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Andrew James and Drew Milne, 'How Peace Came' - installation at the Tannery Gallery, London 1994

Critical essays and articles

'Liminal, Ludic and Disruptive: Christopher Middleton's Short Prose', PN Rewview, 213, Volume 40 Number 1, September - October 2013.

'Hugh MacDiarmid’s modernisms: Synthetic Scots and the spectre of Robert Burns', in Regional Modernisms (Edinburgh: Edinburgh University Press, 2013), eds., Neal Alexander and James Moran, pp. 142-159.

'The Unnatural History of Pure Poetry'', in Vlak: Contemporary Poetics & The Arts, vol 3 (2012), 249-50.

'Performance over being: Frank O'Hara's artifice', in Textual Practice, volume 25, issue 2, April 2011, 297-313.

‘Politics and Modernist Poetics’, in Teaching Modernist Poetry, eds. Peter Middleton and Nicky Marsh (London: Palgrave, 2010).

'Muriel Spark's crimes of wit', in Edinburgh Companion to Muriel Spark, eds. Willy Maley and Michael Gardiner (Edinburgh: Edinburgh University Press, 2010).

'Neo-modernism and avant-garde orientations', in A Concise Companion to Postwar British and Irish Poetry, eds. Nigel Alderman and C.D.Blanton (Oxford: Wiley-Blackwell, 2009), pp. 155-175.

'Modernist poetry in the British Isles', in The Cambridge Companion to Modernist Poetry', eds. Alex Davis and Lee M. Jenkins (Cambridge: CUP, 2007), pp. 147-162.

'Processual Performance: Critical Notes on Adorno's Autonomous Artwork', in As Radical as Reality Itself: Essays on Marxism and Art for the 21st Century, eds. Matthew Beaumont, Andrew Hemingway, Esther Leslie and John Roberts (Bern: Peter Lang, 2007), pp. 347-366.

‘Wit’, Glossolalia: An Alphabet of Critical Keywords, ed. Julian Wolfreys (Edinburgh: Edinburgh University Press, 2003), pp. 324-338.

'The Art of Wit and the Cambridge Science Park', in Contemporary Poetry and Contemporary Science, edited by Robert Crawford (Oxford: Oxford University Press, 2006), pp. 170-187, & pp. 220-223.

‘Introduction’, John Wilkinson, Proud Flesh(Cambridge: Salt, 2005), pp. ix-xvi.

Modern Critical Thought: an anthology of theorists writing on theorists, ed. Drew Milne (Oxford: Blackwell, 2003). Buy online at Amazon.co.uk or Amazon.com.

'The Fiction of James Kelman and Irvine Welsh: Accents, Speech and Writing', in Contemporary British fiction, edited by Richard J. Lane, Rod Mengham and Philip Tew (Cambridge: Polity, 2003), pp. 158-173, ISBN 0-7456-2867-2, £15.99.

‘Fastness: Beckett’s Quad’, Prague Literary Review (2003)

‘The Beautiful Soul: from Hegel to Beckett’, Diacritics, volume 32:1 (Spring, 2002), pp. 63-82

'What becomes of the broken-hearted: King Lear and the dissociation of sensibility', essay in Shakespeare Survey, vol. 55 (2002), 53-66.

'Cheerful History: the Political Theatre of John McGrath', essay in New Theatre Quarterly, vol. 72 (2002), 313-324.

‘Corners of the eye: collaborations in contemporary poetry and photography’, in Works on Paper (2002), pp. 122-7, eds. Helen Slater and Thomas Mansell.

'Electra Traces: Beckett's critique of Sophoclean tragedy' , Didaskalia, Ancient Theatre Today, special issue on Electra, vol. 5, no. 3 (Summer 2002).

'In Memory of the Pterodactyl: the limits of lyric humanism',The Paper, issue 2 (September, 2001), pp. 16-29.

'The Anxiety of Print: Recent Fashions in British Drama', in Crucible of Cultures: Anglophone drama at the dawn of a new millennium, eds. Marc Maufort & Franca Bellarsi (Bruxelles: Peter Lang, 2002), pp. 31-46. (www.peterlang.net)

'Charles Madge: Political Perception and the Persistence of Poetry', in New Formations, no. 44 (Autumn, 2001), pp. 63-75.

