•  
  •  
HIRSCHMAN, SARAH, and María del Carmen Feijóo. Gente y cuentos: Educación popular y literatura. [People and Stories: Popular Education and Literature.] Buenos Aires, Argentina: Centro de Estudios de Estado y Sociedad, 1984.

HOCKINGS, ERIC F. “Si Silicon.” Gmelin Handbook of Inorganic and Organometallic Chemistry. 8th ed. Supplement volume B5e. 1994.

HOLT, LINDA BROWN. The black Spaniard, (Unsolicited Press 2016).
_____. Viewing Meister Eckhart through the Bhagavad Gita. Drew University Print on Demand Books, 2004.
_____. “Three Treasures, Three Teachings: Encounters with Chinese Spirituality in Beijing,” Qi Journal (forthcoming, Spring 2011).
_____. “The Sage Engaged,” a paper delivered at Tsinghua University, Beijing, in Fall 2008, published in Chinese in The Journal of Nanyang Normal University 2010.
_____. “Yoga for Episcopalians,” in Episcopal Life Online, July 2010.
_____. “CONCENTRATION: What the World Needs Now,” Self-Realization Fellowship Magazine, Summer 2008, Los Angeles, California.
_____. “Chinese Philosophy in America: How it Influenced H.D.Thoreau,” Qi Journal (Winter 2007-08).

HUGHES, WINIFRED. The Maniac in the Cellar: Sensation Novels of the 1860s. Princeton: Princeton University Press, 1980.
_____. “Catherine Gore (1799/1800-1861).” Biographical entry for Oxford Dictionary of National Biography. Oxford: Oxford University Press, 2004.
_____.“The Sensation Novel.” In A Companion to the Victorian Novel, ed. Patrick Brantlinger and William B. Thesing. Malden, Mass.: Blackwell, 2002.
_____.”Mindless Millinery: Catherine Gore and the Silver Fork Heroine.”  Dickens Studies Annual 25: 159-176.  New York: AMS Press, 1996.
_____.“Elegies for the Regency: Catherine Gore’s Dandy Novels.” Nineteenth-Century Literature 50 (September 1995): 189-209.
_____. “Silver Fork Writers and Readers: Social Contexts of a Best-Seller.” NOVEL: A Forum on Fiction 25 (Spring 1992): 328-347.

HUTNER, FRANCES C[ORNWALL]. Equal Pay for Comparable Worth: The Working Woman’s Issue of the Eighties. New York: Praeger, 1986.
_____, ed. Our Vision and Values: Women Shaping the 21st Century. Westport, Conn.: Praeger, 1994.

HYATT, PATRICIA RUSCH.  "American Women on the Move, The Inside Story of the National Women's Conference, 1977" by Shelah Leader and Patricia R. Hyatt (2016, paperback 2018), Lexington Books, Rowman and Littlefield. 
_____. The Quite Contrary Man. New York: Abrams/Amulet Books, 2011.
_____. Coast to Coast with Alice. Minneapolis: Carolrhoda, 1995.

KAHN, LAURA H. One Health and the Politics of Antimicrobial Resistance. Forthcoming.

