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Recent Publications


    • Henry Fuseli’s Milton Gallery: ‘Turning Readers into Spectators’ (Oxford University Press, 2006) traces the translation of John Milton’s Paradise Lost into a gallery of pictures in the 1790s. This intermedial practice of reading and adaptation shows how a new culture of exhibitions shaped Romantic practices of viewing and reading by ‘turning readers into spectators’.
    • Dante on View: The Reception of Dante in the Visual and Performing Arts (Ashgate 2007), co-edited with Antonella Braida, with essays by Peter Armour, Richard Cooper, Antonella Braida, Jane Everson, M.A.Roglieri, Rachel Owen, Nick Havely, Giuliana Pieri, Ilaria Schiaffini, Amilcare Iannucci, Christopher Wagstaff, and Luisa Calè, explores the impact of Dante’s Commedia from early theatre and miniature to dance, film, television, and contemporary music.
    • Illustrations, Optics and Objects in 19C Literary and Visual Culture (Palgrave 2010), co-edited with Patrizia di Bello, with essays by Heather Tilley, Sophie Thomas, Lindsay Smith, Stefano Evangelista, Lorraine Janzen Kooistra, and Michael Hatt, explores the multisensorial aesthetics of verbal and visual culture in the nineteenth century.


Book Chapters

  • ‘Maria Cosway’s Hours: Cosmopolitan and Classical Visual Culture in Thomas Macklin’s Poets Gallery’, in Romanticism and Illustration: Placing Pictures 1775-1840, ed. Ian Haywood, Susan Matthews and Mary Shannon (Cambridge: Cambridge University Press, 2019), 221-242.
  • ‘The Reception of Blake in Italy’, in The Reception of William Blake in Europe, 2 vols ed. by Morton Paley and Sibylle Erle (London: Bloomsbury, 2019), I, 125-54.
  • ‘Bestial Metamorphoses: Blake’s Variations on Trans-human Change in Dante’s Hell’, in Beastly Blake, ed. by Helen Bruder and Tristanne Connolly (Palgrave, 2018), 153-81.
  • 'The Frontispiece', Book Parts, edited by Dennis Duncan and Adam Smyth (Oxford University Press, 2019), 25-37.
  • 'Book Illustration', Blake in Context, edited by Sarah Haggarty(Cambridge: Cambridge University Press, 2019), 56-69.
  • 'Extra-Illustrations: The Orders of the Book and the Fantasia of the Library’, in Material Cultures of Enlightenment Arts and Sciences, ed. by Adriana Craciun and Simon Schaffer (Palgrave, 2016), 235-54.
  • ‘Gendering the Margins of Gray: Blake, Classical Visual Culture and the Alternative Bodies of Ann Flaxman’s Book’, in Blake, Gender, and Culture, ed. H. Bruder and T. Connolly (Pickering and Chatto, 2012), 133-43.
  • ‘Introduction: Nineteenth-Century Objects and Beholders’, co-authored with Patrizia di Bello, in Calè and di Bello, eds., Illustrations, Optics and Objects in Nineteenth-Century Literary and Visual Culture, (Basingstoke: Palgrave, 2010), 1-21
  • ‘Belinda and Exhibition Culture: Fiction, Pictures and Imaginary Ekphrasis’, in Strange Sisters, ed. by Francesca Orestano and Francesca Frigerio (Bern: Peter Lang, 2009), 13-26
  • ‘Blake and the Literary Galleries’, in Blake and Conflict, ed. S. Haggarty and J. Mee (Palgrave, 2008), 185-209
  • ‘Introduction’, in Dante on View: The Reception of Dante in the Visual and Performing Arts, co-authored with Antonella Braida (Ashgate 2007), 1-13.
  • ‘From the Livre d’artiste to A TV Dante: Tom Phillips and Peter Greenaway remediating La divina commedia’, in Dante on View, pp. 177-192.
  • ‘“Lapland Orgies: the Hell Hounds round Sin”: Réécriture et invention dans la galerie miltonienne de J.H.Füssli’, Dénouement et invention romantique, ed. by G.Bardazzi and A.Grosrichard (Geneva: Drosz, 2003), 231-246.