School of Humanities and Sciences
Showing 1,151-1,200 of 1,551 Results
-
Jessica Riskin
Frances and Charles Field Professor of History
BioJessica Riskin received her B.A. from Harvard University and her Ph.D. from the University of California at Berkeley. She taught at MIT before coming to Stanford, and has also taught at Iowa State University and at Sciences Po, Paris. Her research interests include early modern science, politics and culture and the history of scientific explanation.
Riskin is the author of Science in the Age of Sensibility: The Sentimental Empiricists of the French Enlightenment (2002), which won the American Historical Association's J. Russell Major Prize for best book in English on any aspect of French history, and the editor of Genesis Redux: Essays in the History and Philosophy of Artificial Life (2007) and, with Mario Biagioli, of Nature Engaged: Science in Practice from the Renaissance to the Present (2012). She is also the author of The Restless Clock: A History of the Centuries-Long Debate over What Makes Living Things Tick (2016), which won the 2021 Patrick Suppes Prize in the History of Science from the American Philosophical Society. -
Lesley Robertson
Artist in Residence, Music
BioAfter celebrating 34 years with the internationally celebrated St. Lawrence String Quartet (SLSQ), Lesley Robertson (viola) continues to make her life at Stanford University where along with her St Lawrence colleagues she directs the chamber music at the Department of Music. Ms. Robertson teaches viola, coaches chamber music, and also spearheads the Emerging String Quartet Program at Stanford and the annual St Lawrence Chamber Music Seminar. A graduate of the Curtis Institute and the Juilliard School, Ms. Robertson also holds a degree from the University of British Columbia where she studied with her mentor, Gerald Stanick. A founding member of the SLSQ, Ms. Robertson toured regularly with the ensemble, performing 100+ concerts worldwide per season (in Berlin, Florence, London, Paris, New York, Toronto, among others) while also nurturing close ties to the Stanford community performing in various classes, dormitories, laboratories, hospitals, and in Stanford's glorious Bing Concert Hall. She participated in the Marlboro Festival for several years and and toured with Musicians from Marlboro before co-founding the SLSQ. She has served on the jury of several international competitions including the Banff International String Quartet Competition, the Melbourne International Chamber Music Competition, the Wigmore Hall International String Quartet Competition and the Concours de Genève. Summer music festivals include Spoleto Festival USA, Norfolk Chamber Music Festival, Banff Festival, Festival of the Sound, Santa Fe Chamber Music, Rockport Chamber Music Festival, Bravo Vail, Music@Menlo and more. Robertson plays on a viola (1992) made by fellow Canadian John Newton and a bow (2016) by Francois Malo.
-
Aileen Robinson
Assistant Professor of Theater and Performance Studies
Current Research and Scholarly InterestsAileen K. Robinson is a historian of performance and technology with specializations in 18th and 19th century British theatre and Black cultural performances. Working across the history of science, technology, and theatre, Robinson explores how systems of knowledge, connected to the body and the object, overlapped to produce practices of research, dissemination, and valuation.
Robinson's current book manuscript explores intersections between technological, scientific, and theatrical knowledge in early nineteenth-century science museums. She investigates how theatrical performances and magic shows drew upon technological innovations and formed unique methods for disseminating scientific knowledge. She teaches across the history of science and performance, magic and technology, eighteenth- and nineteenth-century stagecraft, and 19th and 20th-century Black artistic production. -
Jesse Rodin
Osgood Hooker Professor of Fine Arts
BioJesse Rodin strives to make contact with lived musical experiences of the distant past. Immersing himself in original sources, he sings from choirbooks, memorizes melodies and their texts, and recreates performances held at weddings, liturgical ceremonies, and feasts. 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).
Rodin’s recent monograph "The Art of Counterpoint from Du Fay to Josquin" (Cambridge University Press, 2024) presents a theory of how fifteenth-century polyphonic music happens in time. Other published works include a volume in honor of Joshua Rifkin (2024), "The Cambridge History of Fifteenth-Century Music" (2015), a volume for the "New Josquin Edition" (2014), "Josquin’s Rome: Hearing and Composing in the Sistine Chapel" (Oxford University Press, 2012), and articles that bring historiographical, analytical, evidentiary, practical, and embodied perspectives to a range of subjects. An in-progress co-edited book aims to clear the ground and offer a new path forward in Josquin studies.