KESWANI, PRISCILLA S. “Exploring Regional Variation in Late Cypriot II–III Pithoi: Perspectives from Alassa and Kalavasos.” In The Formation of Cyprus in the 2nd Millennium B.C. Studies in Regionalism during the Middle and Late Bronze Ages (Contributions to the Chronology of the Eastern Mediterranean 20), ed. I. Hein, Vienna: Osterreichischen Akademie der Wissenschaften, 2009.
_____. “Beyond Emulation and Hierarchy: Diverse Expressions of Social Identity in Late Cypriot Mortuary Ritual.” In Mediterranean Crossroads, ed. S. Antoniadou and A. Pace. Athens: Pierides Foundation, 2007.
_____. “Death, Prestige, and Copper in Bronze Age Cyprus.” American Journal of Archaeology 109 (2005): 341-401.
_____. Mortuary Ritual and Society in Bronze Age Cyprus. Monographs in Mediterranean Archaeology 9. London: Equinox, 2004.
_____. “Hierarchies, Heterarchies, and Urbanization Processes: The View from Bronze Age Cyprus.” Journal of Mediterranean Archaeology 9(1996): 211-249.
_____. “The Social Context of Animal Husbandry in Early Agricultural Societies: Ethnographic Insights and an Archaeological Example from Cyprus.” Journal of Anthropological Archaeology 13 (1994): 255-277.
_____. “Models of Local Exchange in Late Bronze Age Cyprus.” Bulletin of the American Schools of Oriental Research292 (1993): 73-83.
_____. “Gas Chromatography Analyses of Pithoi from Kalavasos-Ayios Dhimitrios.” In “Kalavasos-Ayios Dhimitrios 1991,” ed. A.K. South et al. Report of the Department of Antiquities of Cyprus (1992): 141-146.
_____. “A Preliminary Investigation of Systems of Ceramic Production and Distribution in Cyprus during the Late Bronze Age.”” In Cypriot Ceramics: Reading the Prehistoric Record, ed. J.A. Barlow, D.L. Bolger and B. Kling. Philadelphia: The University Museum of Archaeology and Anthropology, University of Pennsylvania. University Museum Monograph 74, 1991.
_____. “Dimensions of Social Hierarchy in Late Bronze Age Cyprus: an Analysis of the Mortuary Data from Enkomi.” Journal of Mediterranean Archaeology 2 (1989): 49-86.
_____, and A.B. Knapp. “Bronze Age Boundaries and Social Exchange in the Northern Troodos, Cyprus.” Oxford Journal of Archaeology 22 (2003): 213-223.

KLINGHOFFER, JUDITH. Vietnam, Jews, and the Middle East: Unintended Consequences. Basingstoke, Hampshire: Macmillan; New York: St. Martin’s Press,1999.
 The Citizen Planner: A History of the New Jersey Federation of Planning Officials. New Brunswick, N.J.: Center for Urban Policy Research, 1989.
_____, and Arthur Jay Klinghoffer. International Citizens’ Tribunals: Mobilizing Public Opinion to Advance Human Rights. New York: Houndmills; Basingstoke, Hampshire: Palgrave, 2002.

KLOTZBURGER, KATHERINE M. Women in Political Science: Studies and Reports. Washington, D.C., American Political Science Association, 1971.

KRUMREY, DIANE, and Jessica Datema, eds. Wretched Refuge: Immigrants and Itinerants in the Postmodern. Newcastle upon Tyne: Cambridge Scholars Printing, 2010.
_____.  “Translocality in the New Post-American Immigrant Literature,” in Wretched Refuge: Immigrants and Itinerants in the Postmodern, eds. Diane Krumrey and  Jessica Datema. Newcastle upon Tyne: Cambridge Scholars Printing, 2010, 27-41.
_____. “Down the Rabbit Hole of Textuality: Using Aporia to Teach Literature,” ADE Bulletin 45 (2008): 21-25.
_____. “Displacing the Nation: Contemporary Literature by and about Immigrants.” Anglophonia/Caliban 19 (2006): 243-252.
_____. “Subverting the Tonto Stereotype in Popular Fiction, Or, Why Indians say ‘Ugh!.’” In Simulacrum America, ed. Elizabeth Kraus. Columbia, S.C.: Camden House, 2000.
_____. “The Eloquent Savage in Early American Literature.” Ph.D. diss., University of Connecticut, 1995.

LEWIS, MARY [ELIZA]BETH, ed. Drawings from Four Collections. Urbana: Krannert Art Museum, University of Illinois at Urbana-Champaign, 1973.
_____, MARY E[LIZABETH] and Richard C. Trexler. “Two Captains and Three Kings: New Light on the Medici Chapel.” Studies in Medieval and Renaissance History 4 (1981): 91-177. Repr. in San Lorenzo, ed. William E. Wallace, vol. 3 in Michelangelo, Selected Scholarship in English. New York and London: Garland, 1995.

