A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
Indexed by last name.
Abbott, Helen
(2017). "Singing and Difference: The Case of Gautier and Berlioz Re-Examined". French Studies 71/1: 31–47.
Agnetta, Marco
(2016). "Operndeutsch – Opernfranzösisch: Zwei Sprachvarietäten im Spiegel normativ-präskriptiver Übersetzungskritik". In: Christina Ossenkop, Georgia Veldre-Gerner, eds. Zwischen den Texten: Die Übersetzung an der Schnittstelle von Sprach- und Kulturwissenschaft (= Romanische Sprachen und ihre Didaktik, vol. 57). Stuttgart: ibidem-Verlag. 137–154.
(2017 online). "Musik – Sprache – (Sprach-)Bild: Zur Semiotizität italienischer barocker Gleichnisarien (Teil 1)". In: Archiv für Textmusikforschung (ATeM) 2. 1–16. https://webapp.uibk.ac.at/ojs2/index.php/ATeM/article/view/1969/2017.
& Larisa Cercel (2017). "Was heißt es, den (richtigen) Ton in der Übersetzung zu treffen?" In: Larisa Cercel, Marco Agnetta, María Teresa Amido Lozano, eds. Kreativität und Hermeneutik in der Translation (= Translationswissenschaft, vol. 12). Tübingen: Narr Francke/Attempto Verlag. 185–213.
(2017 online). (Rev.). "Florian Mehltretter, ed. Wie semantisch ist die Musik? Beiträge zur Semiotik, Pragmatik und Ästhetik an der Schnittstelle von Musik und Text. Freiburg i. Br./Berlin/Vienna: Rombach Verlag, 2016". In: Archiv für Textmusikforschung (ATeM) 2. 1–7. https://webapp.uibk.ac.at/ojs2/index.php/ATeM/article/view/1994/2008.
(2018). "Zum translatorischen Umgang mit Eigennamen im Kontext der Librettoübersetzung". In: Marco Agnetto, ed. Über die Sprache hinaus. Translatorisches Handeln in semiotischen Grenzräumen (= Crossing Semiotic Borders, Bd. 1). Hildesheim: Georg Olms Verlag. 207–252. DOI: <10.18442/017>.
(2018). "« Cette terrible tâche, traduire Wagner ! » Quelques notes sur les dimensions théoriques et pratiques de la traduction des livrets wagnériens". In: Wolfgang Asholt, Mireille Calle-Gruber, Édith Huergon, Patricia Oster-Stierle, eds. Europe en mouvement. Vol. 2: Nouveaux regards. Paris: Hermann Éditeurs. 105–112.
(2018 online). "Musik – Sprache – (Sprach-)Bild: Zur Semiotizität italienischer barocker Gleichnisarien (Teil 2)". In: Archiv für Textmusikforschung (ATeM) 3/2. 1–19.https://webapp.uibk.ac.at/ojs2/index.php/ATeM/article/view/2858/2225.
(2018 online). (Rev.). "Rainer Simon. Konzert der Sinne: Dimensionen einer phänomenologischen Analyse der Wahrnehmung von Musikaufführungen. Freiburg i. Br./Berlin/Vienna: Rombach Verlag, 2018". In: Archiv für Textmusikforschung (ATeM) 3/2. 1–3. https://webapp.uibk.ac.at/ojs2/index.php/ATeM/article/view/2844/2236.
ed. (2018). Über die Sprache hinaus. Translatorisches Handeln in semiotischen Grenzräumen (= Crossing Semiotic Borders, Bd. 1). Hildesheim: Georg Olms Verlag. DOI: <10.18442/017>.
(2019). Ästhetische Polysemiotizität und Translation. Glucks Orfeo ed Euridice (1762) im interkulturellen Transfer (= Crossing Semiotic Borders, Bd. 2). Hildesheim: Georg Olms Verlag. DOI: <10.18442/025>.
(2019 online). (Rev.). "Essays on Literature and Music (1985–2013) by Walter Bernhart. Ed. Werner Wolf. Leiden/Boston: Brill, 2015". In: Archiv für Textmusikforschung (ATeM) 4/1. 1–6. https://atem-journal.com/ojs2/index.php/ATeM/article/view/2019_1.11/2483.
