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  • Notes on Contributors

Mark A. Cohen

Mark A. Cohen is Associate Professor of French in the Department of Modern Languages at Sarah Lawrence College where he teaches French literature and language. He has written numerous articles on seventeenth-century French literature and is currently working on a comparative study of fragmentary works in French and German literature.

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Claire Colebrook

Claire Colebrook is Professor of Literary Theory in the Department of English Literature at the University of Edinburgh. She is the author of New Literary Histories (1997), Ethics and Representation (1999), Gilles Deleuze (2002), Understanding Deleuze (2003), Irony in the Work of Philosophy (2003), and Gender (2003).

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Steven Dougherty

Stephen Dougherty teaches at Elizabethtown Community and Technical College in Elizabethtown, KY. His essays on nineteenth- and twentieth-century literature and culture have appeared in Arizona Quarterly, Cultural Critique, diacritics, and elsewhere.

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Jenny H. Edbauer

Jenny H. Edbauer is a doctoral candidate in the English Department at The University of Texas, where she teaches courses in rhetorical theory, cultural studies, and critical writing. Her essays and reviews have appeared in Rhetoric Society Quarterly, Enculturation, Composition Forum, and The Review of Communication. Her dissertation, “Everyday Intensities: Rhetorical Theory, Composition Studies, and the Affective Field of Culture,” explores the ways in which cultural rhetorics are ordered through what Raymond Williams calls “structures of feeling.”

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Chris Forster

Chris Forster is a graduate student in the English Department at the University of Virginia. His interests include both twentieth-century literature and literary theory.

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Gerald Gaylard

Gerald Gaylard lectures on romanticism, postmodernism and postcolonialism in the English Department at the University of the Witwatersrand, Johannesburg. He has published articles in Journal of Commonwealth Literature, Current Writing and English in Africa, among others. He is currently editing The Postcolonial Imagination: African Postmodernism and Magical Realism (Africa World Press, 2005).

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Philip A. Gunderson

Philip A. Gunderson received his Ph.D. in Literature from the University of California, San Diego in 2003. He presently works for the San Diego Public Library, teaches English composition at San Diego Miramar College, and spends much of his free time producing his own electronic music.

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Rimi Khan

Rimi Khan studied Communication and Cultural Studies at Murdoch University and recently completed an honors thesis examining appropriations of Foucault within cultural studies.

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V. Nicholas LoLordo

V. Nicholas LoLordo is Assistant Professor of English at the University of Nevada-Las Vegas, where he teaches courses on modern and contemporary poetry and poetics. He has published articles on Stephen Crane, Wallace Stevens, Laura (Riding) Jackson, and John Ashbery, and is completing a book manuscript on the “notorious difficulty” of poetry since modernism.

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Arkady Plotnitsky

Arkady Plotnitsky is Professor of English and Director of the Theory and Cultural Studies Program at Purdue University. He has written extensively on critical and cultural theory, continental philosophy, British and European Romanticism, and the relationships among literature, philosophy, and science. His most recent books are The Knowable and the Unknowable: Modern Science, Nonclassical Thought, and the “Two Cultures” (2002) and a collection of essays, Idealism Without Absolutes: Philosophy and Romantic Culture (2003), co-edited with Tilottama Rajan. His book Reading Bohr: Physics and Philosophy is forthcoming in 2005. He is currently completing a book-length project on British romanticism, Minute Particulars: Romanticism, Science, and Epistemology.

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Andrew Timms

Andrew Timms is Junior Research Fellow and Lecturer in Music at Worcester College, Oxford. His research interests range from musical analysis to cultural theory, and he is currently writing up his doctoral thesis, which examines the intersections between recent musicological writing and Western Marxism’s theorization of modernity, modernism, and postmodernism.

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