As director of the vocal ensemble Cut Circle Rodin performs internationally. In partnership with the Belgian label Musique en Wallonie, Cut Circle recently embarked on a project to record the complete music of Josquin des Prez (ca. 1450/51–1521). The first album appeared in 2023; the second, titled "JOSQUIN: II. Motets milanais ; Missa L’ami Baudichon," is forthcoming in fall 2025. Other albums include a disc of anonymous fifteenth-century masses (2021) as well as double albums devoted to the complete songs of Johannes Okeghem (2020), the late masses of Guillaume Du Fay (2016), and music from the Sistine Chapel (2012). A short film titled "Sounds of Renaissance Florence" (2021) recaptures the soundscape of fifteenth-century Italy.
Two projects in the digital humanities strive to make the period as a whole more accessible. Rodin directs the "Josquin Research Project" (josquin.stanford.edu), a digital tool for exploring a large musical corpus. He co-directs "Mapping the Musical Renaissance," which facilitates basic understanding as well as serendipitous discovery.
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. He has been featured in a variety of public forums, including The New Yorker. He prepares new editions of all the music Cut Circle performs; these are freely available through the Josquin Research Project. 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. Cut Circle’s latest album was a finalist for a Gramophone Award.
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 Okeghem, medieval music pedagogy, musical analysis in the digital age, and regional Italian cooking. -
Jonathan Rosa
Associate Professor of Education and, by courtesy, of Linguistics, of Anthropology and of Comparative Literature
Current Research and Scholarly InterestsI am currently working on two book projects through which I am continuing to develop frameworks for understanding ethnoracial, linguistic, and educational formations. The first examines racial reckonings across distinctive societal contexts by interweaving ethnographic analysis of diasporic Puerto Rican experiences and broader constructions of Latinidad that illustrate race and ethnicity as colonial and communicative predicaments. The second spotlights decolonial approaches to the creation of collective well-being through educational and societal transformations based on longstanding community collaborations in Chicago.
-
Janice Ross
Professor (Teaching) of Theater and Performance Studies, Emerita
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 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), Moving Lessons: The Beginning of Dance in American Education, (University of Wisconsin Press 2001/ University of Florida Press, Second Edition/2020) and, co-edited with Susan Manning and Rebecca Schneider, The Futures of Dance Studies, (University of Michigan Press (2020). 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 The Oxford Handbook of Contemporary Ballet (Oxford Univ. Press, 2020), The Aging Body in Dance: A Cross Cultural Perspective, (Routledge, 2017),The Oxford Handbook of Improvisation (2019) Soloists and The Modern Dance Canon (Univ. Press of Florida, 2012), 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), 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), 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, the 2016 CORD Award for Outstanding Contributions to Dance Research , an NYU Fellowship for the Center for Ballet and the Arts (2018) and a Bogliasco Foundation Fellowship (Italy 2022). 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.
-
Nancy Ruttenburg
William Robertson Coe Professor of American Literature, Emerita
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. -
Gabriella Safran
Senior Associate Dean of Humanities and Arts, Eva Chernov Lokey Professor of Jewish Studies, Professor of Slavic Languages and Literatures and, by courtesy, of German Studies and of Comparative Literature
BioGabriella Safran has written on Russian, Polish, Yiddish, and French literatures and cultures. Her most recent monograph, Wandering Soul: The Dybbuk's Creator, S. An-sky (Harvard, 2010), is a biography of an early-twentieth-century Russian-Yiddish writer who was also an ethnographer, a revolutionary, and a wartime relief worker.
Safran teaches and writes on Russian literature, Yiddish literature, folklore, and folkloristics. She is now working on two monograph projects: one on how people in the Russian Empire listened across social lines, recorded and imitated others’ voices in various media, and reflected on listening and vocal imitation, from the 1830s to the 1880s, and the other on the international pre-history of the Jewish joke.
