St. Thomas University, in Fredericton, New Brunswick, announced yesterday that it would lock out its faculty to prevent a strike, The Globe and Mail reports. The pre-emptive lockout, the first of its kind in Canadian history, comes after 10 months of failed negotiations, the reporter, Caroline Alphonso, writes. Read more.
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9 Responses to Lockout at St. Thomas U.
Casey Brienza - June 22, 2011 at 3:38 pm
You forget that in England at the undergraduate level disciplines are already isolated pedagogically. Your bachelor’s in mathematics is just that–you don’t also take any US-style “distribution requirement” courses in history or sociology or chemistry. The way English higher ed is now structured, there will be no Classics in universities if there are no undergraduates signing up for three years of nothing but Classics, and you can forget about interdisciplinarity or public outreach. This is the reality Grayling is reacting to with a desire to “protect” the humanities, and it’s a specifically English problem, not an American problem.
darccity - June 23, 2011 at 11:47 am
This old debate has become at once both superficial and narrow. Instead, the humanities (and the arts) are being pulled in opposite directions by new, stronger pressures from shifting markets and advancing technology. For example, the demise of gatekeeper intermediaries such as book/record stores, libraries, and publishers along with the instant popularity ebook readers and Google scanning library projects has opened up closed, proprietary markets to broad access by writers, literary researchers, and readers. The same forces have transformed the music publication, recording, and listening industry, as well as the visual arts (especially photography and film making).
The result is universal opportunity to get creative literary and artistic work out to the global population, unbridled by any of the past barriers of publishing and distribution costs, small-minded reviewers cliques, publishers, distributors, or retailer prejudices and conventions, even cultural and political restrictions! Readers and viewers now have access without the censorship of markets, despots, and arts elite to filter and reject. Art, film, and literary criticism is also open to all to voice their analysis and help popularize or launch healthy discussion beyond the confines of narrow literary groups, film schools, and censored letters to the editor.
On the other hand, all this freedom and access comes at a cost. Newpapers, magazines, and publishing houses are disappearing as employment for photographers, short story writers, and critics as the web publishes unpaid writers and unlicensed reproductions go out into the ether. The entire music industry has come crashing down, so that new artists had to return to traveling the concert circuit (often at campuses) to survive by t-shirt merchandize sales.
What does that do the humanties debate? it used to be arts/humanities vs. social/life/physical sciences. Today, the latter group is dying (except for bio, supported by big pharma money) while creative writing, arts, and music employment at big corporations and dot com startup is bigger than ever! — Half the movie hits are CGI, and demand is great for music for the huge video gaming industry and ad themes. As we’ve moved from brick and mortar to web retailing and virtual business, new hires have to write these websites and facebook pages.
So, the humanities/arts debate belies the continuing resource allocation issues of campus power politics. Contempt for modern or commercial by protected academics. Lit profs forced to teach composition classes. Adjuncts dominating the meat market of teaching these areas. Music departments draining the resources of colleges, and cross-subsidized by the lucrative and crowded business classes.
Jens Fiederer - September 20, 2011 at 6:59 pm
Perhaps “chasing” was an adjective in this context?
I know that when I’m described as “dashing” it doesn’t mean I’ve actually been caught sprinting, but in this case it sounds only a little odd.
I am handsome – handsome me!
I am chasing (the pigeon) – chasing me!
janfreeman - September 21, 2011 at 12:28 pm
Or maybe she didn’t parse it using the rhythm we experienced speakers would expect. Maybe she was shouting: “Meee! …. chasing, Meee!! … chasing … ?
Guest - September 22, 2011 at 5:48 pm
Reminds me of that wonderful scene in “Memento” (the guy whose ability to create long term memories was destroyed by a blow to the head; he has like 15 minutes of short term memory) … he becomes conscious in the midst of a car chase that has turned into a foot chase: “What am I doing? I’m chasing that guy. Oh no, he’s chasing me, chasing me.”
eskort - September 26, 2011 at 4:25 pm
Thank you for sharing this cool information with us. Eskort
Ben Hemmens - September 27, 2011 at 8:49 am
I just love to chase me some pigeon!
My guess is that “chasing me” is just her name for the game of chasing, without knowing about pronouns. I guess we all chase our toddlers, and in the way these games have of getting reversed, maybe she has learned to run after her parents who ask her “Are you chasing me?”
Thorhalla G. Beck - October 2, 2011 at 4:56 am
My son, who is two and a half, likes to play catch. He will often bring me things to throw saying “catch me! catch me!”, meaning we should play catch. I don’t know why he does it but it’s interesting none the same. In itself. On its own. Without all the jargon and sandbox games. :)
jlawler42 - October 8, 2011 at 11:44 am
Of course one can only form hypotheses from one observation, however strange it may be. My first thought would have been that the little girl was simply projecting her speech onto the pigeon (which was not obliging her by being at least perturbed).
Many children do this with everything — my son’s favorite request when he was very young was to “talk my little people”, i.e, to provide dialog for the Fischer-Price minipeople that came along with plastic toy trucks, etc. Later he learned to do this himself, and later still he started writing plays.
But that’s just my hypothesis.