"Wordsworth on Imagination: The Emblemizing Power," PMLA 81 (1966): 389-99.

"Wordsworth and Dennis: The Discrimination of Feelings," PMLA 82 (1967): 430-36.

"Wordsworth on the Sublime: The Quest for Interfusion," Studiesin English Literature 7 (1967): 605-615.

"Wordsworth on the Picturesque," English Studies 49 (1968): 489-98.

"Wordsworth on Imagination: A Reply to Arthur S. Pfeffer," PMLA 84 (1969): 144-46.

"Centripetal Vision in Pater's Marius," The Victorian Newsletter 35 (1969): 13-17.

"Honor: The Vanishing Principle," Dartmouth Alumni Magazine Feb. 1975: 22-35.

"Politics and Freedom: Refractions of Blake in Joyce Cary and Allen Ginsberg," in Romantic and Modern, ed. George Bornstein (Pittsburgh: Pittsburgh University Press, 1978): 177-95.

"The English Romantic Perception of Color," in Images of Romanticism: Verbal and Visual Affinities, ed. William Walling and Karl Kroeber (New Haven: Yale University Press, 1978).

"Reflections on Reflections in English Romantic Poetry and Painting," Bucknell Review: The Arts and TheirInterrelations, ed. Harry Garvin (Lewisburg, Pa.: Bucknell University Press, 1979), 15-37.

"Mutilated Autobiography: Wordsworth's Poems of 1815,"The Wordsworth Circle 10 (1979): 107-112.

"Wordsworth, Coleridge, and Turner: The Geometry of the Infinite," Bucknell Review: The Arts, Society, Literature. ed. Harry R. Garvin and James Heath (Lewisburg, Pa.: Bucknell University Press, 1984), 49-72.

"The Draft: To Register or not to Register," Dartmouth AlumniMagazine Nov. 1984: 34-36.

"Adonais: Shelley's Consumption of Keats," Studies in Romanticism 23 (1984): 295-315. Reprinted in Romanticism: A Critical Reader, ed. Duncan Wu (Oxford: Blackwell, 1994): 173-91.

"Space and Time in Literature and the Visual Arts," Soundings: An Interdisciplinary Journal 70 (1987) 95-119.

"Resemblance, Signification, and Metaphor in the Visual Arts," Journal of Aesthetics and Art Criticism 44 (1985): 167-80.

"The Temporalization of Space in Wordsworth, Turner, and Constable," Space, Time, Image, Sign: Essays on Literature and the Visual Arts, ed. James A. W. Heffernan (New York: Peter Lang, 1987): 63-77.

"Text and Design in Blake's Songs of Innocence and Experience," in Imagination on a Long Rein: English Literature Illustrated, ed. Joachim Moller. (Marburg: Jonas Verlag, 1988) 94-109.

"Self-Representation in Byron and Turner," Poetics Today 10 (1989) 207-14.

"The Presence of the Absent Mother in Wordsworth's Prelude," Studies in Romanticism 27 (1988) 253-72.

"Ekphrasis and Representation," New Literary History, 22 (1991): 297-316.

"Wordsworth, Constable, and the Poetics of Chiaroscuro," Word and Image 5 (1989) 260-77.

"Re-Creating Landscape: Wordsworth, Turner, and Constable," Humanities 8 (1987) 24-27.

"Blake's Oothoon: The Dilemmas of Marginality," Studies inRomanticism, 30 (1991) 3-18.

"Painting Against Poetry: Reynolds' Discourses and the Discourse of Turner's Art," Word and Image 7 (1991): 275-99. Reprinted in So Rich a Tapestry: Essays in the Sister Arts and Cultural Studies, ed. Anne Hurley and Kate Greenspan (Bucknell UP, 1995). Greenspan (Bucknell University Press, 1995): 151-77.

"History and Autobiography: The French Revolution in Wordsworth's Prelude." Representing the French Revolution (see Books): 41-62.

"[A] superlative essay, the best modern reading of The Prelude I know, both from its sensitive unpacking of Wordsworth's creative strategy . . . and also wonderful on the formal devices by which this is brought off. A truly remarkable piece of work. I'll never read The Prelude in the same way again."
--Simon Schama, Reader's report for UPNE

"A clear and accessible account of difficult and complex terrain which manages to make fresh discoveries from out of this well- covered ground."
--Year's Work in English Studies, Vols. 73-74, p. 345

"Lusting for the Natural Sign," essay-review of Murray Krieger, Ekphrasis: The Illusion of the Natural Sign (1992). Semiotica 98 (1994): 221-29.

"Entering the Museum of Words: Browning's 'My Last Duchess' and Twentieth-Century Century Ekphrasis," Icons-Texts-Iconotexts: Essays on Ekphrasis and Intermediality, ed. Peter Wagner (Berlin: Walter de Gruyter, 1996), 262-80.

"Alberti on Apelles: Word and Image in De Pictura." International Journalof the Classical Tradition 2.3 (1996): 345-59.

