

“Pause > Rewind > Play. Kalter Krieg und deutsche Videokunst.” Kunst und Kalter Krieg: Deutsche Positionen 1945-1989. Eds. Stephanie Barron and Sabine Eckmann (Cologne: Dumont, 2009) 206-239.

“Challenge to Democracy in Germany.” Guest blog for “By the People” on October 2009.

“Unvergesslich? Science-Fiction und die Zukunft der Erinnerung.” Frosch und Frankenstein: Bilder als Medium der Popularisierung von Wissenschaft. Eds. Bernd Hüppauf and Peter Weingart. Bielefeld: Transcript Verlag, 2009. 407-426.

“Abenteuerliche Reisen? Walter Benjamin im Zeitalter neuer Medien.” Text+Kritik. Heft 31/32: Walter Benjamin (February 2009): 120-133.

“Pause > Rewind > Play: Video Art in Cold War Germany.” Art of Two Germanys / Cold War Cultures. Eds. Stephanie Barron and Sabine Eckmann. New York: Abrams, 2009. 206-220.

“The Bearable Lightness of Being: People on a Sunday (1930).” Weimar Cinema: An Essential Guide to Classic Films of the Era. Ed. Noah Isenberg. New York: Columbia University Press, 2009. 237-254.

“Aura widziana na nowo. Benjamin i współczesna kultura wizualna.” Kwartalnik Filmowy 64 (2008): 25-44.

“The Sound of Ruins.” German Postwar Films: Life and Love in the Ruins, Eds. Wilfried Wilms and William Rasch. New York: Palgrave, 2008. 193-208.

“0-1: Riefenstahl and the Beauty of Soccer.” Riefenstahl Screened: An Anthology of New Criticism. Eds. Neil Christian Pages, Mary Rhiel, and Ingeborg Majer-O’Sickey. New York: Continuum, 2008. 52-70.

“Unforgettable? Science, Prosthetic Memory, Film.” Science Images and Popular Images of the Sciences. Eds. Bernd Hüppauf and Peter Weingart. New York: Routledge, 2008. 283-300.

“Slow motion: Benjamin y las políticas de la desaceleración.” Topografías de la modernidad. El pensamiento de Walter Benjamin. Eds. Dominik Finkelde, Teresa de la Garza, Francisco Mancera. México, D.F. 2007. 185-203.

 “Free Fallin’: Tom Tykwer and the Aesthetics of Deceleration and Dislocation.” The Germanic Review 82.1 (Winter 2007): 7-30. (Special Issue on Newer German Cinema.)

“Introduction: Against the Wall? The Global Imaginary of German Cinema.” Co-authored with Stephan K. Schindler. The Cosmopolitan Screen: German Cinema and the Global Imaginary, 1945 to the Present. Eds. Stephan K. Schindler and Lutz Koepnick. Ann Arbor: University of Michigan Press, 2007. 1-21.

“Framing Sight: Modernism and Nazi Visual Culture.” Legacies of Modernism: Art and Politics in Northern Europe, 1890-1950. Eds. Patrizia McBride , Richard W. McCormick, and Monika Zagar. New York: Palgrave, 2007. 177-199.

“Dietrich’s Face.” Dietrich Icon. Eds. Gerd Gemünden and Mary R. Desjardins. Durham: Duke University Press, 2007. 43-59.

“Introduction: Caught by Politics.” Co-authored with Sabine Eckmann. Caught by Politics: Hitler Exiles and American Visual Culture.Eds. Sabine Eckmann and Lutz Koepnick. New York: Palgrave, 2007. 1-13.

“Mad Love: Re-Membering Berlin in Hollywood Exile..” Caught by Politics: Hitler Exiles and American Visual Culture.Eds. Sabine Eckmann and Lutz Koepnick. New York: Palgrave, 2007. 195-222.

“Bits_and_Pieces: German Art in the Age of Global Networks.” Reality Bites. Making Avant-Garde Art in Postwall Germany. Ed. Sabine Eckmann. Ostfildern: Hatje Cantz, 2007. 102-149.

