- Make your presence something that people will want to follow. You only have a few (less than 30) words for your description of yourself, so if you want a professional presence there, make those words count.
- You’re on Twitter basically for two reasons (1) to join conversations and add to them and (2) to provide value in the form of interesting information for your followers. You can do this through original information or posts, through likes, or through retweeting.
- A “like” helps you to save something for future reference and supports the original post; a retweet implies endorsement or information that you think others need to have. You can use the @ or hashtag # to call attention to the tweet if you think it would be useful or relevant for someone else.
- If you’ve just joined and are deciding whom to follow, try some of the following:
- Scholars in your area,
- Academic and research libraries and librarians, which often have great feeds featuring their collections as well as research grants. Beinecke Library, British Library, New York Public Library,
- Aggregator sites such as openculture or Century Past History.
- Groups–many scholarly societies have Twitter feeds (@SSAWWrs).
- Contemporary authors: Neil Gaiman and Margaret Atwood have active Twitter presences, for example.
- If you’re tweeting a conference panel:
- Be sure that it’s all right with the conference/panelists.
- Use the hashtag
- Don’t tweet individual tweets on the panel; instead, use a threaded tweet by replying to yourself. To post a series of individual tweets clogs up people’s twitter timelines.
- If there’s an unusual meme or piece of information, indicate where you got it. (This usually isn’t a problem if you’re retweeting, since the source is shown.)
- If you see a thread worth saving, you can use Threadreader to create it in one spot with https://twitter.com/threadreaderapp?lang=en
- You can choose to follow, unfollow, or mute people. You might discover that some people go on Twitter solely to promote themselves or their projects, so you might choose to follow them even if they never provide additional value in other ways.
- Follow junior scholars! A Twitter study a few years ago showed that users tended to follow those at or above their professional level, but that’s not the ethos you want.
- Set up your professional site (if WordPress) to post to Twitter and Facebook.
The deadline date for MLA 2016 calls for papers to be posted to the MLA site is February 28, but a lot of calls are up there already.
You can search the site http://www.mla.org/cfp_search
Or browse all of the calls, including arranging these by most recently posted calls:
I’ll be presenting a paper based on a section of my book manuscript Bitter Tastes: Naturalism, Early Film, and American Women’s Writing at the Modern Language Association Convention in Vancouver, BC, on Thursday. It’s drawn from Chapter 2: “The Darwinists: Borderlands, Environment, and Evolution,”
8. Pacific Northwest Literary Regionalism: Acts of Recovery
A special session
Presiding: Laura Laffrado, Western Washington Univ.
1. “Carol Ryrie Brink and Moving Memory: A Novel Family History, from Caddie Woodlawn‘s Wisconsin to Buffalo Coat‘s Idaho,” Jana L. Argersinger, Washington State Univ., Pullman
2. “Batterman Lindsay’s Derelicts of Destiny and Pacific Northwest Native American Culture,” Donna M. Campbell, Washington State Univ., Pullman
3. “Besides the Bureau of American Ethnology: Recovering the Alaska Native Brotherhood/Sisterhood as a Community of Native Writers,” Michael Taylor, Univ. of British Columbia, Vancouver
Guy Kibbee in Big Hearted Herbert (1934)
I suppose you think that college is the high spot in every young man’s existence. . . . Colleges! We don’t have ’em any more. Big athletic institutions. Football! Basketball! . . . Tiddlywinks teams, for all I know.
Penn State just announced a new, open-access journal under development, to be called Digital Literary Studies: http://journals.psu.edu/dls/index
Since this is basically a bookmarking post, here are some others:
Digital Humanities Quarterly: http://www.digitalhumanities.org/dhq/
Journal of Digital Humanities: http://journalofdigitalhumanities.org/Literary and Linguistic Computing: http://llc.oxfordjournals.org/ (not free or open access) Digital Studies / Le champ numerique http://www.digitalstudies.org/ojs/index.php/digital_studies Digital Humanities Now: http://digitalhumanitiesnow.org/ Here’s a good list of resources from Duke: http://guides.library.duke.edu/content.php?pid=129864&sid=1114041
A Companion to Digital Literary Studies: http://www.digitalhumanities.org/companionDLS/
A Companion to Digital Humanities: http://www.digitalhumanities.org/companion/
Debates in the Digital Humanities: http://dhdebates.gc.cuny.edu/
University of Illinois Press series (not free or open access): http://www.press.uillinois.edu/books/find_books.php?type=series&search=tdh
Also bookmarking this set of tutorials at programminghistorian: http://programminghistorian.org/lessons/
Scholars’ lab: http://praxis.scholarslab.org/scratchpad/
For decades, the seven reels from 1913 lay unexamined in the film archives of the Museum of Modern Art. Now, after years of research, a historic find has emerged: what MoMA curators say is the earliest surviving footage for a feature film with a black cast. It is a rare visual depiction of middle-class black characters from an era when lynchings and stereotyped black images were commonplace. What’s more, the material features Bert Williams, the first black superstar on Broadway. Williams appears in blackface in the untitled silent film along with a roster of actors from the sparsely documented community of black performers in Harlem on the cusp of the Harlem Renaissance. Remarkably, the reels also capture behind-the-scenes interactions between these performers and the directors.
Comment: This is good news indeed.