School of Humanities and Sciences
Showing 81-100 of 100 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 and of English
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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Wanheng Hu
Postdoctoral Scholar, Philosophy
BioWanheng Hu is a scholar of Science and Technology Studies (STS) whose research examines the epistemic, ethical, and regulatory dimensions of artificial intelligence, with a particular focus on machine learning in medicine. His current book project, Reassembling Expertise: Credible Knowledge and Machine Learning in Medical Imaging, is an ethnographic study of the Chinese medical AI industry. Drawing on multi-sited fieldwork, the project analyzes how, and in what sense, human medical expertise is translated into AI systems and how the credibility of these systems is negotiated across industrial, clinical, and regulatory settings. His broader scholarship engages the social studies of science, medicine, and technology; the sociology of expertise; critical data and algorithm studies; media studies; and public engagement with science.
Wanheng is currently an Embedded Ethics Fellow at Stanford University’s McCoy Family Center for Ethics in Society, in partnership with the Institute for Human-Centered Artificial Intelligence (HAI) and the Department of Computer Science. He is also an affiliate of the Data & Society Research Institute, a member of the Schwartz Reisman Institute’s AI & Trust Working Group at the University of Toronto, and a member of Cornell University’s Artificial Intelligence, Policy, and Practice (AIPP) initiative. He was previously a Fellow at Harvard Kennedy School’s Program on Science, Technology and Society (2022–23). He holds a Ph.D. in STS with a minor in Media Studies from Cornell University. His research has been supported by the U.S. National Science Foundation, the China Times Cultural Foundation, and Cornell’s Hu Shih Fellowship, among other sources, and has appeared in venues including Public Understanding of Science and The Oxford Handbook of the Sociology of Machine Learning. -
Owens Huang
Affiliate, Music
BioOwens Huang began his musical journey during the COVID-19 shutdown in 2020. In his youth, adventurous backpacking trips through countries such as India and Tibet profoundly shaped his musical expression and life philosophy. These explorations infused his compositions with introspective themes and a distinctive blend of Eastern artistic elements, seamlessly interwoven with classical, jazz, and metal influences.
Drawing inspiration from his role as a hedge fund manager, Huang engages with the dynamic realms of finance and global events, transforming them into creative works that weave together themes of Asian history, culture, philosophy, geopolitics, and market dynamics. In 2023, he premiered his first sonata, Place of Origins, at Taiwan’s National Recital Hall. In 2024, he debuted The Silicon Island in Taiwan, followed by Universal Connection in Mountain View, California. In 2025, he spoke at the CLSA Japan Forum and hosted his first concert in Tokyo. To date, Huang has published 18 works on major music streaming platforms.
Living in the San Francisco Bay Area, he is actively involved in the artistic, technology, and financial communities and serves on the board of the American Composers Forum. Guided by a vision of connection, Huang seeks to build collaborations across science, technology, and global finance, using music as a catalyst for dialogue and unity. -
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 was nominated for a Bay Area Critics Circle award for her performance as the mysterious Old Woman on the train in Kevin Barry's short story Wintersongs. Stephanie played Lizzie Borden in The Fall River Axe Murders by Angela Carter directed by Amy Freed. For Word for Word, Stephanie 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. Also, she directed the noir thriller Angel Face by Cornell Woolrich. 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, San Francisco State University, Chabot College, and Sonoma State University. Stephanie text and voice coaches many of the mainstage productions in the TAPS Department at Stanford University. She has directed a number of university productions. Most recently at Stanford, she directed Three Sisters by Anton Chekhov, which was attended by the entire freshmen COLLEGE cohort. At USF, she directed Twelfth Night, and adapted and directed Alice Munro’s The View from Castle Rock. At Sonoma State she directed The Green Bird by Carlo Gozzi, Top Girls by Caryl Churchill, Dancing at Lughnasa by Brian Friel, and The Exception and the Rule by Bertolt Brecht. 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.
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Scott Hutchins
Lecturer
BioScott Hutchins is a former Truman Capote fellow in the Wallace Stegner Program at Stanford University. His work has appeared in StoryQuarterly, Catamaran, Five Chapters, The Owls, The Rumpus, The New York Times, San Francisco Magazine and Esquire, and has been set to improvisational jazz. He is the recipient of two major Hopwood awards and the Andrea Beauchamp prize in short fiction. In 2006 and 2010, he was an artist-in-residence at the Cité Internationale des Arts in Paris. His novel A Working Theory of Love was a San Francisco Chronicle and Salon Best Book of 2012 and has been translated into nine languages.
