Publikationen

Rev. "Ingo Berensmeyer. A Short Media History of English Literature" Anglistik 35.1 (2024): 241-243.

(with Katja Krebs, Dennis Cutchins), Eds. Routledge Companion to Adaptation. London Routledge, 2018.

(with Pascal Nicklas), Eds. Adaptation and Participatory Culture, Special Issue, Adaptation 6.2 (2013).

(with Monika Pietrzak-Franger), Eds. Adaptations – Performing across Media and Genres. Contemporary Drama in English 16. Trier: WVT, 2009.

(with Monika Pietrzak-Franger), "Staging the Palimpsest: An Introduction to Adaptation and Appropriation in Performance" in Adaptations – Performing across Media and Genres. Contemporary Drama in English 16. Trier: WVT, 2009. 1-16.

Introduction to Media Studies. Klett Uni-Wissen. Stuttgart: Klett, 2005.

“Algorithms, Artificial Intelligence, and Posthuman Adaptation: Adapting as Cultural Technique.” Adaptation, 14.2 (2021): 289–308, https://doi.org/10.1093/adaptation/apaa013.

“From Paratext to Polyprocess: The ‘Quirky’ Mashup Novel”. In J. Fehrle, W. Schäfke-Zell (Eds.). Adaptation in the Age of Media Convergence. Series Transmedia. Amsterdam: Amsterdam University Press 2019. 87-110.

“Memes, GIFs, and remix culture: compact appropriation in everyday digital life.” In: Voigts, E., Katja Krebs, Dennis Cutchins, Eds. Routledge Companion to Adaptation. London Routledge, 2018. 390-402.

„‘Sind wir nicht alle ein bißchen Remix?‘ – Appropriation und Referenzkultur in der medialen Moderne“, in Renate Stauf, Steffen Richter, Christian Wiebe (Eds.). Überschreiten, transformieren, mischen. Literatur an medialen Grenzen. Heidelberg: Winter, 2018. 267-282.

(with Katerina Marshfield) "Referencing in Academia: Videoessay, Mashup, Copyright." Media in Action 2 (2017): 113-134. Print. Online (2018): https://www001.zimt.uni-siegen.de/ojs/index.php/mia/issue/view/5.

"Memes and Recombinant Appropriation: Remix, Mashup, Parody" in Thomas Leitch (ed.) Oxford Handbook of Adaptation Studies. Oxford: OUP, 2017. 285-301.

"Some Random Thoughts about Animated GIFs: Compact Meme Micronarratives in Everyday Remix Culture" in Joachim Frenk, Lena Steveker, Eds. Proceedings Anglistentag 2016. Trier, WVT, 2017. 19-32.

“Literature and Television (after TV)” in Gabriele Rippl (ed.) Handbook of Intermediality. Berlin: DeGruyter Mouton, 2015. 306-324.

“Bastards and Pirates, Remixes and Multitudes: The Politics of Mash-Up Transgression and the Polyprocesses of Cultural Jazz” in Dan Hassler-Forest, Pascal Nicklas (eds.) The Politics of Adaptation. Media Convergence and Ideology. Houndmills: Palgrave Macmillan, 2015. 82-97.

“Mashup und intertextuelle Hermeneutik des Alltagslebens: Zu Präsenz und Performanz des digitalen Remix” MEDIENWissenschaft 2 (2015): 146-163.

“Introduction: Adaptation, Transmedia Storytelling and Participatory Culture” in Eckart Voigts, Pascal Nicklas (Eds). Adaptation and Participatory Culture, Special Issue, Adaptation 6.2 (2013): 139-142.

“Anti-Essentialist Versions of Aggregate Alice: A Grin Without a Cat” in Katja Krebs, Ed. Translation and Adaptation in Theatre and Film. London: New York and London: Routledge, 2013, 63-77.

“The Performative Self: Reception and Appropriation under the Conditions of ‘Spreadable Media’ in ‘Bastard Culture’” in Focus Ed. Renate Brosch, Focus on Reception and Reader Response, Anglistik: International Journal of English Studies 24.2 (2013), 151-168.