(2020 online). "Die Bedeutung der stylistique comparée für die Übersetzungsanalyse, dargestellt am Beispiel des Transfers musikgebundener Texte". In: Archiv für Textmusikforschung (ATeM) 5/1. 1–36. DOI: <10.15203/ATeM_2020_1.10>.
& Nathalie Mälzer, eds. (2021). Zum Rhythmuskonzept von Henri Meschonnic in Sprache und Translation (= Rhythmus und Translation, Bd. 1). Hildesheim/Zürich/New York, NY: Olms Universitätsverlag. 418 pp. DOI: .
(2020). "Eine viergliedrige Systematik zur Beschreibung polysemiotischer Kommunikate und deren Transfer, dargestellt am Beispiel der Librettoübersetzung". In: Lew N. Zybatow, Alena Petrova, eds. Was ist und was soll Translationswissenschaft? Ausgewählte Beiträge der 3. Internationalen Konferenz zur Translationswissenschaft TRANSLATA III (Innsbruck 2017) (= Forum Translationswissenschaft, Bd. 22). Frankfurt a. M./Bern u. a.: Peter Lang Verlag. 215–224.
(2020 online). (Rev.). "Juri Giannini: Interpretation zwischen Praxis und Ästhetik. Hans Swarowsky als Übersetzer von Opernlibretti. Wien: Hollitzer, 2019". In: ATeM – Archiv für Textmusikforschung 5/1. 1–5. DOI <10.15203/ATeM_2020_1.12>.
(2021 online). (Rev.). "Johan Franzon, Annjo K. Greenall, Sigmund Kvam, Anastasia Parianou, eds. Song Translation: Lyrics in Contexts. Berlin: Frank & Timme, 2021". In: Archiv für Textmusikforschung (ATeM) 6/1. 1–9. DOI <10.15203/ATeM_2021_1.06>.
(2022). "On Syntactic Shifts in the Translation of Music‑Bound Texts, Illustrated by the Example of Recitative Translation". In: Larisa Cercel, Marco Agnetta, Tinka Reichmann, eds. Dimensionen der Humanübersetzung / Dimensions of Human Translation (= Translation Studies). Bucharest: Zeta Books. 185–226.
Alizadeh Tabrizi, Sanaz
& Jian Ibrahim (2021 online). "Reconfiguring the Android in The Electric Ant by Philip K. Dick". International Journal of Media Culture and Literature 7/2. 169–188. Istanbul: Istanbul Aydin University. https://dergipark.org.tr/en/pub/ijmcl/issue/69276/996179.
(2022). "George Eliot and Her Musical Affinity in The Mill on the Floss". Nick Ceramella, ed. The Marriage between Literature and Music. Newcastle upon Tyne et al.: Cambridge Scholars. 18–33.
Ambrosch, Gerfried
(2016). "From ‘God Save the Queen’ to ‘The Queen Is Dead’: A Literary Review of British Punk and Post-Punk 1976–1986". Moderne Sprachen 60/1: 31–61.
(2017). "Punk as Literature: Toward a Hermeneutics of Anglophone Punk Songs". Arbeiten aus Anglistik und Amerikanistik 42/1: 101–120.
(2017). "‘Refusing to Be a Man’: Gender, Feminism, and Queer Identity in the Punk Culture". Punk and Post-Punk 5/3: 247–264.
(2018). The Poetry of Punk: The Meaning behind Punk Rock and Hardcore Lyrics. London/New York, NY: Routledge.
(2018). "‘I am the Real and Proper Poet Laureate’: Examining the Idiosyncratic Poetry of British Music Icon Morrissey". Moderne Sprachen 62/1: 7–25.
(2018). "‘Guilty of Being White’: Punk’s Ambivalent Relationship with Race and Racism". The Journal of Popular Culture 51/4: 902–922.
(2020 online). "The Poetry of Song: The Synergy of Music and Lyrics". Culturico. https://culturico.com/2020/07/18/the-poetry-of-song-the-synergy-of-music-and-lyrics/
(2021). (Rev.). "Robert Winkler. Generation Reagan Youth: Representing and Resisting White Neoliberal Forms of Life in the U.S. Hardcore Punk Scene (1979–1999)". Moderne Sprachen 65: 7–25.
