Associated Faculty
Sue-Ellen Case (Theater) - secase@tft.ucla.edu
A past editor of Theatre Journal, Professor Case has published widely in the fields of German theatre, feminism and theatre, performance theory, and lesbian critical theory. Her books include Feminism and Theatre and The Domain-Matrix: Performing Lesbian at the End of Print Culture. She has edited several anthologies of critical works and play texts, including The Divided Home/Land: Contemporary German Women's Plays; Split Britches: Lesbian Practice/Feminist Performance; Performing Feminisms, and many others. Along with Philip Brett and Susan Leigh Foster, she edits a book series with Indiana University Press entitled Unnatural Acts.Makela Brizuela (Spanish and Portuguese) - makela@humnet.ucla.edu
Born and raised in Buenos Aires Argentina, Brizuela has been teaching tango in Los Angeles with great success for the last 4 years. She is trained in ballet (with a degree from the National School of Ballet of Argentina) and modern dance. She performed tango during the last 10 years throughout Argentina, the US, Buenos Aires, and Mexico. She was part of the Otero Dance Company and performed with them. In Los Angeles, she produced, choreographed, and was the main dancer of Tango Cabaret at the Museum of Latin American Art in Long Beach, CA. She performed in many different prestigious venues such as the Doolittle Theater, the Ford Amphitheatre, and Disney's REDCAT Theater.Lucy Burns (World Arts and Cultures) - lmburns@ucsc.edu
Burns co-edited The Color of Theater: Race, Culture, and Performance with Roberta Uno (2002). Her work has addressed contemporary issues in literary management and play development as well as community-based performance projects. She has also written on Filipino and Asian-American theater and culture.Susan Foster (World Arts and Culture) - slfoster@arts.ucla.edu
Choreographer, dancer, writer, Foster began presenting concerts of her own work in 1977. Since that time she has created several solo concerts which she has toured in the United States, Canada and Europe. She is the author of Reading Dancing (University of California Press, 1986), Choreography and Narrative (Indiana University Press, 1996) and Dances That Describe Themselves: The Improvised Choreography of Richard Bull (Wesleyan University Press, 2003). She is also editor of Choreographing History (Indiana, 1995) and Corporealities (Routledge, 1996). Foster's work has been supported by grants from the National Endowment of the Arts, the National Endowment of Humanities, and the Rockefeller and Jerome Foundations.David Gere (World Arts and Cultures) - dgere@ucla.edu
Building on his former work as a dance critic, Gere teaches courses in writing, critical theory, dance studies, queer theory, and music, striving to explore the intersections between artistic disciplines and between practice and theory. He is co-director of the Talking Dance Project, a California organization dedicated to bridging the gap between artists, critics, and audience members, and he organizes a related event series at UCLA titled Artist Alphabets. He recently completed a book on dance,corporeality, and AIDS. Gere's most recent essays appear in Loss Within Loss (U of Wisconsin Press 2001) and in Dancing Desire (U of Wisconsin Press 2001).Sander M. Goldberg (Classics) - sander@humnet.ucla.edu
An expert in the theater of Greece and Roman, Goldberg is Comparative Drama's editor for ancient drama and author of The Making of Menander's Comedy (California 1980) and Understanding Terence (Princeton 1986). His research interests include the theatrical spaces and conditions of performance at Rome, the relationship of oratory to acting, the influence of Seneca and Ovid on Renaissance drama, and, in collaboration with McGill's Tom Beghin, the relationship of ancient rhetorical practice to eighteenth-century musical performance. Forthcoming publications include Constructing Literature in the Roman Republic and, with Professor Beghin, Engaging Rhetoric. Essays on Haydn and Performance (Chicago 2006).Andrew Hewitt (German) - ahewitt@humnet.ucla.edu
