2.38 "Is This Hypertext Any Good? Evaluation and Hypermedia." Under construction: literaturas digitales y aproximaciones teóricas. Ed. Laura Borràs. Barcelona: Ediuoc (forthcoming).
2.37 "Reconfiguring Writing" and "Stitching together Narrative: Sexuality, Self — Shelley Jackson's Patchwork Girl" Reading Hypertext. Eds. Mark Bernstein and Diane Greco. Watertown, Mass.: Eastgate Systems, 2009. 89-98, 119-28. [Reprinted from Hypertext 2.0 (1997; see 1.5).
2.36 "Real Cities, Virtual Cities: Model Railroading as Analogue Virtual Reality." Real and Virtual Cities: Intertextual and Intermedial Mindscapes/ Ed. Asunción López-Varela and Mariana Net. Bucharest: Univers Enciclopedic Press, 2009. 35-66.
2.35A [Spanish translation of previous item] "Literatura comparada del texto al hipertexto, O ¿Qué pueden ofrecer los medios electrónicos a la disciplina?" Trans. María Goicoechea. Literaturas del texto al hypermedia. Ed. Amelia Sanz Cabrerizo and Dolores Romero López. Barcelona: Anthropos, 2008. 33-51.
2.35 "Comparative Literature from Text to Hypertext, or What Do Electronic Media Have to Offer the Discipline?" Literatures in the Digital Era: Theory and Praxs. Ed. Amelia Sanz and Dolores Romero. Cambridge (UK): Cambridge Scholars Publishing, 2007. 23-40.
2.34 "Ipertesto: Test o Paratesto?" I Dintorni del testo: approcci alle periferie del libro. Ed. Marco Santoro and Maria Gioia Tavoni. Roma: Edizioni dell' Ateneo, 2005. 17-29.
2.33 "The paradigm is more important than the purchase: educational innovation and hypertext theory." Digital Media Revisited: Theoretical and Conceptual Innovation in Digital Domains. Eds. Andrew Morrrison, Gunnar Liestøl, and Terje Rasmussen. Cambridge: MIT Press, 2003. 35-64.
2.32 "Educational Innovation and Hypertext: One's University's Successes and Failures in Supporting New Technology." Silicon Literacies. Ed. Ilana Snyder. London: Routledge, 2002. 101-115.
2.31 "Hypertext and Critical Theory." Reading Digital Culture. Ed. David Trend. Oxford and Malden: Blackwell, 2001. 98-108. [This is an excerpt from Hypertext: The Convergence of Contemporary Critical Theory and Technology.]
2.30 (With Paul Delaney) "Hypertext, Hypermedia, and Literary Studies: The State of the Art." Multimedia from Wagner to Virtual Reality. Eds. Randall Packer and Ken Jordan. N. Y.: Norton, 2001. 206-18. [This is a reprint of the introduction to Hypermedia and Literary Studies (1991).
2.29 "The Convergence of Contemporary Critical Theory and Technology." Internet e le muse: La Rivoluzione digitale nella cultura umanistica. Ed. Patrizia Nirozzi Bellman. Milano: Mimesis, 1997. 75-98. [A print text of my web-essay for Victorian Poetry published without my editorial control -- the sections appear in different order than in the original electronic version, and I did not choose the title.]
2.28 "We Are Already beyond the Book." Beyond the Book: Theory, Culture and the Politics of Cyberspace. Eds. Warren Chernaik, Marilyn Deegan & Andrew Gibson. Office for Humanities Communication, in association with the Institute of English Studies, University of London, 1996, pp. 23Ð32. [A reprint of the first section of 2.26]
- Reprinted in: The History of the Book in the West: A Library of Critical Essays. Ed. Alexis Weedon. Franham: Ashgat Pubishing, 2010.
2.27 "Twenty Minutes into the Future, or How Are We Getting Beyond the Book?" The Future of the Book. Ed. Geoffrey Nunberg. Berkley: University of California Press, 1996. 209-38.
2.26 Chapter 7, "La poesia da Tennyson a Hopkins," and Chapter 12, "Estetismo e Decadentismo." La Storia della civiltà letteraria inglese, Trans. Carla Pomarè Ed. Franco Marenco. 3 vols. Turin: Unione Tipografico-Editrice Torinese, 1996. II, 697-726, 799-825.
2.25 Newman and the Idea of an Electronic University." The Idea of a University. Ed. Frank Turner. New Haven: Yale University Press, 1996. 339-61.
2.24 "Electronic Conferences and Samiszdat Textuality: The Example of Technoculture" in The Digital Word: Text-Based Computing. Ed. George P. Landow and Paul delany. Cambridge: Massachusetts Institute of Technology Press, 1993. 237-52.
2.23 "How to Read Ruskin: The Art Critic as Victorian Sage." John Ruskin and the Victorian Eye. New York: Harry N. Abrams, 1993. 52-79.
2.22 "Margaret M. Giles's Hero and the Sublime Female Nude." Gender, Voice, and Image in Victorian Literature and Art, ed. Antony H. Harrison and Beverly Taylor. DeKalb: Northern Illinois University Press, 1992.
2.21 "Hypertext, Metatext, and the Electronic Canon." Literacy Online: The Promise (and Peril) of Reading and Writing with Computers. ed. Myron Tuman. Pittsburgh: University of Pittsburgh Press, 1991. 67-94.
2.20 "Bootstrapping Hypertext: Student-Created Documents, Intermedia, and the Social Creation of Knowledge." Sociomedia: Multimedia, Hypermedia, and the Social Creation of Knowledge. Ed. Edward Barrett. Cambridge: Massachusetts Institute Technology Press, 1992. 196-217.
