School of Humanities and Sciences
Showing 501-550 of 1,320 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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Caitlin Nicole Hubbard
Assistant Professor of English
BioCaitlin Hubbard is a scholar of early modern theater and performance history, specializing in Restoration drama, the seventeenth-century court masque, and Shakespeare.
Her research focuses on the way that the practicalities and materiality of the stage space affect dramatic literature at the level of form. Her current book project, Reading Between the Scenes: Spectacle as Action and Idea in Early Modern English Theater, analyzes how the evolution of theater architecture and set design throughout the seventeenth-century, including the move from outdoor to indoor theaters and the introduction of changeable scenery, formally restructured both the craft of playwrighting and the experience of reading drama.
Courses she teaches include The Shakespearean Stage, in which students take on the roles and recreate the documents used by an early modern playing company to experience how performance transforms text, and What Women Want in Medieval and Renaissance Literature, which recenters female voices and female desire in the canon of early English literature. -
Stephanie Jane Hunt
Lecturer, Theater and Performance Studies
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, English
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.
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Theresa Iker
Lecturer, History Department
BioTheresa Iker specializes in modern American politics, gender, and culture. She received her Ph.D. in History and minor in Feminist, Gender, and Sexuality Studies (FGSS) from Stanford University in 2023, where she now serves as the Choi-Lam H&S Lecturer in Undergraduate Teaching. She offers courses in the Department of History and the Stanford Introductory Studies Program.
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Miyako Inoue
Associate Professor of Anthropology and, by courtesy, of Linguistics
BioMiyako Inoue teaches linguistic anthropology and the anthropology of Japan. She also has a courtesy appointment with the Department of Linguistics.
Her first book, titled, Vicarious Language: the Political Economy of Gender and Speech in Japan (University of California Press), examines a phenomenon commonly called "women's language" in Japanese modern society, and offers a genealogy showing its critical linkage with Japan's national and capitalist modernity. Professor Inoue is currently working on a book-length project on a social history of “verbatim” in Japanese. She traces the historical development of the Japanese shorthand technique used in the Diet for its proceedings since the late 19th century, and of the stenographic typewriter introduced to the Japanese court for the trial record after WWII. She is interested in learning what it means to be faithful to others by coping their speech, and how the politico-semiotic rationality of such stenographic modes of fidelity can be understood as a technology of a particular form of governance, namely, liberal governance. Publication that has come out of her current project includes, "Stenography and Ventriloquism in Late Nineteenth Century Japan." Language & Communication 31.3 (2011).
Professor Inoue's research interest: linguistic anthropology, sociolinguistics, semiotics, linguistic modernity, anthropology of writing, inscription devices, materialities of language, social organizations of documents (filing systems, index cards, copies, archives, paperwork), voice/sound/noise, soundscape, technologies of liberalism, gender, urban studies, Japan, East Asia. -
Usha Iyer
Associate Professor of Art and Art History
Current Research and Scholarly InterestsFilm studies, South Asia, Caribbean, Gender, Diaspora, Race and ethnicity
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Shiven Jain
Undergraduate, Anthropology
Undergraduate, Art & Art History
Undergraduate, International Comparative and Area StudiesBioThroughout my academic journey, I have sought to reimagine education as a collective act of meaning-making rather than a transactional exchange of knowledge. At Indus International School Pune, I collaborated with the English department to redesign our pedagogical framework: students alternated as instructors, teachers assumed the role of facilitators, and classrooms became dialogic spaces for co-construction. What began as a localized experiment now informs learning models across fifteen schools—a testament to the transformative potential of student agency when institutions make space for it.
This commitment to humanized learning permeates my broader work. Through IKKIS: The Podcast, I engage with actors, historians, and critics to examine postcolonial cinema as a site of resistance and reclamation. As the founder of the International Youth Philosophy Initiative (IYPI), I convene interdisciplinary seminars with peers from 37 countries, using literature, aesthetics, and critical philosophy to counter apathy and reanimate ethical inquiry.
Research forms the cornerstone of my intellectual life. For instance, my paper, Reclaiming Sociocultural Agency: The Resurrection of India and Africa in Postcolonial Cinema (The Schola, 2024), investigates narrative reclamation in the aftermath of cultural subjugation. I similarly approach media and cultural criticism as modes of activism: as Director of Content Development at RAYS Magazine, I lead initiatives that interrogate and reframe portrayals of mental health in popular culture, overseeing bimonthly publications rooted in accessibility and literacy. My essays for Film Companion, Youth Ki Awaaz, and Flick Deposit likewise aim to navigate—and, where necessary, dismantle—the ideological scaffolding of mainstream cinema.
To me, leadership and mentorship are natural extensions of intellectual agency. As a Teaching Assistant in English Language and Literature, I have conducted over 150 seminars exploring the intersections of language, politics, and aesthetics—facilitating sessions on figures such as Patrick Chappatte, Audre Lorde, Henrik Ibsen, and Chimamanda Ngozi Adichie.