Hewitt is Professor of Germanic Languages and Comparative Literature and Chair of the Department of Germanic Languages. He has written extensively on questions of aesthetics and politics. He has recently completed a manuscript, Social Choreographies: Ideology as Performative, that deals with ideology as a category of action rather than consciousness.Robert Israel (Arts & Architecture)
A leading designer for theater and opera, Isreal serves as a school-wide lecturer in Arts and Architecture. He has designed sets and costumes for over sixty productions in opera houses worldwide including the Los Angeles Opera, the Metropolitan Opera, and the National Opera of Canada. Israel's work has been exhibited at museums and galleries including the Whitney Museum, the Museum of Modern Art, the Milwaukee Art Center, and Foundation Maeght in France.Mary Kelly (Art) - mkelly@arts.ucla.edu
Kelly teaches Interdisciplinary Studio Art and works as both an active artist and as a theoretician with a special interest in psychoanalysis and feminism. Published works include Post-Partum Document , (UC Press 1998), discussing her major artwork from the seventies which has been described as “the ultimate merging of feminism and minimalist performativity” (Maurice Berger, New School for Social Research); Rereading Post-Partum Documen t, (Generali Foundation 1999); Imaging Desire (MIT Press, 1996); and Mary Kelly , (Phaidon Press 1997).Rachel Lee (English, Women's Studies) - rlee@humnet.ucla.edu
Lee, Associate Professor of English and Women's Studies at UCLA, specializes in Asian American literature and performance culture. She is the author of The Americas of Asian American Literature: Gendered Fictions of Nation and Transnation (Princeton University Press, 1999), and co-editor of the volume Asian America.Net: Ethnicity, Nationalism, and Cyberspace (Routledge University Press, 2003). Her more recent work includes an essay on women of color in relation to the institution of women's studies ( Women's Studies on Its Own, Duke UP, 2002), and an ongoing examination of the body politics of stand-up comedienne, Margaret Cho ( TDR , 2004).Elisabeth Le Guin (Musicology) - leguin@humnet.ucla.edu
One of the foremost Baroque cellists in the United States, Le Guin is a founding member of Philharmonia Baroque Orchestra and the Artaria String Quartet, cellist of Trio Galatea, and appears in numerous recordings on the Koch, Virgin, Harmonia Mundi, and Klara labels. Her academic interests are eclectic, but connected by an over-arching interest in music as an embodied practice. She has published on Luigi Boccherini (online, in ECHO: a music-centered journal ); on New Age music (in repercussions and in the New York Times ); on Debussy (in Beyond Structural Hearing ?, California, 2004); and on the relations between 17th-century riding and music-making (in Ki ngdoms of the Horse , Palgrave, 2004). Her book, Boccherini's Body: an Essay in Carnal Musicology , was recently published by the University of California Press .Tamara Levitz (Musicology) - tlevitz@humnet.ucla.edu
Tamara Levitz specializes in musical modernism in Europe and the Americas, and has taught and published on the Weimar Republic, American experimentalism, Cuban vanguardism, Avant-Garde music after 1945, modern dance, Stravinsky, John Cage, Kurt Weill, and popular music of the 1960s. Her articles have appeared in journals such as ECHO: a music-centered journal and the South Atlantic Quarterly, as well as in collections such as Beyond Structural Listening: Postmodern Modes of Hearing (California, 2004), Impossible to Hold: Women, Culture and the Sixties (New York University, 2004), and Amerikanismus/Americanism: Die Suche nach kultureller Identität in der Moderne (Schliengen 2003). She is also the recipient of numerous awards, including fellowships from the Stanford Humanities Center and the Humboldt Foundation. She is currently in the final stages of completing a book entitled "Haunted Melodies: Transnational Encounters in Paris in the Early 1930s" in which she explores the impact on Cuban and European modern music and dance of West African performances at the Expositio n coloniale in Paris in 1931.Francoise Lionnet (French and Francophone Studies) - flionnet@humnet.ucla.edu
