Research & Travel Grants

Jefferson (Thomas) Memorial Foundation - Travel Grant
Due April 1
Website: ( http://monticello.org/research/fellowships/travelgrants.html).

Travel grants are available on a limited basis for scholars and teachers wishing to make short-term visits to Monticello to pursue research or educational projects related to Jefferson. Applicants should submit four copies of the following: a succinct description of the research project (500 words) and a résumé. Three references should be sent directly to the Center at the address below. Awards are made twice yearly; application deadlines are April 1 and November 1.

Truman (Harry S.) Library Institute for National & International Affairs - Research Grants
Due April 1
Website: ( http://www.trumanlibrary.org/grants.htm).

The Harry S. Truman Library Institute for National and International Affairs is the private, non-profit partner of the Harry S. Truman Library. The Institute's purpose is to foster the Truman Library as a center for research and as a provider of educational and public programs. Applications for funding will be considered by the Institute's Committee on Research, Scholarship and Academic Relations. The Board of Directors of the Harry S. Truman Library Institute gratefully acknowledges the generous support of The Gilbert Foundation, Arthur Gilbert, chairman, which has partially underwritten the grants program.
Research Grants - Grants of up to $2,500 are awarded biannually and are intended to enable graduate students, post-doctoral scholars and other researchers to come to the Harry S. Truman Library for one to three weeks to use its collections. Awards are to offset expenses incurred for this purpose only. Apr. 1, 2007; Oct. 1, 2007.

GRANT: Juan Linz Prize for Best Dissertation in the Comparative Study of Democracy

American Political Science Association (APSA); Comparative Democratization Organized Section. The Comparative Democratization Organized Section of the American Political Science Association (APSA) invites nominations for the Juan Linz Prize for Best Dissertation in the Comparative Study of Democracy. The prize will be given for the best dissertation in the Comparative Study of Democracy completed and accepted in the past two calendar years prior to the APSA Annual Meeting where the award will be presented (2005 or 2006 for the 2007 Annual Meeting). The comparative study of democracy includes analyses of individual country cases as long as they are clearly cast in a comparative perspective.

DUE MARCH 15

GRANT: NEA Literature Fellowships: Creative Writing

The National Endowment for the Arts is accepting applications for FY 2008 Literature Fellowships: Creative Writing. The FY 2008 competition will award fellowships for prose, supporting creative writers of fiction and creative nonfiction. Awards of $25,000 will enable published writers to set aside time for writing, research, travel, and general career advancement. Application is open to U.S. citizens and permanent residents meeting specific publication requirements, as described in the full program announcement. An individual may submit only one application per year.

DUE MARCH 1

Recent Publications Supported by Awards from the Glasscock Center

Almeida, Paul and Hank Johnston eds. Latin American Social Movements: Globalization, Democratization, and Transnational Networks. Lanham, M.A.: Rowman & Littlefield Publishers, Inc., 2006.

Blanton, Carlos K. “George I. Sanchez, Ideology, and Whiteness in the Making of the Mexican American Civil Rights Movement, 1930-1960.” The Journal of Southern History. 72 (2006): 569-604.

Brooks, Douglas A., ed. Printing and Parenting in Early Modern England. Ashgate Publishing, 2005.

Burkart, Patrick and Tom McCourt. Digital Music Wars: Ownership and Control of the Celestial Jukebox. Lanham: Rowman and Littlefield Publishers, 2006.

Dunning, Chester and Caryl Emerson, Sergei Fomichev, Lidiia Lotman, and Antony Wood. The Uncensored Boris Godunov: The case for Pushkin’s Original Comedy, with Annotated Text and Translation. Madison: U of Wisconsin Press, 2006.

Ellis, Elisabeth. “Citizenship and Property Rights: A New Look at Social Contract Theory.” The Journal of Politics, 68.3 (August 2006): 544-555.

Halevi, Leor. Muhammad’s Grave: Death Rites and the Making of Islamic Society. Forthcoming from Columbia UP.

Hoagwood, Terence and Kathryn Ledbetter. “Colour’d Shadows”: Contexts in Publishing, Printing, and Reading Nineteenth-Century British Women Writers.” New York: Palgrave/Macmilan, 2005.

Phillipy, Patricia. Painting Women: Cosmetics, Canvases and Early Modern Culture. Baltimore: Johns Hopkins Press, 2005.

Vallone, Lynne. Disciplines of Virtue: Girls’ Culture in the Eighteenth and Nineteenth Century. New Haven: Yale UP, 2005.

von Vacano, Diego A. The Art of Power: Machiavelli, Nietzsche, and the Making of Aesthetic Political Power. Lanham, M.D.: Lexington Books. Forthcoming November 2006.

Internal Faculty Fellows Symposium

On 20-21 September 2006, the 2005-2006 Internal Faculty Fellows of the Melbern G. Glasscock Center for Humanities Research put on a symposium, “Show & Tell: Visual Culture and the Humanities,” that put forward the projects they had worked on while on leave in spring 2006. Professor Michael Ann Holly, Director of Research and Academic Programs of the Sterling and Francine Clark Art Institute, and a noted historian of art, served as the symposium’s keynote speaker on Friday night. In her talk on “The Melancholic Art,” Professor Holly intriguingly investigated the ways in which art history is at its core a melancholy discipline. Arguing that art history is about recovering loss, but without a lost object, she explored the ways in which the very physicality of art objects poses a challenge to the recovery of their history. Invoking art historians, critics, and philosophers from Freud and Nietzsche to Warburg and Ankersmit, Holly argued that the melancholy unconscious of the history of art could nonetheless find compensations in the presence of these meaningful objects. For art historians, she claimed, the fear of losing that which is always already gone – that is, the cultural context from which the work of art emerged – leads to the critic’s celebration of what remains.

The presentations of the Glasscock Center’s Internal Fellows on Saturday ranged widely. Troy Bickham (History) assessed the awareness ordinary Britons had of the growing British empire in the eighteenth century in his study of the ways images of empire figured in their daily life. Using thousands of grocers’ trade cards, Bickham explored how the images they used to depict the most common consumables of empire – coffee, tea, tobacco, and sugar – rested on particular stereotypes and generated strong associations. These, more than abstract concepts of nationalism, brought empire home to the bulk of the metropolitan population. Lynne Vallone (English) provided an illustrated account of photography and the image of the child by juxtaposing modern photographers’ images of childhood flesh with those of nineteenth-century memorial photography. She compared the ways that both Victorian photos of dead children and contemporary images of children “displaced from childhood” preserved, fixed, and fetishized the child’s body. Sarah Misemer (Hispanic Studies) in a paper on “Moving Forward and Looking Back at the River Plate” demonstrated ways in which the railway and railroad industry helped to shape the identity of modern Argentina and Uruguay. From the time of the mid-nineteenth century achievement of nationhood, the train has appeared recurrently first in literature and then in film as a metaphor for modernization and nation-building. Where its first apearnce was straightforwardly celebratory, the train now provides a means of commenting – nostalgically, critically, ironically – on Argentine history both before and since the return to democracy in the 1980s. In his presentation on “Building Cool: How Brazil Became Modern,” Antonio La Pastina (Communication) discussed the ways of seeing Brazil that were current in the United States from the 1930s to the 1960s. He showed that in addition to being conveyed through everything from Walt Disney cartoons to Carmen Miranda’s performances, images of Brazil and things Brazilian were also associated with modernity, beginning no later than the influential Brazilian Pavilion at the 1939 New York World’s Fair. Although no representations operated in isolation from others, La Pastina argued that images of modernity – linked to visions of “cool” – ranked high in the multi-layered understandings of Brazil circulating in the United States.