Women’s Archives/Women¹s Collections:  What does the Future Hold?

Perspectives on Women’s Archives: A Reader (ed. Tanya Zanish-Belcher with Anke Voss) will be hot off the press when the Society of American Archivists convenes in August.  Join us to celebrate its publication and ponder some of the issues it raises in a one-day symposium just prior to the SAA’s annual meeting.  Panelists will offer remarks to generate discussion on several topics:  the continuing relevance of separate women’s archives, the impact of the digital world on record creation and use, and the role of the citizen archivist.  We look forward to a lively conversation among archivists, scholars, and the Reader’s authors about the future of women’s archives.

Details:
Newcomb College Institute
Tulane University
August 13 1:30- 8:30 pm
Dinner included

There is no cost for the symposium but pre-registration is required. To pre-register see:  http://tulane.edu/newcomb/womens-archives-womens-collections-what-does-the-future-hold.cfm

Please contact Susan Tucker (susannah@tulane.edu) or 504-865-5239 for more information.

Natalie Ring, The Problem South: Region, Empire and the New Liberal State, 1880-1930 (University of Georgia Press)

Lisa Cohen, All We Know: Three Lives (Farrar, Straus, and Giroux)

Francoise Hamlin, Crossroads at Clarksdale: The Black Freedom Struggle in the Mississippi Delta after World War II (UNC Press)

Adria Imada, Aloha America: Hula Circuits through the U.S. Empire (Duke University Press)

Gretchen Heefner, The Missile Next Door: The Minuteman in the American Heartland (Harvard University Press)

Lien-Hang Nguyen, Hanoi’s War: An International History of the War for Peace in Vietnam (UNC Press)

Sophie White, Wild Frenchmen and Frenchified Indians: Material Culture and Race in Colonial Louisiana (University of Pennsylvania Press)

One evening: 10 dollars

Two evenings: 20 dollars

Please pre-register before April 15 by emailing Camille Bégin (camille.begin@utoronto.ca) using “Little Berks Evening” in the subject line.

 Friday, May 3, Music Room, Hart House, 7.30-10pm

Dessert and Refreshment will be served.

 Karuppi, A play written by V.Geetha, directed by A. Mangai, and performed by Ponni Arasu.

 Saturday, May 4, Music Room, Hart House, 7.30-10pm

Desert and Refreshment will be served.

Food History Panel: Cooking, Eating, and Creating Home in North America

Laurie K. Bertram, “The Striped Lady”: Vínarterta, Memory and Icelandic-North American Identity

Julie Mehta, The Culinary Success Story of Hakka Chinese-Indian-Canadians

Camille Bégin, “How can we get at the thoughts of those who twirled their spaghetti round their forks, Italian fashion?”: Sensing Food in the Archive.

Karuppi,

 A play written by V.Geetha, directed by A. Mangai, and performed by Ponni Arasu.

 Karuppi is a short (25 minutes) one-woman performance. The play, produced by the Marappachi Trust, was originally created in Tamil and will be translated and performed multilingually. “Karuppi’ can be translated in English as ‘the dark woman.’ The play is a collection of writing by and about Tamil speaking women workers who went from Tamilnadu and Sri Lanka to different parts of the world to work primarily in plantations. The script was collated by V.Geetha, the foremost feminist historian of Tamilnadu. She is a widely published historian of Tamil societies. In the past 5 years she has written three plays, Karuppi being the latest. All her plays are a critical comment and record of Tamil histories from a feminist perspective.

The play is structured around women and labour, and it also includes the displacement of women induced by war and related movements across oceans. It also includes one story of the plight of women left behind while the men went away to work in faraway lands. It shows the myriad issues women face in this process and the legal, ethical and moral decisions they took to deal with them. The script consists of poetry (set to tune in some instances), excerpts from short stories and excerpts from related government documents. The stories date back to the early 19^th Century to the present day. The play swings between pathos and comedy; oppression and ‘agency’.

The play premiered among the women who are being portrayed in the play in various parts of northern, eastern and central Sri Lanka. It was performed in small rooms with 20-40 working women from these regions including literally in the midst of the hilly plantation region of Kandy in Central Sri Lanka to an audience consisting of three generations of women plantation workers. The journey of the play has added strength and perspective to the performance and is now ideal to represent and discuss the various kinds of issues, work, migration, war, peace, family, desire, violence and affirmation that the play puts forth through the words of and stories about these women workers.