(2022). "‘Back in the days / When I'd wait to see the old bands play’: Retro Styles and the Quest for Authenticity in Punk". Werner Wolf, Walter Bernhart, eds. ‘Make It Old’: Retro Forms and Styles in Literature and Music. Word and Music Studies 19. Leiden/Boston, MA: Brill. 164–185.
Bayramova, Alla
(2016). "Literature in a Non-literary Museum: How Do Azerbaijani Composers Respond to Fiction, Poetry, and Drama?". Literature, Music, and Cultural Heritage. Ed. by the Board of ICLM. Paris: ICOM. 44–51.
(2017). "Детский читательский опыт в становлении будущих композиторов // Материалы симпозиума". Детство музыкантов: история и современность. Ред.-сост. В.И.Адищев и К.В.Зенкин. Пермь, Пермский государственный гуманитарно-педагогический университет: Книжный формат. 197–204. ("Childish Reading Experience and Formation of Future Composers". Childhood of Musicians: History and Modernity. V. Adishev, K. Zenkin, eds. Perm: Knizsny Format. 197–204. In Russian.)
Bernhart, Walter
& Werner Wolf, eds. (2016). Silence and Absence in Literature and Music. Word and Music Studies 15. Leiden/Boston, MA: Brill/Rodopi.
(2017). "From Orpheus to Bob Dylan: the Story of ‘Words and Music’". Aletria: Revista de Estudos de Literatura 27/2. 277–301.
ed. (2017). Lawrence Kramer. Song Acts: Writings on Words and Music. Foreword by Richard Leppert. Word and Music Studies 16. Leiden/Boston, MA: Brill/Rodopi.
ed. (2018). Selected Essays on Intermediality by Werner Wolf (1992–2014): Theory and Typology, Literature–Music Relations, Transmedial Narratology, Miscellaneous Transmedial Phenomena. Studies in Intermediality 10. Leiden/Boston, MA: Brill/Rodopi (with "Preface": ix–xi).
(2019). "Absence of Words and Absence of Music in Opera". Werner Wolf, Nassim Balestrini, Walter Bernhart, eds. Meaningful Absence Across Arts and Media: The Significance of Missing Signifiers. Studies in Intermediality 11. Leiden/Boston, MA: Brill/Rodopi, 173–192.
& Werner Wolf, Nassim Balestrini, eds. (2019). Meaningful Absence Across Arts and Media: The Significance of Missing Signifiers. Studies in Intermediality 11. Leiden/Boston, MA: Brill/Rodopi.
(2019). "Humanized Documentary, ‘Light’ Verse, and Music Made to Fit: G.P.O. Film Unit/Auden/Britten’s Night Mail (1936)". Walter Bernhart, David Francis Urrows, eds. Music, Narrative, and the Moving Image. Word and Music Studies 17. Leiden/Boston, MA: Brill/Rodopi. 85–96.
& David Francis Urrows, ed. (2019). Music, Narrative, and the Moving Image. Word and Music Studies 17. Leiden/Boston, MA: Brill/Rodopi.
(2021). "Preface". Walter Bernhart, Axel Englund, eds. Arts of Incompletion: Fragments in Words and Music. Word and Music Studies 18. Leiden/Boston, MA: Brill. ix–xii
& Axel Englund, eds. (2021). Arts of Incompletion: Fragments in Words and Music. Word and Music Studies 18. Leiden/Boston, MA: Brill (with).
& Werner Wolf, eds. (2022). ‘Make It Old’: Retro Forms and Styles in Literature and Music. Word and Music Studies 19. Leiden/Boston, MA: Brill.
Bilge, F. Zeynep
(2017). "Voices from the Past: Music in The Ice People". Hacettepe University Journal of Faculty of Letters 33/2: 53–62.
(2020). "‘A vos jeux, mes amis’: Ophelia Finding Her Own Voice in Ambroise Thomas’s Hamlet". Victor Kennedy, Michelle Gadpaille, eds. Words, Music and Gender. Newcastle upon Tyne: Cambridge Scholars Publishing. 191–199.
(2020). "‘Her Speech Is Nothing’: The Communicative Function of Songs in Ophelia’s Mad Scene". Pamukkale University Journal of Social Sciences Institute 39: 105–116.
(2021). "Edebiyat ve Müziğin Kesişim Noktası: Literaturoper". [Junction Point of Music and Literature: Literaturoper]. MSFAU Journal of Social Sciences 24: 645–656.
