You could win a prize in this design competition. CUR’s Arts & Humanities Division is asking undergraduates to send in their own creative designs for a sticker promoting the division’s website, curartsandhumanities.org . If your sticker is the winner, you will receive a $250 gift certificate to Blick Art Supplies!
Here are some things you may wish to keep in mind when creating your sticker for this design competition. The Arts & Humanities division of CUR, or “CURAH”is committed to encouraging undergraduate scholarship and creative inquiry. As a result, we provide many opportunities for networking while also supporting visitors with our ever-growing pool of resources. We also have an active blog you can follow. Check out some of the newest research from undergraduates across the nation.
Designs should be fun and creative. We’re looking for something anyone would be happy to put on a water bottle, a laptop, or even their car window. Here are the requirements for the design competition:
TIFF, JPG, or PNG format
Larger than 700×700 pixels
Encourages the viewers to go to the site: curartsandhumanities.org
Lettering should be in Lato bold font.
Uses color scheme below
Includes the CUR logo below in the design (any size) – (note, if the logo is over a dark background, you may invert it to white)
Please send your design to editors@curartsandhumanities.org by December 15th, 2022
In my last post on co-authoring with undergraduates, I shared my experience collaborating with undergraduate co-authors on a humanities research project. I gained some valuable insights from the process of co-authoring an article that emerged from that project. That post, published in December 2022, was completed shortly after we had submitted that article to a scholarly journal. At the end of the post, I promised a second post addressing the peer review process. I am truly delighted to be able to provide that update now, shortly after we were notified that the article was accepted after a substantive revise and resubmit. Here, then, rather sooner than expected, I share three insights from my experience navigating peer review with my co-authors.
The journal to which we submitted our article in November responded both quickly and prolifically, providing within two months no fewer than four (!) detailed and thoughtful readers’ reports that collectively recommended specific major revisions. I understood this to be surprisingly good news: when we had submitted to a well-respected subfield journal, I had anticipated that we would get informative rejections that would help us revise before submitting to a lower tier venue. However, it quickly dawned on me that most faculty members have very different experiences and expectations for writing feedback than undergraduates do. This was especially true for undergraduates like my co-authors, whose academic careers had been spent at a small liberal arts college they chose because of its supportive professors. In other words: the most critical comments any professor had offered on their writing had nothing on the infamous Reviewer 2!
What to Expect, Part I: Contextualize the Process
The readers’ reports were generous, clearly written with an awareness that they would be read by undergraduate researchers. Even so, they did not hold back from candid criticism of the weaker parts of our argument. Before sharing the reports, then, I framed them for the students. I explained both that I had been prepared for a rejection and that this expectation was based not on any perceived weakness in their writing, but rather was my baseline expectation for first submissions. I also explicitly unpacked the differences between professorial feedback and readers’ reports, prepared them to receive less gentle comments than they had previously enjoyed, and offered my honest interpretation of the reports: that they were blunt in pointing out the areas that needed the most work, yes, but that the explicit praise they offered on matters large and small was an indication of sincere excitement about the project. Once we had talked this through, I shared the reports with them. After they had had a chance to review them, we met up in person. We began by processing the experience on a personal level, and I validated both the pride they expressed in the compliments our work had been given and what we had already achieved together, and the prickly defensiveness they admitted had flashed up at the harsher assessments. My preparation on the front end, the rapport we had built over the course of the project, and the real-time, face-to-face format in which we were debriefing made this an effective way to move past negative reactions and into the second part of our work that day: coming up with a shared list of small and large revisions to be made, delegating each revision item to the person initially responsible for drafting that section, breaking those items down into smaller scaffolded tasks, and agreeing on a timeline by which each task would be completed and shared with the group.
