School of Humanities and Sciences
Showing 101-129 of 129 Results
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Blair Hoxby
Professor of English
BioBlair Hoxby writes on literature and culture from 1500 to 1800. Two of his foremost interests are the commercial culture and the theatrical practices of the period. Mammon's Music: Literature and Economics in the Age of Milton (New Haven: Yale University Press, 2002) examines the impact of the commercial revolution on writings of major seventeenth-century poets such as Milton and Dryden. Together with Ann Coiro, he is editing a large multi-author collection of essays on Milton in the Long Restoration. Two of his new books nearing completion focus on tragic dramaturgy. What Is Tragedy? Theory and the Early Modern Canon seeks to free the early modern poetics of tragedy and the early modern theatrical repertoire from the expectations erected by the romantic and post-romantic philosophy of the tragic that has dominated tragic theory from Schelling to the present. Reading for the Passions: Performing Early Modern Tragedy argues that the passions, not deeds or character, hold the keys to early modern tragic performance.
Recent and forthcoming articles include Passion, for 21st-Century Approaches: Early Modern Theatricality, ed. Henry Turner (forthcoming, OUP); What Was Tragedy? The World We Have Lost, 1550-1795, Comparative Literature 64 (2012): 1-32; Allegorical Drama, in The Cambridge Companion to Allegory, ed. Rita Copeland and Peter Struck (Cambridge: Cambridge University Press, 2009); The Function of Allegory in Baroque Tragic Drama: What Benjamin Got Wrong, in Thinking Allegory Otherwise, ed. Brenda Machowsky (Stanford: Stanford University Press, 2009); and "Areopagitica and Liberty," in The Oxford Handbook of Milton, ed. Nicholas McDowell and Nigel Smith (Oxford: Oxford University Press, 2009). -
Hector Hoyos
Professor of Iberian and Latin American Cultures and, by courtesy, of Comparative Literature
BioHéctor Hoyos is a scholar of modern Latin American and comparative literature. He writes about ideological critiques of globalization in the post-1989 Latin American novel, the articulation of critical theory and new materialism in the region’s cultural production, and related topics. His current monograph in progress examines the works of Gabriel García Márquez from a law and humanities perspective.
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Elise Huerta
Ph.D. Student in Chinese, admitted Autumn 2015
Ph.D. Minor, Feminist, Gender, and Sexuality StudiesBioElise Huerta is a PhD candidate in East Asian Languages and Cultures with a concentration in modern Chinese literature and a minor in Feminist, Gender, and Sexuality Studies. Her dissertation, Untouchable: On the Cultural Politics of Hands in Modern China, aims to produce new understandings of intimacy, alienation, labor, and violence in the modern era through the interdisciplinary study of tactile culture. The project explores the many powers invested in human hands through narrative, taking a particular interest in the discourses and social mechanisms that contribute to the construction of "untouchable" people and groups. Her research will be supported by a Mellon Foundation Dissertation Fellowship in 2021-2022 and an AAUW American Fellowship in 2022-2023.
As an educator, Huerta is committed to supporting student success while promoting diversity, equity, and inclusion in higher education. She currently serves as a graduate mentor through the First-Generation and/or Low-Income (FLI) and Enhancing Diversity in Education (EDGE) programs at Stanford. She is a published Chinese to English translator and holds a BA in Chinese with a minor in Creative Writing from the University of Michigan-Ann Arbor. -
Stephanie Jane Hunt
Lecturer
BioStephanie is an actor, director, and teacher of voice and acting. As a core member of the Bay Area theatre company, Word for Word, Stephanie has acted in numerous productions, including Tobias Wolff’s Sanity, Colm Tóibín’s Silence, Upton Sinclair’s Oil! and Susan Glaspell’s A Jury of her Peers. She played Lizzie Borden in The Fall River Axe Murders by Angela Carter directed by Amy Freed. For Word for Word, she directed the productions of Bullet in the Brain and Lady's Dream by Tobias Wolff, and All Aunt Hagar’s Children by Edward P. Jones, which played at the Z Space before touring France. She has acted with Berkeley Repertory Theatre, Campo Santo, Aurora Theatre, the Magic Theatre, Berkeley Shakespeare, the One Act Theater, and in New York at La Mama. For two years with Pulp Playhouse, Stephanie performed late-night comedy improv with O-Lan Jones and Mike McShane at the Eureka Theater. She has taught voice at ACT in the Summer Training Congress, and at the University of San Francisco, Chabot College, and Sonoma State University. She has directed a number of university productions, most recently at USF, where she directed Twelfth Night, and adapted and directed Alice Munro’s The View from Castle Rock. Her training includes an MFA from the American Conservatory Theater and certification as an Associate Teacher of Fitzmaurice Voicework. Stephanie is committed to creating and teaching ensemble-based theater with a focus on heightened language.
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Nadeem Hussain
Associate Professor of Philosophy and, by courtesy, of German Studies
BioI received my B.S. in Symbolic Systems from Stanford University in 1990. I then went to the Department of Philosophy at The University of Michigan, Ann Arbor. I completed a Ph.D. there in 1999. I also spent the academic year of 1998-99 at Universität Bielefeld in Germany. I have been teaching at Stanford since 2000.
