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33Chthonic Restitutions: Madness and OblivionSubstance 49 (3): 3-18. 2020.Abstract. This essay theorizes madness as a chthonic emplacement to dishevel existentially insufficient and detached interpretations of disorder. Reflecting on Nietzsche’s emphasis on poetry over systematic thought, I take up Lorca and Baudelaire’s visceral language on death and the earthly to revisit chthonic myths as expressing an underworld uncontrollable sphere beyond systematicity. Written from the phenomenologically precarious position of my own mental illness, this essay develops a sincer…Read more
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16Conjuring the Concept of Rome: Alterity and Synecdoche in Peruzzi’s Design for La CalandriaSixteenth Century Journal 45 (1). 2014.This essay sets forth a nuanced interpretation of Baldassare Peruzzi’s stage design for La Calandria (1514) that addresses the spatial disassociations found in the drawing in relation to active modes of visual engagement.
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18Uccello's Fluttering Monument to Hawkwood, with Schwob and ArtaudDiacritics 44 (2): 86-103. 2016.At the twilight of the nineteenth century, the French symbolist writer Marcel Schwob assimilated Paolo Uccello (1397-1475) into modern sensibilities: “For Uccello did not care about the reality of things, but about their multiplicity and about the infinitude of lines.” Schwob’s consideration of Uccello (much like Antonin Artaud’s, who wrote the surrealist “Uccello le poil”) has been traditionally neglected by art historians. And yet, these literary encounters with the painter retain a sense of h…Read more
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38Visual Experiences in Cinquecento Theatrical SpacesUniversity of Toronto Press. 2018.Through an interdisciplinary examination of sixteenth-century theatre, Visual Experiences in Cinquecento Theatrical Spaces studies the performative aspects of the early modern stage, paying special attention to the overlooked complexities of audience experience. Examining the period’s philosophical and aesthetic ideas about space, place, and setting, the book shows how artists consciously moved away from traditional representations of real spaces on stage, instead providing their audiences with …Read more
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Velázquez’s Democritus: Global Disillusion and the Critical Hermeneutics of a SmileRenaissance and Reformation 39 (1): 35-62. 2016.Velázquez’s Democritus (ca. 1630) presents a unique encounter: not only are there few depictions in which the Greek philosopher appears with a sphere that shows an actual map, but Velázquez used a court jester as a model for Democritus, thus placing the philosopher within a courtly space. When we study the painting in relation to the literary interests of the Spanish Golden Age and its socio-political circumstances, we can see the figure of Democritus as far from just another instantiation of a …Read more
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47A Note on Deleuze and Renaissance ArtSubstance 45 (1): 44-65. 2016.“Perspective is much more than a secret technique for imitating a reality… It is the invention of a world dominated and possessed through and through.” These inimical words by Maurice Merleau-Ponty encapsulate a customary philosophical position, as explicit and implicit references to early modern culture by critical theorists and continental philosophers lead to an uninviting and even sinister picture. Because of its emphasis on the human eye, quantitative spatial relations, and the virtual inci…Read more
Bellingham, WA, United States of America
Areas of Specialization
Visual Arts |
Continental Aesthetics |
Renaissance Humanism |
Areas of Interest
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Continental Aesthetics |
Art and Artworks |
Existentialism |
Mental Illness |
Philosophy of History |
Renaissance Humanism |