School of Humanities and Sciences
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Associate Professor of Music
BioJesse Rodin strives to make contact with lived musical experiences of the Renaissance. Immersing himself in the original sources, he sings from choirbooks, memorizes melodies and their texts, and recreates performances held at weddings, liturgical ceremonies, and feasts. As Director of the Josquin Research Project (josquin.stanford.edu), he uses digital tools to explore a large musical corpus. As Director of the ensemble Cut Circle (cutcircle.org), he works with world-class singers to animate Renaissance music.
Rodin is the recipient of awards and fellowships from the Guggenheim Foundation; the Université Libre de Bruxelles; the American Council of Learned Societies; the American Society of Composers, Authors, and Publishers; the Harvard University Center for Italian Renaissance Studies; and the American Musicological Society. For his work with Cut Circle he has received the Prix Olivier Messiaen, the Noah Greenberg Award, Editor’s Choice (Gramophone), and a Diapason d’Or.
He is the author of "Josquin’s Rome: Hearing and Composing in the Sistine Chapel" (Oxford University Press, 2012), editor of a volume of the L’homme armé masses for the New Josquin Edition (2014), and co-editor of "The Cambridge History of Fifteenth-Century Music" (2015). His articles have appeared in the Journal of the American Musicological Society, Music & Letters, Acta Musicologica, and other major journals. In a forthcoming article in Early Music, Rodin attempts to tackle the longstanding problem of the Josquin canon, classifying all 345 pieces somewhere attributed to Josquin in descending order of confidence.
An in-progress book explores how fifteenth-century polyphony happens in time. Drawing on his experiences as a scholar and performer, Rodin argues that composers activated a new collection of compositional building blocks to create a powerful and imaginative range of musical experiences (Cambridge University Press).
Cut Circle performs internationally, with upcoming appearances in Florence and Arezzo, Italy to mark the 500th anniversary of Josquin’s death (27 August 1521). With the Belgian label Musique en Wallonie, Cut Circle has published recordings devoted to the complete songs of Johannes Ockeghem (2020), the late masses of Guillaume Du Fay (2016), and music in the Sistine Chapel in the time of Josquin (2012), and has just released a short film titled "Sounds of Renaissance Florence" that recaptures the soundscape of fifteenth-century Italy. An album devoted to two riveting anonymous masses of the fifteenth century will appear later this summer. A disc of songs and motets by Josquin is planned for 2022.
A passionate teacher, Rodin has led seminars, workshops, and masterclasses at institutions such as Princeton University, the Schola Cantorum (Basel, Switzerland), the University of Vienna, and the Centre d’Études Supérieures de la Renaissance (Tours, France).
At Stanford Rodin directs the Facsimile Singers, in which students develop native fluency in old musical notation. He has organized symposia on the composer Johannes Ockeghem, medieval music pedagogy, and musical analysis in the digital age. In addition to undergraduate and graduate music courses, he teaches a class on late-medieval feasting that marries art, music, poetry, and politics with hands-on experience in the kitchen.
Associate Professor of Education and, by courtesy, of Linguistics, of Anthropology and of Comparative Literature
Current Research and Scholarly InterestsDr. Rosa’s book, Looking like a Language, Sounding like a Race: Raciolingusitic Ideologies and the Learning of Latinidad (2019, Oxford University Press), presents an ethnographic analysis of how administrators in a Chicago public high school whose student body is more than 90% Mexican and Puerto Rican seek to transform “at risk” Latinx youth into “young Latino professionals.” This intersectional mobility project paradoxically positions Latinx identity as the cause of and solution to educational underachievement. As a result, students must learn to be – and sound – “Latino” in highly studied ways. Students respond to anxieties surrounding their ascribed identities by symbolically remapping borders between nations, languages, ethnoracial categories, and institutional contexts. This reimagining of political, linguistic, cultural, and educational borders reflects the complex interplay between racialization and socialization for Latinx youth. The manuscript argues that this local scene is a key site in which to track broader structures of educational inequity by denaturalizing categories, differences, and modes of recognition through which raciolinguistic exclusion is systematically reproduced across contexts.