"Pride and Promiscuity and Zombies, or: Miss Austen Mashed Up in the Affinity Spaces of Participatory Culture" in Oliver Lindner, Pascal Nicklas, Eds. Adaptation and Cultural Appropriation. Berlin: DeGruyter, 2012. 34-56.

(with Nicola Glaubitz) "Einleitung 'Forum Anglistik in der Mediengesell­schaft'" in Joachim Frenk, Lena Steveker, Eds. Proceedings Anglistentag 2010. Trier, WVT, 2011. 3-8.

"Performative Hermeneutik durch mediendiversifizierte Fankulturen – eine Skizze, oder: Wie ein etablierter literaturwissenschaftlicher Begriff das Verständnis gegenwärtiger Medienkulturen befruchten kann” in Joachim Frenk, Lena Steveker, Eds. Proceedings Anglistentag 2010. Trier, WVT, 2011. 25-31.

"Teaching Web 2.0 and Cultural Studies: The Critical Media Literacy Approach to and with Social Media (Facebook, Wikipedia, YouTube et al.)" in Gabriele Linke, Ed. Teaching Cultural Studies. Methods – Matters – Models. anglistik & englisch­unterricht 76 Heidelberg: Winter 2011. 61-81.

"'Metadaptation': Adaptation and Intermediality – Cock and Bull" in Journal of Adaptation in Film and Performance 2.2 (2009): 137-152.

"Paratracks in the Digital Age" in Werner Huber, Evelyne Keitel, Gunter Süss, Eds. Intermedialities. Trier: WVT, 2007. 129-139.

"Heritage and Literature on Screen: Heimat and Heritage" in Deborah Cartmell, Imelda Whelehan, Eds. Cambridge Companion to Literature on Screen. Cambridge: Cambridge University Press, 2007. 123-137.

"Adaptation, Adaptation and Drosophilology, or Hollywood, Bio-Poetics and Literary Darwinism" in Christoph Houswitschka, Gabriele Knappe, Anja Müller, Eds. Proceedings Anglistentag 2005. Trier, WVT, 2006. 247-263.

"Undead Histories: Recent British TV Retrovisions” in Jürgen Kamm, Bernd Lenz, Eds. Medialised Britain. PALK Passauer Arbeiten zur Literatur- und Kultur­wissenschaft. Passau: Karl Stutz, 2006. 133-150.

"'I'll show you the life of the mind!' – Implizite Autoren, Metanarrativität, unzuverlässiges Erzählen und unzuverlässige 'Wahr-Nehmung' in Barton Fink (1991) und Adaptation (2002)" in Jörg Helbig, Ed. "Camera doesn't lie" – Spielarten erzählerischer Unzuverlässigkeit im Film. Trier: WVT, 2006. 97-122.

"Pop-Music, Video and Gender" in Werner Delanoy, Laurenz Volkmann, Nancy Grimm, Eds. Cultural Studies in the EFL Classroom. Heidelberg: Winter, 2006. 381-391.

"History: The Sitcom, England: The Theme Park – Blackadder's Retrovisions as Historiographic Meta-TV" in Gaby Allrath, Marion Gymnich, Eds. Narrative Strategies in Television Series. Houndmills, Basingstoke & New York: Palgrave/Macmillan, 2005. 211-228.

"Structured Fun – Net Wits or Nitwits in Hypermedia?" in Lilo Moessner, Christa M. Schmidt, Eds. Anglistentag 2004, Aachen, Proceedings. Section V "Hypertext" (Andreas Jucker). Trier: WVT, 2005. 381-196.

"'Your Voice is Around My Neck' – The Media History and Poetics of Theatre Telephony" in Forum Modernes Theater 19.2 (2004): 131-151.

“Dust and Sewers, Filth and Waste: 'Disgusting' Retro-Speculation in Neo-Victorian Narratives” in: Ayres, B., Maier, S.E. (Hg.) Palgrave Handbook of Neo-Victorianism. Cham: Palgrave Macmillan, 2024. 375-392. https://doi.org/10.1007/978-3-031-32160-3_20.

