Moradewun Adejunmobi (African American and African Studies)
Multilingualism, translation, and intercultural communication in postcolonial societies; Literacy studies; African literature; African popular film and culture; Francophone studies
Emily Albu (Classics)
Medieval cartography; classical receptions; film and the classical world
Inés Hernández-Avila (Native American Studies)
Contemporary Native American women's literature; Mexico’s contemporary movement of writers in indigenous languages; Native American religious traditions: Native American women’s and Chicana spiritualities; creative writing/poetry/short fiction; the retrieval of Nez Perce family/tribal history.
Gina Bloom (English)
Sixteenth and seventeenth century English drama, theater history, performance of games, masculinity, sound studies.
Larry Bogad (Performance Studies, Theatre and Dance)
Electoral guerrilla theatre in recent democracies, oppositional performance and social movements, tactical performance.
Seeta Chaganti (English)
Poetic and visual representations of dance in the late Middle Ages; their role in the modern construction of medieval studies.
Xiaomei Chen (East Asian Languages and Cultures)
Modern Chinese literature, drama, theater, women's literature, comparative literature, literary theory, cultural studies, and performance studies.
Liz Constable (Women and Gender Studies)
Transcolonial and transnational studies; feminist and queer literary, cultural, and film theories; contemporary European cinemas, particularly women directors; psychoanalysis and culture
Lucy Corin (English)
creative writing (novel & short story); contemporary fiction.
Maxine Craig (Women and Gender Studies)
Intersections of race, gender,and class; the body including movement in everyday life, masculinities.
Jesse Drew (Technocultural Studies)
Theory and practice of alternative and community media, particularly electronic media. Practices such as blogging, Low Power FM Radio, social computer networking, cable/satellite television, peer-to-peer computing, and on-line activism, within an increasingly atomized civil society.
Joseph Dumit (Science and Technology Studies)
Brain Theories; Patient Movements; Pharmaceutical Marketing; Cyborgs
Gail Finney (German)
Dynamics of gender identity and family relationships in modernist plays; film, photography, cabaret performance, architecture, painting, television, theater, print advertising, dance, and cartography from the perspectives of aesthetics, gender and sexuality, and politics.
Jaimey Fisher (German)
Film and media studies, German literature, and intellectual history; contemporary German cinema.
Laura Grindstaff (Sociology)
Culture: cultural studies, popular culture, media, inequality Theory: feminist theory, queer theory, social theory
Noah Guynn (French)
Medieval and early modern French literature, theater, and culture. Ethics and politics in fifteenth- and sixteenth-century farce; medieval romance, Molière, and the Theater of the Absurd.
Lynette Hunter (Performance Studies, Theatre and Dance)
Rhetoric of western democratic politics in writing genres and performance modes; sixteenth century liberal democratic rhetoric and its constraints on participation of different global communities; diversity and the creation of value through performance. Feminism, history of science and medicine, food studies, situated knowledge, Daoist movement and philosophy.
Susan Kaiser (Women and Gender Studies)
Social psychology of clothing; fashion and feminist theory; dress and the African diaspora network; sustainable fashion systems.
Caren Kaplan (Cultural Studies)
Studies of travel, tourism, displacement; postcolonial studies; consumer subjects in transnational culture; the visual logics of location and navigation technologies; and theories of globalization and cosmopolitanism.
Elizabeth Krimmer (German)
- Gender and film studies, the history and representation of violence and warfare, German literature and culture from the eighteenth century to the present.
Beth Levy (Music)
Twentieth-century American composers and the mythology of the American West; eighteenth- and nineteenth-century aesthetics, reception history, and representations of music in literature.
Peter Lichtenfels (Theatre and Dance, Performance Studies)
Shakespeare, contemporary performance, devised theatre and dance, alternative theatres, theatre directing, and theories of acting.
Sheldon Lu (Comparative Literature)
World cinema, Postsocialist cinema, Transnational Chinese cinemas, Modern Chinese literature and visual culture, Traditional Chinese narrative, Cultural theory, Globalization studies, East-West comparative poetics.
Adrienne Martín (Spanish)
Early modern Sp-anish literature and drama: drama as textual, cultural and performative practice; theatrical spaces and playhouses; Golden Age comedia studies; history of Spanish theater; transatlantic drama.
Darrin Martin (Art Studio)
Video, sculpture, installation, exploring how technologies are used to attempt to measure and augment, our daily perceptions. Collaborative building of diverse speculative fictions around re-imagined educational practices.