 Direction: The play was directed by A. Mangai a feminist theatre practitioner in Tamilnadu. She has been in the field for the past 30 years and has been a consistent feminist voice in progressive debates in the Tamil world. She is an English professor for a living and this is her 3^rd collaboration with V.Geetha.

 Cast: The play is performed by Ponni Arasu. She is a Tamil queer, feminist activist, researcher and actor. She has been on stage since she was 12, this is her 12^th play. Her training is in the ‘theatre of the oppressed’ form and she has been involved in using theatre as a tool for social change over the past 10 years. She is presently a graduate student at the History Department, University of Toronto, studying the history of Tamilnadu from a feminist perspective.

 The production team: The Marappachi Team is an integral part of any performance coordinated by the trust. This involves participation in preparatory workshops, helping with stage props, sets, lighting and other technical assistance. While Ponni has been traveling alone with Karuppi, the play was evolved with the participation of many members of the Marappachi team. The team consists of a committed set of young people who are actors and believe in theatre as a tool for social change. Their involvement in Marappachi is of a voluntary nature and they are engaged in myriad professions for a living.

Food History Panel: Cooking, Eating, and Creating Home in North America

 Laurie K. Bertram, “The Striped Lady”: Vínarterta, Memory and Icelandic-North American Identity

 Julie Mehta, The Culinary Success Story of Hakka Chinese-Indian-Canadians

 Camille Bégin, “How can we get at the thoughts of those who twirled their spaghetti round their forks, Italian fashion?”: Sensing Food in the Archive.

“The Striped Lady”: Vínarterta, Memory and Icelandic-North American Identity

 Laurie K. Bertram

Grant Notley Memorial Postdoctoral Fellow

Department of History and Classics

University of Alberta

lbertram@ualberta.ca

“Say vínarterta in a room full of the descendants

of North American Icelandic immigrants and

quarrels begin…”[1]

Image by Nelson Gerrard

This paper discusses the obsessive preservation and meaning of an elaborate 19^th-century striped torte popular in the Icelandic immigrant community in North America. Motivated by climate crises and socio-economic factors, approximately one-quarter of Iceland’s population emigrated between 1873 and 1914, establishing numerous Icelandic communities in the North American West. Icelandic immigrant community culture has changed dramatically in the past century, but a torte known as vínarterta, popular in Icelandic kitchens at the height of the emigration, has emerged as one of the most widely-accepted and (allegedly) unalterable symbols of Icelandic-North American culture, history and identity. The ritualistic production and consumption of this dessert, its mandatory appearance at weddings and funerals and voracious debates over “correct” and “original” vínarterta recipes all reflect its importance to Icelandic immigrant memory, even though the torte is no longer produced in Iceland itself.

Using photographs, recipes and oral testimony, this paper traces the history of the torte, from its popular rise in impoverished 19^th-century Iceland to its emergence as a symbol of Icelandic immigrant identity. I argue that vínarterta was transformed from an Icelandic coffee time treat to a cultural symbol as a result of wartime and Cold War food spectacles designed to quell protests against the American occupation of Iceland from 1941 onwards. However, this repurposed 19^th-century dessert also performs more personal, private mnemonic functions within the community, evident in its affiliation with the Amma [grandmother] and family narratives of maternal suffering, hunger, disease and death. Oral history interviews reveal that the popular meaning of vínarterta is also shaped by matrilineal identities and elements of older Icelandic fatalist narrative traditions that stand in contrast to the more celebratory food spectacles that promoted the dessert outside of the community in the 20^th century.

The Culinary Success Story of Hakka Chinese-Indian-Canadians

 Julie Mehta,

Canadian Studies,

University of Toronto

In this project I posit that Hakka Chinese-Indian- Canadian -Chinese cuisine and language are asserting their identity and burgeoning in urban Toronto. Shared meals and the performative act of cooking and eating together as a hyphenated, doubly diasporic immigrant community, who migrated first from China to India (where they were ostracised and interred in camps, much like the Japanese in Canada during World War II),  and then on to Canada,  amplify the importance of building new communal histories under tenuous and challenging environs while negotiating the pungent highways of a dominant new language  – English — and a new and foreign food culture — Canadian. This energetic and tenacious community, which has asserted itself in Toronto and the GTA, through its entry into the restaurant business, serving up an unique litany of transnational dishes, including the outstanding, delicious and typical chilli chicken and Hakka chow mein, is perhaps the most visible success story in culinary commerce, in the last decade in urban Toronto and its environs. In my project I include the works of Hakka Chinese-Indian-Canadian  writer Kwai-yun Li, a resident of Toronto, to interrogate this  immigrant community’s desire for acceptance, acculturation and legitimization through its contribution to multicultural foodways in Canada.