Lionnet's work covers comparative and Francophone literatures, postcolonial studies, autobiography, and race and gender studies. Her books include Autobiographical Voices: Race, Gender, Self-Portraiture (Cornell 1989); Postcolonial Representations: Women, Literature, Identity (Cornell 1995); Minor Transnationalism (co-edited with Shu-mei Shih, forthcoming Duke University Press 2004); and Dissonant Echoes: Seduction and Disavowal in Postcolonial Novels (in preparation).Arthur Little (English) - little@humnet.ucla.edu
Little's primary publishing, research, and teaching area is Shakespeare and the body as both a literal and figurative site of cultural, social, political, psychic, and religious exchange. His recently published book, Shakespeare Jungle Fever: National-Imperial Re-Visons of Race, Rape, and Sacrifice (Stanford University Press 2001) focuses on the intersection of race, gender, and sexuality in Shakespeare's works and in early modern culture more generally. While inquisitive about the discursive body in all his areas of interest, Little's lesbian, gay, bisexual, and transgender work has focused on the drag queen and on the relationship between death and queer subjectivity.Daniel Lowenstein (Law) - lowenste@law.ucla.edu
A leading expert on election law, Lowenstein is also a member of the Board of Directors of the award-winning theatre troupe Interact and regularly brings the company to the School of Law to perform plays with legal themes. He has written on such topics as campaign finance, redistricting, bribery, initiative elections, political parties, commercial speech, and The Merchant of Venice.Susan McClary (Musicology) - mcclary@humnet.ucla.edu
McClary specializes in the cultural criticism of music, both the European canon and contemporary popular genres. She is best known for her book Feminine Endings: Music, Gender, and Sexuality , which examines cultural constructions of gender, sexuality, and the body in various musical repertories, ranging from early seventeenth-century opera to the songs of Madonna. Her more recent publications explore the many ways in which subjectivities have been construed in music from the sixteenth-century onward. Having completed Modal Subjectivities: Self-Fashioning in the Italian Madrigal (University of California Press 2004), she is now working on Power and Desire in Seventeenth-Century Music (Princeton University Press). McClary received a MacArthur Foundation Fellowship in 1995.Kathleen McHugh (English) - mchughla@humnet.ucla.edu
Author of American Domesticity: From How-To Manual to Hollywood Melodrama (Oxford, 1999), McHugh specializes in contemporary critical, film, and feminist theory, film studies, and literary and filmic autobiography. She is currently working on a book on Jane Campion, editing a collection of essays on autobiography, and co-editing a volume on Korean film melodrama.Ann Mellor (English) - mellor@humnet.ucla.edu
Mellor's scholarly interests focus on eighteenth and nineteenth century British literature, women's writing, feminist theory, and the visual arts. Her most recent book, Mothers of the Nation - Women's Political Writing in England, 1780-1830 (2000), argues that women writers were instrumental in shaping public opinion during the Romantic era. She is the author of Blake's Human Form Divine (1974), English Romantic Irony (1980), Mary Shelley: Her Fiction, Her Life, Her Monsters (1988) and Romanticism and Gender (1993). She edited the first collection of feminist essays on Romantic writing, Romanticism and Feminism (1988), and is the co-editor of an anthology of canon-transforming Romantic writing, British Literature 1780-1830 , as well as of The Other Mary Shelley (1993) and Passionate Encounters in a Time of Sensibility (2000).Mitchell Morris (Musicology) - mmorris@humnet.ucla.edu
Morris specializes in music at the fin-de-siècle, Russian and Soviet music, 20th century American music, opera, rock and soul, and gay/lesbian studies. He has published essays on gay men and opera, disco and progressive rock, musical ethics, and contemporary music. He is currently preparing a book entitled The Persistence of Sentiment: Essays on Pop Music in the 70s and at work on a project entitled Echo of Wilderness: Music, Nature, and Nation in the United States, 1880–1945 .Chon Noriega (Film/Chicano Center) - cnoriega@ucla.edu