Cotteau, Karla
(2021). "La dystopie dans L’Orange mécanique: analyse littéraire d’un lavage de cerveau". Mélanges de Science Religieuse 78/3: 57–78.
(2022 online). "Intermediality and Intertextuality: Clues to Reading Anthony Burgess’s ‘Murder to Music’". TIES 6: 6–19. http://revueties.org/document/960-musique-et-polar.
Czarnecki, Jan
(2020). "Adam Mickiewicz’s 'Konrad Wallenrod': A Musicoliterary Agon of Identities". Prace Filologiczne. Literaturoznawstwo 10(13), 227-241. DOI:10.32798/pflit.572.
da Sousa Correa, Delia
& Michael Halliwell (2016 online). (Rev.). "Middlemarch in Spring. Two Act Opera by Allen Shearer, Libretto by Claudia Stevens." George Eliot Review 47: 93–96. https://georgeeliotreview.org/items/show/802.
(2019 online). "George Eliot’s Piano". Romantic Europe: The Virtual Exhibition (RÊVE). http://www.euromanticism.org/george-eliots-piano/.
ed. (2020). The Edinburgh Companion to Literature and Music. Edinburgh: Edinburgh University Press. "Introduction": 1–15. "Introduction to Part IV": 383–394. "George Eliot, Schubert and the Cosmopolitan Music of Daniel Deronda": 437–446.
(2020 online). "From ‘the great Handel chorus’ to ‘wild passion and fancy’: Listening to Handel and Purcell in The Mill on the Floss". 19: Interdisciplinary Studies in the Long Nineteenth Century. George Eliot Bicentenary Issue. Carolyn Burdett, Isabel Armstrong, eds. (Includes publicly available embedded sound files). https://19.bbk.ac.uk/.
(2021). "Fragmented Music, Fragmented Minds: Janet Frame’s Faces in the Water (1961)". Arts of Incompletion: Fragments in Words and Music. Word and Music Studies 18. Walter Bernhart, Axel Englund, eds. Leiden/Boston, MA: Brill. 166–178.
Dayan, Peter
(2016). "The Inaudible Music of Dada". Werner Wolf, Walter Bernhart, eds. Silence and Absence in Literature and Music. Word and Music Studies 15. Leiden/Boston, MA: Brill/Rodopi. 152–165.
(2016). "Voices From Beyond Paper: Risset’s and Kowalski’s L’autre face". Contemporary Music Review 34/5–6: 406–415.
(2017). "On the Danger of Pushing Poetry Towards Music: The Successes and Failures of Hugo Ball, René Ghil, and Stéphane Mallarmé". Dan Ringgaard, Stefan Kjerkegaard, eds. Dialogues on Poetry: Mediatization and New Sensibilities. Aalborg: Aalborg Universitetsforlag. 89–110.
(2017). "Why the Music of Satie is the Only Genuine Music of Paris Dada". Hugo-Ball-Almanach Neue Folge 8: 148–161.
(2018). The Music of Dada: A Lesson in Intermediality for Our Times. Abingdon: Ashgate Publishing.
(2019). "How Musical is Henri Lefebvre’s Rhythmanalysis?" Steen Ledet Christiansen, Mirjam Gebauer, eds. Rhythms Now: Henri Lefebvre’s Rhythmanalysis Revisited. Aalborg: Aalborg Universitetsforlag. 17–31.
(2019). "Shadow Images Moving to Music: La Tentation de saint Antoine in Montmartre". Walter Bernhart, David Francis Urrows, eds. Music, Narrative, and the Moving Image: Varieties of Plurimedial Interrelations. Word and Music Studies 17. Leiden/Boston, MA: Brill. 135–139.
(2020). "Derrida, de Man, Barthes, and Music as the Soul of Writing". Delia da Sousa Correa, ed. The Edinburgh Companion to Literature and Music. Edinburgh: Edinburgh University Press. 31-38.
(2020). "Wagner and French Poetry from Nerval to Mallarmé: The Power of Opera Unheard". Delia da Sousa Correa, ed. The Edinburgh Companion to Literature and Music. Edinburgh: Edinburgh University Press. 483-493.
(2020). "Is There a Life Beyond Lines?" Gunhild Moltesen Agger et al., eds. Life After Lines: Tim Ingold Across the Humanities. Aalborg: Aalborg Universitetsforlag. 11-28.
