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Notes on Contributors Derek Lowe teaches British Romantic literature at the University of South Alabama in Mobile. He received his Ph.D. from the University of California, Irvine, where he studied Romantic poetic author­ ity, and he has published on the poetic relationship between Words­ worth and Keats in the Keats-Shelley Journal (2008). He has recently published on Keats’s “On First Looking into Chapman’s Homer” in The Keats-Shelley Review (2015), and he is currently working on the broader influence ofeighteenth-century concepts ofcopyright and lit­ erary property on Romantic-period practices. Adam R. Rosenthal is an Instructional Assistant Professor in the Department of International Studies at Texas A&M University. He has published articles on Baudelaire, Heidegger, and Philippe Petit. He is currently writing a book on Romantic poetry and the gift. Darin Graber is a doctoral candidate in the Department ofEnglish at the University ofColorado, Boulder. His dissertation shows how con­ temporary hydrological science (or “hydrodynamics”) gained influ­ ence in Victorian culture through industrialization’s reliance on flow­ ing bodies of water. It then examines the ways in which the period’s literature subsequently illustrates and critiques real-world managerial approaches toward public spaces, economic production, population groups, and social relations that invoke hydrological conceptions of productive movement. Gerard Lee McKeever is a postdoctoral Research Assistant on the AHRC-funded “Editing Robert Burns for the 21st Century” project at the University of Glasgow. Recent and forthcoming articles by him appear in Studies in Scottish Literature, Scottish Literary Review and Studies inJames Hogg and his World. He is a founding co-convener ofthe Scot­ tish Romanticism Research Group at Glasgow and is currently pre­ paring a scholarly monograph on Scottish Romanticism and improve­ ment. Ulf Houe is a Literary Editor at Tiderne Skifter, a Danish publishing house. His research interests revolve around the intersections between literary and visual culture, and biology, especially Darwinism. 139 140 NOTES ON CONTKIBUTORS Mark C an u I-i. is Professor of English at the University of Illinois at Chicago. He is the author ofJustice, Dissent, and the Sublime (Johns Hopkins, 2012) and the editor of British Romanticism: Criticism and De­ bates (Routledge, 2015). R A c 11 hi. Fede r is Assistant Professor ofBritish Romantic Literature at the University of Denver. Her current book project examines En­ lightenment and Romantic-era debates about the nature and reality of infinity in order to reread Romantic poetry and historicize the envi­ ronmental humanities. Carmen Fayf. Mateies earned her Ph.D. from the University of British Columbia. Her doctoral project was the investigation of disap­ pointment as a Romantic critical and aesthetic category. Andrew Warren is John L. Loeb Associate Professor of the Human­ ities in Harvard’s Department of English, where he also co-directs the Mahindra Humanities Center’s Seminar in Dialectical Thinking. His first book, The Orient and the Young Romantics, was published in 2014 by Cambridge UP. His new project is entitled Romantic Entanglements: the Figure of an Era, 1759—1845. Thomas P f a u is the Alice Mary Baldwin Professor of English at Duke University; he is also Professor and Chair of Germanic Languages & Literatures and holds a secondary appointment in the Duke Divinity School. He is the author ofsome forty essays and articles, some twenty book reviews, several essay collections and volumes of translations, as well as three monographs, including Romantic Moods (Johns Hopkins, 2005) and Minding the Modern: Human Agency, Intellectual Traditions, and Responsible Knowledge (U of Notre Dame P, 2013). ...


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