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Paula M. Krebs. 13 Apr 2020. CNN.com.

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A sampling of media that makes the case for humanities and arts degrees, including a close look at the economic and employment surveys that demonstrate that the humanities works.

David Deming, "In the Salary Race, Engineers Sprint but English Majors Endure" (2019). New York Times *

Scott Jaschik, "Humanities Grads Gainfully Employed and Happy" (2018). Inside Higher Ed. *

William D. Adams, "Not by Earnings Alone: A New Report on Humanities Graduates in the Workforce and Beyond" (2018). American Academy of Arts and Sciences.

Abby Jackson, "[MARK] CUBAN: Don't go to school for finance — liberal arts is the future" (2017). Business Insider.*

Frank Chaparro, "A 29-year-old hedge fund manager reveals why he loves hiring liberal arts majors" (2018). Business Insider. *

Robert Matz, "The Myth of the English Major Barista" (2016). Inside Higher Ed.

Robert Matz, "What Can I Do With an English Major" (2016). ADE-ADFL Commons. [Includes cool interactive charts using census data about career outcomes.]

Valerie Strauss, "Enough with Trashing the Liberal Arts" (2016). Washington Post.

Nancy Colasurdo, "Why English Majors are Just as Important as Engineers" (2016). Fox Business.

George Anders, "That 'Useless' Liberal Arts Degree Has Become Tech's Hottest Ticket" (2015). Forbes.

Paula Krebs, "Step Outside the Major, Please" (2015). Chronicle Vitae.

Hunter Rawlings, "College is Not a Commodity. Stop Treating it Like One" (2015). Washington Post.

Julie Rovner, "A Top Medical School Revamps Requirements To Lure English Majors" (2015). National Public Radio.

Loretta Jackson-Hayes, "We Don't Need More STEM Majors. We Need More STEM Majors with Liberal Arts Training" (2015). Washington Post.

Cecilia Gaposchkin, "If Students Are Smart, They’ll Major in What They Love" (2015). The Chronicle of Higher Education. *

Jeffrey Dorfman, "Surprise: Humanities Degrees Provide Great Return On Investment" (2014) Forbes.

Noah Kulwin, "The Employability Myth of the Humanities" (2014). Daily Californian.

"Liberal Arts Graduates and Employment: Setting the Record Straight" (2014), AAC&U.

Melissa Korn, "Liberal Arts Salaries Are a Marathon, Not a Sprint" (2014). Wall Street Journal.

Bruna Martinuzzi, "Why English Majors are the Hot New Hires" (2013). American Express OPENforum.

Ken Makovsky, "The Difference Humanities Makes In Business" (2013) Forbes.

Jordan Weissmann, "The Best Argument for Studying English? The Employment Numbers" (2013). The Atlantic.

Vivian Giang, "LOGITECH CEO: 'I Love Hiring English Majors'" (2013). Business Insider.

William Pannapacker, "A Liberal Arts Foundation for Any Career" (2013). New York Times.

Robert Matz, "Dear Garrison" (2013). InsideHigherEd.

Annie Murphy Paul, "Reading Literature Makes Us Smarter and Nicer" (2013). TIME.

Tyler Vendetti, "Yes, I'm An English Major. No, I Will Not Be Working At McDonald's" (2013). Thought Catalog.

David M. Shribman, "What is Knowledge Worth? A Liberal Arts Education has Enduring Value" (2013). Pittsburgh Post-Gazette.

Steve Strauss, "Why I Hire English Majors" (2013). The Huffington Post.

Tony Golsby-Smith, "Want Innovative Thinking? Hire from the Humanities" (2011). Harvard Business Review.

Philip Nell, "Humanities Majors Learn More" (2011).

Audio: Stephen Smith, "Who Needs an English Major? The Future of Liberal Arts Education" (2011). American RadioWorks / American Public Media / PRX.

Gregory A. Petsko, "A Faustian Bargain" (2010). Genome Biology.

* The starred articles were compiled by the U.Va. College of Arts & Sciences.

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Alyssa W. Christensen, "Dear English Major:"

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Alyssa W. Christensen, "Dear English Major:"

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"...a place for current or recently graduated English students to gain knowledge and a sense of direction regarding their careers."

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Participated in the Disney College Program, while taking an independent study course, Writing the Disney College Program.

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Adaptation of Romeo and Juliet in Tallahassee

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Adaptation of Romeo and Juliet in Tallahassee

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To do community action.