For more information about her activities and publications, see https://dlcl.stanford.edu/people/gabriella-safran -
Jose Saldivar
Leon Sloss, Jr. Professor and Professor, by courtesy, of Iberian and Latin American Cultures
BioJosé David Saldívar is a scholar of late postcontemporary culture, especially the minoritized literatures of the United States, Latin America, and the transamerican hemisphere, and of border narrative and poetics from the sixteenth century to the present.
He is the author of The Dialectics of Our America: Genealogy, Cultural Critique, and Literary History (Duke University Press, 1991), Border Matters: Remapping American Cultural Studies (University of California Press, 1997), and Trans-Americanity: Subaltern Modernities, Global Coloniality, and the Cultures of Greater Mexico (Duke University Press, 2012),coeditor (with Monica Hanna and Jennifer Harford Vargas) of Junot Díaz and the Decolonial Imagination (Duke University Press, 2016) coeditor (with Héctor Calderón) of Criticism in the Borderlands (Duke University Press, 1991), and editor of The Rolando Hinojosa Reader (Arte Público Press, 1985).
Additionally, he has published numerous articles in journals such as Cultural Studies, American Literary History, The Americas Review, Revista Casa de las Américas, Daedalus, Modern Fiction Studies, and The Global South. He has served on the editorial boards of Duke University Press, the University of California Press, and currently serves on the editorial boards of the journals American Literary History, The Global South, Aztlan, and World Knowledges Otherwise. He has received personal research grants from The Ford Foundation, the American Council of Learned Societies, the University of California President's Research Fellowship in the Humanities, the William Rice Kimball Fellowship, Stanford Humanities Center, and the Center for Advanced Study in the Behavioral Sciences, Stanford (invitation for a future visit).
His teaching is divided evenly between graduate seminars and undergraduate courses, and some of his undergraduate courses are cross-listed in Comparative Studies in Race and Ethnicity.
In 2003, he received the Distinguished Achievement Award for Literary and Cultural Criticism from the Western Literature Association; in 2005, he received the Chicano Scholar of the Year Award from the Modern Language Association; in 2007 he received the Sarlo Distinguished Graduate Student Mentoring Award from the University of California, Berkeley; and in 2016, he was the winner of the American Literature Society’s highest honor, the Jay B. Hubbell Medal. The medal is sponsored by the American Literature Society, an allied organization of the Modern Language Association, and is awarded annually to one “scholar whose lifetime of scholarly work has significantly advanced the study of American literature.” . Before coming to Stanford in January 2010, Saldívar was the Class of 1942 Professor of English and Ethnic Studies at the University of California, Berkeley. -
Ramon Saldivar
Hoagland Family Professor of Humanities and Sciences and Professor of English, of Comparative Literature and, by courtesy, of Iberian and Latin American Cultures
Current Research and Scholarly InterestsMy current research is concerned with the relationships among race, form, genre, representing what Jeffrey T. Nealon has recently term the “post-postmodern.” In the latest version of this research presented at the John-F.-Kennedy-Institut für Nordamerikastudien, Freie Universität Berlin I use Sesshu Foster's "Atomik Aztex" as an example twenty-first century racial imaginaries. Part fantasy, part hallucinatory sur-realism, part muckraking novel in the grand realist protest tradition of Upton Sinclair’s The Jungle (1906), part historical novel in the mode of Vassily Grossman’s great Stalinist era masterpiece, Life & Fate (1980) set during the battle of Stalingrad, part ethnographic history about religious, military, and social structure of the pre-Columbian Aztec (Nahua, Mexica) world, part LA noir, and wholly Science Fiction alternative and counterfactual history, it exemplifies many of the criteria of the “post-postmodern.” Moreover, in addition to this range of formal matters, Atomik Aztex is concerned with two other topics:
•a reconceptualization of the way that race affects the formations of history, and
•the reshaping of the form of the novel in order to represent that reconceptualization.
With eighty-two characters populating the story, itself a plotted compendium of at least two radically separate yet intertwined universes of action, in a continually shifting movement from past, present, and future times, Atomik Aztex is a radical experiment in novelistic form. Using the tools of quantitative formalism developed for literary use by the Stanford University Literary Lab, I wish to show how the work of the computational humanities, in conjunction with traditional hermeneutic methods of literary analysis can help us understand the radical turn of contemporary American fiction toward speculative realism.