“Bits_and_Pieces: Deutsche Kunst im Zeitalter globaler Netzwerke.” Reality Bites. Kunst nach dem Mauerfall. Ed. Sabine Eckmann. Ostfildern: Hatje Cantz, 2007. 102-149.

“Komik als Waffe? Charlie Chaplin, Ernst Lubitsch und das Dritte Reich.“ Mediale Mobilmachung II. Hg. Harro Segeberg und Knut Hickethier. Munich: Fink Verlag, 2006. 41-70.

“Langsamkeit: Benjamin und die Politik der Entschleunigung.” Trajekte: Zeitschrift des Zentrums für Literatur- und Kulturforschung Berlin 7.13 (September 2006) 23-28.

“Face/Off: Hitler and Weimar Political Photography.” Visual Culture in Twentieth-Century Germany: Text as Spectacle. Ed. Gail Finney. Bloomington: Indiana University Press, 2006. 214-234.

“Rilke’s Rumblings and Lang’s Bang.” Monatshefte 98.2 (2006): 198-214. (Special Issue on The Art of Hearing.)

“Tonspur und Gewalt: Zur Akustik des zeitgenössischen Actionkinos.” Hörstürze: Akustik und Gewalt im 20. Jahrhundert. Eds. Nicola Gess, Florian Schreiner und Manuela Schulz. Würzburg: Könighausen und Neumann, 2005. 131-146.

“Benjamins Stille.“ Das Jahrhundert der Avantgarden. Eds. Cornelia Klinger and Wolfgang Müller-Funk. Munich: Wilhelm Fink Verlag, 2004. 155-170. (Revised and expanded version of 2002 publication in Transit.)

“Windows 33/45: Nazi Politics and the Cult of Stardom.” Fascism and Neofascism: Critical Writings on the Radical Right in Europe. Eds. Eric Weitz and Angelica Fenner. New York: Palgrave, 2004. 43-66.

“Introduction: Sound Matters.” Co-authored with Nora M. Alter. Sound Matters: Essays on the Acoustics of Modern German Culture. Eds. Nora M. Alter and Lutz Koepnick. New York: Berghahn Books, 2004. 1-32.

“Benjamin’s Silence.” Sound Matters: Essays on the Acoustics of Modern German Culture. Eds. Nora M. Alter and Lutz Koepnick. New York: Berghahn Books, 2004. 117-129.

スペクタクル、バロック悲劇、決断のポリティクス――ベンヤミンによるバロックとワイマールの重ね読み. In:『舞台芸術』06 / Performing Arts 6 (July 2004): 101-128. Japanese translation of, “The Spectacle, the Trauerspiel, and the Politics of Resolution: Benjamin Reading the Baroque Reading Weimar.” Trans. Hosomi Kazuyuki.

“Der Spiegel als Abgrund: Versuch über das U-Bahnfenster.” Kritische Berichte: Zeitschrift für Kunst- und Kulturwissenschaften 32.2 (2004): 39-52. (Special Issue on “Spiegel und Spiegelungen”.)

“Photographs and Memories.” South Central Review 21.1 (Spring 2004): 94-129. (Special Issue on “The Politics and Aesthetics of Memory.”)

“’Amerika gibt’s überhaupt nicht’: Notes On The German Heritage Film.” German Pop Culture: How ‘American’ Is It? Ed. Agnes Mueller. Ann Arbor: University of Michigan Press, 2004.

 “Doubling the Double: Robert Siodmak in Hollywood.” New German Critique 89 (Spring / Summer 2003): 81-104. (Special Issue on Film and Exile.)

“Kafka Calling on the Camera Phone.” Journal of Visual Culture 2.3. (2003): 353-356.

“’Nochmal! Nochmal!’” Erpresstes Lachen im deutsch-jüdischen Melodrama der Gegenwart.” Lachen über Hitler—Auschwitzgelächter? Filmkomödie, Satire und Holocaust. Eds. Margrit Frölich, Hanno Loewy, and Heinz Steinert. Munich: Edition Text und Kritik, 2003. 315-334.