(with Shannon Wells-Lassagne), Eds. Filming the Past. Screening the Present: Neo-Victorian Adaptation. SALS 44. Trier: WVT, 2021.

“Literary Events and Real Policies: The Transmedia Cases of Walter Besant’s All Sorts and Conditions of Men (1882) and George Chesney’s The Battle of Dorking (1871)“. in: Christina Meyer and Monika Pietrzak-Franger (Eds.) Transmedia Practices in the Long Nineteenth Century. London: Routledge, 2022. https://doi.org/10.4324/9781003222941.

“Unreliable Neo-Victorian Narrators, ‘Unwomen,’ and Femmes Fatales: Nell Leyshon’s The Colour of Milk and Jane Harris’ Gillespie and I. in: Maier S., Ayres B. (eds) Neo-Victorian Madness. Palgrave Macmillan, 2020. 121-144.

(with Monika Pietrzak-Franger) “Good Vibrations: Hysteria, Female Orgasm, and Medical Humour in Neo-Victorianism” in Marie-Luise Kohlke, Christian Gutleben, Eds. Neo-Victorian Humour. Leiden: Rodopi Brill, 2017. 192-212.

(with Barbara Schaff and Monika Pietrzak-Franger), Eds. Reflecting on Darwin. Aldershot: Ashgate, 2014.

"'No One Can Keep Their Hand Off Alice': Alice, the 'Carroll Myth' and Bio-fiction" in: Sissy Helff, Nadia Butt, Eds. 'Tantalizing Alice': Approaches, Concepts and Case-Studies in Adaptations of a Classic. Trier: WVT, 2016. 41-56.

“Bio-Fiction: Neo-Victorian Revisions of Genetics and Evolution – The Cases of Darwin and Mendel” in Susanne Gruss, Nadine Schnitker-Böhm (Eds.). Neo-Victorian Literature and Culture: Immersions and Revisitations. London, NY: Routledge, 2014. 79-92.

“‘Victoriana’s Secret’: Emilie Autumn’s Burlesque Performance of Subcultural Neo-Victorianism” in Tara MacDonald and Joyce Goggin, Eds. Neo-Victorian Studies 6.2 (2014). Special Issue, Neo-Victorianism and Feminism: New Approaches. 15-39.

"Von ‚alten Herren‘ und ‚neuen Frauen‘: Genderkrisen in der phantastischen Literatur des Spätviktorianismus" in Uta Fenske, Walburga Hülk, Gregor Schuhen, Eds. Die Krise als Erzählung. Bielefeld: transcript, 2013. 277-291.

"Visuelle Evidenz und neoviktorianische Appropriationen der Fotografie" in Barbara Korte, Sabina Becker, Eds. Visuelle Evidenz. Fotografie im Reflex von Literatur und Film. lingua & litterae 5. Berlin/New York: DeGruyter, 2011. 233-248.

"'In-yer-Victorian-face': A Subcultural Hermeneutics of Neo-Victorianism" in LIT: Literature Interpretation Theory 20:1 (2009):108-125.

Ed. Janespotting and Beyond. British Heritage Retrovisions since the Mid-1990s. Tübingen: Narr, 2004.

"'Corset Wars' – An Introduction to Syncretic Heritage Film Culture since the Mid-1990s" in Eckart Voigts-Virchow, Ed. Janespotting and Beyond. British Heritage Retrovisions since the Mid-1990s. Tübingen: Narr, 2004. 9-31.

"The Renaissance of British Cinema since the Mid-1990s (or just 'Brit-à-brac' and 'Tarantinospotting'?)" in Merle Tönnies, Ed. Britain under Blair. anglistik & englischunterricht 65 (2003): 207-227.

(with Julika Griem) "Trashing and Recycling: Regenrification in British Heritage Movies and Costume Films of the 1990s" in Ewald Mengel, Hans-Jörg Schmid, Michael Steppat, Eds. Proceedings Anglistentag 2002 Bayreuth. Trier: WVT, 2003. 319-331.

