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Works-in-Progress Publication Development Forum for Contingent Faculty

Publication Development Forum
Call for Works-in-Progress from
Contingent Faculty Colleagues

ZOOM Conference: October 11, 2024 – 10:00 a.m. – 5:00 p.m. EST

 

Invitation

The American Theatre and Drama Society invites you to a Works-in-Progress Publication Development Forum for contingent faculty colleagues.  Specifically designed to support faculty in contingent to positions, this forum invites them to share and develop their current research at a no-cost event, sponsored by the American Theatre and Drama Society, Emory University, and Tufts University.
 
Overview
Participants will have the opportunity to discuss their current research with faculty colleagues and to meet with journal and book series editors. 
 
Guest Speakers
The event will include guest speakers who will join us for conversations about the publication process.
 
Event Details
The Zoom conference will be Friday, October 11, 2020 from 10:00-5:00 EST.  It includes topical workshops or discussions on various facets of professional development; 10-minute overviews of participants’ work presented to the assembled group; and one-on-one sessions with faculty mentors.  Informational sessions will be held in the morning. During the afternoon sessions participants will share their current scholarship and receive one-on-one mentorship.
 
The sharing of current research projects is not intended to be a series of formal paper presentations.  Instead we hope colleagues will use these sessions to brainstorm, seek advice, and push their work forward.  Colleagues may choose to use their 10 minutes to share portions of conference papers in progress, sections of book chapters, drafts of book proposals, etc.
 
How to apply/Eligibility
Individuals holding PhDs in the fields of theatre, performance, dance, or related specialties and who are working part-time or fulltime while seeking permanent academic positions will bring work-in-progress to the meeting to share with a faculty mentor/host. The goal is to advance draft writing towards publication/submission.
 
Each participant will commit to a mentoring relationship with a tenure-line or emeritus faculty member who will serve as commentator on the writing and mentor on career-related questions. Mentees will commit to developing their writing projects and mentors will work with the mentee until the writing is ready to submit for publication.
 
To apply, please submit the application form below to pdfcontingent@gmail.com. The application asks you to provide the title and status of your current project to assist in pairing participants with prospective mentors.  Applications should be received no later than August 10, 2024.  Please note that space is limited. 
 
Applicants will be notified by August 20, 2024 if they are accepted.  Participants must submit drafts of their materials no later than September 5, 2024 to allow mentors time to review their works in progress. 
 
All contingent faculty participants will receive a small stipend from ATDS to support their participation.
 
Support and Sponsorship
This event owes much to the generous support of the American Theatre and Drama Society.  We recognize the challenges non-tenure stream and contingent faculty may face in participating in annual national conferences due to travel costs.  ATDS also recognizes the challenges many contingent faculty members encounter in terms of ongoing mentorship towards publication. 
 
Please contact Heather Nathans or Noe Montez at pdfcontingent@gmail.com with any questions.
 
——————————————————————————————————————————————————
 
Application form (due August 10, 2024)
Please return to pdfcontingent@gmail.com
 
Name/Contact information (phone and email):
Date PhD received:
Current employment and/or affiliation(s):
Title of current work-in-progress:
 
200-word abstract of current work-in-progress to be workshopped:
 
Status of project to be workshopped/Goal for workshop (for example, revising dissertation into book; developing book proposal; writing article for publication in scholarly journal, etc.)
 
Kinds of mentorship that you are seeking (please mark all that apply):
__Feedback on current project (quality of research, clarity of writing, etc.)
__How to submit scholarly articles for journal publication (process,
requirements, expectations, etc.)
__How to submit a book proposal to an academic press (process, requirements,
expectations, etc.)
__How to revise a completed dissertation towards publication
__How to balance contingent faculty status with continued professional
progress in research and publication
__How to develop proposals for fellowships, grants, or other funding to support academic research
__How to create competitive CVs for applications to tenure-stream positions
OTHER (specify):
 
Please note your Zoom Time Zone: 
 