Professor (Teaching) of Theater and Performance StudiesOn Leave from 10/01/2020 To 06/30/2021
BioJanice Ross, Professor in the Department of Theatre and Performance Studies and former faculty director of ITALIC, Stanford's residence based Freshman arts immersion program, has a BA with Honors from UC Berkeley and MA and Ph.D degrees from Stanford. Her research interests and four books focus on the intersections of social issues and their expression through performance. They include, Like A Bomb Going Off: Leonid Yakobson and Ballet as Resistance in Soviet Russia (Yale Univ. Press 2015), Anna Halprin: Experience as Dance (University of California Press 2007),winner of a de la Torre Bueno Award 2008 Special Citation, San Francisco Ballet at 75 (Chronicle Books 2007) and Moving Lessons: The Beginning of Dance in American Education, (University of Wisconsin 2001). Her research interests concern performance and social justice with a particular focus on tensions between political and aesthetic expression. Her essays on dance have been published in several anthologies including Dignity in Motion: Dance, Human Rights and Social Justice, edited by Naomi Jackson (Scarecrow Press 2008), Perspectives on Israeli and Jewish Dance, ed. Judith Brin Ingber, (Wayne State University Press, 2008), for The San Francisco Tape Music Center: 1960s Counter-culture and the Avant-Garde, Performance and Ritual, edited by Mark Franco (Routledge 2007), Everything Was Possible (Re) Inventing Dance in the 1960s, edited by Sally Banes (University of Wisconsin Press 2003), "Improvisation as Child's Play," in Caught by Surprise: Essays on Art and Improvisation, edited by Ann Cooper Albright and David Gere (Wesleyan University press 2003). Her awards include a Guggenheim Fellowship, two Stanford Humanities Center Fellowships, a Fulbright Fellowship to Israel, as well as research grants from the Iris Litt Fund of the Clayman Institute for Research on Women and Gender, the Memorial Foundation for Jewish Culture and the 2016 CORD Award for Outstanding Contributions to Dance Research. Her articles on dance have appeared in numerous publications including The New York Times and The Los Angeles Times. She is past President of the international Society of Dance History Scholars.
Professor of Iberian and Latin American Cultures, Emeritus
BioProfessor Jorge Ruffinelli (Uruguay), a disciple of Angel Rama at the University of Uruguay, followed him as Director of the literary section of the seminal Uruguayan weekly Marcha in 1968. In 1973 he was Adjunct Professor of the Latin American literature program (directed by Noé Jitrik) at the University of Buenos Aires. In 1974 he emigrated to México, where he was appointed Director of the Centro de Investigaciones Lingüístico-Literarias at the Universidad Veracruzana, a position he held for for twelve years. At the Universidad Veracruzana he was also Professor in the school of Letters, and collaborated in all the major cultural journals and newspapers of the Latin American continent. In 1986 he was appointed Full Professor in the Department of Spanish and Portuguese at Stanford. In Mexico he founded and directed the literary journal Texto crítico for twelve years. A member of various international editorial boards, in the United States he has directed the journal Nuevo texto crítico since 1987.
He has published twenty books of literary and cultural criticism and more than five hundred articles, critical notes and reviews in journals throughout the world. A recognized authority on Onetti, García Márquez, Juan Rulfo, and Latin American literary history, during the nineties his critical work has centered on Latin American cinema. In 1993 he filmed a documentary on Augusto Monterroso for which he interviewed major Mexican writers and critics. He is completing the first Encyclopedia of Latin American Cinema, for which he has written around two thousand articles on feature films from and about Latin America. His current work also includes a book of interpretation and survey of the most recent Spanish American prose published by writers born after 1968, a project that analyzes the work, marketing, and reception of over more than fifty authors (Ana Solari, Milagros Socorro, Karla Suarez, Mayra Santos, David Toscana, Rodrigo Fresan, Juan Forn, Martin Kohan, Jorge Vopli, among others). His teaching centers on the intersection of the interests above and cultural politics.
William Robertson Coe Professor of American Literature and Professor, by courtesy, of Comparative Literature and of Slavic Languages and Literatures
BioNancy Ruttenburg is the William Robertson Coe Professor of American Literature in the English Department at Stanford. She also holds courtesy appointments in the Department of Comparative Literature and the Department of Slavic Languages and Literatures. She received the PhD in Comparative Literature from Stanford (1988) and taught at Harvard, Berkeley, and most recently at NYU, where she was chair of the Department of Comparative Literature from 2002-2008. Her research interests lie at the intersection of political, religious, and literary expression in colonial through antebellum America and nineteenth-century Russia, with a particular focus on the development of liberal and non-liberal forms of democratic subjectivity. Related interests include history of the novel, novel theory, and the global novel; philosophy of religion and ethics; and problems of comparative method, especially as they pertain to North American literature and history.
Prof. Ruttenburg is the author of Democratic Personality: Popular Voice and the Trial of American Authorship (Stanford UP, 1998) and Dostoevsky's Democracy (Princeton UP, 2008), and she has recently written on the work of J. M. Coetzee and on Melville’s “Bartleby.” Books in progress include a study of secularization in the postrevolutionary United States arising out of the naturalization of “conscience” as inalienable right, entitled Conscience, Rights, and 'The Delirium of Democracy'; and a comparative work entitled Dostoevsky And for which the Russian writer serves as a lens on the historical development of a set of intercalated themes in the literature of American modernity. These encompass self-making and self-loss (beginning with Frederick Douglass's serial autobiographies); sentimentalism and sadism (in abolitionist fiction); crime and masculinity (including Mailer's The Executioner's Song); and the intersection of race, religious fundamentalism, and radical politics (focusing on the works of James Baldwin and Marilynne Robinson). Her courses will draw from both these projects.
Prof. Ruttenburg is past president of the Charles Brockden Brown Society and has been the recipient of a Guggenheim Fellowship, a National Humanities Center Fellowship, a University of California President's Research Fellowship, as well as fellowships from the Social Science Research Council for Russian and East European Studies, the National Endowment for the Humanities, and the American Council for Learned Societies.