(with Julika Griem) "Filmnarratologie: Grundlagen, Tendenzen und Beispielanalysen" in Vera & Ansgar Nünning, Eds. Erzähltheorie transgenerisch, intermedial, interdisziplinär. Trier: WVT, 2002. 155-184.

"'Aliens in Wessex – Alterity and Tragedy in Thomas Hardy's Studies of Migration" in Eckart Voigts-Virchow, Bernhard Reitz, Eds. Lineages of the Novel. Trier: WVT, 2000. 133-148.

(with Rüdiger Heinze “Neverwhere, Somewhere, Everywhere: A Modal Logic Approach to Fantastic Topographies”. In: Aubel, K., Edwards, S., K. Lenz, C. (Hg.) Spaces and Places in the Fantastic: Exploring Fantastic Geographies. Newcastle: Cambridge Scholars, 2025.

(with Merle Tönnies), Eds. Twenty-First Century Anxieties: Dys/Utopian Spaces and Contexts in Contemporary British Theatre. CDE Studies 32. Berlin: DeGruyter, 2022. https://doi.org/10.1515/9783110758252

"Anger, anxiety and hope: The complicit realities and engaged/ing communities of contemporary British dys/utopian theatre”. In: Eckart Voigts, Merle Tönnies (Eds.) Twenty-First Century Anxieties: Dys/Utopian Spaces and Contexts in Contemporary British Theatre. CDE Studies 32- Berlin: DeGruyter, 2022. 1-9.

“H.G. Wells, The Time Machine” in M. Pietrzak-Franger & M. Middeke (eds), Handbook of the English Novel, 1830-1900. Handbooks of English and American Studies: Text and Theory, vol. 9, Berlin: De Gruyter, 2020. 547-564.

(with Alessandra Boller), Eds. Dystopia. Science Fiction, Post-Apocalypse: Classics, New Tendencies and Model Interpretations. WVT Handbuch 17. Trier: WVT, 2015.

"Alderman, Naomi: The Power". In: Arnold, H.L. (eds) Kindlers Literatur Lexikon (KLL). J. B. Metzler, Stuttgar, 2022. https://doi.org/10.1007/978-3-476-05728-0_23313-1

"Ishiguro, Kazuo: Never Let Me Go". In: Arnold H.L. (eds) Kindlers Literatur Lexikon (KLL). J.B. Metzler, Stuttgart. 2020 https://doi.org/10.1007/978-3-476-05728-0_8808-1

"Posthuman Dystopia: Animal Surrealism and Permanent Crisis in Contemporary British Theatre" Journal for Contemporary Drama in English 8.2 (2020): 295–312. DOI: https://doi.org/10.1515/jcde-2020-0024

“After the ending – closure in post-apocalyptic narratives as fictions of uncertainty”. In A. Parey and S. Wells-Lassagne (Eds.). Adapting Endings from Book to Screen. Last Pages, Last Shots. London and NY: Routledge, 2020. 152-169. https://doi.org/10.4324/9780429260964

(with Alexandra Boller) “’What counts as a liveable life and a grievable death?‘ – Critical Posthumanism and Cloning in Kazuo Ishiguro's Never Let Me Go and Caryl Churchill's A Number“. In R. Bartosch, J. Hoydis (Eds.). Teaching the Posthuman. a & e. Heidelberg: Winter, 2019. 151-174.

"Dystopian Novels: Biopolitics and the Posthuman in Kazuo Ishiguro’s Never Let Me Go (2005) and Susan Greenfield’s 2121: A Tale from the Next Century (2013)", in Vera Nünning, Ansgar Nünning, Eds., The British Novel in the Twenty-First Century. Cultural Concerns – Literary Developments – Model Interpretations. Trier: WVT, 2018. 265-280.

"'Fixed Periods': Euthanasie als disziplinierte Zeittechnologie in Uchronien und Utopien des ausgehenden 19. Jahrhunderts" in Hans Ulrich Seeber, Julika Griem, Eds. Raum- und Zeitreisen: Studien zur Literatur und Kultur des 19. und 20. Jahrhunderts. Tübingen: Niemeyer, 2003. 53-71.