Across research, pedagogy, media, and mentorship, my work is undergirded by a singular conviction: that education, if it is to remain ethical, must center not merely the transmission of knowledge, but the reclamation of voice, the recognition of alterity, and the radical possibility of collective transformation. -
Branislav Jakovljević
Sara Hart Kimball Professor of the Humanities
BioMy research is highly interdisciplinary. I find it very rewarding to study performance in the context of visual arts, film and digital media, literature and poetry, critical theory, as well as larger social and historical processes. Most recently, I have been focusing on climate change and environmental justice. Over the past year, I have co-edited with my colleagues from TAPS Diana Looser and Matt Smith a two-part special issue of TDR: The Drama Review on performance and climate change. This research and teaching interest comes from my more long-term engagement with performance and politics.
My most recent monograph in English is Alienation Effects: Performance and Self-Management in Yugoslavia 1945-1991 (University of Michigan Press, 2016) which received the Joe A. Callaway Prize for the Best Book on Drama or Theater for 2016-17 and Association for Theatre in Higher Education (ATHE) Outstanding Book Award, 2017. It has been translated into Serbian (2019) and Slovenian (2021). I co-translated and edited Radomir Konstantinović’s book The Philosophy of Parochialism, a groundbreaking analysis of the relation of the national literature and the formation of totalitarian ideas and political practices in a small European nation during the first half of the 20th century (University Michigan Press, 2021). My most recent book project is The Performance Apparatus: On Ideological Production of Behaviors (forthcoming from University of Michigan Press), in which I investigate the relationship between performance art and theories of ideological formations from the 1970s until the present.
I hail from Yugoslavia, the country that was located in central and western Balkans, in southeastern Europe. There, I attended Drama Schools at universities in Skopje and Belgrade (present-day Northern Macedonia and Serbia, respectively). I worked as Dramaturg in professional theaters during and immediately after the completion of my BFA studies.
Most of my views on politics, ethics, justice, and the arts were informed by the unraveling of Yugoslavia in a series of bloody civil wars in the 1990s. I was active in anti-war movements before I left the country and remained active in pro-democracy publications in Serbia and the region of the former Yugoslavia. Some of these writings have been collected in the book Frozen Donkey and Other Essays (Smrznuti magarac i drugi eseji, Komuna Links, Belgrade 2017).
Both my MA and PhD are from the Department of Performance Studies at New York University. While pursuing my PhD, I was active in the New York downtown theater and alternative press scene in the late 1990s and early 2000s. In the subsequent years, I served on the board of Performance Studies international (PSi) and chaired the 19th PSi conference held at Stanford in June of 2013.
Before joining Stanford in 2006, I taught at NYU’s Tisch School of the Arts and University of Minnesota. In addition to teaching undergraduate and graduate classes in my home department, over the years I served as Director of Undergraduate Studies, Director of Graduate Studies, and Chair (2015-2019). Some of the highlights from my tenure as Chair are: devising a strategic plan for the department that yielded the current structure of our undergraduate program, supervising the return of the department to the renovated Roble Gym, the establishment of Nitery Experimental Theater as the first fully student-run theater space on campus, working with the Dean’s office to set up Carl Weber graduate fellowships, and opening TAPS season-planning process to include all members of the department who are willing to participate (students, faculty, staff). -
Doug James
LeRa Professor and Professor, by courtesy, of Music
Current Research and Scholarly InterestsComputer graphics & animation, physics-based sound synthesis, computational physics, haptics, reduced-order modeling
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Finn Järvi
Assistant Researcher | Cognition, Computation, Linguistics
BioI am generally interested in BCI (brain-computer interface), experimental psychology, behavioral neuroscience, computational linguistics and machine intelligence. You may reach me at my personal email address listed on my public profile (finnreidpersonal@gmail.com), as this is the account I use most frequently.
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Rachel Jean-Baptiste
Michelle Mercer and Bruce Golden Family Professor of Feminist and Gender Studies, Professor of History and of African and African American Studies
BioPh.D., Stanford University
M.A., Stanford University
A.B., Bryn Mawr College
Rachel Jean-Baptiste is a historian of 19th-21st century West and Equatorial Africa and the French-speaking Atlantic World. Her research interests include the histories of: marriage and family law; citizenship; urbanization; family and childhood; women, gender, and sexuality; colonialism; and race. -
Nicholas Jenkins
Professor of English
Current Research and Scholarly Interests20th-century culture and literature, especially poetry; digital humanities; art
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Adam Johnson
Phil and Penny Knight Professor of Creative Writing
BioAdam Johnson is a Professor of English with emphasis in creative writing at Stanford University. Winner of a Whiting Award and Fellowships from the Guggenheim Foundation, the National Endowment for the Arts and the American Academy in Berlin, he is the author of several books, including Fortune Smiles, which won the National Book Award, and the novel The Orphan Master’s Son, which was awarded the Pulitzer Prize. His stories have appeared in Esquire, GQ, Playboy, Harper's Magazine, Granta, The Paris Review, The Best American Short Stories, The Best American Science Fiction and Fantasy and have been recognized with the Story Prize, The Sunday Times Short Story Award and the Dayton Literary Peace Prize. His work has been translated into more than three-dozen languages. He was born in South Dakota and is an enrolled member of the Cheyenne River Sioux Tribe. His teaching and research interests include the development of the novel, indigeneity, the oral tradition, counter narrative, trauma theory and speculative fiction.
