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Robert Miklitsch

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Professor

English
Ellis 365
miklitsc@ohio.edu
740-593-2801

Recent News

Education

Ph.D., English. SUNY at Buffalo, Spring 1981

M.A., Writing Seminars, The Johns Hopkins University, 1977

B.A., University of Notre Dame, 1975

Scholarly Focus

  • Film (noir, melodrama, gangster film, Hollywood musical)
  • Music (pop, jazz, classical)
  • Media (TV, video)
  • Popular-cultural studies

Publications

Books

Siren City: Sound and Source Music in Classic American Noir. Brunswick, NJ: Rutgers University Press, February, 2011. 300 pp.

Roll Over Adorno: Critical Theory, Popular Culture, Audiovisual Media (Albany: State University of New York Press, 2006). 262 pp.

From Hegel to Madonna: Towards a General Economy of “Commodity Fetishism” (Albany: State University of New York Press, 1998).  224 pp.

Books: Edited Collections

Kiss the Blood off My Hands: Re-Screening Classic American Film Noir.

Psycho-Marxism: Marxism and Psycho-Analysis Late in the Twentieth Century, ed. Robert
Miklitsch (Durham: Duke University Press, 1998).  280 pp.

Book Chapters

“Audio-Noir: Audiovisuality in Neo-Modernist Noir,” Neo-Noir, ed. Mark Bould et. Al (London, UK: Wallflower Press, 2009): 28-43.

“Real Fantasies: Connie Stevens, Silencio, and Other Sonic Phenomena in Mulholland Drive,” Lowering the Boom: Critical Studies in Film Sound, ed. Jay Beck and Anthony Grajeda (Urbana, IL: University of Illinois Press, 2008): 233-248.

“Flesh for Fantasy: Aesthetics, the Fantasmatic, and Film Noir,” Traversing the Fantasy: Critical Essays on Slavoj Zizek, ed. Geoff Boucher et al. (Aldershot, UK: Ashgate, 2005): 17-39

“Beginnings and Endings: Mark Strand’s ‘Untelling,’” Poetry Criticism, ed. Larry Trudeau Detroit: Gale, 2005): 29-42 [reprint].

“Difference: Roland Barthes’ Pleasure of the Text, Text of Pleasure,” Roland Barthes, ed. Mike Gane and Nicholas Gane (Thousand Oaks, CA: Sage, 2003): 557-570 [reprint].

“Assembling a Landscape: The Poetry of Louise Glück,” The Twayne Companion to Literature in English, ed. R.H.W. Dillard and Amanda Cockrell (New York: Twayne, 2003): 347-360 [reprint].

“The Politics of Teaching Literature,” Beyond the Corporate University, ed. Henry Giroux and Kostas Myrsiades (Lanham, MD: Rowman & Littlefield, 2001): 267-285 [reprint].

“Punk Pedagogy, or Performing Contradiction: The Risks and Rewards of (Anti-) Transference,” Education and Cultural Studies: Toward a Performative Practice, ed. Henry Giroux and Patrick Shannon (New York: Routledge, 1997): 259-270 [reprint].

“News from Somewhere: Reading Raymond Williams’ Readers,” Cultural Materialism, ed. Christopher Prendergast (Minneapolis: University of Minnesota Press, 1995): 71-90.

“The Politics of Teaching Literature,” Margins in the Classroom: Teaching Literature, ed. Kostas and Linda Myrsiades (Minneapolis: University of Minnesota Press, 1994): 71-90 [reprint].

“Godard/Auden/Martini: Framing the Annunciation Scene,” Perspectives on Perception: Philosophy, Art, and Literature, ed. Mary Ann Caws (New York: Peter Lang, 1989): 95-122.

“Incognito Lounge,” Contemporary Literary Criticism, ed. Daniel G. Marowski and Roger Maturz (Detroit: Gale, 1989): 567-571 [reprint].

Articles

“Audiophilia: Audiovisual Pleasure and Narrative Cinema in Jackie Brown,” Screen 45, No. 4 (Winter 2004): 287-304.

“Shot/Counter-Shot: Gender, Sexuality, and Postmodern Style in The Sopranos,” New Review of Film and Television Studies 2, No. 2 (November, 2004): 16-29.

“Gen-X TV: Political-Libidinal Structures of Feeling in Melrose Place,” Journal of Film and Video 55, No. 1 (Spring 2003): 16-29.