"'The Lord of the Files' – Carnivalizing Dystopia (Nineteen Eighty-Four) in Terry Gilliam's Brazil" in Paul Goetsch & Dietrich Scheunemann, Eds. Text und Ton im Film. ScriptOralia 102. Tübingen: Narr, 1997. 265-284.

(with Luciana Tamas) "‘How can you photograph words?’: Expanding the Godot universe from adaptation to transmedia storytelling”. In: Jonathan Bignell, Pim Verhulst and Anna McMullan (Eds.) Beckett's afterlives: Adaptation, remediation, appropriation. Manchester: MUP, 2023. https://doi.org/10.7765/9781526153807.00020

(with Jeanette R. Malkin and Sarah J. Ablett), Eds. Companion to British-Jewish Theatre since the 1950s. London: Bloomsbury Methuen Drama, 2021.

(with Jeanette R. Malkin) “Invisible Otherness: British-Jewish Theatre since the 1950s.” in Eckart Voigts, Jeanette R. Malkin, Sarah J. Ablett, Companion to British-Jewish Theatre since the 1950s. London: Bloomsbury Methuen Drama, 2021. 1-27.

(with Sarah Jane Ablett) “‘Affiliation and Belonging’: Contemporary British-Jewish” in Eckart Voigts,  Jeanette. R. Malkin, Sarah J. Ablett, Companion to British-Jewish Theatre since the 1950s. London: Bloomsbury Methuen Drama, 2021. 141-153.

“Tom Stoppard: European Phantom Pain and the Theatre of Faux Biography”. Humanities. 2021; 10(2):80. 1-12 https://doi.org/10.3390/h10020080

“’Too Much of a Modern?’ Pinter’s Jewishness”. In: Basil Chiasson, Catriona Fallow (Eds.) Harold Pinter: Stages, Networks, Collaborations. London: Bloomsbury Methuen, 2021. 71-87. DOI: 10.5040/9781350133662

(with Jeanette R. Malkin) “Wrestling with Shylock. Contemporary British Jewish Theatre and Shakespeare’s The Merchant of Venice”. European Judaism 51.2 (2018): 175–185.

"Samuel Beckett: Quad (1981)” in Bernhard Reitz, Ed. Das englische Drama und Theater von den Anfängen bis zur Postmoderne. Trier: WVT, 2016. 381-386.

“’Zany’ Alternative Comedy: The Young Ones vs Margaret Thatcher” in Jürgen Kamm, Birgit Neumann, (eds.) British TV Comedy - Cultural Concepts, Contexts and Controversies. London: Palgrave Macmillan, 2015. 36-152.

“’Dennis is a Liar’ - Mendacity in the Plays of Dennis Kelly” in Huber, Werner / Mettinger, Elke / Zettelmann, Eva (eds.). Dramatic Minds. Performance, Cognition, and the Representation of Interiority. Essays in Honour of Margarete Rubik. New York: Peter Lang, 2015. 261-272.

“Irish Comedy? Dylan Moran, Germany, Beckett, and Black Books” in Sandra Mayer, Julia Novak, Margarete Rubik, Eds. Ireland in Drama, Film, and Popular Culture. Festschrift for Werner Huber. Trier: WVT, 2012. 109-118.

"Richard Bean" in Aleks Sierz, Martin Middeke, Peter Paul Schnierer, Eds. Methuen Guide to Contemporary British Dramatists. London: Methuen, 2011. 1-21.

"The Theatre of the Absurd: Samuel Beckett's Waiting for Godot and Harold Pinter's The Homecoming" in Ansgar Nünning, Birgit Neumann, Maren Baumbach, Eds. Handbuch A History of British Drama. Trier: WVT, 2011. 285-303.

"'We are anathema' ― Sarah Kane's plays as postdramatic theatre versus the 'dreary and repugnant tale of sense'" in Graham Saunders, Laurens de Vos, Eds. Sarah Kane in Context, Manchester: Manchester UP, 2010. 195-208.

"Postdramatic Theatre (Martin Crimp, Attempts on Her Life)" in Merle Tönnies, Ed. Handbuch englisches Drama der Gegenwart: Kategorien, Entwicklungen, Modellinterpretationen. Trier: WVT, 2010. 157-172.

