Papers Delivered

“Distance Listening”
American Comparative Literature Association Conference, Seattle, WA (2015)

“ ‘Crashing upon a stone ear’: Picturing the Sound of Paterson’s Falls”
Modern Language Association Annual Convention, Chicago, IL (2014)

“Hearing by Seeing: Literary Modernism and the Ineluctable Auralities of the Visual”
The Noises of Art: Audiovisual Practice in History, Theory, and Culture, Aberystwyth Arts Centre, University of Aberystwyth, Wales (2013)

“Conditional Musics, Aspirational Forms: Minding Modernism’s Acoustic Regressions”
Modernist Studies Association, University of Sussex, Brighton, England (2013)

“ ‘Objets sonores’: Comparative Poetics and the Compromising Ear”
International Comparative Literature Association, University of Paris-Sorbonne, France (2013)

“The Sonic Cut: Readings of Resonance in Stevens, Moten, Pound”
Seminar Organizer: “Broken Voices, Broken Ears”
American Comparative Literature Association, Brown University, Providence, RI (2012)

“Sounding Eternity: Copland's Dickinson Settings and the Case of Absent Lyric”
University of Virginia Department of English Graduate Conference, Charlottesville, VA (2011)

At the moment, I'm working on theories of sound in Pound, Williams, and Stevens, and their relations (or non-relations) to certain strands of 20th-century music, philosophy, and contemporary art criticism. My dissertation, "Learning to Hear: The Acoustic Space of Modern Poetry," considers expectations for hearing on the part of writers and readers of seminal modernist texts. I'm also looking to expand my consideration of Aaron Copland's Emily Dickinson settings into a broader discussion of music and lyric voice.

No recent courses taught.