New post at my other blog: “On fielding a press inquiry about how pop culture depicts the oil industry”
English professors don’t often get press inquiries, but a writer for EnergyWire, an oil business-facing news service, contacted me last week to ask what I think of the video for Justin Bieber’s new song “Holy.”…
September 21, 2020 in Empire, music, pedagogy, politics, popular culture, postcolonialism, Reading
Tagged climate change, Justin Bieber, media, oil, pop music
“Who owns copyright in what you publish?” is the talk I delivered for #ACCUTE2019 at this year’s Congress in Vancouver, and it’s now online, in full, as a post for English Matters, the blog of the Association of Canadian College & University Teachers of English.
“There are many interests vying for rights to your research, and many ways to assert or regain your own control over those rights. It’s important to know what the main regulatory contexts are — and what your options are.”
Read the full text of the talk at accute.ca/accute-blog/.
This research has been supported with the generous assistance of Athabasca University’s Academic & Professional Development Fund.
I’m delighted to have a chapter in Giulia Gasperi’s and Joseph Pivato’s new book, Comparative Literature For The New Century, which has just been published by McGill-Queens University Press.
It’s a delight, too, have written that chapter as a Festschrift piece* honouring Pivato’s discipline-building career.
And—in the process—it’s both a delight and a privilege to be able to bring to this writing a payment of tribute—by way of opening epigraphs—to other important mentors in that critical institution called the #university:
* What’s a Festschrift? A peculiarly academical genre.
[In my post-#congreSSH post about this year’s ACCUTE dance party, I’d said I’d be following up with a post reflecting further on that event. Voilà: further thoughts, related to other current concerns, in the form of a DJ mix. What can I say? I have a phonographic memory.]
Just a tip for university students in this digital age: it’s always a good idea to name a file that you’re submitting as written work for a course with the following details:
- your name;
- the course number; and
- the assignment name (or keyword).
For instance, instead of submitting an essay as a Word or PDF doc with the file name “Essay 1” try naming the file something like this: “McCutcheon-Essay1-ENGLXXX”.
There are two great reasons to clearly name your assignment files:
1. Doing so will endear you to your instructors — and improve your learning — because you will save them a significant bit of filing work, leaving more time for them to give you meaningful feedback. Put yourself in the instructor’s shoes: An instructor gets dozens, or, in some courses, even hundreds of written assignments from students. If they’re all files that are titled something like “Essay 1,” then the instructor has to open each one just to find out who submitted it. That time adds up, and it eats into the time they would rather spend giving you meaningful feedback, not doing filing and paperwork.
2. Doing so will also protect your claim to your own written work as your intellectual property. Sure, a file name can be easily changed. But no instructor would bother doing so — except maybe to indicate which student submitted it, what course it’s for, and what assignment it is. Putting your name, course number, and assignment keyword(s) in the file name establishes a virtual papertrail that identifies you as the author of a given piece of writing, and protects your investment and your interest, in case any assignments get lost in the inevitable shuffle. (Adding these details to file names also makes them much more easily searchable in computer drives and folders.)
My new Literary Studies course for Athabasca U’s MA program is now open for enrollment.
Illustration from 1897 edition of Marsh’s The Beetle. (Public domain image via British Library.)
The 19th-Century Novel: Gothic Transformations assigns readings in major English novels like Jane Austen’s Northanger Abbey (1818), Wilkie Collins’ The Woman in White (1860), and Richard Marsh’s The Beetle (1897) and explores how British fiction in the nineteenth century both was influenced by and also adapted Gothic themes and elements, like supernatural horror and psychological suspense.
Gothic fictions and those that adapt the Gothic represent important cultural mediations of the social, political, and economic issues and transformations that characterize Britain during the rise of industrial capital and the global expansion of England’s empire: the transformation of literary production (e.g. serialization, copyright change, circulating library distribution); the advent of public education, industrialization and class conflict; imperial expansion; feminism (e.g. the “New Woman” discourse); and developments in science and technology (e.g. new recording media).
A couple of years ago, during a break in a faculty association meeting, my Athabasca U colleague Bob Barnetson and I got to talking science fiction, and he casually observed that for all its depictions of big business, the genre’s oddly lacking in corresponding images of unions. I told Bob there was a paper in his idea, and voilà, in the current issue of TOPIA, Canada’s journal of cultural studies, you can read the interdisciplinary article we co-wrote on the subject: “Resistance is futile: on the under-representation of unions in science fiction.” Here’s the abstract:
“This article surveys science fiction (SF) since 1980, and queries the conspicuous under-representation of recognizable images of unions in popular SF, which includes, in contrast, numerous images and narratives of corporate business. According to theories of unionism, science fiction studies and Mark Fisher’s theory of ‘capitalist realism,’ the co-authors theorize this pattern of under-representation, and, in the process, identify and analyze a very small but diverse body of SF works from this period that do include images of unions, in ways that range from the symptomatic to the radically suggestive.”
We gave 1980 as a start date for our study because that was about when corporate elite rule (a.k.a. neoliberalism) started to take off, and because that’s why tweets like this make sense:
Research is integrally intertwined with teaching, but it’s not as often that we in academia get to link research as closely with service. This collaboration has been one such welcome opportunity. (And it’s involved our students, too: we’re specifically indebted to the insights and references shared by AU alumna and SF author Heather Clitheroe, who’s reminded me I need check out The Expanse for more evidence of unions in SF.)
On a point unrelated to our subject matter, I also like that our article appears in an issue that both a) marks the debut of Dr. Rinaldo Walcott as TOPIA‘s new editor, and b) pays tribute to the great, late Canadian writer Austin Clarke.
Lastly, if you’re interested in the article, but you or your institution don’t subscribe to TOPIA, you can e-mail me at academicalism[at]gmail[dot]com to request a single copy (because Canada’s educational fair dealing provision in copyright law allows for individual sharing like this).
A thought about the late spate of studies like this one, just reported in The Guardian:
“Literary fiction readers understand others’ emotions better, study finds: Research by US social scientists found that those who read novels by the likes of Toni Morrison and Harper Lee do better on ‘theory of mind’ tests. Genre fans do not.”
Read the full article on Dr Kidd and Castano’s study, and/or read the study itself.
Anyway, my thought is this: literary studies have long valued & practiced interdisciplinarity; but, from recent neuroscience studies on novel reading and empathy, to this latest sociological research on fiction, the apparent “literary turn” of other disciplines — often better funded and better reported disciplines — is maybe cause to ask (at the risk of seeming protectionist) to what extent those other disciplines are engaging with literary study — or colonizing it?
Athabasca University’s MA in Integrated Studies program is pleased to offer a new group-study* course for the coming fall semester: Poetry and Drama of the Canadian Prairies (MAIS 752).
The course is open to enrollment by students not just in Athabasca U’s MA program, but also in other Canadian and international graduate programs that recognize and transfer AU course credits. Interested grad students can e-mail AU’s MA program office at firstname.lastname@example.org for more information or to enroll. (Enrollment deadline: Aug. 15.)
Highway 13 sign pointing to the town of Forget, Saskatchewan.
* “Group study”: Some of AU’s graduate programs use an online grouped study format. Students in these courses augment their studies with online group discussions and learning activities. Online grouped study courses are usually 13 weeks long and start in May, September or January. There are no extensions for these courses.