http://www.blogto.com/toronto/the_best_hakka_restaurants_in_toronto/, accessed January 13, 2013

“How can we get at the thoughts of those who twirled their spaghetti round their forks, Italian fashion?”: Sensing Food in the Archive

 Camille Bégin,

Berks New Scholar Liaison,

University of Toronto

This presentation offers reflections on how the emerging field of sensory history contributes to reframing the study of food by shifting the focus from the study of commodities and foodways to the study of the sensing bodies of the eaters.  This new endeavour is a challenging one, as Kristin Hoganson put it: “How can we erase our own palates to understand how a particular dish tasted to any person, much less a range of

people, a century ago? How can we get at the thoughts of these who twirled their spaghetti round their forks, Italian fashion? …Where is the archive that contains this information? Where are the remembrances of what it meant to eat “foreign” foods?”[1] This presentation explores ways of answering these questions by using the New Deal Federal Writers’ Project extensive America Eats project, which aimed at building a national culinary narrative anchored in regional cuisines, as a case study. America Eats contributed to the production of a prescriptive sensory and culinary knowledge about what was American food and who American eaters were. The project indeed unfolded in a country in the midst of economic upheaval and changing understanding of race and ethnicity. A sensory analysis of this archive therefore needs to be a cautious one. Yet by looking at the margin of the archive, in the discrepancy between the raw documentation and the edited narrative, one can also start to understand how Americans sensed their food in the New Deal period.

Picture credit: Cooking Spaghetti and Frying Chicken for a Spaghetti Supper at Grape Festival, Tontitown, Arkansas, 1941.  Federal Writers’ Project photographs for the America Eats project, Library of Congress Prints and Photographs Division Washington, D.C., LOT 13328 (F), no. 24

Submit application at https://secure.interfolio.com/apply/21351 with letter of application, curriculum vitae, three confidential letters of recommendation, a writing sample, and syllabi for two proposed courses. Review of applications will begin April 1, 2013.

Smith College is a member of the Five College Consortium with Amherst, Hampshire, and Mount Holyoke Colleges and the University of Massachusetts Amherst. Smith College is an equal opportunity employer encouraging excellence through diversity.

The organizer of the paper, panel, roundtable or workshop is responsible for submitting all of the material.

To help us prepare for funding applications, please self-declare if you are a Canadian citizen or permanent resident of Canada (you may do this in your author profile).

*You may want to print these instructions before you begin the submission!

LIST OF TRACKS – You need to submit to one track and you can indicate a second choice in the body of your abstract

*Borders, Encounters, Borderlands, Conflict Zones, and Memory

*Empires, Nations, and the Commons

*Law, Family Entanglements, Courts, Criminality, and Prisons

*Bodies, Health, Medical Technologies, and Science

*Indigenous Histories and Indigenous Worlds

*Caribbean, Latin America, and Afro/Francophone Worlds

*Asia, Transnational Circuits, and Global Diasporas

*Economies, Environments, Labour, and Consumption

*Sexualities, Genders/LGBTIQ2, and Intimacies

*Politics, Religions/Beliefs, and Feminisms

*Visual, Material, Media Cultures: Print, Image, Object, Sound, Performance

Have a question about a specific subtheme (track)?  Click here for a complete list of all the track co-chairs! 

INDIVIDUAL PAPERS

STEP 1: Select your track (see above) and type of submission (Individual Paper)

STEP 2: FILE UPLOAD

Upload a 250-word abstract 

STEP 3: ENTER METADATA

The submission should include your name, email, affiliation, and short bio (1 page CV, clear all formatting before pasting). Under “title and abstract” enter your paper title, and a 250-word abstract.

STEP 4: CONFIRM SUBMISSION

PANELS:

STEP 1: Select your track (see above) and type of submission (Panel)

STEP 2: FILE UPLOAD

Upload a file containing each participant’s individual abstract (250 words per abstract maximum).

STEP 3: ENTER METADATA

Enter the name, affiliation, email and short bio (1 page CV, clear all formatting before pasting) of all participants including the chair and commentator of the panel (click on “add author,” check the box “principal contact for editorial correspondence” under your own name). Under “title and abstract” enter a 500 word summary abstract for the entire panel. In the summary abstract, please identify each participant’s role in the panel (i.e: presenters, commentator, chair).

