For the last few years, the AAUP has organized a University Press blog tour to allow readers to discover the best of university press publishing. On Friday, their theme was “University Presses in Conversation with Authors” featuring interviews with authors on publishing with a university press, writing, and other authorial concerns.
“Fordham professors write your books, right?” This is often less a question than an assumption and probably the biggest misconception about not just our, but all, university presses.
For the last few years, the AAUP has organized a University Press blog tour to allow readers to discover the best of university press publishing. On Thursday, their theme was “#tbt” or “Throwback Thursday” featuring the histories of various presses, some fascinating photographs and artifacts from university press history, and historical context from university press authors on today’s concerns.
I had settled down with a pint and a ploughman’s at The Wellington in Park Road — the Friday lunchtime custom of LSU College academic staff — when Paul Gardner, our convivial HoD, asked casually, if I might be interested in devising an undergraduate course in literary theory. Being young and naïve (it was around 1982), I expressed enthusiasm, and Paul said, as if casually, ‘Could you do it for Monday?’
For the last few years, the AAUP has organized a University Press blog tour to allow readers to discover the best of university press publishing. On Wednesday, their theme was “Design” featuring interviews with designers, examinations of the evolution of design, and parsing the process itself.
Academic publishing is not as simple as it may appear. University presses such as Oxford and Fordham range from large to small; for-profit publishers such as Wiley and Elsevier must appeal to both academics and shareholders; start-ups such as Academia.edu and WriteLatex are fulfilling smaller services; and niche publishers, such as Hurst, offer tremendous depth and breadth of specific subject areas.
Which books have changed the world? Given our news today, one might expect that books no longer have as great an impact on it. ISIS has Syria in turmoil and refugees are making their way to Europe; the United States is gearing up for an election that may determine the future for many others around the globe; China is changing in rapid and unexpected ways, with political and economic consequences rippling around the world.
For the last few years, the AAUP has organized a University Press blog tour to allow readers to discover the best of university press publishing. On Tuesday, their theme was “The Future of Scholarly Publishing” featuring commentary on trends in the industry, the case for financial support, and the meaning of gatekeeping in a digital era.
In thinking about the future of scholarly publishing – a topic almost as much discussed as the perennially popular ‘death of the academic monograph’ – I found a number of themes jostling for attention, some new, some all-too familiar. What are the challenges and implications of open access?
For the last few years, the AAUP has organized a University Press blog tour to allow readers to discover the best of university press publishing. On Monday, their theme was “Surprise!” featuring unexpected ideas, information, and behind-the-scenes looks at the presses.
Which books have changed the world? While thoughts range from Karl Marx’s The Communist Manifesto (originally a political pamphlet) to George Orwell’s 1984 (a novel), great works of scholarship are often overlooked. However, it is these great works that can change our understanding of history, culture, and ourselves.
That time of the year is upon us again – Strictly Come Dancing is on the telly, Starbucks is selling spiced pumpkin lattes, and the kids are getting ready for a night of trick-or-treating. It can mean only one thing: Open Access Week is upon us.
If your experience of school music was anything like mine, you’ll recall those dreaded aural lessons when the teacher put on a recording and instructed you to identify the instruments, to describe the main melody, to spot a key change, perhaps even to name the composer.
I spent four days last month with my colleague and friend, Doug Boyd, as he and I (mainly he) gave oral history workshops in Milwaukee and Madison. While the idea to bring Boyd to Wisconsin for these trainings began with Ann Hanlon, Digital Humanities Lab head at UW-Milwaukee, I jumped at the chance to find groups to sponsor his time in Madison.
The librarians at Bates College became interested in Oxford Bibliographies a little over five years ago. We believed there was great promise for a new resource OUP was developing, in which scholars around the world would be contributing their expertise by selecting citations, commenting on them, and placing them in context for end users.
On the surface, the suggestion that the best independent music teachers are those who earn the most money seems ludicrous. No obvious, mathematical correlation can be drawn between fiscal and pedagogical success. We have all encountered incredible educators who struggle to make ends meet, or financially comfortable ones who are mediocre instructors at best.