RETURN THIS FORM TO: pdfcontingent@gmail.com

JDTC Special Section – Consent and its Limits

Journal of Dramatic Theory and Criticism

Special section:  Consent and Its Limits

Edited by Lindsay Brandon Hunter and Aaron C. Thomas

In a recent keyword essay on “Consent,” Emily Owens marks the overwhelming centrality of the concept in discourse orbiting sex, describing “a chorus of journalistic, activist, and scholarly” interests that attempt to organize the various, manifold valences of sex under “the power of a single rubric: consent.” Consent has become no less vital a notion within the practice of theatre and performance—perhaps most visibly in the ascendancy and professionalization of intimacy choreography, which Joy Brooke Fairfield identifies, in a 2019 special section on the subject in JDTC, as having “coalesced to describe a wide variety of creative and pedagogical practices that prioritize the consent and body sovereignty of the actor.”

As a means to address the field, profession, and industry’s histories of abuse, commitments to consent-based practice appear as a necessary labor condition for the doing of theatre and performance, perhaps especially in academia (which has its own particular histories of abuse). Still, the sometimes totalizing presentation of consent as self-evident, binary, and universally accessible tends to smooth over what Owens calls its “vexatious nature” and, as Jennifer Nash points out in “Pedagogies of Desire,” “masks its roots in ideas of white liberal personhood.” The problematics of consent lie not only in the myriad understandings of its definition and practice but, as Owens notes, in its foundation in transactional logic indebted to capitalism and extraction and its “sinister applications of consent discourse” in service to colonial powers, particularly in the U.S. How can we hold consent up to scrutiny while continuing to acknowledge the urgency and severity of the harms it is so routinely mobilized to address within our fields?  

The Journal of Dramatic Theory and Criticism seeks contributions to a special section that rigorously interrogates the idea of consent as it works in theatre, performance, and the university. We welcome contributions that recognize the complexity of consent as a notion and a practice, considering both the seemingly self-evident necessity of consent within labor practices in our field and its limits as a theoretical foundation, as articulated by Nash, Owens, and others. Contributions might:

  • think through the implications and inheritances of consent, including its relationship to liberal ideas of autonomy and self-sufficiency
  • consider alternative theoretical frameworks useful within theatre and performance studies that a reflexive reliance on consent could obscure
  • engage critically with modes of practice or works of contemporary performance or dramatic literature that approach consent in particularly nuanced or complex ways
  • explore contexts that challenge the utility or applicability of consent as an organizing principle for ethical or liberated embodiment
  • offer analyses of how consent functions (or doesn’t) in theatrical and pedagogical spaces, including across the curriculum and outside of instructional touch
  • contextualize universities’ strenuous promotion of consent as a means of organizing sexual experience on campus

We invite critical essays of approximately 5,000 words, or shorter pieces—manifestos, provocations, case studies—of between 750 and 1,500 words. For consideration, please submit an abstract of no more than 300 words by July 15th, 2024. Completed articles will be due in late November, 2024. The special section is slated for publication in the Journal of Dramatic Theory and Criticism in Spring 2025. Inquiries are welcome. All correspondence and proposals should be directed to Lindsay Brandon Hunter and Aaron C. Thomas at lhunter@buffalo.edu and acthomas@fsu.edu.

Cachimbonas – Celebrating Latina/e Dramatists & Social Engagement

Cachimbonas!: Celebrating Latina/e Dramatists & Social Engagement

Call for Abstracts of Papers and Presentations

On Thursday, April 24, through April 26, 2025, the University of Missouri Department of Theatre and Performance in cooperation with the Cambio Center, MU Libraries, and The Bridge, will host a new theatre and drama conference, Cachimbonas!: Celebrating Latina/e Dramatists & Social Engagement, which will feature a full production of Romero, an award-winning new play by Xiomara Cornejo, Salvadoran American director/playwright.  Cachimbonas is a Central American term for a “strong, fierce, courageous woman,” or “good person,” and the conference will be centered on the work of Latina/e dramatists and will celebrate the lives, music, food, and culture of the traditions of those would have come to the US from Mexico, Central and South America, and the Caribbean.  The conference will give special attention to Latina dramatists (for both stage and screen) who deal with issues of social justice, migration, undocumented workers, and the border with a special focus on the Mexican and Central American refugee experience.  Xiomara’s play focuses on the assassination of El Salvador’s Archbishop Óscar A. Romero and his subsequent canonization, but more broadly looks at faith as resistance, liberation theology, and the impact of war and US intervention in Central America.  