What to Expect, Part II: Practice the Humility You Preach
Many of the revisions were located in the textual readings on which the students had taken point, and identified issues common even to the most talented undergraduate writers: first, insufficient engagement with current scholarly conversations on the text or topic at hand, requiring another (focused and abbreviated!) research pass; second, slightly too opinionated responses to texts, requiring a reframing to emphasize analytic interpretation rather than personal preference. However, the reviews also suggested that at the largest scale the argumentative framework was stretched too thin, and that the opening in particular was a bit overstated, calling for a reframing to center what they all found to be the very compelling heart of the argument. This was entirely on me—the result, I think, of trying to preserve every insight that had been meaningful to our group throughout the process, rather than really honing in on the strongest arguments. Revision meant not just shepherding the students through modesty in accepting major critiques, but demonstrating that modesty myself. We talked about this openly and agreed that I would send them my revisions while they were still researching theirs, both to help guide them in targeting the newly refined argument, and to model what a real overhaul rather than surface edits looked like. All of the readers who responded to the revised article not only recommended publication with extremely minor edits, but also expressed admiration at the depth and breadth of revisions we had taken on.
What to Expect, Part III: Carry the Load
I will take every opportunity available to praise the intellectual maturity, enthusiasm, and dedication of my student co-authors: they are both superstars. Even so, as in the first stage of the process, I had to do a lot of project management during the R&R. The majority of our substantive work was truly collaborative, but I quickly realized that it would be much more efficient simply to take the fiddly little details on myself rather than insisting on doing everything together. Copy-editing, double-checking citations, trimming our revised piece back down to word count, and drafting the editorial memo: I asked for their review and approval of the final results, but my taking point on these saved us all a lot of time (and, I think, is only fair given that the students were at this point recent graduates with full-time jobs, while this labor was actually work toward my full-time job!).
In all, I found the process of co-authoring with undergraduates to be both smoother and more rewarding than I had anticipated. Look out for our forthcoming article, “Collectivism as Adaptation in Climate Fiction,” in ISLE: InterdisciplinaryStudies in Literature and Environment, and in particular for the first academic bylines of Southwestern University graduates Col Roche and Elena Welsh!
Note: I published my last post under the name Rebecca M. Evans.
Interdisciplinary research projects offer innovative approaches to making work in the arts and humanities more visible. Zach Zito, a student at Utah State University, has been working hard on a project that combines physics and philosophy. His work focuses on quantum mechanics and relativity of time. We reached out to him for an interview to learn more about his research.
CURAH: What is the nature of your research?
ZZ: I have the privilege of engaging in research with Dr. Brittany Gentry (philosophy) and Dr. Charles Torre (physics). Our research centers on the role of time in physical systems. It is an interdisciplinary endeavor, drawing heavily on concepts from the relevant philosophic literature as well as modern physical theories.
From Aristotle to Newton to Einstein, great thinkers have established diverse ways of viewing the physical word based on different conceptualizations of time’s nature. In physics, one’s assumptions about the nature of time play a role in how scientific theories are structured. Interestingly, two of today’s most important disciplines within physics — relativity (which describes the cosmos) and quantum mechanics (which describes the sub-atomic) — make use of different and irreconcilable notions of time. This is puzzling because both theories make remarkably accurate predictions and are fundamental to modern technology and our understanding of the universe. How could two theories, both of which serve us so well, contradict one another? This is the question at the heart of our research.
Digging into the literature, we thought hard about the metaphysical status of time: what we are truly referring to when we speak about temporarily. Inspired by the work of Barbour and Bernoulli (two prominent physicists), we set out to find a way to describe particle systems (not unlike those studied in quantum mechanics) in a manner that is in harmony with the findings of relativity. We have made some promising advances in this regard. Today, we are working on establishing canonical methods for defining a relativistic rime metric in systems that share more and more qualities with full-fledged quantum mechanical systems.
CURAH: What were the easiest and hardest things about the work you did?
ZZ: Philosophers and physicists alike have been thinking about the metaphysics of time for… quite some time. This made it relatively easy to find high quality literature related to the subject in question. We looked at several works from prominent thinkers to round-out and purify our conception of clocks, motion, and time to establish a solid basis on which to proceed. the most difficult part was synthesizing all the material, crystallizing our findings into mathematical expressions and robust metaphysical explanations to describe our models. Despite the difficulty, Dr. Torre, Dr. Gentry, and so many great thinkers before us, we were able to come to a satisfying conclusion.
