School of Humanities and Sciences
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Michael Penn
Teresa Hihn Moore Professor of Religious Studies and Professor, by courtesy, of Classics
BioMichael Penn, the Teresa Hihn Moore Professor of Religious Studies, is a specialist in the history of early Christianity with a particular focus on middle eastern Christians who wrote in the Aramaic dialect of Syriac.
Professor Penn’s first book, Kissing Christians: Ritual and Community in the Late Ancient Church, was published in 2005 by the University of Pennsylvania Press. In 2015 he published two books on Christian-Muslim relations: Envisioning Islam: Syriac Christians in the Early Muslim World (University of Pennsylvania Press) and When Christians First Met Muslims: A Source Book of the Earliest Syriac Writings on Islam (University of California Press). For these projects Professor Penn has received awards from the John Simon Guggenheim Foundation, the American Council for Learned Societies, the National Endowment for the Humanities, the National Humanities Center, the Institute for the Study of the Ancient World, the British Academy, the American Philosophical Association, the American Academy of Religion, and the Wabash Center for Teaching and Learning.
Professor Penn is currently working on an Andrew Mellon Foundation funded collaboration that uses recent advances in the computerized analysis of handwriting to help analyze ancient Aramaic manuscripts. In addition to this work in the digital humanities, Professor Penn has begun several related projects that focus on the history of Syriac Christianity and the manuscripts they produced.
Before joining Stanford, Professor Penn was on the faculty of Mount Holyoke College. He has also taught at Brandeis University, Haverford College, Bryn Mawr College, and Duke University. He has additional experience as a secondary school teacher, including six years as the director of forensics at Durham Academy High School, where he ran a nationally competitive policy debate team. Professor Penn has also held research positions at Apple Computers, the Weizmann Institute (Israel), the Palo Alto Veterans Hospital, and Ames Research Center, NASA.
Ph.D. (Religion) Duke University (1999)
A.B. (Molecular Biology) Princeton University (1993) -
Bissera Pentcheva
Professor of Art and Art History and, by courtesy, of Classics
BioBissera Pentcheva's work focuses on Byzantium and the medieval Mediterranean, more specifically aesthetics, phenomenology, and acoustics. Her most recent book Hagia Sophia: Sound, Space and Spirit in Byzantium (Penn State University Press 2017) explores the interconnection among acoutsics, architecture, and liturgical rite. She has also edited, Aural Architecture in Byzantium: Music, Acoustics and Ritual (Ashgate, 2017). Pentcheva has published another two books with Pennsylvania State University Press: Icons and Power: The Mother of God in Byzantium, 2006 that won the John Nicholas Brown prize form the Medieval Academy of America in 2010 and The Sensual Icon: Space, Ritual, and the Senses in Byzantium, 2010. She has held a number of prestigious fellowships among them: J. S Guggenheim, American Academy of Rome, Wissenschaftskolleg zu Berlin, Mellon New Directions Fellowship for the study of Classical Arabic, Alexander von Humboldt (Germany), Onassis Foundation (Greece), Dumbarton Oaks, and Columbia University's Mellon Post-doctoral fellowship. Her work has been published at the Art Bulletin, Speculum, Gesta, and Res. Anthropology and Aesthetics, and Convivium.
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Peggy Phelan
Ann O'Day Maples Professor of the Arts and Professor of English
BioPeggy Phelan is the Ann O’Day Maples Chair in the Arts Professor of Theater & Performance Studies and English. Publishing widely in both book and essay form, Phelan is the author of Unmarked: the politics of performance (Routledge, 1993); Mourning Sex: performing public memories (Routledge, 1997; honorable mention Callaway Prize for dramatic criticism 1997-1999); the survey essay for Art and Feminism, ed. by Helena Reckitt (Phaidon, 2001, winner of “The top 25 best books in art and architecture” award, amazon.com, 2001); the survey essay for Pipilotti Rist (Phaidon, 2001); and the catalog essay for Intus: Helena Almeida (Lisbon, 2004). She edited and contributed to Live Art in Los Angeles, (Routledge, 2012), and contributed catalog essays for Everything Loose Will Land: 1970s Art and Architecture in Los Angeles (Mak Center, 2013), Haunted: Contemporary Photography, Video, and Performance (Guggenheim Museum, 2010); WACK! Art and the Feminist Revolution (Museum of Contemporary Art, 2007); and Andy Warhol: Giant Size (Phaidon, 2008), among others. Phelan is co-editor, with the late Lynda Hart, of Acting Out: Feminist Performances (University of Michigan Press, 1993; cited as “best critical anthology” of 1993 by American Book Review); and co-editor with Jill Lane of The Ends of Performance (New York University Press, 1997). She contributed an essay to Philip Ursprung’s Herzog and De Meurron: Natural History (CAA, 2005).
She has written more than sixty articles and essays in scholarly, artistic, and commercial magazines ranging from Artforum to Signs. She has written about Samuel Beckett for the PMLA and for The National Gallery of Ireland. She has also written about Robert Frost, Michael and Paris Jackson, Olran, Marina Abramovic, Dziga Vertov and a wide range of artists working in photography, dance, architecture, film, video, music, and poetry. She has edited special issues of the journals Narrative and Women and Performance. She has been a fellow of the Humanities Institute, University of California, Irvine; and a fellow of the Humanities Institute, The Australian National University, Canberra, Australia. She served on the Editorial Board of Art Journal, one of three quarterly publications of the College Art Association, and as Chair of the board. She has been President and Treasurer of Performance Studies International, the primary professional organization in her field. She has been a fellow of the Getty Research Institute and the Stanford Humanities Center. She won a Guggenheim Fellowship in 2004. She chaired the Department of Performance Studies at New York University and the Drama Department at Stanford University.