Ideally a panel will consist of three presenters but we will also consider panels consisting of 2 to 4 papers.

STEP 4: CONFIRM SUBMISSION

ROUNDTABLES:

STEP 1: Select your track (see above) and type of submission (Rountable)

STEP 2: FILE UPLOAD

Upload a file containing brief descriptions of each of the participants’ contribution (250 words maximum per contribution).

STEP 3: ENTER METADATA

Enter the name, affiliation, email and short bio (1 page CV, clear all formatting before pasting) of all participants including the facilitator of the roundtable (click on “add author,” check the box “principal contact for editorial correspondence” under your own name). Under “title and abstract” enter a 500 word summary abstract for the entire roundtable. In the summary abstract, please identify each participant’s role in the roundtable (i.e: presenters, commentator, chair).

A roundtable will consist of four to six presenters and a chair who may also act as a facilitator.  The focus is on collegial discussion within the group and between the group and audience.

STEP 4: CONFIRM SUBMISSION

WORKSHOPS:

STEP 1: Select your track (see above) and type of submission (workshop)

STEP 2: FILE UPLOAD

Upload a file containing brief descriptions of each of the participants’ contribution (250 words maximum per contribution).

STEP 3: ENTER METADATA

Enter the name, affiliation, email and short bio (1 page CV, clear all formatting before pasting) of all participants including the chair and discussant of the workshop (click on “add author,” check the box “principal contact for editorial correspondence” under your own name). Under “title and abstract” enter a 500 words summary abstract for the entire workshop. In the summary abstract, please identify each participant’s role in the workshop (i.e: presenters, commentator, chair). Both participants and audience will engage in a focused conversation.

We will consider up to 10 papers. Papers will be due April 30, 2014 and will be pre-circulated by posting

STEP 4: CONFIRM SUBMISSION

Go here for the Call for Papers.

Go here for Frequently Asked Questions about submitting a proposal.

Still looking for co-panelists?

Your best bet is that you post on various H-net listservs.  This will reach far more people than posting on the webiste.  Briefly describe your panel idea, your paper, and ask those interested to contact you off-line. You have probably seen several of these messages going out recently on H-Women and other listservs. Here is a pretty comprehensive list.

Graduate Students @ U of T: GHS-L@listerv.utoronto.ca

Graduate Students @ CHA: CHA-GRAD@YORKU.CA                                           

Canada: H-CANADA@h-net.msu.edu

CCWH: linkccwh@lists.uvic.ca

American Indian: H-AMINDIAN@h-net.msu.edu

Latin America: H-LATAM@h-net.msu.edu

Women: H-WOMEN@h-net.msu.edu

Migration: H-MIGRATION@h-net.msu.edu

Env’t: H-ENVIRONMENT@h-net.msu.edu

Labor: H-Labor@h-net.msu.edu

Africa: H-Africa@h-net.msu.edu

African American: H-AFRO-AM@h-net.msu.edu

World: H-WORLD@h-net.msu.edu

Oral history: H-ORALHIST@h-net.msu.edu

H-Disability:    H-Disability@h-net.msu.edu

H Asia:  H-ASIA@h-net.msu.edu

H Childhood: H-Childhood@h-net.msu.edu

H-Afro-Am/African-American Studies: H-AFRO-AM@h-net.msu.edu

H-Albion/British and Irish History: H-Albion@h-net.msu.edu

H-AmRel/American Religious History: H-AMREL@h-net.msu.edu

H-Amstdy/American Studies: H-Amstdy@h-net.msu.edu

H-ANZAU/History of Aotearoa/ New Zealand and Australia: H-ANZAU@h-net.msu.edu

H-Appalachia/Appalachian History and Studies: H-APPALACHIA@h-net.msu.edu

H-ArtHist/Art History: h-arthist@h-net.msu.edu

H-Atlantic/Atlantic History: H-Atlantic@h-net.msu.edu

H-Caribbean/Caribbean Studies: H-Caribbean@h-net.msu.edu

H-Citizenship/Citizenship Studies: H-Citizenship@h-net.msu.edu

H-CivWar/US Vivil War History: H-CivWar@h-net.msu.edu

H-Education/History of Education: H-EDUCATION@h-net.msu.edu

H-Empire/Empires, Colonialism and Imperialism: H-Empire@h-net.msu.edu

H-Ethnic/Ethnic and Immigration History: H-ETHNIC@h-net.msu.edu

H-Film/Cinema History; Uses of the Media: H-FILM@h-net.msu.edu

H-German/German History: N/A

H-Grad/For Graduate Students Only: h-grad@h-net.msu.edu

H-Histsex/History of Sexuality: H-Histsex@h-net.msu.edu

H-Ideas/Intellectual History: H-IDEAS@h-net.msu.edu

H-Italy/Italian History and Culture: H-ITALY@h-net.msu.edu

H-Japan/Japanese History and Culture: h-japan@h-net.msu.edu

H-Judaic/Judaica, Jewish History: H-JUDAIC@h-net.msu.edu

H-Memory: H-Memory@h-net.msu.edu

Go here for the Call for Papers.