CURAH: What kinds of things did you learn? (about your topic, about scholarship, or about yourself)
During this research, I had the opportunity to learn more about the existing literature on the philosophy of time and change as well as advanced methods in physics for analyzing and describing systems. Particularly, I learned about the intricate relationship between temporal succession and motion and about the importance of symmetries and conserved quantities in physics. This alone felt like a top-rate educational experience and affected the way I see the world around me and how I interact with the academic disciplines of philosophy and physics. On a deeper level, I learned how engaging serious investigation into deep questions can be. I was surprised at the high level of collaboration that took place across disciplinary, spatial, and temporal boundaries. I hope to continue to participate in this ongoing conversation, exploring the secretes that nature has in store through creative synthesis of experience, mathematical rigor, and careful consideration.”
CURAH: Did you make any discoveries along the way?
ZZ: Yes! We established a framework through which to view change, time, and matter and discovered an equation that describes simple motion in a model-universe without reference to the type of “assumed” time that relativity theory demands we abandon. Functionally, we found a way to mathematically convert a complicated combination of measurements into a clock which is internal to the system under study. We did this by examining the quantities of the systems that are conserved due to symmetries and exploiting them to craft a mathematical clock. This means that in principle, systems can be coherently understood without external reference, suggesting that a deeper understanding of the very early universe may prove accessible. As of now, we are searching for a similar result that can be applied to more complex systems involving quantum properties and more interacting particles.
CURAH: How has the project helped you in your career goals?
ZZ: This project allowed me to grow personally and learn a great deal about unique spaces in physics and philosophy and about research in general. Because my career goals include future work in both philosophy and physics research, this project has been of utmost value to me in that regard. This project has also given me a look into the details of research work in these fields, which helped give me a better sense of what exactly I’d like to focus on in my career and hence what I should be studying and investigating now in preparation.
Interested in hearing about more undergraduate students and their research? Check out our page dedicated to these profiles!
This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License
Looking for a summer internship? Historic Deerfield is offering a nine-week long internship program! Their program is free of tuition or program fees.
Historic Deerfield’s is located in Western Massachusetts in the Connecticut River Valley. This summer internship program is centered around the history of the area as well as the history of New England. The 7 selected applicants will be able to spend their time studying history and material culture. While in the program, you get to live in the Creelman house in the historic village during the nine week program and see behind-the-scenes of museums and other historic sites. At the conclusion of the program, you will also be able to take a week-long road trip!
The nine-week program is set for June 5th-August 7th, 2023. This summer internship opportunity is asking that applications be submitted by February 6th, 2023. If you are interested in applying follow this link: https://www.historic-deerfield.org/how-to-apply.
Not sure this one is right for you, but still are looking for an internship? Check out our list of new summer research experience opportunities to see if there is a good fit for you!
The Arts & Humanities division is proud to announce the winner of our small sticker design competition. Ahna Huff, a student at Redford University, submitted the following design.
Honorable mentions go to Angela Elgawli, Cassandra Tubwell, Michelle Villanueva, Rebekah Hollar, and Brannen Howard.
I often hear that collaborative co-authored humanities research with undergraduates is a problem rather than an opportunity. My colleagues concerns aren’t entirely unreasonable. Humanities faculty publish co-authored work much less frequently than our colleagues in the natural and social sciences do. Similarly, our division (and in particular my home discipline of English) tends to frame knowledge as the result of one scholarly mind at work. This is especially acute in my subfield—contemporary literary studies—where the steps of gathering and of interpreting material happen almost simultaneously as the scholar reads the literary text. As a result, it is much harder to identify hierarchies of co-authors than in academic fields in which student collaborators take on discrete, bounded parts of the data collection and analysis processes.
In this post, I share my experience co-authoring with undergraduates as we worked on an article together, from our initial mentored research experience through submitting the piece for publication. I will speak honestly about the difficulties I encountered, but I want to emphasize the benefits it afforded—not only for the students, but for my work and thinking as well.
