David Holloway
Description
David Holloway is the Raymond A. Spruance Professor of International History, a professor of political science, and an FSI senior fellow. He was co-director of CISAC from 1991 to 1997, and director of FSI from 1998 to 2003. His research focuses on the international history of nuclear weapons, on science and technology in the Soviet Union, and on the relationship between international history and international relations theory. His book Stalin and the Bomb: The Soviet Union and Atomic Energy, 1939-1956 (Yale University Press, 1994) was chosen by the New York Times Book Review as one of the 11 best books of 1994, and it won the Vucinich and Shulman prizes of the American Association for the Advancement of Slavic Studies. It has been translated into seven languages, most recently into Chinese. The Chinese translation is due to be published later in 2018. Holloway also wrote The Soviet Union and the Arms Race (1983) and co-authored The Reagan Strategic Defense Initiative: Technical, Political and Arms Control Assessment (1984). He has contributed to the Bulletin of the Atomic Scientists, Foreign Affairs, and other scholarly journals. Since joining the Stanford faculty in 1986 -- first as a professor of political science and later (in 1996) as a professor of history as well -- Holloway has served as chair and co-chair of the International Relations Program (1989-1991), and as associate dean in the School of Humanities and Sciences (1997-1998). Before coming to Stanford, he taught at the University of Lancaster (1967-1970) and the University of Edinburgh (1970-1986). Born in Dublin, Ireland, he received his undergraduate degree in modern languages and literature, and his PhD in social and political sciences, both from Cambridge University.
Books
Playing the Empire
Forty years ago, W.E. Holloway wrote down his memories so that his grandchildren might appreciate the family history. His son, David, has combined the manuscript with other family records to tell of the many triumphs and disasters of the touring company up to 1914. It is a unique record of the life of actors in Victorian and Edwardian days, as well as the stirring story of a close knit family, whose motto – whatever the difficulties – was, “the show must go on.” As a history, it describes a way of life now sadly vanished, offering an insight into the organization of the old theatrical stock companies and a reflection of the social climate within which they operated.
