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HUGHES, WINIFRED. The Maniac in the Cellar: Sensation Novels of the 1860s. Princeton: Princeton University Press, 1980.
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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.
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KAHN, LAURA H. One Health and the Politics of Antimicrobial Resistance. Forthcoming.
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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.
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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.
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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.
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MARKS, PATRICIA H. Deconstructing Legitimacy: Viceroys, Merchants, and the Military in Late Colonial Peru. University Park, Penn.: The Pennsylvania State University Press, 2007.
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MARX, INA BROSSEAU and ALLEN MARX. Furniture Restoration. New York: Watson-Guptill Publications, 2007.
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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.
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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:
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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.
MOSELEY, ROGER V.Morality: A Natural History, FriesenPress, 2019.
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.