Jack Dudley, Ph.D.

Knott Academic Center
Room 122F

• Ph.D. University of Wisconsin-Madison, Literary Studies
• M.A. University of Wisconsin-Madison, English
• B.A. Creighton University, English, French, and Theology

• Comparative global modern and contemporary literatures, with a focus on British, Canadian, American, Caribbean, and African and diasporic literatures.
• Religion, secularism, and subjectivity.
• Affect under neoliberalism.
• Climate and racial trauma.
• Film.
• New media and popular culture, with an emphasis on horror.
• Literature and social justice.

“Toomer, Marshall, and the Il/Legibility of Black Pain.” Cluster on “The Body Politic in Pain.” Modernism/modernity Print+ Volume 7, Cycle 3 (2023).

“Teach Us to Care.” Contribution to “A Forum on Christian Poetics.” Christianity & Literature 71.4 (2022)

“The Secularizing Work of the Novel: Modernist Form and Ian McEwan’s Saturday.” Journal of Modern Literature (JML) 46.1 (2022)

“Ecology without Civilization: Traumatic Restoration in VanderMeer’s Southern Reach Trilogy.” English Language Notes (ELN) 59.2 (2021)

“Beckett, Atwood, and Post-Apocalyptic Tragicomedy.” NOVEL: A Forum on Fiction 54.1 (2021)

“Christian Poetics and Criticism in a Secularized Academy.” Among Winter Cranes: The Quarterly Journal of the Christian Poetics Initiative (Rivendell Institute, Yale University) 2.2 (2019)

“‘along a road that may lead nowhere’: J. M. Coetzee’s Disgrace and the Postsecular Novel.” Studies in the Novel 49.1 (2017)

“From ‘spiritual paralysis’ to ‘spiritual liberation’: Joyce’s Immanent ‘Grace.’” In Rethinking Joyce’s Dubliners. Eds. Claire Culleton and Ellen Scheible, Palgrave Press, 2017.

“Is the Body an Immanent Domain? On Postsecular Affects.” Thinking about Affect in Culture and Art. Spec. issue of 452ºF. Journal of Literary Theory and Comparative Literature 14 (2016)

“What the Thunder Said: A Portrait of the Artist as a Trans-Secular Event.” Literature and Theology 28.4 (2014)

“Transcendence and the End of Modernist Aesthetics: David Jones’s In Parenthesis.” Renascence 65.2 (2013)