“The Sovereign Contingency of Love,” in: Lyle Ashton Harris, Today I Shall Judge Nothing that Occurs: Selections from the Ektachrome Archive, New York: Aperture, 2018, 261 – 267.  

“Photography and the World: The Total World and Many, Many Worlds,” The Yearbook of Comparative Literature, 20 (2014), 274-298.   “Ernest Cole’s House of Bondage: The Photography of Witnessing,” Grey Art Gallery Gazette 15.1 (fall 2014).  

“To Give Memory a Place,” in The Spectralities Reader. Ghosts and Haunting in Contemporary Cultural Theory, eds. María del Pilar Blanco and Esther Peeren (London: Bloomsbury, 2013).  

“The Status of the Correspondence in Rilke’s Work,” in Karen Leeder and Robert Vilain, The Cambridge Companion to Rilke. Cambridge and New York: Cambridge University Press, 2010.  

“Seeing the Future in an Image of the Past: Hannah Arendt, Garry Winogrand, and Photographing the World,” Yearbook of Comparative Literature, 2009 (volume 55).  

“Ends of a World. On Thomas Demand's Photography,” Irish Museum of Modern Art (IMMA), exhibition catalogue. 2007.  

“The Painting of Horizons. On Diti Almog's Work,” Tel Aviv Museum of Art, exhibition catalogue. (With Michael Lobel). 2006  

“Teaching Todesfuge as a Canonical Holocaust Poem,” in Teaching the Representation of the Holocaust  (New York: MLA Publishing, winter 2004), eds.Marianne Hirsch and Irene Kacandes; 314-323.  

“Introduction: Paul Celan Today,” in New German Critique, Special Issue on Paul Celan, eds. Ulrich Baer and Amir Eshel, Winter 2004; 5-14.  

“The Perfection of Poetry: Rainer Maria Rilke and Paul Celan,” in New German Critique, Special Issue on Paul Celan, eds. Ulrich Baer and Amir Eshel,Winter 2004; 171-189.                        

“Helyet az emlézetmel – holokauszt-fényképeszet és a tájképi hagyomány,” (on Holocaust photography), Enigma (Hungary) 2003; 133-156.

“Learning to Speak Like a Victim: Media and Authenticity in Marcel Beyer’s Flughunde,” in Gegenwartsliteratur, ed. Paul Michael Lützeler, 2003; 245-261.

“Catastrophe and the Literary Imagination,” in American Letters and Commentary, Fall 2002.

“The De-Demonization of Evil: Banality, Arendt, Sartre,” in Cabinet, special issue on “Evil,” winter 2001.

“Writing an Act of Testimony: Ferdinand Bruckner’s Race,” in Classic Stage Company Program Notes, Spring 2001. 

“Reflections on Using Holocaust Survivor Testimonies in Teaching,” in Newsletter of the Fortunoff Video Archive for Holocaust Testimonies, Spring 2000; 9-11.

“To Give Memory a Place: The Holocaust and Landscape Photography,” in Representations 69 (2000), special issue on “Grounds for Remembering,” ed. Thomas Lacqueur; 38-63.

“Contemporary Holocaust Photography: The Landscape of Loss and the Limits of the Document,” South Atlantic Quarterly 96: 4 (1998); 141-153.

“Landscape and Memory in the Work of Paul Celan: ‘to learn the language of the Place’,” Semiotics 1996; 111-124. 

“Photography and History in Baudelaire,” Semiotics 1995; 313-321.

“Photography and Hysteria: Toward a Poetics of the Flash,” The Yale Journal of Criticism, volume 7:1, Spring 1994; 41-79.  

“Paul Celan, Ethics, and the Figure of the Feminine,” Semiotics 1994, 289-301.