While the primary focus will be scholarly papers and creative workshops that address the work of Latina dramatists who focus on the above-mentioned issues in their work, some of the panels we’d like to present will be more broadly focused on Latine and Latin American theatre artists and dramatic literature, and how these works get at the realities of issues like US intervention, the US border, refugees, and migration. Featured guest artists include renowned playwright Elaine Romero, award-winning author of Title IX and Mother of Exiles, and professor of theatre at University of Arizona at Tucson, Xiomara Cornejo, author of Romero, Theater of the Oppressed practitioner, and assistant professor of theatre at the University of Illinois at Chicago , and Lil Lamberta, a trans non-binary mother, artist, puppeteer and Founder/Director of All The Saints Theater Company, all of whom will be teaching workshops in Theatre of the Oppressed, Dramatic Writing, and Radical Puppetry as part of the conference.  The conference seeks to support the work of every level of theatre, drama, and performance scholarship, however, we’ll be offering a special focus on emerging scholars who might debut with this conference.  

Scholars and Artists wishing to present at the conference should send:

  • An abstract of 150-250 words describing topic(s), goals, and guiding questions 
  • A short bio (50 words) and your contact information including email and phone number 

Submissions must be received by Nov. 15, 2024, and in order to attract emerging scholars and artists, we’ll be keeping registration low, and it will be free to all MU students, faculty, and staff.

For additional information about the conference contact Dr. David A. Crespy at his email: crespyd@missouri.edu.

States of Emergency – ATDS Online Pre-Conference

States/Stages of Emergency: An ATDS Pre-Conference

Tuesday, July 30, 2024 over Zoom

Proposals to participate as a panelist due: June 15, 2024

This is an emergency. From neoliberal capitalism and censorship of our stages and our syllabi to physical assaults on our students and legislated attacks on anti-racist programming and queer, trans, and nonbinary people, U.S. American higher education calls upon us to organize.

This American Theatre and Drama Society pre-conference will have free registration and take place online to gather all of us, as we aim to include those who might not be able to attend the Association for Theatre in Higher Education conference in Atlanta for accessibility, caregiving, political, financial, and/or environmental reasons. Let’s plan.

State of the Job Market

Following up on ATDS’s Adjunct Advocacy session at last summer’s ATHE, this session will look specifically at the current state of the academic job market in theatre and performance studies. Noe Montez (Associate Professor of Theatre, Dance, and Performance Studies, Tufts University) will share the latest data from his job market tracking research. There will then be an opportunity for attendees to ask questions and share reflections on the 2023-2024 job cycle, and for the group to brainstorm ways to advocate for more full-time positions within our institutions as well as imagine more diverse careers for theatre and performance scholars and educators.

Stages of Censorship

With alarming frequency and as proclaimed by the Dramatists Legal Defense Fund (DLDF), theatre productions are being banned. “We are no longer dealing with one off cancellations driven by the squeamishness of a particular high school principal,” said DLDF President John Weidman. “We are dealing with deliberate, orchestrated efforts by institutions, from local school boards all the way up to state legislatures, to dictate the ideological boundaries within which theater will be permitted, the space within which the unique, idiosyncratic voices of Americans writing for the stage will either be tolerated or suppressed.”

This roundtable invites the perspectives of participants with direct experience and/or historical perspectives on theater censorship at the intersections of politics, culture, and artistic expression. Following 6-8 minute presentations of participants’ case-studies, open conversation will follow concerning the stakes of censorship in theatre today. If you are interested in presenting a case study, please submit a brief abstract and a 100-word bio using this form by June 15, 2024.