“Inscriptions of Time / Topographies of History: The Photographs of Alan Cohen.” Exhibition brochure, Washington University Gallery of Art, 2003.

“‘Honor Your German Masters’: History, Memory, and National Identity in Joseph Vilsmaier’s Comedian Harmonists.” Light Motives: Perspectives on Popular German Cinema. Eds. Margaret McCarthy and Randall Halle. Detroit: Wayne State University Press, 2003. 349-375.

“Stereoscopic Vision: Sight and Community in Wagner’s Die Meistersinger.” Wagner’s Meistersinger: Performance, History, Representation. Ed. Nicholas Vazsonyi. Rochester: University of Rochester Press, 2003. 73-97.

“Reframing the Past: Heritage Cinema and Holocaust in the 1990s.” New German Critique 87 (Fall 2002): 47-82. (Special Issue on Postwall Cinema.)

“Zwischen Textanalyse und Kulturwissenschaft: Zum Standort deutscher Filmstudien in den Vereinigten Staaten.” Internationales Archiv für Sozialgeschichte der deutschen Literatur 27.1 (2002): 198-216.

“Filmwissenschaft als Cultural Studies: Ausgewählte Publikationen amerikanischer Filmwssenschaftler/innen seit 1990 zum deutschen Kino.” Internationales Archiv zur Sozialgeschichte der deutschen Literatur 27.1 (2002): 216- 224.

“Zapping Channels: Uwe Johnson, Margarethe von Trotta, and the Televisual Aesthetics of Jahrestage.” Gegenwartsliteratur 1 (2002): 175-190.

“Benjamins Stille.” Transit: Europäische Revue 23 (Summer 2002): 23-37.

“Aura Reconsidered: Benjamin and Contemporary Visual Culture.” Benjamin’s Ghosts: Interventions in Contemporary Literary and Cultural Theory. Ed. Gerhard Richter. Stanford: Stanford University Press, 2002. 95-117.

“Forget Berlin.” The German Quarterly 74.4 (Fall 2001): 343-354. (Special Issue on Sites of Memory.)

“‘Reden über Deutschland’: Literarische Kultur in der Mediengesellschaft.” Schreiben nach der Wende: Ein Jahrzehnt deutscher Literatur, 1989-1999. Eds. Gerhard Fischer and David Roberts. Tübingen: Stauffenburg Verlag, 2001.

“Redeeming History? Foster’s Dome and the Political Imaginary of the Berlin Republic.” German Studies Review 24.2 (2001): 303-323.

“Aesthetic Politics Today: Walter Benjamin and Post-Fordist Culture.” Critical Theory: Current State and Future Prospect. Eds. Peter Uwe Hohendahl and Jaimey Fisher. Providence, RI: Berghahn Books, 2001. 94-116.

“Consuming the Other: Identity, Alterity, and Contemporary German Cinema.” Camera Obscura 44 (Fall 2000): 41-74. (Special Issue on Marginality and Alterity in New European Cinemas, Part 1.)

“Germanistik in den USA.” Texte, Wissen, Qualifikationen: Ein Wegweiser für Germanisten. Ed. Thomas Rathmann. Berlin: Erich Schmidt Verlag, 2000. 163-168.

“Sirk and the Culture Industry: Zu neuen Ufern and The First Legion.” Film Criticism 23.2-3 (Winter/Spring 1999): 94-121. (Special Issue on Douglas Sirk/Detlef Sierck.)

“Fascist Aesthetics Revisited.” Modernism/Modernity 6.1 (January 1999): 51-74.

“Screening Fascism’s Underground: Kurt Bernhardt’s The Tunnel.New German Critique 74 (Spring/Summer 1998): 151-178. (Special Issue on Nazi Cinema.)

“‘Raus aus der Haut’: Division and Identity in Current German Cinema.” Co-authored with Hester Baer. GDR Bulletin (Spring 1998): 45-51.

