“Screening Clara Schumann: Biomythography, Gender, and the Relational Biopic” Biography 45.1 (2022), 1-26.

“Performing Black British Memory: Kat François’s Spoken-Word Show Raising Lazarus as Embodied Auto/Biography.” Journal of Postcolonial Writing (Taylor & Francis, 2020):

“Life Writing and Celebrity: Exploring Intersections.” With Sandra Mayer. Life Writing (Taylor & Francis, 2019): 149-155.

“Experiments in Life-Writing: Introduction”, in: Experiments in Life-Writing: Intersections of Auto/Biography and Fiction. Palgrave Studies in Life Writing 1. Basingstoke: Palgrave, 2017. 1-36. (peer-reviewed)

“Feminist to Postfeminist: Contemporary Biofictions by and about Women Artists”, in: Angelaki: Journal of the Theoretical Humanities 22.1 (Taylor & Francis, 2017) (peer-reviewed): 223-230.

“Live-Lyrik: Körperbedeutung und Performativität in Lyrik-Performances,” in: Phänomene des Performativen in der Lyrik: Systematische Entwürfe und historische Fallbeispiele. Ed. Anna Bers & Peer Trilcke: Wallstein, 2017. 147-162.

“‘Rais’d from a Dunghill, to a King’s Embrace’: Restoration Verse Satires on Nell Gwyn as Life-Writing”, in: Life Writing 13.4 (Taylor & Francis, 2016) (peer-reviewed): 449-64, DOI: 10.1080/14484528.2015.1073715.

“The Notable Woman in Fiction: Novelistic Afterlives of Elizabeth Barrett Browning”, in: a/b: Auto/Biography Studies 31.1, Sondernummer zu Biographical Fiction (Taylor & Francis, 2016) (peer-reviewed): 83-107.

„Nell Gwyn in Contemporary Romance Novels: Biography and the Dictates of ‚Genre Literature'“, in: Contemporary Women’s Writing 8.3 (OUP, 2014): S. 373-390 (peer-reviewed):

„Disparate Images: Literary Heroism and the ‚Work vs. Life‘ Topos in Contemporary Biofictions about Victorian Authors“ mit Sandra Mayer, in: Neo-Victorian Studies 7.1 (2014): S. 25-51 (peer-reviewed):

„Father and Daughter across Europe: The Journeys of Clara Wieck Schumann and Artemisia Gentileschi in Fictionalised Biographies“, in: European Journal of Life Writing 1 (2012): S. 41-57 (peer-reviewed):

„Performing the Poet, Reading (to) the Audience: Some Thoughts on Live Poetry as Literary Communication“, in: Journal of Literary Theory 6.2 (2012): S. 358–382. (peer-reviewed)

„Biographical Fiction to Historiographic Metafiction: Rewriting Clara Schumann“, in: Brno Studies in English. Special issue: Transgressive Auto/Biography. 37.2 (2011): S. 145-158. (peer-reviewed)

„The Devil’s Music Master? Perspective Structure in Ronald Harwood’s Taking Sides“, in: SKASE Journal of Literary Studies 1.1 (2009): S. 20-34, (peer-reviewed)

„Live-Lyrik: Körperbedeutung und Performativität in Lyrik-Performances“, in: Phänomene des Performativen in der Lyrik: Systematische Entwürfe und historische Fallbeispiele. Ed. Anna Bers & Peer Trilcke: Wallstein, 2017: S. 147-162.

„The (Re-)Making of Clara Wieck-Schumann: Celebrity and Gender in Biofiction“, in: Search for the Real: Authenticity and the Construction of Celebrity. Oxford: Interdisciplinary Press (2014): S. 97-112.

„Zum Phänomen des Lesegruppenbooms in Großbritannien“ mit Jakob Lajta, in: Leseforum Schweiz 1/2013: S. 1-11:

„Clara Wieck-Schumann in Vienna: The Making of a Star, Retold in Biofiction“, in: Stardom: Discussions on Fame and Celebrity Culture. Ed. Katarzyna Bronk. eBook. Inter-Disciplinary.Press (2012): S. 3-12.

„Clara Schumann: A Life in Letters and Notes“, in: From the Cradle to the Grave: Life-Course Models in Literary Genres. Ed. Sabine Coelsch-Foisner and Sarah Herbe. Heidelberg (Winter 2011): S. 19-27.

„Transformatrix: Confused Cultural Identities in the Performance Poetry of Patience Agbabi“, in: Restless Travellers: Quests for Identity across European and American Time and Space. Ed. Antonio José Miralles Pérez. Newcastle: Cambridge Scholars Press (2011): S. 83-90.

„Paratext in Performance: Live Poetry as a Direct Encounter of Poet and ‚Reader'“, in: FOCUS: Papers in English Literary and Cultural Studies (2010): S. 69-83.

„Lip Up Fatty: Marketing Live Poetry as Popular Culture“, in: State(s) of the Art: Considering Poetry Today. Ed. Klaus Martens. Würzburg: Königshausen & Neumann (2010): S. 113-122.

„Hitler the Hilarious: Mel Brooks’ Musical The Producers“, in: Progress 4 (2008): S. 12.

„Book Groups – the Pleasure Factor: the potential of school book groups for EFL learners“, in: English Language Teaching News (Frühjahr 2007): S. 26-28.