LIVINGSTON, JAMES T. Caribbean Rhythms: The Emerging English Literature of the West Indies. New York: Washington Square Press, Simon & Schuster, 1974.
_____.“Walcott’s Omeros.” Journal of Caribbean Studies 8, 3 (Winter 1991-Spring 1992).
_____.“Catching Up with Derek Walcott: An Interview.” River Styx, No. 22. St. Louis: Big River Association, 1987.
_____. “Derek Walcott: Poet of the New World.” In Centennial Essays. Springfield, Mo.: Drury College English Department, 1973.
______. “J. D. Salinger: The Artist’s Struggle to Stand on Holy Ground.” In Adversity and Grace. Studies in Recent American Literature, ed. Nathan A. Scott, Jr. Chicago: University of Chicago Press, [1968].

MARKS, PATRICIA H. Deconstructing Legitimacy: Viceroys, Merchants, and the Military in Late Colonial Peru. University Park, Penn.: The Pennsylvania State University Press, 2007.
_____. “Confronting a Mercantile Elite: Bourbon Reformers and the Merchants of Lima, 1765–1796.” The Americas 60 (2004).
_____, ed. Willard Thorp, Minor Myers, Jr., Jeremiah Stanton Finch, and James Axtell, The Princeton Graduate School: A History. 2nd ed. Princeton: Association of Princeton Graduate Alumni, 2000.
_____, ed. Luminaries: Princeton Faculty Remembered. Princeton: Association of Princeton Graduate Alumni, 1996.
_____, ed. Mark Argetsinger, Harmony Discovered: P. J. Conkwright in the Tradition of Classical Typography. Princeton: Princeton University Library, 1995.
_____, and John L. Logan, eds. Wes Davis and J. Howard Woolmer, The Leonard L. Milberg Collection of Irish Poetry. Princeton: Princeton University Library, 1998.

MARX, INA BROSSEAU and ALLEN MARX. Furniture Restoration. New York: Watson-Guptill Publications, 2007.
_____ and ALLEN MARX. “Restoration of Damaged Verre Eglomise,” The Gilder’s Tip 21 (January 2007): 14-17.
_____ and ALLEN MARX.“Frames: The Northern European Tradition.” The Gilder’s Tip 20 (January 2006): 10-13.
_____, ALLEN MARX and Robert Marx. Professional Painted Finishes. New York: Watson-Guptill Publications, 1991.

MCNEILL, DONALD. “Impurity ion heating and drift velocity in the Al’fa experiment.” Problems of Atomic Science and Technology (2010), No. 6, Series: Plasma Physics (16), pp. 60-64.
_____. “Impurity Ion Drift and Toroidal Rotation in Tokamaks.” Problems of Atomic Science and Technology 6 (2010), Series: Plasma Physics (16): 65-67.
_____. “Toroidal Drift and Heating of Impurity Ions.” Proceedings of the 33rd European Physical Society Conerence on Plasma Physics. Rome, 2006.
_____. “Minimum Ignition Energy for laser spark ignition.” Proceedings of the Combustion Institute (2005): 2913-2920.
_____. “Thoughts on Edward Teller’s Memoirs.” Physics and Society (April 2003): 15-19.
_____. “Bichromator for Electron Density Measurements.” Review of Scientific Instruments (Sept. 2002): 3193-3197.
_____. “Toroidal Drift in Closed Magnetic Configurations–A Classical Effect.” Europhysics Conference Abstracts 24F (2000): 50-151.
_____. “Pyrolysis in Tokamak Plasmas.” Industrial Applications of Plasma Physics, SPP-13. Bologna: Editrice Compositori, SIF (1993): 483-488.
MCNICHOL, THERESA. “The Art Museum as Laboratory for Re-Imagining A Sustainable Future.” In Advances in Appreciative Inquiry- Positive Design and Appreciative Construction: From Sustainable Development to Sustainable Value, V. 3.,  eds. Tojo Thatchenkery, David Cooperrider, Michel Avital. UK: Emerald Publishers, 2010.
 ______. “Appreciative Inquiry Case Study: Executive MBA Candidates.” In The Sustainable Enterprise Fieldbook: When It All Comes Together, eds. Wirtenberg, J., D. Lipsky, & W. Russell. Sheffield, UK: Greenleaf Publishing and North American Publishers, American Management Association Publishing AMACOM, 2008.
 ______. “Inverting Western Business Models: Why Museum Practices Are Key to a New management Paradigm.” In New Roles and Missions of Museums. ICOM/INTERCOM Symposium. (2006). Taipei, Taiwan. Conference Proceedings. Accessed February 1, 2011: http://www.intercom.museum/documents/1-6McNichol.pdf
 ______.  “Getting Started: Involving Your Community in Exhibit Planning.” Conference Paper presented at American Association of Museums Annual Conference. (2000). Paper posted August 2006. Accessed February 1, 2011: 
 http://comm-org.wisc.edu/papers2006/mcnicholmuseum.htm
______.  “Creative Marketing Strategies in Small Museums: Up Close and Innovative.” International Journal of Marketing in the Voluntary and NonProfit Sector 10, 4 (2005): 199-287.
______. “The Art of Leading the Museum: Managing for Wonder.” Proceedings of the 4th Annual Critical Management Studies Conference, Cambridge, UK. 2005. Accessed February 1, 2011: http://www.mngt.waikato.ac.nz/ejrot/cmsconference/2005/proceedings/open/McNichol.pdf
______. “Art-full Collaboration: Chinese Forms and Motions.” Academic Exchange Quarterly Associate. 8, 3 (Fall 2004): 202-208.
______. “Chinese Landscape Painting: Seasons of the Mind.” P Sanat Kültür Antika, Kis, Turkish edition (March 2003); English edition, P Art and Culture (January 2004).
 