(2022). For the Love of Art. Oxford: Legenda.
(2022). "The Universal: Now You See It, Now You Don’t". Rachel Durkin, Peter Dayan, Axel Englund, Katharina Clausius, eds. The Routledge Companion to Music and Modern Literature. Abingdon: Routledge. 7-10.
Delazari, Ivan
(2016). "Voicing the Split Narrator: Readers’ Chores in Toni Morrison’s ‘Recitatif’". Jarmila Mildorf, Till Kinzel, eds. Audionarratology: Interfaces of Sound and Narrative. Berlin: De Gruyter. 199–215.
(2018). "‘Gradations of Fictivity’: Borges and the Music of the Spheres in Richard Powers’s Orfeo". Inge Arteel, Bruno Forment, eds. Literatuur en muziek – Literature and Music. Gent: Academia Press. 31–46.
(2018). "Overhearing Diegetic Music in Narrative Fiction: Instances of Verbally Transmitted Musical Experience". Narrative 26/2: 221–239.
(2019). "Contrafactual Counterpoint: Revisiting the Polyphonic Novel Metaphor with Faulkner’s The Wild Palms". CounterText 5/3: 371–394.
(2021). "Literary Sonatas: A Joint Sample of William H. Gass and Leo Tolstoy". Comparative Literature Studies 58/2: 308–339.
(2021). "Madeleine Thien’s Chinese Encyclopedia: Facts, Musics, Sympathies". Genre 54/2: 221–244.
(2021). Musical Stimulacra: Literary Narrative and the Urge to Listen. New York, NY: Routledge.
(2021). "Skizzen’s Sketches, Els’s Tweets: Streams of Incompletion in Two Musicalized Novels". Walter Bernhart, Axel Englund, eds. Arts of Incompletion: Fragments in Words and Music. Word and Music Studies 18. Leiden: Brill. 124–140.
(2021). "William H. Gass and the (Un)popularity of Words as Music". Thomas Gurke, Susan Winnett, eds. Words, Music, and the Popular: Global Perspectives on Intermedial Relations. New York, NY: Palgrave Macmillan. 237–256.
Dooley, Gillian
(2016). "‘Capacity, and taste, and application, and elegance’: Music in Jane Austen’s Life and Work". Caterina Colomba, ed. Pride and Prejudice: A Bicentennial Bricolage. Udine: Forum Editrice. 193–205.
(2017). "A Most Luxurious State: Men and Music in Jane Austen’s Novels". English Studies 98/6. 598–607. DOI:10.1080/0013838X.2017.1322386.
(2018). "Marianne and Willoughby, Lucy and Colin: Betrayal, Suffering, Death and the Poetic Image". Susan Petrilli, ed. L’Immagine nella parola, nella musica, e nella pittura. Milan: Mimesis. 239–255.
& Kirstine Moffat, John Wiltshire (2018 online). "Music and Class in Jane Austen". Persuasions: The Jane Austen Journal On-Line. 38/3. https://jasna.org/publications-2/persuasions-online/volume-38-no-3/doolley-moffat-wiltshire/.
(2020). "The Origins of Speech Lie in Song: Music as Language in Coetzee’s Age of Iron". Le Simplegadi 18: 26–34.
(2020). "Jane Austen and the Music of the French Revolution". Essays in French Literature and Culture (EFLAC). (Special Issue on Environment and Identity): 151–166.
(2020 online). "Juvenile Songs and Lessons: Music Culture in Jane Austen’s Teenage Years". Persuasions: The Jane Austen Journal On-Line: 41/1. https://jasna.org/publications-2/persuasions-online/vol-41-no-1/dooley/.
(2021). "‘Her Own More Elegant and Cultivated Mind’: Anne Elliot and Music". John Wiltshire, Marcia Folsom McClintock, eds. Teaching Jane Austen’s Persuasion. New York, NY: MLA Publications. 80–85.
(2021). "‘These Happy Effects on the Character of the British Sailor’: Family Life in Sea Songs of the Late Georgian Period". Heather Dalton, ed. Keeping Family in An Age of Long Distance Trade, Imperial Expansion, Upheaval and Exile 1550–1850. Amsterdam: Amsterdam University Press. 239–259.