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Raw, intense, and emotional, this one-act play invites participants to examine their own biases and prejudices in an effort to raise social awareness, increase tolerance, and bridge the divides through cross-racial dialogue. Note: The 2pm of A Town Divided will be immediately followed by a community talk-back, moderated by Barby Moro of the Village Square. Guest panelists include:
Rabbi Jack Romberg

Professor Kermit Harrison

Dr. Cicely Brantley​

Commissioner Curtis Richardson

Commissioner
Raw, intense, and emotional, this one-act play invites participants to examine their own biases and prejudices in an effort to raise social awareness, increase tolerance, and bridge the divides through cross-racial dialogue. Note: The 2pm of A Town Divided will be immediately followed by a community talk-back, moderated by Barby Moro of the Village Square. Guest panelists include:
Rabbi Jack Romberg

Professor Kermit Harrison

Dr. Cicely Brantley​

Commissioner Curtis Richardson

Commissioner Kristin Dozier

Sherriff Walt McNeil

Phil Croton (Writer/Director, A Town Divided)

Bert Mitchell (Writer/Director, A Town Divided)

Marcus Nicolas (Writer, A Town Divided)
The 7pm performance of A Town Divided will be followed by A Town United:
The Town United project, sponsored by Centennial Bank and TCC, involves four selected local high schools. Within each of these schools, Sonnet Man (Devon Glover) is conducting a sonnet writing workshop, working with the students to create their own sonnets, reflecting their life and living in Tallahassee.

Five sonnets will then be selected from each of the four schools to be read and performed to audiences immediately following the 7pm production of A Town Divided at TCC's Turner Auditorium February 16th, as part of TCC's African American History Month program schedule.
Please be advised this play contains mature subject matter.

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A Town Divided: Shakespeare's Romeo & Juliet, Race, and Our City

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Discover things to do in Tallahassee and beyond with TallahasseeArts.org, a comprehensive arts and events calendar for Florida's Capital City in Leon County. Get times and locations for performing arts, theatre, music, dance, visual arts, museums, film and videos, poetry and literature, kid and family events, comedy, special and free events, plus classes and workshops, public art and more!

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What You Can Do with a Degree in English

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What You Can Do with a Degree in English

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From our department's page.

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What careers you can have with a major or minor in English, and how to plan for them.

English majors get good jobs. While English majors typically go into teaching, librarianship, journalism, editing and publishing, marketing and public relations, or law school, English majors can and do go into a variety of professions that aren't "typical." There are many options: see "100 Careers for English Majors" at Inside Jobs for at least 100 ideas.

Composing Your Life as an English Major at USCB

The English major at USCB will cultivate in you a broad cultural awareness and the ability to read carefully, think critically and write effectively in various contexts. The major is a place where we believe in learning for its own sake and wonder in the power of words to shape, change, inform, question, confound, and inspire. We value both the traditions and the new directions in American, British, and World literatures, the study of the language itself, the arts of rhetoric, and the craft of writing. It's a place where we practice the gifts of hospitality - of listening and responding to writers across time and space, and to each other, too. We believe in reading a text closely-and then sideways. We also believe in drafts and drafts and drafts; we strive for clarity and wit, and hope for grace.

These are all knowledges, skills, and practices that prepare you for a range of life experiences and careers. By choosing a major in English, you are choosing some degree of openness and self-determination as well as some of the attendant uncertainty because it is exciting and because it gives you the opportunity to compose your own life and career. For these reasons, it's especially important for you to be able to articulate and to demonstrate for yourself what you are gaining throughout the process, and be able to translate the good work you do into languages that people outside the "English club" can understand.

What follows here are a series of observations about how best to cross over, and this starts your first year at USCB. Some of these may inspire you to write your thoughts down. Do it: draft, draft, draft. Also know you are not alone in this process-forge relationships with your professors and with other English and humanities majors. Ask questions. Come see us.

Plot Your Course(s).

Aristotle claimed that all good plots have a beginning, a middle, and an end. What destination do you envision for your career? Are you planning on getting a full-time job as soon as you finish the B.A.? Or do you want to go graduate school? (In what field? Straight away, or after some time working?) What steps, credentials, experiences, skills, do you need to gain along the way, and how you envision gaining them? What courses at USCB do you need to take? Do you want to add a minor, or get a double major? What kinds of organizations, clubs, internships, and work experiences will best set you up for your next step? What standardized tests do you need to take (LSAT, GRE, GMAT)? When are grad school application deadlines? Who is going to write your reference letters (ask early)? These are all topics for discussion in the advising session you will have each semester with an English faculty member-and you can participate in periodic workshops hosted by English faculty and Career Services throughout the year.

