Â鶹¾«Ñ¡

• MA (Oxford)
• M.Phil (Cambridge)
• PhD (St Andrews)

I joined the University Â鶹¾«Ñ¡ in 2016, after teaching at the University of St Andrews, where I also obtained my PhD. I took my MA at Oxford, and my M.Phil at Cambridge. Prior to my postgraduate studies, I worked as a nursing auxiliary in a medical assessment unit in a busy hospital in South Wales.

My teaching is principally on literature of the eighteenth and nineteenth centuries. I convene the third-year modules ‘Politics and Terror in the Age of Revolutions’, ‘Rude Britannia: 1660-1830’, ‘Byron and Keats’. I also teach on a number of first- and second-year modules, including ‘Poetry’, ‘Romantics and Romanticisms’, and ‘Stories of the Novel’.

I welcome enquiries in the following areas: eighteenth- and nineteenth-century poetry, Romanticism, especially Lord Byron, Coleridge, Keats, the Shelleys, and the Wordsworths; post-Romantic poetry; literary influence and inheritance, and allusion and echo; emotions, affect, and the senses; laughter and the laughable; environmental studies and nature writing.

Find out more - our PhD English Literature  page has information about doctoral research at the University Â鶹¾«Ñ¡.

My primary interests lie in British Romanticism, especially the poetry of Byron, Keats, Percy Shelley, and William Wordsworth, and Romantic thought, particularly as it develops out of eighteenth-century moral philosophy and influences post-Romantic literature. Much of my work in recent years has revolved around literary inheritance (especially Byronic kinds of influence and exchange), as well as matters of form and style and their relation to affect, emotions, and theories of knowledge (including between the humorous and the poetic). I am increaslingly thinking about these matters in connection with the environmental humanities, especially watery things.

My monograph, (Oxford University Press, 2024), offers the first in-depth account of the significance of the laughable to the lives and lines of verse of the Romantics. Laughter has generally gone unheard by critics of the period. When acknowledged at all, it tends to be shorthand to denote the humorous. I read it as an affect and embodied experience that tells us much about Romantic emotions, but also sheds new light on how poets conceived of and fashioned their verse -- drawing relations between outbursts of laughter and, say, the 'spontaneous overflow of powerful feelings' registered through poetry and that is so suggestive of notions of creativity. The book details the strange and inexplicable nature of laughable experiences, and illustrates how laughter articulated and undermined sympathetic feeling.

I have a long-standing interest in Byron's poetry and its relation to Romantic and post-Romantic literature. Even in the solitude of writing, Byron was of a sociable bent. He constantly thought about himself in comparison with other poets. Yet there’s a pervasive tendency in both the popular and academic imagination to think about Byron’s influence in terms of his personal character rather than his art. I’m keen to push at these issues, the first result of which was a symposium in January 2018, co-organised with Dr Clare Bucknell (University of Oxford). The symposium brought together contributors to exchange ideas about the many ways Byron might be thought to be – perhaps more than most – ‘among’ the poets: alluding and alluded to; collaborative; competitive; parodied; worked and reworked in canons, pantheons, anthologies and miscellanies. A second result of this research is an edited collection, (Cambridge University Press, 2021). I continue to write about Byron's poetic afterlives, reconsidering poetic practice and criticism, and forms of Romanticism, in light of Byron's influence. And I am also editing his plays and poetry for a new edition of his works as part of the Longman Annotated English Poets series.

I'm also working on projects to do with the emotions and affect, and various forms of knowing or understanding - or often failures of understanding - in relation to poetry and the environment. Currently, I'm thinking about how our experience and sense of the non-human emerges out of or draws out funny feelings of various kinds (the strange and inexplicable, the confounding and distressing, but also the laughable and funny haha). Looking beyond the Romantic period, this project also expands on my interests in poetic legacies and technique , and how natural environments -- especially the shorelines and coasts -- are meeting points for poets across time, echoing the rhythms of poetry through the sounds of the sea.

I’m co-director of Nineteenth-Century Matters – a series of workshops in pedagogy and research aimed at facilitating discussion, collaborative projects, and support for early career academics in the UK. I’m on the executive committee of the British Association for Romantic Studies and have taken on a variety of roles in that capacity for the past 6 years. I have co-organised several international conferences, including one in collaboration with the Wordsworth Trust, Grasmere. I am responsible for reviewing Romantic poetry for Year’s Work in English Studies and have also reviewed for the Keats-Shelley Review, and Forum for Modern Language Studies. In other capacities I have worked with charities in the UK to improve outreach to university, and worked with young people with special educational needs. I’m keen to continue working in these areas.