"Neil LaBute, the shape of things (2001)" in Herbert Grabes, Klaus Schwank, Eds. Das neuere amerikanische Drama. Autoren - Entwicklungen – Interpretationen. Trier: WVT, 2009. 255-268.

"Shades of Negativity and Self-Reflexivity: The Reception of Beckett in German Literary Studies" in Mark Nixon and Matthew Feldman, Eds. The International Reception of Samuel Beckett. New York and London: Continuum, 2009. 97-107.

"'Am I as much as … being seen.' Beckett-Inszenierungen" in Michael Giesing, Carola Veit, Gaby Hartel, Eds. Das Raubauge in der Stadt. Beckett liest Hamburg. Hamburg: Wallstein Verlag, 2007: 198-213.

(with Mark Schreiber) "'Will the 'Wordy Body' Please Stand Up?': The Crises of Male Impersonation in Monological Drama" in Clare Wallace, Ed. Monologues. Theatre, Performance, Subjectivity. Prague: Litteraria Pragensia Books, 2006. 278-296.

"Wendy Wasserstein, The Heidi Chronicles (1991)" in Susanne Peters, Klaus Stierstorfer, Laurenz Volkmann, Eds. Teaching Contemporary Literature and Culture II: Drama. Trier: WVT, 2006: 545-555.

"Face Values – Beckett Inc., The Camera Plays and Cultural Liminality" in Steven Connor, Daniela Caselli, Laura Salisbury, Eds. Other Becketts. Tallahassee, Florida: Journal of Beckett Studies Books, 2002. 119-135.

"Verweigerte Ortsbesichtigungen: Becketts Film und Eh Joe modern im Archiv" in Susanne Dürr, Almut Steinlein, Eds. Der Raum im Film / L'espace dans le film. Frankfurt/Main, New York etc.: Lang, 2002. 147-158.

"Quad I and Teletubbies or: Aisthetic Panopticism versus Reading Beckett" in Angela Moorjani, Carola Veit, Eds. Samuel Beckett: Endlessness in the Year 2000. Beckett Aujourd'hui/Today 11. Amsterdam, New York: Rodopi, 2001. 210-218.

"Sarah Kane – A Late Modernist? Intertextuality and Montage in the Broken Images of Crave (1998)" in Bernhard Reitz, Heiko Stahl, Eds. 'What Revels are in Hand?' Assessments of Contemporary Drama in English in Honour of Wolfgang Lippke. CDE Studies 8. Trier: WVT, 2001. 205-220.

"Colored Museums – Cultural Segregation, Black American Drama, and the Topdogs/Underdogs of African-American History" in Sigrid Rieuwerts, Ed. History and Drama. Essays in Honour of Bernhard Reitz. Trier: WVT, 2006: 305-315.Ed. Dramatized Media / Mediated Drama. Contemporary Drama in English 7. Trier: WVT, 2000.

"'Goodbye suspense goodbye?' – Postmodern TV Crime in The Singing Detective (1986) and Twin Peaks (1990-91)" in Raimund Borgmeier, Peter Wenzel, Eds. Spannung. Studien zur englischsprachigen Literatur. Trier: WVT, 2001. 132-148.
Also available from the e-journal cinetext: < http://cinetext.phl.univie.ac.at/magazine/voigts-virchow/suspense_potter_lynch.html>

"Introduction: Post-Theatrical Drama / Post-Dramatic Theatre" in Eckart Voigts-Virchow, Ed. Dramatized Media / Mediated Drama. Contemporary Drama in English 7. Trier: WVT, 2000. 7-11.

"'Cornucopia of Tinsel': Dennis Potter and the Culture of Advertising" in Vernon Gras, John R. Cook, Eds. The Passion of Dennis Potter. New York, London: St. Martin's Press, 2000. 73-87.

"Anglian Antics – British Film Comedies of the Eighties and Nineties" in Journal for the Study of British Cultures 5.2 (1998): 129-142.