Get Lost.

Robert Burns wrote that "The best laid schemes o' Mice an' Men / Gang aft agley," which is to say, often go awry, so it's good to be open to new experiences. Sometimes it is simply good to explore, to dive in, and to get lost. Don't be surprised if you change your mind about the course you have carefully plotted. What is your Plan B? Just revise.

Know the Facts about Economic and Employment Outcomes.

There are clear economic arguments and practical reasons for getting a degree in English. [Read More]

Seek Professionalizing Experiences.

The conventional wisdom also doesn't take into account what you will do, the path youwill take, the skills that you are acquiring, and your values. Because you are not merely a data point, the experiences you get in college are particularly important, as is the practice you get in translating your knowledge, skills, and experiences to the world. Seek out public-facing work, work with teams, and manage projects:

Pursue a Writing Concentration within the major.

Join the editorial and publication staffs of , USCB's creative writing journal, or The May River Review, USCB's interdisciplinary critical journal. Enroll in ENGL 211: Editing and Publishing Practicum, a one-credit course that can be taken multiple times, and learn and practice the craft.

Do an ENGL 466: Writing Internship with local or national organizations or businesses and take professional writing courses such as ENGL 460: Advanced Writing, ENGL 461: Writing in the Health Professions, ENGL 462: Technical Writing, and ENGL 463: Business Writing, to practice writing and communication outside of the academy.

Become a Writing Center tutor.

Seek for ways to turn classroom research projects into public-facing work: library / museum exhibits, websites, podcasts, videos, presentations to community groups and USCB students who are not in English, theatrical performances, visits to local schools.

Get involved with USCB Theater, whose work is inherently public-facing: if you don't want to be on stage, get involved with the activity before and after the performances - the dramaturgical thinking about how to present a text on stage, the promotion, marketing, and community education efforts.

Get involved with and be a leader for one of the student organizations hosted by the Department of English and Theater: Sigma Tau Delta (our local chapter of the International English Honors Society), the Society of Creative Writers (who organize readings and publishThe Pen), Rogues and Vagabonds (the student theater club), and The Sturdy Beggars (the student improv troupe.)

Get involved with and be a leader for clubs and organizations outside of English and Theater. You will find that people value you for your creativity as well as your writing expertise, and the work you do outside of English and Theater circles will help you clarify for yourself what it is you have to offer.

Pursue a totally different academic minor, or take classes in more professionalizing fields: business, media arts, computational science, and health promotions, for example. Become more adept at Spanish or French. If you can handle math, don't just take the easiest math and forget about it. Learn how to do basic statistics, use spreadsheets, design websites, do basic economic analysis, or read financial statements.

Present your work at USCB's Student Research and Scholarship Day or the annual conference organized by our local Sigma Tau Delta chapter.

If You Intend to Continue Your Education, Prepare for It Now

Study for the standardized tests. English majors tend to do well on the verbal and writing (if tested) parts of exams like the GRE, the GMAT (for business schools), the MCAT (for medical school), and the LSAT (for law school). And business schools, law schools, and medical schools are seeking students of diverse academic backgrounds, including humanities degrees.

If you are considering a graduate degree in English, you may have to take the GRE subject test in Literature, and to prepare, you should take all the literature courses you can.

Write a thesis or an honors thesis.

Qualify for, and join, our chapter of Sigma Tau Delta.

Graduate programs are widely different, even within the same discipline. Explore different programs-look for their job placement rates, figure out what kind of financial support they provide, read up on the faculty there (are they doing work you are interested in doing?). Consider how far you are willing to travel (look at USC Columbia, but don't just look at USC).

Stay on top of deadlines - application processes often start the Fall before the year you would begin the program. You may need writing samples, statements of intent, and letters of recommendation.

Discuss this all with an academic advisor.

Get Connected.

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What You Can Do with a Degree in English

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English majors get good jobs. While English majors typically go into teaching, librarianship, journalism, editing and publishing, marketing and public relations, or law school, English majors can and do go into a variety of professions that aren't "typical." There are many options: see "100 Careers for English Majors" at Inside Jobs for at least 100 ideas.

