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Swordplay and Stereometry: The Terror, Masculinity, and a Late Enlightenment Conception of Nature and the Antique (unsolicited letter of interest from humanities editor at Cornell University Press).


“The Matter of Fact: J.-L. David’s Portrait of the Lavoisiers” (revision and conflation of two different papers on the Lavoisiers delivered at the 1997 and 1998 annual meetings of the American Society of Eighteenth-Century Studies).

“Emperor Apparent: J.-L. David’s Portrait of Napoleon Crossing the Alps” (revision of paper of same title delivered at the 1997 annual meeting of the Western Society for Eighteenth-Century Studies).

Chapters in Books

“Historically Specific Uses of a Universal Subject,” French Identity and Its Discontents: Nationalism, Colonialism, and Race, ed. Tyler Stovall and Georges van den Abbeele, Lanham, Md.: Rowman and Littlefield.

Contributions to Books

Catalog entries for two portraits by J.-L. David (Emmanuel-Joseph Sieyès and
Napoleon Bonaparte), La Collection Grenville L. Winthrop. Chefs-d’œuvre du Fogg Art
Museum, Université de Harvard
, Paris: Réunion des Musées nationaux, pp. 97-100. Catalog entries also appeared in the English-language edition, A Private Passion: 19th-Cenury Paintings and Drawings from the Grenville L. Winthrop Collection, Harvard University,, New York: Metropolitan Museum, pp. 89-93.

"Swordplay in 1793: Jacques-Louis David's Painting of Le Peletier de Saint-Fargeau on his Deathbed," ed. James A.W. Heffernan, Representing the French Revolution, Dartmouth College: University Press of New England, pp. 169-191


"Rebel Daughters: Double Bind or Chiasmus?" (review of Rebel Daughters: Women and the French Revolution, ed. Sarah Melzer and Leslie W. Rabine), European Romantic Review, July, pp. 101-110

"David contre David: Réflexions sur un colloque," Revue de l'art, no. 91, pp. 68-70

Review of Le Serment du Jeu de Paume by Philippe Bordes, Burlington Magazine, vol. CXXVII, February, pp. 101-102

Review of David et Rome (exhibition at the French Academy in Rome), Oxford Art Journal, vol. 5, no. 1, pp. 66-67