"Exhausted Cameras –  Beckett in the TV Zoo" in Jennifer M. Jeffers, Ed., Samuel Beckett: A Casebook. New York: Garland, 1998. 225-249.

"Verbildert, verWAHRlost, verlacht - das Fernsehen im zeitgenössischen britischen Theater" in Julika Griem, Ed. Bildschirmfiktionen. Interferenzen zwischen Literatur und neuen Medien. ScriptOralia 106. Tübingen: Narr, 1997.

Männerphantasien - Introspektion und gebrochene Wirklichkeitsillusion im Drama von Dennis Potter. Trier: WVT, 1995.

"Pinter Still/Again Pinteresque?” – Opacity and Illumination in Moonlight (1993)" in Centres and Margins: Contemporary Drama in English 2 (1995): 119-137.

"Learning by Suffering/Singing: Dennis Potter's The Singing Detective as a Musical Tragicomedy of Disease" in New Forms of Comedy: Contemporary Drama in English 1 (1994): 45-61.

(with R. Auer, D. Elflein, S. Kunas, J. Röhnert, C. Seelinger), Eds. Artificial Intelligence – Intelligent Art? Human-Machine Interaction and Creative Practice. Digital Society 64. Bielefeld: transcript, 2024.

(with D. Elflein, J. Röhnert, "Artificial Intelligence – Intelligent Art? An Introduction". In E. Voigts, R. Auer, D. Elflein, S. Kunas, J. Röhnert, C. Seelinger (eds.) Artificial Intelligence – Intelligent Art? Human-Machine Interaction and Creative Practice. Digital Society 64. Bielefeld: transcript, 2024. 9-33.

(with Monika Pietrzak-Franger and Nora A. Plesske), Eds. Transforming Cities. Discourses of Urban Change. a&e 85. Heidelberg: Winter, 2018.

(with Monika Pietrzak-Franger and Nora A. Plesske) “Transforming Cities: Discourses of Urban Change from Victorian London to Global Megacities – An Introduction” In: Transforming Cities. Discourses of Urban Change. a&e 85. Heidelberg: Winter, 2018. 7-26.

“Enthumanisierende Verdinglichung im Industrieroman”. In Susanne Scholz, Ulrike Vedder, Eds. Handbuch Literatur und Materielle Kultur. Handbücher zur kulturwissenschaftlichen Philologie. Berlin/Boston: DeGruyter, 2018. 273-280.

"LandLust – The 'Knowability' of Post-Pastoral Ruralism" in: Vanessa Miriam Carlow (ed.) Ruralism – The Future of Villages and Small Towns in an Urbanizing World. Berlin: Jovis, 2016. 162-178.

"'Crazy Neighbourhoods': Urbanization, Urban Spaces and Experiences" in Renate Brosch, Ed. Victorian Visual Culture anglistik & englischunterricht  71. Heidelberg: Winter, 2008. 207-223.

"'Cities of Dreadful Night' – Die Stadt in der spätviktorianischen Proto-Science Fiction (1870-1900)" in Thomas LeBlanc, Bettina Twrsnick, Eds. Die phantastische Stadt. Wetzlar: Phantastische Bibliothek, 2005. 25-55.

"From Greyhound Man to Iron Man: Charles Reade's Put Yourself in His Place and the Rhetoric of Labour in the Industrial Novel" in Peter Drexler, Ed. Nice Work? Critical Perspectives on the Changing Nature of Labour, Leisure, and Unemployment in Britain. Trier: WVT, 2002. 149-163.

"Melancholy Elephants and Virgin Machines: Technological Imagery and Mechanical Lacunae from Industrial Novels to Scientific Romances" in Elmar Schenkel, Stefan Welz, Eds. Lost Worlds and Mad Elephants. Literature, Science and Technology 1700-1900. Glienicke, Berlin & Cambridge, Mass.: Galda & Wilch, 1999. 141-162.

Erzählte Technik – Metaphorisierte Moderni­sierung und technokulturelle Semanti­sierung im 19. Jahrhundert am Beispiel viktorianischer Industrie­romane und Proto-Science-Fiction (manuscript, 2003).

