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<title>Channels - Moya Cannon as Ecopoet :: FRELIP Discovery
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Negotiating the testimonial impulse from fictional spaces: Meena Kandasamy’s The Gypsy Goddess and Horacio Castellanos Moya’s Senselessness
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Implementing Indigenous Data Sovereignty in Rights Management: Local Contexts in Cultural Institutions
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Does Fair Use Survive the License? Fair Use in the Licensed Landscape: Rights, Risks, and Realities
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Copyright Law and the Visual Arts: Legislation, Litigation, and Community Practice
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Making Waves: Toward a New Model for Copyright Education
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Appendix: Recent VRA Copyright & Fair Use Work
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Letter from the Editors
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The Changing Landscape of Fair Use: Survey Responses
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“[B]oth in body and mind”: Gothic, Affect, and Power in Eliza Parsons’s The Mysterious Warning (1796)
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Association, Affect, and Material Reading Practices of Anna Laetitia Barbauld
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The Gendered Duality of Coldness in the Portrayals of Eliza Hayley
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Curious Objects: Form and Feeling in Mary Leapor's Thing Poems
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Managerial Forms: Narrative, Information, and Household Government in the Diaries of Sarah Cowper
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Epic Anger and Shame in Lucy Hutchinson’s Order and Disorder
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Queer Excess and Hybrid History in Elizabeth Cary’s Edward II
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True to Form: Genre and Critical Affect in the Study of Early Modern Women’s Writing
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A Review of Books and Borrowing 1750–1830: An Analysis of Scottish Borrowers' Registers
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Still Scribbling: Reflections on The Grub Street Project at Twenty Years
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A Review of William Hayley: A Biographer’s Influence on Life Writing and Romantic Networks in the Long Eighteenth Century, edited by Lisa Gee and Mark Crosby
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A Review of Deborah Weiss's Women and Madness in the Early Romantic Novel: Injured Minds, Ruined Lives
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Review of Female Printmakers, Printsellers, and Print Publishers in the Eighteenth Century: The Imprint of Women, c. 1700-1830, edited by Cristina S. Martinez and Cynthia E. Roman
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Learning from the Legacies of Phillis Wheatley Peters: A Collaborative Pedagogical Public Humanities Project
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Teaching Phillis Wheatley Peters’s “On Being Brought from Africa to America” for the First Time in an Online Undergraduate Women’s Literature Course
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Teaching Phillis Wheatley (Peters) as a Working Artist
