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The poet employs aesthetic distance, shielding himself and his audience from raw discomfort, and weaving his intimate vulnerabilities and skillful aesthetics until they are indistinguishable from each other.

Scott’s “The Height of Land” weaves author, reader, and natural world together and limits the scope of this imaginative connection, motivating the reader to experience real nature.

Our computational methodology will support our claim that screenwriters are arguably as entitled to, or in fact are more entitled to the title of primary author as compared to directors.

By Sophie Garnett Virginia Woolf’s dreamlike novel The Waves (1931) loosely follows six childhood friends, Susan, Jinny, Neville, Bernard, Louis, and Rhoda, shifting between the…

By Meghan Farbridge Henry Tilney of Northanger Abbey derisively suggests that women’s writing “is faultless except [for] … a general deficiency of subject, a total…

By Damian Fitz The relationship between body and mind is an oft-debated philosophical topic, with the likes of Plato, Descartes, and Hume all weighing in.…

By Ronny Litvack-Katzman Some weeks into his imprisonment at Kamĩtĩ Maximum Security Prison on the outskirts of Nairobi, Ngũgĩ wa Thiong’o wrote that he would…

By Ronny Litvack-Katzman Time weighs heavily on the narrative in Radclyffe Hall’s “Miss Ogilvy Finds Herself,” (1926). The effect of time imposes on Miss Ogilvy…

By Meghan Farbridge “No matter how skillful the painter, his work was always in fee to an inescapable subjectivity. The fact that a human hand…