Go here for Frequently Asked Questions about submitting a proposal.

Go here to submit your proposal.

Still looking for co-panelists?

Your best bet is that you post on various H-net listservs.  This will reach far more people than posting on the webiste.  Briefly describe your panel idea, your paper, and ask those interested to contact you off-line. You have probably seen several of these messages going out recently on H-Women and other listservs. Here is a pretty comprehensive list.

Graduate Students @ U of T: GHS-L@listerv.utoronto.ca

Graduate Students @ CHA: CHA-GRAD@YORKU.CA                                           

Canada: H-CANADA@h-net.msu.edu

CCWH: linkccwh@lists.uvic.ca

American Indian: H-AMINDIAN@h-net.msu.edu

Latin America: H-LATAM@h-net.msu.edu

Women: H-WOMEN@h-net.msu.edu

Migration: H-MIGRATION@h-net.msu.edu

Env’t: H-ENVIRONMENT@h-net.msu.edu

Labor: H-Labor@h-net.msu.edu

Africa: H-Africa@h-net.msu.edu

African American: H-AFRO-AM@h-net.msu.edu

World: H-WORLD@h-net.msu.edu

Oral history: H-ORALHIST@h-net.msu.edu

H-Disability:    H-Disability@h-net.msu.edu

H Asia:  H-ASIA@h-net.msu.edu

H Childhood: H-Childhood@h-net.msu.edu

H-Afro-Am/African-American Studies: H-AFRO-AM@h-net.msu.edu

H-Albion/British and Irish History: H-Albion@h-net.msu.edu

H-AmRel/American Religious History: H-AMREL@h-net.msu.edu

H-Amstdy/American Studies: H-Amstdy@h-net.msu.edu

H-ANZAU/History of Aotearoa/ New Zealand and Australia: H-ANZAU@h-net.msu.edu

H-Appalachia/Appalachian History and Studies: H-APPALACHIA@h-net.msu.edu

H-ArtHist/Art History: h-arthist@h-net.msu.edu

H-Atlantic/Atlantic History: H-Atlantic@h-net.msu.edu

H-Caribbean/Caribbean Studies: H-Caribbean@h-net.msu.edu

H-Citizenship/Citizenship Studies: H-Citizenship@h-net.msu.edu

H-CivWar/US Vivil War History: H-CivWar@h-net.msu.edu

H-Education/History of Education: H-EDUCATION@h-net.msu.edu

H-Empire/Empires, Colonialism and Imperialism: H-Empire@h-net.msu.edu

H-Ethnic/Ethnic and Immigration History: H-ETHNIC@h-net.msu.edu

H-Film/Cinema History; Uses of the Media: H-FILM@h-net.msu.edu

H-German/German History: N/A

H-Grad/For Graduate Students Only: h-grad@h-net.msu.edu

H-Histsex/History of Sexuality: H-Histsex@h-net.msu.edu

H-Ideas/Intellectual History: H-IDEAS@h-net.msu.edu

H-Italy/Italian History and Culture: H-ITALY@h-net.msu.edu

H-Japan/Japanese History and Culture: h-japan@h-net.msu.edu

H-Judaic/Judaica, Jewish History: H-JUDAIC@h-net.msu.edu

H-Memory: H-Memory@h-net.msu.edu

In letters of application, candidates should describe their previous teaching experience in the field of Gender, Women’s, and Sexuality Studies at both the introductory and advanced level, and indicate courses beyond the introductory level that they are prepared to teach. Candidates should also discuss their interest in developing as a teacher and scholar in an undergraduate, liberal-arts college that emphasizes close student-faculty interaction. They also should discuss what they can contribute to efforts to cultivate a wide diversity of people and perspectives, a core value of Grinnell College.  To be assured of full consideration, all application materials should be received by February 1, 2013.