2.19 "Connected Images: Hypermedia and the Future of Art Historical Studies." Technology and the Future of Scholarship in the Humanities. Ed. May Katzen. London: Butterworh, 1991.
2.18 "Popular Fallacies about Hypertext," Designing Hypermedia for Learning, ed. David H. Jonassen and Heinz Mandl. Heildelberg: Springer-Verlag, 1990. 39-59.
2.17 "Agressive (Re)interpretations of the Female Sage: Florence Nightingale's Cassandra." Victorian Sages and Cultural Discourse: Renegotiating Gender and Power. ed. Thaïs Morgan. New Brunswick: Rutgers University Press, 1990. 32-45.
2.16 "Hypertext and Collaborative Work: The Example of Intermedia." Intellectual TeamWork: Social and Technological Foundations of Cooperative Work. ed. Jolene Galegher, Robert Kraut, and Mark Egido. Hillsdale, N. J.: Lawrence Erlbaum, 1990. 407-427.
2.15 "Changing Texts, Changing Readers: Hypertext in Literary Education, Criticism, and Scholarship," in Reorientations: Literary Theory, Pedagogy, and Social Change. Ed. Bruce Henricksen and Thaïs Morgan. Urbana: University of Illinois Press, 1990. 133-161.
- Partially reprinted in The Contemporary Literary Criticism Yearbook, ed. Chris Giroux. Detroit: Gale Research, 1996.
2.14 "Elegant Jeremiahs: The Genre of the Victorian Sage." Victorian Perspectives. ed. John Clubbe and Jerome Meckier. London: Macmillan, 1989. 21-41. (A partial reprint of 1.10.)
- Italian translation: "Gli eleganti Geremia." Il Vittorianesimo: I Contesti Culturali della Letteratura Inglese. Trans. and Ed. Franco Marucci. Il Mulino: Bologna, 1991. 243-62.
2.13 "Response to James A. W. Heffernan," in Space, Time, Image, Sign: Essays on Literature and the Visual Arts. Bern: Peter Lang, 1987. 77--81.
2.12 "Ruskin's 'Language of Types,'" in John Ruskin ("Modern Critical Views") Ed. Harold Bloom. New York: Chelsea House, 1986, pp. 15--29. (A partial reprinting of item 1.1.)
2.11 "Lawrence and Ruskin: The Sage as Word-Painter," in Lawrence and Tradition, ed. Jeffrey Meyers. London: Athlone Press, 1985; Amherst: University of Massachusetts Press, 1985. 35--50.
2.10 (With Mary Carpenter) "Ambiguous Revelations: The Apocalypse in Victorian Literature," in The Apocalypse in English Renaissance Thought and Literature. eds. C. A. Patrides and Joseph A. Wittreich. Manchester, England: Manchester University Press, 1984; Ithaca: Cornell University Press, 1984. 299--322.
2.9 Entries for The King of the Golden River by John Ruskin, The Portent by George MacDonald, and The Story of the Glittering Plain by William Morris, The World's Desire by Andrew Lang and H. Ryder Haggard, in Survey of Modern Fantasy Literature. ed. Frank N. Magill. 5 vols. La Canada, California: Salem Press, 1983. II, 852--54; III, 1271--75; IV, 1831--33; V, 2176--79.
2.8 "John Ruskin and Holman Hunt on Going to Nature to See for Oneself," in Studies in Ruskin: Essays in Honor of Van Akin Burd, eds. Robert E. Rhodes and Del Ivan Janik. Athens, Ohio: Ohio University Press, 1982. 60--84.
2.7 ""Ruskin as Victorian Sage: the Example of 'Traffic,'" in New Approaches to Ruskin, ed. Robert Hewison. Boston and London: Routledge & Kegan Paul, 1981. 89--110. [full text]
2.6 "And the World Became Strange: Realms of Literary Fantasy," in Fantastic Illustration and Design in Britain, 1850--1930. Providence: Museum of Art, Rhode Island School of Design, 1979. 28--43.
- Reprinted in slightly different form in the 1979 Georgia Review. See 3.31.
- Reprinted in The Aesthetics of Fantasy Literature and Art, ed. Roger C. Schlobin. Notre Dame, Indiana: University of Notre Dame Press, 1982. Brighton, England: Harvester Press, 1983. 105--42.
2.5 (With Lisa Tabak) "Ivories," in Transformations of the Court Style: Gothic Art in Europe, 1270--1330. Providence, Rhode Island: Brown University, 1977 44--49.
2.4 in Transformations of the Court Style: Gothic Art in Europe, 1270--1330. Providence, Rhode Island: Brown University, 1977. 42, 52--53, 58--65.
- "Writing Tablet, The Annunciation to Mary . . . with the Martyrdom of St. Thomas a Becket."
- "Center Leaf of a Triptych with Crucifixion and Virgin and Child."
- "Diptych with scenes of the Nativity, Crucifixion, and Last Judgment (The
- Providence Diptych)."
- "Mirror back with Noble Couple and Hunting Party."
- "Coffer Lid, Jousting Scene."
2.3 "The Rainbow: A Problematic Image," in Nature and the Victorian Imagination, eds. U. C. Knoeplmacher and G. B. Tennyson. University of California Press, 1977. 341--69.
2.2 "Moses Striking the Rock: Typological Symbolism in Victorian Poetry," in Literary Uses of Typology from the Late Middle Ages to the Present, ed. Earl Miner. Princeton: Princeton University Press, 1977. 315--44.
2.1 "There Began to be a Great Talking about the Fine Arts," in The Mind and Art of Victorian England, ed. Josef P. Altholz. Minneapolis: University of Minnesota Press, 1976. 124--45, 188--92. [full text]
26 May 2010