Noriega is a Professor in the UCLA Department of Film, Television, and Digital Media, and Director of the UCLA Chicano Studies Research Center. He is author of Shot in America: Television, the State, and the Rise of Chicano Cinema (Minnesota, 2000) and I, Carmelita Tropicana: Performing Between Cultures (Beacon, 2000). He is also the editor of nine books dealing with Latino media, performance and visual art. He has also helped recover and preserve independent films and video art, including the first three Chicano-directed feature films. The restoration of these films is the cornerstone of an ongoing "Chicano Cinema Recovery Project" that he organized between the UCLA Film and Television Archive and the Chicano Studies Research Center, with major support from the Ford, Rockefeller and Ahmanson Foundations.Felicity Nussbaum (English) - nussbaum@humnet.ucla.edu
Nussbaum specializes in eighteenth-century British literature, gender studies, and autobiography. She has received numerous academic honors, including a Guggenheim Fellowship, an Andrew Mellon Fellowship at the Huntington Library, and an NEH Fellowship. She is the author most recently of The Limits of the Human: Fictions of Anomaly, Race, and Gender in the Long Eighteenth Century (Cambridge University Press) and editor of The Global Eighteenth Century (Johns Hopkins University Press). With Helen Deutsch she has edited Defects: Engendering the Modern Body . She is currently at work on a book on women and the eighteenth-century British theatre.Sherry Ortner (Anthropology ) - sortner@anthro.ucla.edu
Ortner copioneered the sub-discipline of Feminist Anthropology and is one of the leading women on feminist thought. She first brought her feminist thought to attention when she published Is Female to Male as Nature is to Culture in 1974. Her areas of specialty include c ritical cultural and social theory, including feminist theory; late capitalism; class, gender, race/ethnicity; Himalayas and Tibet; and studies of contemporary society in the United States.Shelley Salamensky (Theater) - ss@tft.ucla.edu
Salamensky is a historian and theorist of dramatic literature and theatre, as well as a theatre artist. Her current book, Wilde Words: Performance Anxiety from the Fin de Siècle to the Nazi Period , in progress, examines relations of performance and language to materiality in phenomenological and historiographical contexts. Her first book, Talk Talk Talk: The Cultural Life of Everyday Conversation (Routledge 2001), a collection of essays, explores language as performance onstage and off, with contributions by Judith Butler, Homi Bhabha, Marjorie Garber, and others. Salamensky's other areas include English and Comparative Literature. Elsewhere, she has taught directing, acting, dramaturgy, playwriting, adaptation, translation, and expository writing.Marta Savigliano (World Arts and Cultures) - martasa@arts.ucla.edu
Savigliano is an Argentine political theorist and anthropologist interested in the politics of culture. She is the author of Tango and the Political Economy of Passion (Westview 1995), which received the Congress of Research on Dance Award for Outstanding Book 1993-1996. Her publications address historical, ethnographic and cinematographic dimensions of popular dance in Latin America and its representations abroad. Angora Matta , a tango-opera, is her first work as a librettist. Envisioned as a interdisciplinary and multi-art project of international collaboration, the work was developed with composer Ramon Pelinski, choreographer Susan Rose and animator Miguel Angel Nanni. She has recently completed Angora Matta: Fatal Acts of North-South Translation (Wesleyan UP), a hybrid genre book containing scholarly essays and critical fiction about feminization and fatal-ness as recurrent tropes in artistic and scholarly representations of Latin America.Jenny Sharpe (English) - sharpe@humnet.ucla.edu
Sharpe is the author of an influential study of colonial literature, Allegories of Empire: The Figure of Woman in the Colonial Text (Minnesota, 1993) which combines interpretive analyses of British novels in relation to the both India and the West Indies and The Haunting of History: A Literary Archeology of Slave Women's Lives (2002) in which she discusses the negotiated practices that slave women employed in the Caribbean. Her interests embrace the long historical perspective on colonial and postcolonial studies as well as Caribbean Literature, Critical Theory, Gender Studies, and the Novel.Vivian Sobchack (Film) - sobchack@tft.ucla.edu
