Coda: The Human in the Humanities
My first semester of grad school was kind of a wreck: I was constantly sick, my nerves were bound tight with anxiety, and my back and wrists were in pain from the Soviet-era metal chair-desks in a basement classroom. None of this was helped by the ideological distress I found myself in. Two pieces of
A Match Made in the Archive: Reading and Poaching Through Ngrams and Rare Books
On a hunch, I went home after the DH events last September and typed “Jesuit” into the English corpus of Google Books’ Ngram Viewer. The tool is more powerful than what I used it for, but my search revealed how popular the word was in the English-language books that Google has digitized and made searchable.
Common Knowledge?: EEBO, #FrEEBO, and Public Domain Information
If you work in the humanities and you’ve used a database, a dictionary, or Google Docs in the past ten years, congratulations! — you’re already doing digital humanities. This was a point emphasized by Syracuse University professor Chris Hanson in a panel discussion on the digital humanities that I attended after the Six Degrees of
The Human in the Digital Humanities
The digital humanities (or as the cool kids call it, DH) have been in my peripheral vision since my first year in grad school: something that looks useful and fun; but for someone who dreads calculating grades, working with data is intimidating. Last September, a series of DH events in a symposium on the future
The English Renaissance “Timeline”: Part III
“Habits of behavior begin with the control of the hand, with the formations of the hand.” – Jonathan Goldberg[1] In “The English Renaissance ‘Timeline’: Part II,” I discussed how I came upon the works of English Renaissance calligrapher Esther Inglis, specifically through her drawing of an emblem from Jean-Jacques Boissard’s Emblemes (1588). The emblem became
The English Renaissance “Timeline”: Part II
Last week, I discussed illustrations, or “drawings,” of printed media from Thomas Fella’s commonplace book with the aim of thinking more broadly about the relation between printed media, visual culture, and memory in Renaissance England. This week, I’d like to explore these ideas further by turning to the work of another English Renaissance calligrapher, Esther
The English Renaissance “Timeline”
“All photographs are memento mori. To take a photograph is to participate in another person’s (or thing’s) mortality, vulnerability, mutability. Precisely by slicing out this moment and freezing it, all photographs testify to time’s relentless melt.” – Susan Sontag, On Photography In a post for her blog Brain Pickings, Maria Popova introduces the above quotation
A new way forward: healing from depression
I used to love goal-oriented words like “achievement” and “success”, but after my experience with depression, they’re more likely to make me uneasy than swoon. An inordinate focus on what I achieved, rather than an appreciation for my nuanced person, is part of what led to my struggle with mental health. Having refocused the way
Behind the doors of psychiatric treatment centers
Exterior of McLean Hospital, the institution referenced in Girl, Interrupted (photo by John Phelan) “Is it going to be like ‘Girl, Interrupted’?” I cautiously asked my husband before being taken to the psychiatric wing of our local hospital. He assured me it wouldn’t and, in unfortunate ways, he was right. I spent less than four
Hidden mental health troubles in the ivory tower
An initial reason for not sharing my experiences with depression was a persistent fear that people would think I was not strong enough for academia. My identity was so tightly wrapped up in my productivity, my latest department seminar, and my C.V. that the very thought of someone questioning my academic grit was enough to
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