“Zizek and Popular Culture: Art for Lacan’s Sake,” Journal of Advanced Composition 21, No. 3 (Summer 2001): 605-612.

“Rock ‘n’ Theory: Theory, Autobiography, Cultural Studies, and the Death of Rock,” Postmodern Culture 9, No. 2 (January 1999): [27 pp].

“Introduction,” Marxism and Psychoanalysis Late in the Twentieth Century, South Atlantic Quarterly 97, No. 2 (Spring 1998): 227-234.

“‘Going through the Fantasy’: Screening Slavoj Zizek,” South Atlantic Quarterly 97, No. 2 (Spring 1998): 475-507.

“The Commodity-Body-Sign: Toward a General Economy of ‘Commodity Fetishism,’” Cultural Critique 33 (Spring 1996): 5-40.

“The Rhetoric of Post-Marxism: Discourse and Institutionality,” Social Text 45 (Winter 1995): 165-199.

“Total Recall: Production, Revolution, Simulation Alienation-Effect,” Camera Obscura 32 (Summer 1995): 5-40.

“Sturm und Searle: Intervention, Transformation, Democratization,” Mediations 16, No. 2 (May 1992): 24-29.

“Troping Prostitution: Two or Three Things about Post-Marxism and Feminism,” Genders 12 (Winter 1991): 120-139.

“Performing Difference: Brecht, Galileo, and the ‘Regime of Quotations,’” Journal of Dramatic Theory and Criticism 6, No. 1 (Fall 1991): 15-28.

“The Politics of Teaching Literature: The ‘Paedagogical Effect,’” College Literature 17, Numbers 2/3 (June/October 1990): 23-35.

“The Poppies of Practical Criticism: ‘Rabbi, Read the Phases of This Difference,’” Diacritics 17, No. 2 (Summer 1987): 23-35.

“The Critic as Poet, Poet as Critic: Randall Jarrell, Deconstruction, and ‘Dirty Silence,’” American Poetry 1, No. 2 (Winter 1984): 35-48.

“Difference: Roland Barthes’ Pleasure of the Text, Text of Pleasure,” Boundary 2, Vol. 12, No. 1 (Fall 1983): 101-114.

“Assembling a Landscape: The Poetry of Louise Glück,” The Hollins Critic 19, No. 4 (October 1982): 1-13.

“Praise: The Poetry of Robert Hass,” The Hollins Critic 19, No. 4 (October 1982): 1-13.

“Ut Pictura Poesis: Reduction in Contemporary American Painting and Poetry,” The American Poetry Review 9, No. 6 (Winter1980): 18-32.

“‘A Postcard from the Volcano’: An Appreciation,” The Wallace Stevens Journal 3, Numbers ¾ (Spring 1979): 36-40.

“Beginnings and Endings: Mark Strand’s ‘Untelling,’” The Literary Review 21, No. 3 (Spring 1979): 357-373.

Review Essays

“Lust, Fantasy, Male Hysteria: Clint Eastwood (Un-) Bound,” Minnesota Review 43/44 (Fall 1995): 118-135.

“Punk Pedagogy, or Performing Contradiction: The Risk and Rewards of (Anti-) Transference,” The Review of Education, Pedagogy, and Cultural Studies 16, No. 1 (1994): 57-67.

“The Language of Literary History: Dead or Alive?,” The Yale Review 77, No. 1 (Autumn 1987): 103-114.

“News from Somewhere: On Raymond Williams,” Textual Practice 6, No. 1 (Spring 1992): 67-78.

“Self-Portrait in a Convex Mirror” (on John Ashbery), Contemporary Literature 21, No. 3 (Spring 1980): 118-135.

Reviews

“Film Noir” (on Raymond Borde and Étienne Chaumeton’s Panorama of American Film Noir and Paula Rabinowitz’s Black & White & Noir), Film Quarterly 57, No. 4 (Summer 2004): 66-68.

“From Classic Rock to Gangsta Rap” (on Anthony DeCurtis’ Rocking My Life Away), Southern Review 33, No. 1 (Fall 2000): 117-120.

“Exotic Parodies: Subjectivity in Adorno, Said and Spivak” (Asha Varadharajan), Yearbook of Comparative and General Literature 43 (1996 [1995]): 144-148.

“The Incognito Lounge” (Dennis Johnson), The Iowa Review 13, Numbers 3/4 (1982/83): 246-250.

 


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College of Arts & Sciences