Restrictive States: Centering Comrades on the Ground

Building on our statement last year, this roundtable highlights colleagues working in institutions where state legislatures have banned EDI pedagogy and drag performance and undermined tenure and shared governance. They will share their experiences contending with these policies in order to educate attendees and strategize collective actions.

If you are interested in offering 5-minute remarks as a formal panelist, then please submit a 100150-word abstract summarizing your potential contribution and a 100-word bio using this form by June 15, 2024.

Note for Attendees:

Registration information for all those who would like to participate in this virtual Pre-Conference as attendees will be available in the coming weeks.

Attendance is free and open to ATDS members and non-members!

Questions:

The ATDS virtual Pre-Conference planning team is listed below. Please feel free to reach out to with any questions.

Ginny Anderson (vanderso@conncoll.edu)
Donatella Galella (galella@ucr.edu)
Amy Meyer (meyer.amy.e@gmail.com)
Heidi Nees (hlnees@bgsu.edu)
Samuel Yates (yates@psu.edu)

States/Stages of Emergency: An ATDS Pre-Conference

,

States/Stages of Emergency: An ATDS Pre-Conference

Tuesday, July 30, 2024 over Zoom

Proposals to participate as a panelist due: June 15, 2024

This is an emergency. From neoliberal capitalism and censorship of our stages and our syllabi to physical assaults on our students and legislated attacks on anti-racist programming and queer, trans, and nonbinary people, U.S. American higher education calls upon us to organize.

This American Theatre and Drama Society pre-conference will have free registration and take place online to gather all of us, as we aim to include those who might not be able to attend the Association for Theatre in Higher Education conference in Atlanta for accessibility, caregiving, political, financial, and/or environmental reasons. Let’s plan.

State of the Job Market

Following up on ATDS’s Adjunct Advocacy session at last summer’s ATHE, this session will look specifically at the current state of the academic job market in theatre and performance studies. Noe Montez (Associate Professor of Theatre, Dance, and Performance Studies, Tufts University) will share the latest data from his job market tracking research. There will then be an opportunity for attendees to ask questions and share reflections on the 2023-2024 job cycle, and for the group to brainstorm ways to advocate for more full-time positions within our institutions as well as imagine more diverse careers for theatre and performance scholars and educators.

Stages of Censorship

With alarming frequency and as proclaimed by the Dramatists Legal Defense Fund (DLDF), theatre productions are being banned. “We are no longer dealing with one off cancellations driven by the squeamishness of a particular high school principal,” said DLDF President John Weidman. “We are dealing with deliberate, orchestrated efforts by institutions, from local school boards all the way up to state legislatures, to dictate the ideological boundaries within which theater will be permitted, the space within which the unique, idiosyncratic voices of Americans writing for the stage will either be tolerated or suppressed.”

This roundtable invites the perspectives of participants with direct experience and/or historical perspectives on theater censorship at the intersections of politics, culture, and artistic expression. Following 6-8 minute presentations of participants’ case-studies, open conversation will follow concerning the stakes of censorship in theatre today. If you are interested in presenting a case study, please submit a brief abstract and a 100-word bio using this form by June 15, 2024.

Restrictive States: Centering Comrades on the Ground

Building on our statement last year, this roundtable highlights colleagues working in institutions where state legislatures have banned EDI pedagogy and drag performance and undermined tenure and shared governance. They will share their experiences contending with these policies in order to educate attendees and strategize collective actions.

If you are interested in offering 5-minute remarks as a formal panelist, then please submit a 100150-word abstract summarizing your potential contribution and a 100-word bio using this form by June 15, 2024.

Note for Attendees:

Registration information for all those who would like to participate in this virtual Pre-Conference as attendees will be available in the coming weeks.

Attendance is free and open to ATDS members and non-members!

Questions:

The ATDS virtual Pre-Conference planning team is listed below. Please feel free to reach out to us with any questions.