Please submit applications online by visiting our application website. Candidates will need to upload a letter of application, curriculum vitae, transcripts (copies are acceptable), a sample syllabus for Introduction to Gender, Women’s, and Sexuality Studies, and provide email addresses for three references. Questions about this search should be directed to the search chair, Professor Astrid Henry at GWSSearch@grinnell.edu or 641-269-4655.

Grinnell College is an equal opportunity/affirmative action employer committed to attracting and retaining highly qualified individuals who collectively reflect the diversity of the nation. No applicant shall be discriminated against on the basis of race, national or ethnic origin, age, gender, sexual orientation, gender identity and expression, marital status, religion, creed, disability or veteran status.

Objects matter. Material culture scholars use artifactual evidence such as consumer goods, architecture, clothing, landscape, decorative arts, and many other types of material.

The Bard Graduate Center will host a four-week NEH Summer Institute on American Material Culture. The institute will focus on the material culture of the nineteenth century and use New York as its case study because of its role as a national center for fashioning cultural commodities and promoting consumer tastes. We will study significant texts in the scholarship of material culture together as well as in tandem with visiting some of the wonderful collections in and around New York City for our hands-on work with artifacts. The city will be our laboratory to explore some of the important issues of broad impact that go well beyond New York.

We welcome applications from college teachers and other scholars with some experience doing object-based work, as well as those who have never taught or studied material culture. Application materials and other information about content, qualifications, stipends, housing, etc. is available here.

The application deadline is March 4, 2013.

David Jaffee, Project Director
Bard Graduate Center: Decorative Arts, Design History, Material Culture

For more information, please contact:

Katrina London
Bard Graduate Center: Decorative Arts, Design History, Material Culture
38 West 86th Street
New York, NY 10024
212.501.3026

Applicants for this opening will be considered for the fellowship hosted by the Women’s, Gender, and Sexuality Studies Program. The Women’s, Gender, and Sexuality Studies (WGSS) Program was established as the Women’s Studies Program at the University of Connecticut in 1974. The first formal program of its kind in the state, it was founded as a flexible interdisciplinary academic program devoted to the critical analysis of gender and the pursuit of knowledge about women. Faculty and students in the WGSS Program explore the construction of women, gender, and sexuality in different social, cultural, political, economic, aesthetic, and historical contexts by combining methods and insights of traditional academic disciplines with innovations in interdisciplinary feminist scholarship. The WGSS Program’s research and teaching illuminate the complex and changing local, comparative, and transnational processes that contour gender and sexuality; examine local, comparative, and transnational settings; and analyze the diverse narratives, structures, and patterns that shape everyday life, social institutions, and cultures.

Qualifications: Minimum Qualifications: 1.) Be enrolled in a PhD program or be within one year post-MFA in the liberal arts and sciences, fine arts, or education field at schools other than UConn, 2.) Have passed their PhD qualifying examination and be in either the research or writing phase of an approved dissertation or in the case of post-MFA have a project to be completed within the term of a year, 3.) Be conducting research in an area that can contribute to Women’s, Gender, and Sexuality Studies, and 4.) Have a demonstrated commitment to the advancement of diversity and to increasing opportunities for underrepresented or disadvantaged groups.

Appointment Terms: The program will provide a stipend of $27,000, medical and dental benefits, office space, library privileges, and computer access. A research/travel budget of $3,000 is also included. As part of the program terms, the fellows must be at the University of Connecticut for the duration of the fellowship and will be expected to teach one class and share their work in a public forum.

To Apply: Applications are accepted via UConn’s Husky Hire website. Applications must include a cover letter, full curriculum vitae, a two-page teaching statement, PhD project description outlining the scope of the project, its larger significance, methodology, and timetable for completion, appropriate example of recent work not to exceed 20 pages, and three confidential letters of recommendation, one of which is from the academic advisor, sent directly in electronic form from the referees to Courtney.Wiley@uconn.edu with the applicant’s name in the subject line. Post MFA applicants should include an appropriate project description:
- Choreographers/Dances: documentation of performance;
- Film and Video: links to works;
- Musicians: complete list of works or significant performances;
- Theatre Artists: sample of design portfolio;
- Visual Artists: 20 images;
- Writers: 2-3 short stories, 10-15 poems, or novel passages not to exceed 50 pages.

All applications must be submitted no later than March 1, 2013.
At the University of Connecticut, our commitment to excellence is complemented by our commitment to building a culturally diverse community. We actively encourage women, people with disabilities, and members of minority groups to apply. The University of Connecticut is an EEO/AA employer.