MISHKIN, NINA. “Falling Off the Roof,” The Iowa Review 44 (Spring 2014): 39-61.
 
MOKASHI, ASHWINI. “Sapiens and Sthitaprajna: A Comparative Study in Seneca and the Bhagvad-Gita.” Ph.D. diss., Pune University, 2003.
 
MORGAN, ANN LEE. The Oxford Dictionary of American Art and Artists. New York: Oxford University Press, 2007.
 _____. Arthur Dove: Life and Work, with a Catalogue Raisonnée. Newark: University of Delaware Press; London: Associated University Presses, 1984.
 _____.“Prelude and Prologue: The Early Work of Arthur Dove.” In Arthur Dove and Helen Torr: The Huntington Years, ed. Anne Cohen DePietro. Huntington, N.Y.: Heckscher Museum, 1989.
 _____, ed. Dear Stieglitz, Dear Dove. Newark: University of Delaware Press; London: Associated University Presses, 1988.
 _____, ed. Contemporary Designers. Detroit: Gale Research, 1984.
 _____, and Colin Naylor, eds. Contemporary Architects. 2nd ed. Chicago and London: St. James Press, 1987.
 
MULVIHILL, MAUREEN E. Ephelia. Aldershot, Hants, England: Ashgate, 2003.
 _____, Thumbprints of ‘Ephelia’: The End of an Enigma in Restoration Attribution. With a First Key to “Female Poems…by Ephelia” (London, 1679).
http://www.millersville.edu/~resound/ephelia/. Peer-reviewed online monograph & multimedia archive. Millersburg, Penn.: ReSoundings, Dept of English, Millersville University.
 _____, Poems by ‘Ephelia’ (circa 1679): The Premier Facsimile Edition of the Collected Manuscripts and Published Poems. Delmar, N.Y.: Scholars’ Facsimiles & Reprints, 1992.
 _____, “Wondrous Brooklyn: Caps Off to Jonathan Lethem.” Today In Literature, 16 May 2007. http://www.todayinliterature.com.
 _____, “Coole Lady: Lady Augusta Gregory, Coole Park, County Galway, Ireland,” 2005. www.yeatssociety.org/coole.html. On one-woman play by Sam McCready about Lady Augusta Gregory, co-founder & patron of Dublin’s Abbey Theatre.
 _____,. “Under the Hammer: The Brett-Smith Library Auction (Sotheby’s London, 24th May 2004).” Restoration (Autumn, 2004).
 _____, Three chapters (facsimiles & facing commentary) on ‘Ephelia’ and Mary Beale’s putative portrait of Aphra Behn. In Reading Early Modern Women: An Anthology of Texts in Manuscript and Print, 1550-1700, ed. Helen Ostovich. Elizabeth Sauer. and Melissa Smith. London: Routledge.2004. Internet Resource.
 _____, “Butterfly in My Net: Literature, Lepidoptera, and the ‘Ephelia’ Poet.” Lepidoptera News (December 2000). http://www.troplep.org/ephelia1.htm.  [More Multivihill citations to come.]
 