"Ken Loachs Historienfilm zum irischen Bürgerkrieg: The Wind that Shakes the Barley", in Claudia Lillge (Ed.). Ken Loach. Film-Konzepte 49. München: edition text + kritik, 2018. 55-65.

“A Theatre of Attraction: Colonialism, Gender, and The Tempest’s Performance History” in Virginia Mason Vaughan and Alden T. Vaughan, Eds. The Tempest: A Critical Reader. London: Bloomsbury, 2014. 39-60.

"Ent-Stellungen ― Chris Cunningham Körper als Pop-Surrealismus" in Nanette Rißler-Pipka, Michael Lommel, Justyna Cempel, Eds. Der Surrealismus in der Mediengesellschaft – zwischen Kunst und Kommerz. Bielefeld: transcript, 2010. 197-215.

"Charles Reade – The Cloister and the Hearth", "Dennis Potter – The Singing Detective", "Arthur Morrison – A Child of the Jago", "Howard Barker – The Castle" in Kindlers Literatur Lexikon. 3., völlig neu bearbeitete Auflage. Hrsg. von Heinz Ludwig Arnold. Stuttgart/Weimar: Verlag J.B. Metzler 2009. Kindlers Literatur Lexikon Online: www.kll-online.de (31. August 2010).

"Therapeutic Rape? – From Censoring Plays to Censoring Display in Film and Television: The Case of Dennis Potter's Brimstone and Treacle" in Barbara Korte, Jochen Petzold, Eds. Special Issue on Censorship, Journal for the Study of British Cultures 15.2 (2008). 135–146.

"Shelley, Malley, Carey: A Performative Hermeneutics of Faking and Hoaxing" in Christiane Schlote, Eckart Voigts-Virchow, Eds. Constructing Media Reality: The New Documentarism. Zeitschrift für Anglistik und Amerikanistik 56.2 (2008). 175-192.

(with Christiane Schlote), "Introduction: 'The Creative Treatment of Actuality' – New Documentarism" in Christiane Schlote, Eckart Voigts-Virchow, Eds. Constructing Media Reality: The New Documentarism. Zeitschrift für Anglistik und Amerikanistik 56.2 (2008). 107-116.

(with Christiane Schlote), "The Documentary Turn: Introduction". Anglistentag 2007. Proceedings. Trier: WVT, 2008. 95-102."Passionate about the 'Real'? 'See What Happens': A Profile of the Filmmaker Michael Winterbottom" in Hard Times 83 (2008): 31-34.

"Gestures towards Authenticity: Michael Winterbottom's Documentary Fiction" in Jürgen Kamm, Richard Kilborn, Eds. Journal for the Study of British Cultures: Documentary Cultures 17 (2010): 33-46.

(with Christiane Schlote), Guest Editors Constructing Media Reality: The New Documentarism. Zeitschrift für Anglistik und Amerikanistik 56.2 (2008).

(with Christiane Schlote), Section Editors "The Documentary Turn”. Anglistentag 2007. Proceedings. Ed. Klaus Stierstorfer. Trier: WVT, 2008. 95-178.

(with Bernhard Reitz), Eds. Lineages of the Novel. Trier: WVT, 2000.

"Thomas Hardy, 'For Conscience' Sake'" in Raimund Borgmeier, Ed. Interpretationen: Englische Short Stories von Thomas Hardy bis Graham Swift. Stuttgart: Reclam, 1999. 21-29.

"Kingsley Amis, 'Court of Inquiry'" in Raimund Borgmeier, Ed. Inter­pretationen: Englische Short Stories von Thomas Hardy bis Graham Swift. Stuttgart: Reclam, 1999. 223-231.

"Edward Thomas, 'The Owl'" in Thomas Hanke, Ed. Interpretationen: Englische Gedichte des 20. Jahrhunderts. Stuttgart: Reclam, 1997. 70-76.

"Something richer, stranger, more self-indulgent – Peter Greenaway's Fantastic See-Changes in Prospero's Books et al." in Dieter Petzold, Ed. anglistik & englischunterricht 59: Fantasy (1996): 83-100.