Associate Professor

Terry Harpold

Terry Harpold teaches courses on science fiction and film, environmental humanities, animal studies, digital humanities, image-text studies, and psychoanalysis.

He is the author of Ex-foliations: Reading Machines and the Upgrade Path (2008) and with Daniel Compère and Volker Dehs, co-editor of Collectionner l’Extraordinaire, sonder l’Ailleurs. Essais sur Jules Verne en hommage à Jean-Michel Margot (2015). Recent essays and reviews by Harpold have appeared in journals such as GalaxiesImageTexT, Science Fiction Film and TelevisionScience Fiction Studies, and Verniana; and in edited collections such as The Cambridge History of Science Fiction (2018) and Los viajes extraordinarios de Jules Verne (2018). His current writing projects and work in press include essays on: the comics “middle voice” in the graphic eco-nonfiction of Philippe Squarzoni; “climate crises” of language in Claire Vaye Watkins’s novel Gold Fame Citrus;  and vegetarianism and veganism in the fiction of obsessively carnist Jules Verne. He is working on a book-length project, Des leçons d’abîme, on image-text “relays” in Verne’s illustrated fiction, and two co-edited projects on social justice and science fiction and the visual imaginary of climate crisis.

Harpold is a member of UF’s Digital Humanities Working Group, co-founder of the Science Fiction Working Group, and founder and Director of UF’s Imagining Climate Change initiative. He is a member of the editorial boards of several scholarly journals in science fiction and contemporary literary studies. In 2014, he founded the International Association for the Fantastic in the Art’s annual Walter James Miller Memorial Award for Student Scholarship in the International Fantastic. He is also Director of the IAFA’s Jamie Bishop Memorial Award for critical essays on the fantastic written in a language other than English.

 

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Professor

Tace Hedrick

Tace’s research is centered on two areas: US Latinx/Chicanx and Latin American Studies, focusing especially on cultural history; and popular genre studies, focusing on Latina/Chicana “chica lit” and gothic romance. Her current project is tentatively called “Queering the Cosmic Race: Spirituality, Sexuality, and Race in New Age Latin/o America, 1968-2010.” This project looks at a long twentieth-century history of how notions of race and sexuality were both shaped and filtered through Latin American, and later United States Latinx, receptions of spiritual belief systems such as teosofismo (Theosophy) and spiritismo (Spiritism). Discourses and images of race and sexuality (such as mestizaje, indigenismo, sexual eugenics) were more often than not mapped onto Latin American imaginings about the ancient ways of indigenous peoples. In turn, such images and ideas received through the filters of teosofimo, spiritismo, and what is now often called New Age re-manifest themselves in the ways Latinx/Chicanx artists and writers have re-imagined racialized and sexualized images and ideas from the late 1960s forward. The imagery of what sociologists of religion call New Religious Movements (NRM), attempted throughout the twentieth-century to respond to dominant discourses. These attempts are an important texture of the thinking both of the political and artistic elite as well as middle- and working-class Latin Americans in places as diverse as Chile, Mexico, and Puerto Rico. Thus I read the work of Latinx artists like Gloria Anzaldua, Walter Mercado, and Blank through a long twentieth century of exchanges between Latin American and US Latinx/Chicanx spiritual belief systems, such as the long-held supposed relationship between the cosmologies of Aztecs and Maya and those of South East Indian and Tibetan spiritualities.

Recent Talk:
“Walter Mercado, Sexuality, and ‘Oriental’ Mysticism in Latin America.” Latin American Studies Association (LASA).

Recent Publications:

“’The Spirits Talk to Us’: Regionalism, Poverty, and Romance in Mexican-American Gothic Fiction.” Studies in the Novel. 49.3 (Fall 2017): 322-340.

“Teaching Matters of Class and Style with Chica Lit.” Latina/o Literature in the Classroom: 21st Century Approaches to Teaching. Ed. Frederick Aldama. New York, NY: Routledge University Press. 2015. 202-217.

“History is What Hurts: Queer Temporalities and Alien Feelings in Gloria Anzaldúa.” Cultural History. Special Issue. Ed. Gregory Smithers. 4.1 (2015): 64-86.

Professor Hedrick’s CV

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  • office: Ustler Hall 302
  • voice: (352) 273-0390
  • fax: (352) 392-0860
  • email: tace@ufl.edu
Professor

Susan Hegeman

Susan Hegeman researches the intersections of American literature and the social sciences, especially anthropology. She is currently working on a project on indigeneity in a global context, and another on the history of the popular social sciences in mid-twentieth century US. She is the author of Patterns for America: Modernism and the Concept of Culture (Princeton, 1999) and The Cultural Return (California, 2012). She is also an associate editor of the multi-volume Blackwell Encyclopedia of the Novel (2011).

A former chapter president of United Faculty of Florida, Professor Hegeman is also interested in the history and politics of higher education. She is currently a guest blogger for Amerikaanalys.se, an academic blog that contextualizes U.S. politics for a Swedish audience.

She has recently taught courses on American Indian Literature and U.S. Literature and the Law (undergraduate) and Rationality, Irrationality, and Modernity (graduate).

Professor Hegeman’s CV

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Professor

Michael Hofmann writes, reviews, translates, and teaches. He is currently a judge for the 2018 International MAN Booker Prize, and is preparing the Clarendon Lectures, which he will deliver at the end of the year in Oxford. His translation of Alfred Doblin’s Berlin Alexanderplatz is due out in March from the NYRB Classics series; another translation, of Hans Fallada’s Little Man, What Now? appears later this year from Penguin in England, as does a new book of his poems, One Lark, One Horse (with Faber).

Hofmann publishes reviews and essays in the London Review of Books, New York Review of Books, the New York Times Book Review, and Poetry. His pieces have been collected in two books, Behind the Lines and Where Have You Been? He also teaches graduate and undergraduate poetry workshops and an undergraduate course in Creative Non-Fiction.

Michael Hofmann’s CV

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  • office: Turlington Hall 4211D
  • voice: (352) 294-2879
  • fax: (352) 392-0860
  • email: <mhofmann@ufl.edu>
Professor

Sidney Homan

Author of some twelve books and five collections of essays on Shakespeare and the modern playwrights, and an actor and director in commercial and university theatres, Sidney Homan has been named the university’s Teacher/Scholar of the Year. His prize-winning Beckett’s Theatres: Interpretations for Performance emerged from his tour of Florida prisons with a production of Waiting for Godot. In A Fish in the Moonlight, he recounts stories of his youth in South Philly and his experience telling them to children on the hospital’s Pediatric Bone Marrow Unit. Bloomsbury/Methuen has published Comedy Acting for Theatre: The Art and Craft of Performing in Comedies, which he wrote with the New York director Brian Rhinehart. And for Routledge Press he recently edited How and Why We Teach Shakespeare: Teachers and Directors Share How They Explore the Playwright with their Students. He has also written the libretto for the opera The Golem of Prague, with a score by Paul Richards.

Homan teaches ENL 4333 (Shakespeare), LIT 3041 (All Joking Aside: The Art and Craft of Comedy), LIT 3043 (Modern Drama—Learning by Doing), and LIT 6047 (An Evening with William Shakespeare), a graduate seminar whose project is a two-hour stage production of scenes from the playwright.

Professor Homan’s CV

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