O’BRIEN, ROSEMARY. “Varieties of Spiritual Experience: Women and Religion from the 1960s to the 1990s.” In Our Vision and Values: Women Shaping the 21st Century, ed. Frances C. Hutner. Westport, Conn.: Praeger, 1994.
 _____, ed. Gertrude Bell: The Arabian Diaries, 1913–1914. Syracuse, N.Y.: Syracuse University Press, 2000.
 
ONYSHKEVYCH, LARISSA. Tekst i Hra: Moderna Ukraïns’ka Drama [Text and Performance: Modern Ukrainian Drama]. Lviv: Litopys, 2009.
 _____, ed. with Maria Rewakowicz. Contemporary Ukraine on the Cultural Map of Europe.  Armonk: M.E. Sharpe, 2009.
 _____, ed. and introd. Holodomor: Dvi p’iesy [Two Plays on the Holodomor/Famine]. Kyiv: Smoloskyp, 2008.
 _____.”Potriine ‘ia” Edwarda Albi: svitova prem’iera v Princeton, NJ. [World Premiere of Edward Albee’s  Me, Myself and I], KinoTeatr 3, 77 (2008): 9-10.
 _____, Guest ed. Forum on: “Contemporary Ukrainian Literature and National Identity.” Slavic & East European Journa 50, 3 (2006).
 _____. “Cultural Perceptions, Mirror Images, and Western Identification in New Ukrainian Drama.” Slavic & East European Journal 50 (2006): 409-433.
 _____. “White Butterflies, Plaited Chains: A Live Metamorphosis by Theatre-in-a-Basket from Lviv, Ukraine,”  Slavic & East European Performance 26, 1 (2006): 84-90.
 _____. Review article of Irena R. Makaryk: Kurbas, Ukrainian Modernism, and Early Soviet Cultural Politics. In Nationalities Papers 33, 2 (2005): 284-286.
 _____, ed. in chief et al. Volodymyr Vynnychenko: U poshukakh estetychnoï, osobystoï i suspil’noï harmoniï [Volodymyr Vynnychenko: In Search of Esthetic, Personal, and Social Harmony], New York: Ukrainian Free Academy of Sciences, 2005.
 _____.”Characters Revealing Issues of Identity: In Terms of History, Nation, Religion, and Gender in Post-Soviet Ukrainian Drama.” In Society in Transition: Social Change in Ukraine in Western Perspectives, ed. W. W. Isajiw. Toronto: Canadian Scholars’ Press, 2003, 327-345.
 _____. “The Holodomor of 1932-1933 as Presented in Drama and the Issue of Blame.” Canadian-American Slavic Studies 37 (2003): 89-96.
 _____.”Edward Albie v zhytti i na stseni” [Edward Albee in Life and on the Stage], Prostsenium  2,3 (2002): 32-34.
 _____.”The Problem of the Definitive Literary Text and Political Censorship,” in Perspectives on Modern Central and East European Literature: Quests for Idenity, ed. Todd Patrick Armstrong. Houndmills, G. Britain & New York: Palgrave, 2001, 25-37.
 _____, ed.  Svity Shevchenka. v. 2.  NY: Shevchenko Sci. Soc., 2001.
 _____. “Tradition and Innovation in Twentieth-Century Ukrainian Verse Drama,” Creating a Modern Ukrainian Cultural Space, ed. Myroslav Shkandrij.  Edmonton: CIUS, 2000, 139-157.
 _____. “Exponents of Traditions and Innovations in Modern Ukrainian Drama,” Slavic and East European Journal 43, 1 (1999): 49-63.
 _____. “Is there a Corpus Thematics on the Ukrainian Revolution of 1917-1920 in Ukrainian Drama?” The Ukrainian Quarterly 54, 3-4 (1998): 239-309.
 _____, ed. and introd. Antolohiia modernoï ukraïnskoï dramy. [Anthology of Modern Ukrainian Drama]. v.1. Kyiv, Edmonton: Can. Inst. Ukr. Studies, 1998.
 _____, ed. and comp. Blyzniata shche zustrinutsia: Antolohiia dramaturhii ukrainskoi diiaspory. [The Twins Shall Meet Again: An Anthology of Plays of the Ukrainian Diaspora] Kyiv; Lviv: Vyd-vo “Chas,” 1997.
 _____, ed. and comp. Pro ukrainskyi pravopys i problemy movy: Zbirnyk dopovidei movnoi sektsii 16-oi richnoi Konferentsii ukrainskoi problematyky, Urbana-Shampein, Ill.,20-25 chervnia 1997. [On Ukrainian Orthography and Problems of Linguistics. Proceedings of the 16th Conference on Ukrainian Studies at Urbana-Champaign, 1997] New York; Lviv: Nauk. T-vo im. Shevchenka, 1997.
 _____, ed. and comp. Lytsar neabsurdnykh idei: Borys Antonenko-Davydovych; zbirka spomyniv, lystiv, i malodostupnykh tvoriv. [Knight of Non-Absurdist Ideas: Borys Antonenko-Davydovych; Reminiscences, Letters and Inaccessible Literary Works] Kyiv: “Chas,” 1993.
 _____, ed. and comp. Kontrasty: Zbirka molodechoi tvorchosti (poeziia, proza, muzyka i hrafika). [Contrasts: A Collection of Poetry, Prose, Music and Graphics by Teenagers] New York: Hol. plastova bulava, 1970.
 