(2022). Listening to Iris Murdoch: Music, Sounds, and Silences. London: Palgrave Macmillan.
(2022). "Jane Austen: The Musician as Author". Sandie Byrne, ed. Humanities. Special Issue on Jane Austen. DOI:10.3390/h11030073.
(2022). "‘There Is No Understanding a Word of It’: Musical Taste and Italian Vocal Music in Austen’s Musical and Literary World". Persuasions 43: 88–98.
(2022). "The ‘Hindoo Girl’s Song’: A Shady Story from British India". South Asian Review 34/3–4. DOI:10.1080/02759527.2022.2040084.
(2024). She Played and Sang: Jane Austen and Music. Manchester: Manchester University Press. (Forthcoming).
Gamrat, Malgorzata
(2016). "'La fin du monde est mon seul rêve': l'image poétique et musicale du Juif errant de Pierre-Jean de Béranger. Quelques exemples interartistiques". Literaport: Revue annuelle de la littérature francophone 3:159–170.
(2016). Między słowem a dźwiękiem: Pieśni na głos i fortepian Franza Liszta [Between Word and Sound: Franz Liszt's Songs for Voice and Piano]. Warszawa: Wydawnictwa Uniwersytetu Warszawskiego.
(2017). "Palimpsest, Quotation, Paraphrase or Self-Allusion? Several Remarks on Franz Liszt’s Songs to Texts by Pierre-Jean de Béranger in the Context of a Comparative Study". Liszt-Jahrbuch 2: 26–42.
(2018). "Les différentes notions de l’amour dans les Lieder de Franz Liszt". Marta Grabócz, ed. Les Grands topoï du XIXème siècle et la musique de Franz Liszt. Paris: Hermann. 229–245.
(2018). "Jankélévitch: Freedom, Music and Unfinished Project". Interdisciplinary Studies in Musicology 18: 69–90.
(2019). "‘La Damnation de Faust’ d’Hector Berlioz: une crise de la foi en Dieu ou en l’homme?". Agata Sadkowska-Fidala, Tomasz Szymański, eds. Foi, croyance et incroyance au XIXème siècle. Wrocław: Atut. 127–136.
(2019). "‘Lélio’ de Hector Berlioz et ‘Le contrebandier’ de George Sand, ou une solitude d’un artiste (héros) romantique portant le masque du bandit". Literaport. Revue annuelle de la littérature francophone 6: 73–86.
(2019). "Musique et vie intérieure chez Balzac". The Balzac Review / Revue Balzac 2: 111–128.
(2021). "Jean-Baptiste Rousseau’s Poetic Cantatas and Their Place in the Culture of France: A Preliminary Study". Roczniki Humanistyczne LXIX/12: 231–238.
(2021). "A la recherche de soi-même (par intermédiaire des créatures infernales): Hector Berlioz et « La ronde du sabbat » de Victor Hugo". Anna Kaczmarek-Wiśniewska, ed. Animal(ité). Études dix-neuviémistes. Berlin: Peter Lang. 13–29.
(2021). "Signs of Music, Intertextuality and Narrative Strategy. Cultural Semiotics and 19th-Century Funeral Music: The Case of Karol Kurpiński’s Elegia na śmierć Tadeusza Kościuszki [Elegy on the Death of Tadeusz Kościuszko]". Chinese Semiotic Studies 17/2: 229–249.
(2022). "Balzac et les compositeurs: Une collaboration qui a enrichi la literature". Année balzacienne 23/1: 175–194.
(2022). "L’héritage esthétique de Jean-Baptiste Rousseau dans les cantates poétiques du début du XIXe siècle". Marta Sukiennicka, ed. Héritages/subterfuges. Études dix-neuviémistes. Poznań: Wydawnictwo UAM. 11–25.
(2022). "A Romantic Leaf from an Album, or a Well-Thought-Out Proposal: The Case of the Romance ‘Les pleurs des femmes’ (‘O pourquoi donc’) Based on a Text by a Forgotten Russian Poet". Liszt-Jahrbuch 4: 35–51.
Goebel, Rolf J.
(2016). "Klang, Bild und Schrift: Hölderlins akustische Medientranspositionen". KulturPoetik: Journal for Cultural Poetics 16/1: 3–25.