'Broken English: James Kelman's Translated Accounts', in Edinburgh Review, 108 (2001), pp. 106-115.

'Lawrence and the politics of sexual politics' in The Cambridge Companion to D.H. Lawrence, ed. Anne Fernihough (Cambridge: C.U.P., 2001), pp. 197-215.

'Pinter's sexual politics', in The Cambridge Companion to Harold Pinter, ed. Peter Raby (Cambridge University Press, 2001), pp. 195-211.

'Attacking the world's Portadownians: Beckett's early politics', in Samuel Beckett today / Aujourdhui, eds. Marius Buning and Peter Boxall, vol. 9 (2000). pp. 279-293.

'Flaming Robes: Keats, Shelley and the metrical clothes of class struggle', essay in Textual Practice, vol. 15, no. 1 (Spring, 2001), pp. 101-122.

'Introduction' to new edition of John Malcolm Brinnin, Dylan Thomas in America (London: Prion, 2000), pp.ix - xiv.

'Drama in the culture industry: British theatre after 1945', in British Culture of the Postwar: an introduction to literature and society 1945-1999, eds. Alistair Davies and Alan Sinfield (London and New York: Routledge, 2000), pp. 169-191

"Pop tones: poetry in the era of the post", Stand, new series, vol. 1, no. 4 (Dec. 1999). 81-7.

ed. Drew Milne, Inscape, 5 (Spring 1999) - special issue of contemporary British poetry.

'Between Philosophy and Critical Theory: Marcuse', The Edinburgh Encyclopedia of Continental Philosophy, ed. Simon Glendinning (Edinburgh: Edinburgh University Press, 1999), pp. 461-470.

"The Dissident Imagination: Beckett's Late Prose Fiction", An Introduction to Contemporary Fiction, ed. Rod Mengham (Cambridge: Polity Press, 1999), pp. 93-109.

"The Performance of Scepticism", act 3: Endgames, eds. Juliet Steyn and John Gange (London: Pluto, 1997), 50-76.

"Adorno's Hut: Ian Hamilton Finlay's neoclassical rearmanent programme", Scottish Journal of Literary Studies, vol. 23, no. 2 (Nov. 1996), 69-79.

"Marxist Literary Theory after Derrida", Common Sense 19 (1996), 5-19.

"De Kooning's Attic", act 2: Beautiful Translations, eds. Juliet Steyn and John Gange (London: Pluto, 1996), 22-33.

Marxist Literary Theory: A Reader, co-edited with Terry Eagleton (Oxford: Basil Blackwell, 1996).

"David Jones: a charter for philistines", Conductors of Chaos, ed. Iain Sinclair (London: Picador, 1996).

"Whose line is it anyway? contemporary British art and poetry", tate: the art magazine, 7 (Spring, 1996), 48-53.

"John Wilkinson: swarf fever", Pages, (1995), 314-9.

(with Allen Fisher) "Exchange in Process", Parataxis, 6 (1994), 28-36, and 8 (1996), 47-8.

(with J.H.Prynne), "Some Letters", Parataxis, 5 (1993-4), 56-62.

'Cottage Industries and Agoraphobia: further notes on risk'; Parataxis, 4 (1993), 58-69.

"Beyond new historicism: Marlowe's unnatural histories and the melancholy properties of the stage", The Glasgow Review, 1 (1993), 79-91.

"James Kelman: dialectics of urbanity", Conference proceedings, Fourth International Conference on the Literature of Region and Nation, Swansea 1992, published as special issue of Swansea Review, 1994.

'Agoraphobia and the embarrassment of manifestoes: notes towards a community of risk', Parataxis, 3 (1993), 25-40.

"Theatre as communicative action: Augusto Boal's Theatre of the Oppressed", Comparative Criticism, 14 (1992), 111-134.

"The Gulf Crisis: Derrida on Kant's third Critique", Pli (formerly The Warwick Journal of Philosophy), vol. 3, no.2 (1991), 89-107.

"The Function of Criticism: a polemical history", Parataxis, 1 (Spring 1991), 30-50.



 



Copyright 2017, Drew Milne

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