The project began in a collaborative and mentored research experience. Funded by my institution, two students worked with me for six weeks on a project surveying major trends across a broad corpus of “cli-fi,” or climate fiction. After a one-week calibration stage, we spent three weeks independently recording our findings in relation to a set of shared questions: representations of climate science; engagements with climate justice; discussion of adaptation and/or mitigation; relevant climate communication frameworks; and notable formal and stylistic features. During the last two weeks, all participants extended this work into their individual humanities research interests they had developed during the project: I worked on the book chapter that the research project was initially proposed to support; the two students took up, respectively, Indigenous cli-fi and climate fantasy. As our project drew to a close, we reflected on our various interests and findings, and a shared argument began to emerge. All of us were pushing in some way against the dominant critical praise of cli-fi as representing realistic futures; all of us were also finding that our texts were most, and most successfully, interested in navigating questions of community formation and collectivity in relation to climate catastrophe. Now the only outcome required by our institution was that the students present their work at annual research symposium. But the students had grown excited about the project and invested in the broader implications of the work they had begun to pursue. When I mentioned the possibility of seeking to publish, they seized on the idea of a co-authored article, and our work began. Three insights from that process on co-authoring with undergraduates are below.
What to Expect, Part I: Emergent and Evolving Arguments
Rarely do I begin writing an article without a very clear sense of the argument. This project was quite different. Because it was the combined product of three minds, it took different shapes at different points: we had to adjust and expand earlier argumentative structures that didn’t quite “fit” our shared goals; brilliant points (mostly theirs!) that detracted from the overall arc needed editing to be less central or saved for future projects. In the end, this was good for all of us. I saw how the experience cemented the value of revision and the writing process for the students, turning them into even more mature writers and peer editors. I also found the experience useful during my own simultaneous process of working on my book manuscript, helping me to get back in the habit of rereading, realigning, and letting projects take the best shape possible, not just the shape I had initially planned.
What to Expect, Part II: Necessary Division of Labor
Undergraduate co-authors may be better prepared to write some sections than others. My co-authors produced thoughtful, purposeful, and attentive close readings; but they were less equipped to make the case about how these readings fit within larger conversations, or to articulate how these readings intervened in contemporary scholarly debates. This isn’t to say they didn’t understand the big picture! But dividing our work so that I was responsible for the argumentative frame while they tackled the readings and analysis proved immensely useful for us. Not only did we move more efficiently—I also saw how valuable it was for them to get firsthand experience with how their astute insights and instincts could develop into scholarly arguments. Subsequent drafts of the article showed how this exercise had tightened and advanced their critical voice, as they fine-tuned their individual points to fit into the broader arc. Meanwhile, papers they wrote for me in subsequent classes clarified for me how formative this experience was to their confidence and their ability to tackle more ambitious arguments.
What to Expect, Part III: Slow and Unsteady Pacing
Like many humanists, I’m accustomed to working largely at my own pace, with whatever lapses and sprints that my schedule (and my relationship to the projects in question!) demands. Co-authoring with undergraduates means all of the pauses that are inevitable when different schedules collide—delays that many of us may have experienced mostly on the editorial end of things, and are only exacerbated by the fact that undergraduate co-authors are juggling even more obligations, with even less extrinsic motivation to finish an academic article. My student co-authors were organized, dedicated, and eminently responsible. Even so, things moved slowly, and required consistent project management and strategic long-term scheduling on my end. The downside: those on tight tenure clocks may not find this to be the most efficient path toward a publication line. The upside: this project benefited immensely from time and perspective and helped me remember the profound value of sitting with ideas and delving into them rather than rushing.
As of this point, we have completed a draft of the article and are preparing to submit it to an academic journal. Stay tuned for an update post on the blog reflecting on the experience of navigating peer review while co-authoring with undergraduates in humanities research!
I’d like to invite all Arts & Humanities Division members to become a CUR councilor in the Arts and Humanities Division. This is a wonderful national leadership opportunity, and it also has lots of personal benefits for you. In this very brief video, I and two of our current councilors reflect on what we’ve gotten from being a CUR councilor. https://youtu.be/wtL6xvNaACw
Don’t feel that you need to be an expert on undergraduate scholarship or creative inquiry to apply; all you need is to care about research and mentorship of students in the Arts & Humanities. The self-nomination is easy, and there are many seats available: https://www.surveymonkey.com/r/6T7TMK6
Please reach out to me if you have any questions. I’m happy to talk about this wonderful experience and our welcoming community of CUR councilors.