"Looking at the Monster: Frankenstein and Film." Critical Inquiry 24 (1997): 133-58. Reprinted in Mary Shelley, Frankenstein. Ed. J. Paul Hunter. Norton Critical Edition, 2nd ed. (Norton: New York, 2011).

"Entering the Museum of Words: Ashbery's 'Self-Portrait in a Convex Mirror.'" Pictures into Words: Theoretical and Descriptive Approachesto Ekphrasis, ed. Valerie Robillard and Els Jongeneel (Amsterdam: VU University Press, 1998): 189-211.

"Wordsworth's London: The Imperial Monster." Studies in Romanticism 37 (Fall 1998): 421-443.

"Wordsworth's 'Leveling' Muse in 1798," 1798: The Year of the LYRICAL BALLADS, ed. Richard Cronin (London: Macmillan, 1998): 231-53.

"Speaking for Pictures: The Rhetoric of Art Criticism." Word & Image 14 (July-September 1998): 1-15.

"eloquent and provocative"-- Leo Steinberg, Letter to the Author (29 April 1999)

"The Simpson Trial and the Forgotten Trauma of Lynching: A Response to Shoshona Felman." Critical Inquiry 25 (Summer 1999): 801-06.

"Literacy and Picturacy: How Do We Learn to Read Pictures?" Prisms: Essays in Romanticism 7 (1999): 17-49. Revised for Cultural Functions of Intermedial Expoloration, ed. Erik Hedling and Ulla-Britta Lagerroth (Amsterdam: Rodopi, 2002): 35-66.

"Hockney Rewrites Hogarth: A Gay Rake Progresses to America."Art on Paper 4.2 (Nov.-Dec. 1999): 56-61, 103.

"Joyce's Merrimanic Heroine: Molly versus Bloom in Midnight Court." James Joyce Quarterly 41.4 (Summer 2004): 745-65

"Peter Milton's Turn: An American Printmaker Marks the End of the Millennium." Word & Image 16 (April-June 2000): 177-96.

"Love, Death, and Grotesquerie: Beardsley's Illustrations of Wild and Pope." Book Illustrated: Text, Image, and Culture 1770-1730, ed. Catherine J. Golden (New Castle, Delaware: Oak Knoll Press, 2000): 195-240.

"James Joyce," in British Writers: Retrospective Supplement, ed. Jay Parini (New York: Charles Scribner's Sons, 2002): 169-82.

" 'Cruel Persuasion': Seduction, Temptation, and Agency in Hardy's Tess."Thomas Hardy Year Book 35 (2005): 5-18.

"Ekphrasis; Art Criticism and the Poetry of Art," Krysinger (Crossings), ed. Ole Karlston (Oslo: Oslo Academic Press, 2007) 21-46.

"Staging Absorption and Transmuting the Everyday: A Response to Michael Fried Critical Inquiry 34 (Summer 2008): 818-34.  

"Cracking the Mirror: Self-Representation in Literature and Art", Queen's Quarterly 115 (Winter 2008): 2-21.

“Cracking the Mirror:  Self-Representation in Literature and Art” (2008). Full-length version (unpublished).
Mirror Slides

"Editorial: The Case for Online Reviewing." Review 19, October 2012

“Wordsworth and Landscape”, The Oxford Handbook of William Wordsworth, ed. Richard Gravil and Daniel Robinson (Oxford: The Clarendon Press, 2015): 614-28.

"Art, Science and  Sacrifice in the Experiments of  Joseph Wright and Shelagh Stephenson"  in  Representing Restoration, Enlightenment and Romanticism, ed. Anja Müller, Achim Hescher, and Anke Uebel  (Trier: Wissenschaftlicher Verlag Trier, 2014): 115-125.

"Tracking a Reader: What Did Virginia Woolf Really Think of Ulysses?" Parallaxes: Virginia Woolf and James Joyce Seventy Years After. Ed. Sara Sullam and Marco Canani (Newcastle upon Tyne: Cambridge Scholars Publishing, 2014): 1-20.

“Ekphrasis: Theory.”  Handbook of Intermediality: Literature—Image—Sound—Music, ed.  Gabriele  Rippl.  (Berlin / Boston:  Walter De Gruyter, 2015): 35-49.

“Notes Toward a Theory of Cinematic Ekphrasis,” Fictional Cinema: How Literature  Describes Imaginary Films. Ed. Stefano Ercolino, Massimo Fusillo, Mirko Lino, and Luca Zenobi (Göttingen: Vandenhoeck and Ruprecht Unipress, 2015): 3-17.

“The Verbal and the Visual,” in Companion to Literary Theory, ed. David H. Richter (New York: Blackwell, 2018) 165-75.

“Afterword.” Ekphrastic Encounters: New Interdisciplinary Essays on Literature and the Visual Arts, ed. David Kennedy and Richard Meek. Manchester, England: Manchester University Press, 2018.

“Peter Milton’s Tsunami:  Turner, Ruskin, and Constable at Sea in a New American Print,” Turner Society News 130 (Autumn 2018): 3-7.

“Reading Pictures,” PMLA 134:1 (January 2019): 18-34.

Updated 3/5/19