Ginny Anderson (vanderso@conncoll.edu)
Donatella Galella (galella@ucr.edu)
Amy Meyer (meyer.amy.e@gmail.com)
Heidi Nees (hlnees@bgsu.edu) Samuel Yates (yates@psu.edu)

ATDS First Book Bootcamp 2024

,

ATDS First Book Bootcamp 2024
 
Can you write your first book? Yes, you can!
The annual First Book Bootcamp pairs contingent and tenure-stream faculty with experienced faculty mentors to develop book proposals. Mentoring faculty will read participants’ materials in advance and meet during the Bootcamp in one-on-one sessions for targeted feedback. In addition to these one-on-one mentoring sessions, the First Book Bootcamp includes workshops on the book proposal process, panels with series and acquisition editors and recent first-time authors, open writing sessions, and peer conversations. After the two-week Bootcamp, participants will attend a virtual reunion to update mentors on their progress, solicit advice, and sustain this supportive community of scholars.
 
Eligibility
Anyone working on a research monograph in the fields of theatre or performance studies broadly defined is eligible to apply. The First Book Bootcamp is NOT intended for those still completing their PhDs.
 
Schedule
The Bootcamp will run via Zoom two weeks in July (TBD) , with multiple group and one-on-one sessions. Participants will be selected and assigned a mentor by June 15. Participants must submit their materials (sample chapter, draft book proposal, etc.) to mentors no later than 1 July. Accepted participants are expected to attend all scheduled sessions. 
At the conclusion of the bootcamp, participants will have engaged in a minimum of 10 hours of intensive mentorship, workshopping of their research materials, and conversations with professionals in the field.
Application
To apply, fill out this google form: https://forms.gle/7Qeb7TwADarJivYMA
Applications include your project title, 150-word abstract, status of your project, goals for the First Book Bootcamp as well as your CV and contact information and are due June 5. If you have any questions, please email convenors Michael Y. Bennett, Michelle Granshaw, and Kirsten Pullen at atdsfirstbookbootcamp@gmail.com.

Canadian Association for Theatre Research Panel

CATR (Canadian Association for Theatre Research) Conference
June 17-20, Montreal 
 
Panel: “Leading With Performance: Interdisciplinary Arts-Led Innovations Inside the Neoliberal University”
Organizers: Kim Solga, Amala Poli, and Masha Kouznetsova, Western University
 
Scholars of theatre and performance studies know that performance is a “mobile critical paradigm,” as Kathleen Gallagher and Barry Freeman provocatively write in the introduction to In Defense of Theatre (2015). Our deep familiarity with performance’s power as a cross-disciplinary learning modality, however, means we can easily forget that this isn’t common knowledge. We know that working through performance can lead to everything from technical innovation and social change to increased individual and community wellbeing; the leaders of our major institutions – including our universities – often have no clue.
 
Over the last three years we have been engaged in a campus-based teaching research project that begins from the premise that performing arts-led, interdisciplinary teaching can have profound real-world benefits for undergraduate students from a wide range of fields. Our project ran a pilot class with 18 students from 7 of Western’s 13 faculties in 2022-23, and our data from their experience underscores how utterly transformative the class was for all of them – especially those from STEM backgrounds.
 
We’re thrilled at what we’ve achieved so far, but we also know we aren’t alone: many of us are working to integrate performance into broader curricular change across the country. In this roundtable, we will gather a mix of those voices to hear what you are doing, how you are doing it, and (especially) how you are communicating performance’s powers to innovate across fields and to support students, faculty, staff, and community wellbeing to those who need most to hear about it.
 
We’re interested in hearing about:
–       Innovations at classroom level
–       Collaborations with instructors in other disciplines
–       Curricular innovations at school/faculty level
–       Integrating performance-based or embodied learning outside theatre and performance programs
–       Interdisciplinary or multidisciplinary curricular innovations led by performance
–       Innovations that use performance to develop, support, or advance equity initiatives
–       Creative pedagogies that foster a community of care in the classroom 
–       Embodied learning approaches geared towards advancing collective well-being
–       …something amazing you’re working on that we just cannot even imagine yet.
 