Zoila S. Mendoza (Native American Studies)
Sociocultural Anthropology, Ethnomusicology, Performance and Dance Studies, Performance Practices in the Americas, particularly music, dance and festivals in Peru and the rest of the Andean region, Quechua language.
Colin Milburn (English)
Cultural relations between literature, science, and technology; science fiction; gothic horror; the history of biology; the history of physics; nanotechnology; video games; and posthumanism.
Elizabeth Carolyn Miller (English)
Nineteenth- and early-twentieth-century British literature, culture, and politics; gender studies; film and visuality; print culture and media studies; late-Victorian dramatic revival and the socialist movement; Shaw, Wilde and Ibsen.
Michael Neff (Technocultural Studies, Computer Science)
Computing science and the arts, culture and the environment; tools for character animation and understanding movement; expressive aspects of motion, applying lessons from the performing arts to the creation of computational tools and the use of physical simulation to improve the quality of animations; gesture, non-verbal communication and biomechanics.
Bob Ostertag (Technocultural Studies, Music)
Composer, performer, instrument builder, journalist, activist, historian, kayak instructor; unorthodox digital sampling and recording, multimedia performance with sound,image and live performance, design of performance software and instruments.
Halifu Osumare (African American and African Studies)
African Americans Studies, African American performance and resistance, complicity, and play; structures of power; global popular culture’s centralization of African-derived performance aesthetics in the era of postcolonialism; interplay of African American vernacular and concert dance forms in the fusion styles of contemporary black choreographers; hip hop youth culture.
Kriss Ravetto-Biagioli (Technocultural Studies)
Her research focuses on representations and theorizations of sexual violence in film, mainstream media, online, and photography; Identity politics in the post-Soviet reconfiguration of Europe; Nation building, ethnocentric and sexual violence in the Balkans and Eastern Europe; Sexualization and aestheticization of Nazism, fascism and “The Final Solution.”
Lynn Roller (Art History and Classics)
Ancient Mediterranean art; Greek theater; Greek and Roman cult practice; religious ritual as performance.
Annabeth Rosen (Art Studio)
Ceramic sculpture, intellectual history, performance modes and performance art.
Jon D. Rossini (Performance Studies, Theatre and Dance)
Performance Theory, History and Criticism. Intersections of ethnicity and performance, especially in contemporary Chicana/o and Latina/o Theatre. The epistemology of theatre as well as theories of neoliberalism, space, and identity.
Simon Sadler (Art History)
Modern architecture and urbanism, modernism, guerilla architecture, concepts of the avant garde.
Scott C. Shershow (English)
Application of deconstruction to contemporary legal and political issues; issues such as welfare, affirmative action, torture, the Guantanamo detainees, and the vexed relation of state secrecy and personal privacy; history and theory of drama, popular culture, and early-modern theater.
Eric Smoodin (American Studies)
American and French film history from 1895 to 1960, with a special emphasis on the film industry, film audiences, and the history of film studies as an academic discipline.
Henry Spiller (Music)
Ethnomusicology, Sundanese music and dance from West Java, Indonesia; individual deployment of music and dance in personal lives to articulate ethnic, gender, and national identities; constructions of masculinity in Sundanese men's improvisational dance; 20th-century North Americans attraction to Javanese music and dance. Gamelan musical performance.
Smriti Srinivas (Anthropology)
Somatic and sensory reform as crucial practices for the creation of new cultural subjects, institutions, and forms of urban modernity. Landscapes of urban memory and the body in global cities; transnational religious movements, spatial, somatic and symbolic production; religious imaginaries, understandings of citizenship, sites of sociality, and devotional memory.
Blake Stimson (Art History)
Photography, nationalism, Aesthetic theory, Collectivism, Modernism.
Archana Venkatesan (Religious Studies)
Hinduism, women and religion, movement and sacred dance, aesthetics and performance.
Grace Wang (American Studies)
Asian American studies, music and popular culture, multi-ethnic U.S. literature, and transnational U.S. cultures; interrogation of the work that music performs in the production of contemporary Asian American identities; racial representation in reality TV.
Heghnar Watenpaugh (Art History)
Early modern and modern Islamic Art and Architectural History, urban history, theory of architectural preservation, and architecture and gender.
Julie Wyman (Technocultural Studies)
Investigation of the body through performance, documentary practice, critical reflection: locating, exploring, and inventing various situations in which the codes, conditions, and visceral experiences of physicality defy expectation.