Vivian Sobchack was the first woman elected President of the Society for Cinema and Media Studies, and is on the Board of Directors of the American Film Institute. Her essays have appeared in journals such as Quarterly Review of Film and Video , Artforum International , camera obscura , Film Quarterly , and Representations , and she has edited two anthologies: Meta-Morphing: Visual Transformation and the Culture of Quick-Change; and The Persistence of History: Cinema, Television, and the Modern Event. Her own books include Screening Space: The American Science Fiction Film , The Address of the Eye: A Phenomenology of Film Experience , and Carnal Thoughts: Embodiment and Moving Image Culture .Carol Fisher Sorgenfrei (Theater) - csorgenf@tft.ucla.edu
Playwright, Director and Historian. Award winning author of plays including Medea: A Noh Cycle Based on the Greek Myth, and Blood Wine, Blood Wedding (kabuki-flamenco fusion). Translator of avant-garde Japanese playwrights Terayama Shûji and Kishida Rio. Her book Unspeakable Acts: The Avant-Garde Theatre of Terayama Shûji and Postwar Japan (University of Hawaii, 2005) considers experimental performance in relation to cultural, political, anthropological and gender issues. Articles on Japanese and cross-cultural theater in publications such as Asian Theater Journal, TDR, Theater Journal, Modern Drama, Contemporary Theater Review, and various anthologies and encyclopedias. She has served on the Executive Committee of the American Society for Theatre Research, and is an Associate Editor of Asian Theatre Journal and Editor of the Association for Asian Performance Newsletter. Current projects include two additional books on aspects of Japanese and/or world theater history and culture.Tim Taylor (Musicology and Ethnomusicology) - tdtaylor@ucla.edu
Taylor is the author of Global Pop: World Music, World Markets (Routledge 1997), Strange Sounds: Music, Technology and Culture (Routledge 2001), and numerous articles on various popular and classical musics. His interests include globalization, technology, race, ethnicity, consumption, tourism, and gender. He has received a fellowship from the National Humanities Center, as well as a junior fellowship and the Charles A. Ryskamp Fellowship from the American Council of Learned Societies. He is currently writing two books: a study of five hundred years of music and difference (to be published by Duke University Press), and a history of music used in advertising from early radio to the present.Robert Walser (Musicology) - walser@humnet.ucla.edu
Walser specializes in jazz and other American popular music. Chair of the Musicology Department since 1998, he also serves on the Faculty Executive Committee of the College (2002-04), the Editorial Board of the University of California Press (2001-06), and as President of the International Association for the Study of Popular Music, U. S. Branch (2002-04). He served from 1997 to 2001 as Editor of the journal American Music . He is author of the book Running With the Devil: Power, Gender, and Madness in Heavy Metal Music (1993, Wesleyan University Press).Haiping Yan (Theater) - yan@tft.ucla.edu
P rofessor of theatre, performance studies, and comparative literature, Yan's specialties include twentieth century Asian (primarily Chinese), European, and sub-Saharan African dramas, critical theory, and transnational performance studies. Her recent book publications include the widely reviewed Theatre and Society: An Anthology of Contemporary Chinese Drama (1998 & 2000) and The Journey of Homecoming: A Collection of Essays on Gender, Culture, and Global Politics (1996 & 1998). She is currently working on a new book on performance of transnationalisms and intellectual praxis, which will be published by the University of Michigan Press. Her accolades include China's 1980-1981 First Prize for Excellence in Drama (the equivalent of the Pulitzer Prize in the U.S.) for her ten-act historical play titled Li Shimin, Prince of Qin , and CNN's 1999 selection as one of "six most influential Chinese cultural figures" for her scholarly and creative works both in English and Chinese.