We keenly encourage applications from folks from equity-deserving communities, and from folks at all stages of the career spectrum – from the young and/or underemployed to senior teachers to administrators who also teach and innovate.
 
Please sent a 250-word description of your project/innovation and a 50-word biography to ksolga@uwo.ca and apoli@uwo.ca by March 15, 2024. 

Plants Beyond Borders

Plants Beyond Borders

Although they are the most abundant life form on earth, plants have received scant attention from ecocritics until recently. As allies in the rethinking of human exceptionalism and the limits of human conceptions of nation, race, sexuality, disability, and invasion, plants challenge us to reimagine our philosophical and material relationship to the beings which enable each breath we take.  

For this edited collection (working title: Plants Beyond Borders) we invite 4,000-6,000 word- contributions that take an interdisciplinary approach to reimagining and rethinking plants and/or human relationships with plants throughout the Americas. Genres might include but are not limited to literature, performance studies, film studies, and art. This collection comes out of our Critical Plant Studies Modern Language Association panels in 2021 and 2024. It has attracted interest from a university press, and we anticipate publishing through a university press.

Proposals might consider:

  1. Resistance: exploring how gardening and deploying plants in art, culture, and performance offer models of resistance for human crises like war, systemic racism, industrialized capitalism, unnatural disasters, and climate change. 
  2. Vitality: exploring how plant temporality, sentience, and mobility challenge philosophical, judicial, and ontological limits on current definitions of life and the right to exist across multiple categories of beings. 
  3. Sexuality: exploring the vast range of plant sexualities and reproductive modes which challenge contemporary and historical notions of the spectrum of sexual desire and experience. 
  4. “Invasive Species”: considering how colonization, decolonization, deforestation, the plantationocene, and histories of vegetal life connect to human histories and contiguities of slavery, anti-Blackness, and anti-Indigeneity. 
  5. Disability Studies and Plant Studies: Exploring atypicality and adaptations in humans and plants.

Please send proposals (300-500 words) and brief biographies (100 words) to Alicia Carroll (Auburn University) and Courtney Ryan (Lafayette College) at carroal@auburn.edu and crdram12@gmail.com by May 1, 2024. Collaborative proposals are welcome, and proposals from BIPOC scholars are encouraged. If accepted, completed chapters of 4,000-6,000 words will be due September 2, 2024. 

Call for Theatre Annual Editor

Call for Theatre Annual Editor

The American Theatre & Drama Society seeks applications for Editor of Theatre Annual, ATDS’s peer-reviewed journal. The position has a four-year term that includes a two-year training/learning period as Associate Editor to make the position more accessible and to maintain institutional memory.
 
Description of the Journal: Theatre Annual is the oldest theatre periodical continuously published in the United States. It is dedicated to examining theatre and performance of the Americas. We construe “America” broadly to include North, Central, and South America and the Caribbean Islands. Articles may treat work in these geographic areas or work from these areas that is presented elsewhere in the world. We welcome articles on the history and ethnography of performance, drawing from such areas as theatre studies, performance studies, popular culture, music, anthropology, dance, communication, philosophy, folklore, history, and areas of interest that cross disciplinary lines. Please find additional information on the Theatre Annual website: theatreannual.atds.org.
 
Editor Job Description: The successful applicant will join Theatre Annual’s editorial team in June 2024, serving as Associate Editor for the 2024 and 2025 issues; they will work closely with the Editor in preparing
issues for publication and learning the process. They will promote in August 2025 to serve as Editor for the 2026 and 2027 issues. In the final two years of their term, they will also begin the process of training the incoming Associate Editor.
 
The Editor is responsible for preparing one issue a year. This includes distributing a call for submissions; conducting anonymous peer review; carrying out production work; and liaising with contributors, the Associate
Editor, the editorial board, the Book Review Editor, the Managing Editor, and the publisher, the College of William & Mary. The Editor provides an annual report to ATDS at its ATHE Business Meeting that includes information from the College of William & Mary on the journal’s finances, subscriptions, and marketing, as well as numbers of received submissions and accepted articles, updates on special issues, and so forth). The Associate Editor will assist with these duties and copy editing. Both Editor and Associate Editor are encouraged to be active and visible scholars in the field. Workload varies throughout the year, but the Editor should expect to
devote approximately 80 hours to each issue, with more labor-intensive periods during peak submissions times, around major conferences, and amidst copy editing and production weeks. The Associate Editor should expect to devote 30-40 hours to each issue. The Associate Editor receives an annual stipend of $500; the Editor receives an annual stipend of $1500.
 