(2016). "Auditory Desires, Auditory Fears: The Sounds of German Literary Modernism". Germanisch-Romanische Monatsschrift 66/4: 417–437.
(2018). "Klang und Erinnerung: Zur Konkurrenz zwischen poetischem und medientechnologischem Gedächtnis". Volker C. Dörr, Rolf J. Goebel, eds. Literatur in der Medienkonkurrenz: Medientranspositionen 1800 – 1900 – 2000. Bielefeld: Aisthesis. 99–113.
(2019). "Hölderlins Erinnerungsmusik". Monatshefte 111/1: 38–54.
(2019). "Heidegger’s Media Critique: Film, Western Metaphysics, and the Figure of Japanese Aesthetics". KulturPoetik: Journal for Cultural Poetics 19/2: 257–275.
(2019 online). "Musical Atmospheres". Critical Posthumanism: Genealogy of the Posthuman. http://criticalposthumanism.net/musical-atmospheres/.
(2020 online). "The Soul of the Phonograph: Media-Technologies, Auditory Experience, and Literary Modernism in the Age of COVID-19". Humanities 9/3: 82. https://www.mdpi.com/2076-0787/9/3/82.
(2021 online). "The Resonance of Music Across Cultures". Rupkatha Journal on Interdisciplinary Studies in Humanities 13/3: 1–9. https://rupkatha.com/V13/n3/v13n300.pdf.
(2021). "The Musical Ineffable Revisited: Hermeneutics, Psychoanalysis, and Media-Technological Reproducibility". The Journal of Musicology 38/4: 419–4 35.
(2021 online). "Radikales Hören: sprachliche Hermeneutik und auditiver Turn". Zeitschrift für Literaturwissenschaft und Linguistik. https://doi.org/10.1007/s41244-021-00220-4.
(2021). "Auditive Atmosphären: Anmerkungen zu einem interdisziplinären Wissenschaftsparadigma". Manshu Ide, Haruyo Yoshida, Shizue Hayashi, eds. Wissen über Wissenschaft: Felder – Formation – Mutation. Festschrift für Ryoko Made zum 65. Geburtstag. Tübingen: Stauffenburg. 251–261.
(2021). "Sound Studies and Musical Hermeneutics: Bridging the Interdisciplinary Gap". Walter Bernhart, Axel Englund, eds. Arts of Incompletion: Fragments in Words and Music. Word and Music Studies 18. Leiden/Boston, MA: Brill. 257–268.
(2022 online). "Auditory Resonance: A Transdisciplinary Concept?". Humanities 11/1: 6. https://www.mdpi.com/2076-0787/11/1/6/htm.
(2022). "Political Ideology, Authentic Performance, and the Romantic Metaphysics of Music: The Case of the Pianist Elly Ney". Siobhán Donovan, Maria Euchner, eds. Music in German Politics / Politics in German Music. (= Edinburgh German Yearbook 13). Rochester, NY: Camden House. 153–167.
(2022). "Music and the Limits of Collectibility". Johannes Endres, Christoph Zeller, eds. Collecting in the Twenty-First Century: From Museums to the Web. Rochester, NY: Boydell & Brewer/Camden House. 153–164.
(2022). "‘Die Saitenspiele ergossen sich über mein Innres’: Hölderlin’s Auditory Atmospheres". Patricia Anne Simpson, Birgit Tautz, eds. Goethe Yearbook 29. Rochester, NY: Camden House. 149–165.
(2022 online). "The Sound of Benjamin’s Arcades". Elizabeth Kovach, Jens Kugele, Ansgar Nünning, eds. Passages: Moving Beyond Liminality in the Study of Literature and Culture. London: UCL Press. 19–34. https://doi.org/10.2307/j.ctv2kg15mb.7.
(2022). "Zeit und Klang: Kafkas auditive Atmosphären". Alexander Kling, Johannes F. Lehmann, eds. Kafkas Zeiten. Würzburg: Königshauses & Neumann. 107–123.
Guijarro Lasheras, Rodrigo
(2018 online). "Los perseguidores: el Johnny Carter de Julio Cortázar en las reescrituras contemporáneas de Abelardo Castillo, Fernando Quiñones y Antonio Muñoz Molina". Revista chilena de literatura 98: 259–278. http://dx.doi.org/10.4067/S0718-22952018000200259.
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