Regards, Amy Woodbury Tease Chair, CUR Arts & Humanities Division awtease@norwich.edu
A new Routledge Undergraduate Research Series book: Undergraduate Research in Theatre: A Guide for Students showcases Michelle Hayford’s insight on the “high-impact practice”(2) of theatre research. A valuable resource for both faculty and undergraduate theatre artists, this book encourages “creative scholarship [that] values mutual exchange and collaborative creation” (30) in all dramaturgical, design, devising, and production processes while engaging in thorough, ethical research practices. Theses, class/curriculum development (resources provided), and department accountability to “seek dialogic performance in community with others”(107) can empower students to contribute to the progression of the discipline.
Hayford emphasizes the value of theatre’s experiential learning methods within undergraduate research, describing how skills developed in theatre are sought after in fields beyond the arts and humanities. The first half of the book explains the value of reading literature reviews so that “new scholars…join the conversation as informed participants”(10). As a result they can then skillfully organize paratextual sources to“legitimize…theatre as a site for creative and critical inquiry where research is taking place in active and embodied ways”(20). Although theatre is the primary focus for exploring topics such as ethical responsibility to human participants, copyright, qualitative and quantitative data analysis, and disseminating research, the advice Hayford offers applies broadly to student researchers across arts and humanities disciplines.
Once accustomed to using to varied sources, theatre-artist readers can deep dive into applying research methods within a live project. Chapters Eight through Ten centralize performance itself and show how even the most standard scripted theatre incorporates research practices. Hayford delves into the responsibility of research required for “performers [themselves] as change agents” (92), “performance ethnographers”(91) for dialogic scripts, and decentralized storytellers for communities. Moving behind the scenes, Chapters Eleven through Fourteen tackle not only designer “solutions to art-making in the most unexpected circumstances”(123) but the importance of teaching “self-advocacy and negotiation skills to combat pay and labor support disparities they will face in the industry” (141). Every role, from stage manager to performer, must recognize how “the impulse to connect theory to practice, and embodied methodology to production”(172) is a constant liminal affair that they will grapple with as a theatre artist.
Hayford does an excellent job connecting the realm of theatre to the rest of the arts and humanities as valid, and effective research. Not only does she give students the tools to create thoughtful and passionate projects, but she consistently shows how crucial it is to “diversify and evolve academic theatre, enabling theatre graduates to enter their careers with less trepidation… to foster equitable work environments”(125). Using case studies from theatre departments across the world, Hayford emphasizes undergraduates’ current role in revolutionizing the discipline. When curating a piece of any significance, the “content… is only limited by the imagination and research efforts of its creators”(172). This book makes an important addition to the Routledge series, which includes several other volumes dedicated to arts and humanities, including one on Film Studies previously reviewed on this site. Any academic theatre scholar can benefit from Hayford’s inspiration to enact a multimedia, hands-on approach within their own undergraduate research.
Evelyn Wohlbier is a senior theatre major at Lewis & Clark College
CURAH’s Trimmer Travel fund, made possible by a generous donation from Joe and Carol Trimmer, supports an annual travel award to help undergraduates travel to present their work at conferences in the Arts and Humanities. Applications are invited through March 22, 2022. The award is up to $1000.
NCUR 2023, the annual CUR conference for undergraduates, will be running in-person April 13-15, 2023. Presentations in all fields are welcome, and a large number of arts and humanities students usually participate. Abstracts are due by November 30. Rates for the conference are quite reasonable. Need help writing an abstract? Here’s our easy set of instructions.
This year’s conference is making a few changes. Here are some of the notable differences (from the conference page):
NCUR will be spread out over two days’ time.
All accepted students, including those with poster and visual art image submissions, will have the opportunity to present to a cohort group for 10-15 minutes.
This year, NCUR will take place at UW-Eau Claire
An opt-in competitive element for presentations has been created.
Registration options for family and friend’s passes will be available.
Graduate Fair meet-up hours will be separate from presentation times to prevent conflicts. There will also be interactive game activities with prizes.
The Arts and Humanities Division of the Council on Undergraduate Research