Field, Ears, and Laboratory: Training Language Scholars, 1920–1940

This chapter continues the time frame of Chapter 8 through the first half of the twentieth century, an important period in which linguistics and phonetics gained their own identities. The editors and contributors of this volume have chosen to examine an area of study over two successive periods: the late nineteenth century and the first half of the twentieth century. This aims to show that a discipline may go through transformations, sometimes branching into new disciplines, and that methods and instruments of training contribute to the formation or consolidation of new disciplines. The first half of the twentieth century saw the breakaway of language sciences (linguistics and phonetics) from philology. Although language scholars usually received substantial training in philology, especially comparative philology (known as comparative grammar in France), they took up new methods in training the next generation. In the United States, the new instrument of training was fieldwork, adopted for unwritten American Indian languages. In Britain, it was phonetic transcription by ears and hands. The use of the kymograph in phonetic laboratories began in France and spread elsewhere. This chapter begins with Fang-Kuei Li, who was likely the first student to receive advance (or on-site) fieldwork training for doctoral work in language studies and who went on to become a pioneering linguist in China. It then compares the training of language scholars in Britain, France, and Germany. This comparison sheds light on the diversity of approaches to language studies and their training methods, and on the intellectual and technological realities conditioning the formation of linguistics and phonetics as autonomous disciplines.

Danza-escritura y dramaturgia. Experiencias de un taller

El presente texto forma parte del trabajo doctoral “Investigación-acción: la danza-escritura como posibilidad de auto-enuncación”. Para la parte práctica de la investigación se impartió el Taller de danza y escritura a manera de laboratorio. Lo que se presenta en este artículo es una parte del análisis de lo acontecido durante el taller. Se profundiza sobre el funcionamiento de la dramaturgia en el diseño de las sesiones, en la organización de los textos y danzas individuales y colectivos que se produjeron durante el laboratorio, así como en el ensamblaje de los materiales para su presentación ante un público. La dramaturgia es la herramienta articuladora para estudiar el proceso creativo en el que cada participante encontró un espacio para su propia enunciación y las resonancias que tuvo esta en el colectivo. Para abordar el análisis, se toman como punto de partida los planteamientos de André Lepecki sobre dramaturgia y los de Laurence Louppe sobre partitura. Abstract This text is part of the doctoral work "Research-action: dance-writing as a possibility of self-enunciation". For the practical part of the research, the Dance and writing workshop was given as a laboratory. What is presented in this article is a part of the analysis of what happened during the workshop. It delves into the operation of dramaturgy in the design of the sessions, in the organization of the individual and collective texts and dances that occurred during the laboratory, as well as in the assembly of the materials for presentation to an audience. Dramaturgy is the articulating tool to study the creative process in which each participant found a space for their own enunciation and the resonances that this had in the group. To address the analysis, the approaches of André Lepecki on dramaturgy and those of Laurence Louppe on score are taken as a starting point.

Dreaming Marx, Engels, Durkheim, and Simmel

An account of how my philosophical and sociological interests have both clashed and collaborated, beginning with my doctoral work.

Doctoral research work and work of care: reflections in times of a pandemic

In the face of the pandemic, we have been forced to adopt strategies in order to balance our doctoral work at the same time as caring for our families. As the digital turn has pervaded both social and academic milieus, we consider the potentials and shortcomings of remote interactions and approaches and how they have impacted our work and personal lives. We focus on the challenges of balancing paid work and the unpaid work of care, as well as considering potential changes to the concept of care in terms of building a caring culture.

Introducing Jeri Wieringa

Despite the rising popularity of digital scholarship in the humanities, there still exists a great deal of tension between this new scholarship and more traditional methods. Primarily the concern lies in how to measure the work done between the two, with many seeing the former as less taxing than traditional methods and requiring additional work out of those pursuing digital scholarship. In a recent meeting of the American Academy of Religion (AAR), Jeri E. Wieringa spoke on a panel that showcased the digital work in the humanities so as to highlight the need for academia to better incorporate digital scholarship. Her talk, discussed prominently in this paper, highlighted her doctoral work and clearly expressed the similarities between traditional and digital methods of scholarly research.