PECZENIK, FANNIE.  “Three Scenes from Italian Cafes.” In The Thinking Space: the Cafe as a Cultural Institution in Paris, Italy and Vienna, ed. Leona Rittner, W. Scott Haine, and Jeffrey H. Jackson. Farnham, Surrey: Ashgate, 2013).
_____. “The Devil’s Party: Reading and Wreaking Vengeance in The Castle in the Forest,” Mailer Review 5 (Fall 2011): 304-317.
_____. “Baggage Allowance: Triptych,” EAPSU Online: A Journal of Critical and Creative Work 7 (Fall 2010)  http://www.eapsu.net/eapsu-online-archive.html
 “Comrades in Arms.” Jewish Currents 55, 5 (May 2001): 7-9.
_____. “Encountering the Matriarchy: Kadye Molodowsky’s Women’s Songs.” Yiddish 7, 2-3 (1988).
 _____. “Fit Help: The Egalitarian Marriage in Paradise Lost.” Mosaic 17 (Winter 1984): 29-48.
 _____. Insufficient Data. Novel. iuniverse, 2000.
 _____. “Milton on the Creation of Eve.” In A Fine Tuning: Studies of the Religious Poetry of Herbert and Milton, ed. Mary A. Maleski. Binghampton, N.Y.: Medieval and Renaissance Texts and Studies, 1989.
 _____. “16 Ottobre 1943: History and Elegy.” Midstream 41, 3 (April 1995); 25-28.
 _____. “Strangers on a Train.” Jewish Currents 47, 3 (March 1993): 5-8.
 _____. “Fulica americana and Me,” Bird Watcher’s Digest, January/February, 2008.
 _____. “Second Choice/Second Chance,” I Love Cats, November/December, 2005
 
POPOVA-WIGHTMAN, LUDMILLA, trans., with Elizabeth Anne Socolow. Blaga Dimitrova, Forbidden Sea: A Poem. Princeton: Ivy Press, 2000.
 _____, trans. and comp. Blaga Dimitrova, Scars: Poems by Blaga Dimitrova. Princeton: Ivy Press, 2002.
 _____, trans. Konstantin Pavlov, Capriccio for Goya. Princeton: Ivy Press, 2003.
 _____, trans. and comp. Konstantin Pavlov, Cry of a Former Dog: Poems of Konstantin Pavlov. Princeton: Ivy Press, 2000.
 _____, trans. and comp. Alexander Shurbanov, Frost-Flowers: Poems. Princeton: Ivy Press, 2002.