Monthly Archives: November 2014

Starting a Co-op in the Faculty of Arts

Is your department or program in the Faculty of Arts thinking about starting a co-op program, practicum or internship? Here’s a handy step-by-step guide. (With thanks to Carllie Necker, Co-op Coordinator.)

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CFP: New Tech + Renaissance Studies @ RSA2016

A CFP for RSA 2016, 31 March – 2 April, Boston MA

Since 2001, the Renaissance Society of America annual meetings have featured panels on the applications of new technology in scholarly research, publishing, and teaching sponsored by Iter. Panels at the 2016 meeting (31 March – 2 April, Boston) will continue to explore new and emerging projects and methodologies — this year also featuring virtual presentations and interactions at and in advance of the conference in Boston, in partnership with Iter Community.

We welcome proposals for papers, panels, and or poster / demonstration / workshop presentations on new technologies and their impact on research, teaching, publishing, and beyond, in the context of Renaissance Studies.  Examples of the many areas considered by members of our community can be found in the list of papers presented at the RSA since 2001 and in those papers published thus far under the heading of New Technologies and Renaissance Studies.

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Books I Own, But Have not Read: 1

First in a series

This will come as a shock, no doubt: as an academic, I own some books that I have not read.

There, I said it. Admitting you have a problem, they say, is the first step to fixing it. But what if you have no intention or desire to fix it? What if it’s more a chronic condition than a problem?

My condition is that mix of bibliophilia and ambition that leads me to buy books to complete a set, fill out a series, extend an aesthetic line, and keep each other company. Sure, it’s object fetishism – but that’s justified easily enough. I tell myself that many of these books contain knowledge I might someday read, consult, cite, or peruse. Might is the operative, delusional word there – as if I have to own something to read it.

Let’s put aside the books that are part of my working library, the ones I use for teaching and research. Consider instead this specimen:

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Why Teaching Dossiers?

Why assemble a teaching dossier? The first time I ever heard of this document was when I was looking for an academic job right out of my Ph.D., nearly a decade ago – when the sum of my teaching experience was a series of Teaching Assistantships (Technical Writing, Survey of Major British Writers) and sessional-teaching appointments right. Job applications then, as now, asked for a teaching dossier to testify to your readiness to teach courses on day one of a new job, so I gathered up my syllabi and assignments, wrote a teaching philosophy statement, and sent it off.

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Here are some more details about the Speakeasy series of informal student-faculty conversations and debates (as I mentioned in my last newsletter) in the Faculty of Arts, beginning next week. These are co-organized by me (Michael Ullyot) and Kalista Sherbaniuk, one of the four Students’ Union Arts Representatives.

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Second Annual RSA-TCP Article Prize

Cross-posted from the RSA site, where you can find more information. 

The Renaissance Society of America and the Text Creation Partnership (TCP) jointly offer a $600 article prize for scholarly uses of the range and depth of digitized Renaissance materials. The purpose of the prize is to encourage and reward scholarship that expressly emerges from the scholar’s use of databases or digitized research objects.

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Byword: Writing in Isolation

Like many people, I need simplicity and focus to do things well. Despite the crowded appearance of this blog, I write most of my posts in isolation, in both senses of the term: without interruptions (usually behind a closed door, and often with earplugs) and without too much thinking about the other posts I’ve written. Most of them are responding to ideas I’m encountering elsewhere (readings, conversations), but to get into that mental space I need an isolated work environment.

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