“Simulating Simulation: Art and Modernity in Faust II.” Seminar: A Journal of Germanic Studies 34.1 (February 1998): 1-25.

“En-Gendering Mass Culture: The Case of Zarah Leander.” Gender and Germanness: Cultural Productions of Nation. Eds. Patricia Herminghouse and Magda Mueller. Providence, RI: Berghahn Books, 1997. 161-175.

“Siegfried Rides Again: Westerns, Technology, and the Third Reich.” Cultural Studies 11.3 (October 1997): 418-442.

“On Adorno, Wagner, and the Trials of Reading: Review Essay on Peter U. Hohendahl’s Prismatic Thought: Theodor W. Adorno and Marc A. Weiner’s Richard Wagner and the Anti-Semitic Imagination.” ­Modernism/Modernity 4.1 (1997): 169-174.

“Rethinking the Spectacle: History, Visual Culture, and German Unification.” Wendezeiten–Zeitenwenden: Positionsbestimmungen zur deutschsprachigen Literatur 1945-1995. Eds. Robert Weninger and Brigitte Rossbacher. Tübingen: Stauffenburg Verlag, 1997. 151-170.

“Cultural Studies and the Literary.” PMLA 112.2 (March 1997): 266-267.

“Negotiating Popular Culture: Wenders, Handke, and the Topographies of Cultural Studies.” The German Quarterly 69.4 (1996): 381-400. (Special Issue on Culture Studies.)

“Allegory and Power: Walter Benjamin and the Politics of Representation.” Soundings: An Interdisciplinary Journal 79.1-2 (Spring/Summer 1996): 59-78.

“The Spectacle, the Trauerspiel, and the Politics of Resolution: Benjamin Reading the Baroque Reading Weimar.” Critical Inquiry 22.2 (Winter 1996): 268-291.

“Unsettling America: German Westerns and Modernity.” Modernism/Modernity 2.3 (1995): 1-22. (Special Issue on Fascism and Culture, Part One.)

“Zwischen Avantgarde und postmodernem Antidetektivroman. Eine Revision von Peter Handkes Der Hausierer.” verLOCKERUN­GEN: Österreichische Avantgarde im 20. Jahrhundert. Ed. Wendelin Schmidt-Dengler. Vienna: Verlag Edition Präsens, 1994. 95-127.

“Colonial Forestry: Sylvan Politics in Werner Herzog’s Aguirre and Fitzcarraldo.” New German Critique 60 (1993): 133-159. (Special Issue on German Film History.)

“‘Nothung! Nothung! Neidlicher Stahl!’ Die Phantasmagorie des Schwertes in Wagners Der Ring des Nibelungen.” The German Quarterly 66.4 (1993): 491-510.

“Scotland–New York–St. Louis: Intersections of Nature and Modernity in Max Weber.” The Image of Nature in Literature, the Media, and Society. Eds. Will Wright and Steven Kaplan. Pueblo: University of Southern Colorado, 1993. 182-187.

“Goethes Ikonisierung der Poesie. Zur Schriftmagie im West-östlichen Divan.” Deutsche Viertel­jahrsschrift für Literaturwissenschaft und Geistesgeschichte 66.2 (1992): 361-389.

“Goldberg und die Folgen. Zur Gewalt der Musik bei Thomas Bern­hard.” Sprach­kunst: Beiträge zur Literaturwissen­schaft 23.2 (1992): 267-290.

“August Strindberg und die Ästhetik der Macht. Rekonstruk­tion einer Kritikstrategie.” Skandinavistik: Zeit­schrift für Sprache, Literatur und Kultur der nordischen Länder 22.2 (1992): 85-106.

“Rettung und Destruktion. Erinnerungsverfahren und Ge­schichtsbe­wußtsein in Christa Wolfs Kind­heitsmuster und Walter Benjamins Spätwerk.” Monatshefte 84.1 (1992): 74-90.

“Leben in der Hölle. Thomas Bernhards Heldenplatz.” New German Review: A Journal of Germanic Studies 7 (1991): 15-25.

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