Though the application process is open to all interested individuals, it is expected that the Editor and Book Review Editor will maintain an ATDS membership in good standing while serving. ATDS currently offers Pay
What You Can membership: https://www.atds.org/membership-shop/.
 
Please send a cover letter describing your interest and experience (1 page) and a shortened CV (2 pages) —or any questions—to Dr. Peter Reed, Chair of the Theatre Annual Editor Search Committee, at preed@olemiss.edu by April 22, 2024. Search committee members include Michael Lueger, Benjamin Gillespie, Jocelyn Buckner, and Bess Rowen. 

2024 NEH Institute on Born-Digital Scholarly Publishing

Brown University Library is pleased to announce a call for applications for the 2024 NEH Institute on Born-Digital Scholarly Publishing which will occur this July. Thank you in advance for sharing the following call for applications widely with your networks. It is much appreciated. 

Call for Applications

Brown University Digital Publications invites applications for participation in an NEH Institute on Advanced Topics in the Digital Humanities, Born-Digital Scholarly Publishing: Resources and Roadmaps. The three-week hybrid Institute will take place virtually July 8–19 and in person at Brown University July 22–26, 2024. Participant travel, lodging, and per diem expenses will be covered for the in-person component.*

Purpose and Structure

 Born-Digital Scholarly Publishing: Resources and Roadmaps supports scholars who wish to pursue interpretive projects that require digital expression and are intended for publication by a scholarly press, but who may lack resources and capacity at their home institutions.

Projects must be conceived of as born-digital, or digital-first. The institute does not support digitization projects or the development of supplemental websites for print books, but rather digital monographs, or digital publication projects anchored by an original, long-form narrative. The institute will train a cohort of 15 scholars—including unaffiliated scholars, adjunct professors, and part-time faculty from a range of disciplines, institution type, and geographical location—in best practices unique to the development of digital scholarly publications. The cohort will be supported by a faculty composed of authors of published or in-progress enhanced digital monographs and digital publishing experts from university presses and Brown University Digital Publications.

The institute has been organized as a hybrid, multi-phased training and mentoring program:

  • A two-week virtual course will introduce participants to resources, considerations, and strategies for digital publishing (July 8–19, 2024).
  • A one-week in-person workshop will yield individualized roadmaps for cohort projects (July 22–26, 2024).
  • Two two-day virtual check-ins will extend individualized project support (Oct. 2024 and Jan. 2025).

Eligibility

The application is open to scholars of all ranks, including university faculty and adjuncts, postdoctoral researchers, and independent scholars. Applicants must have a Ph.D.

Brown University Library is a member of the HBCU Library Alliance. Based on this affiliation, some slots will be reserved for participants from member institutions. 

International applicants are welcome, though the NEH Institutes for Advanced Topics in the Digital Humanities (IATDH) program focuses on scholars currently studying or employed at institutions in the United States. Thus, U.S. citizens and/or U.S.-based scholars will be given priority. International applicants and/or persons without a current U.S. visa should note that, if selected and if an in-person meeting is possible, a visa cannot be guaranteed.

How to Apply

The following materials should be sent to digitalpublishing@brown.edu, no later than April 1, 2024:

  • A statement (maximum 3 pages) that directly addresses the following questions:
    • Describe your digital monograph project. Why is the digital format necessary for advancing your argument? What is the current state of the project?
    • How would your project benefit from and contribute to a collaborative Institute experience?
    • How will your participation in the Institute contribute to expanding digital scholarship at your institution or in your field?
  • A current C.V.

Notification of Acceptance: May 1, 2024

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