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Rob Kilgore is Associate Professor of English at the University of South Carolina Beaufort. Submissions, error notifications welcome to
kilgorer [at] uscb.edu.  Everything is a work in progress.

The point of this collection is to say that work in the arts and humanities does work in the world -- and that the world needs the arts and humanities.

Check out our awesome English, Theater, and Interdisciplinary Studies department: website | facebook | insta | padlet of uscb_etis excellence

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"The Onion Theatre Project explores the lived experiences of immigrant, refugee, and newcomer youth through the arts."

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The Onion Theatre Project explores the lived experiences of immigrant, refugee, and newcomer youth through the arts. We are a community of youth with a variety of artistic skills who create and work together. From January to June 2018 we devised a play that was performed on World Refugee Day.

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The Bunker podcast. Interview with Sarah Crown, Director of Literature at the Arts Council (UK)

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Who knew that poetry would join videoconferencing and sourdough-making as one of the key ways we got through the COVID lockdown? SARAH CROWN, Director of Literature at the Arts Council and senior reviewer for the Guardian and the TLS, talks to Ros Taylor about why poetry's stillness and conciseness is perfect for pressured times. Plus, how to find the right poetry for your lockdown experience. And do poets cope better with solitude - or does solitude turn you into a poet?
"Poetry isn't about escape. It's about recognition, and achieving meaning in your life." "In a pandemic we don't look for happiness. We look for meaning. And poetry really delivers on that."
The poem that Sarah reads on this episode is Spring by Edna St. Vincent Millay

Presented by Ros Taylor. Produced by Andrew Harrison. Assistant producer Jacob Archbold. Music by Kenny Dickinson. Audio production by Alex Rees. THE BUNKER is a Podmasters Production.

See acast.com/privacy for privacy and opt-out information.

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Daily: Can POETRY help us handle the Plague? | The Bunker on acast

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Who knew that poetry would join videoconferencing and sourdough-making as one of the key ways we got through the COVID lockdown? SARAH CROWN, Director of Literature at the Arts Council and senior reviewer for the Guardian and the TLS, talks to Ros Taylor about why poetry's stillness and conciseness is perfect for pressured times.

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#metoo and Shakespeare's Measure for Measure

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#metoo and Shakespeare's Measure for Measure

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Race and Equity, Theatre 0 Comments

Shakespeare's amplifies the political turmoil within its performance context. Measure for Measure is an unexpectedly modern play. Though it was written in the 17th century, each time it resurfaces it brings along a modern context. Struggling against the tides of power and how that power can affect humanity, Measure for Measure Measure for Measure ArtsEmerson's presentation of is a co-production between U.K. and Russian theatre companies-Cheek by Jowl and Pushkin Theatre-and has toured internationally as well as continuously in Moscow for the past five years. As the production travels the world, it leaves each destination with a increased awareness of local issues, power dynamics and political reflection within the audiences' given community.

It is hard to ignore the current events laden in our Twitter feeds, newspaper articles and consciences. Measure for Measure arrives at the Emerson Cutler Majestic later this month (OCT 24 - 28) and puts a magnifying glass up to the urgency of the present political moment. This is perhaps most apparent in the conflict between Angelo and Isabella. In order to save her brother's life, Isabella, a young nun, is propositioned by Angelo, the interim leader of Vienna, to give up her virginity to him. If she does so, Angelo allegedly promises to release her brother. It is an obvious exertion of power over Isabella, as Angelo manipulates the world around him for his own gain. The parallels between Angelo's need for power and dominance is not an unknown feature of American culture and current events, unfortunately. His actions in this fictionalized version of Vienna eerily align with the United States' own current, unstable moral composition.

ISABELLA
My brother did love Juliet,

And you tell me that he shall die for it.
ANGELO
He shall not, Isabel, if you give me love .
ISABELLA
I know your virtue hath a licence in't,

Which seems a little fouler than it is,

To pluck on others.
ANGELO
Believe me, on mine honour,
My words express my purpose. ISABELLA
Ha! little honour to be much believed,

And most pernicious purpose! Seeming, seeming!

I will proclaim thee, Angelo; look for't:
Sign me a present pardon for my brother, Or with an outstretch'd throat I'll tell the world aloud What man thou art. ANGELO Who will believe thee, Isabel?
My unsoil'd name, the austereness of my life,

My vouch against you, and my place i' the state,

Will so your accusation overweigh,

That you shall stifle in your own report

And smell of calumny. I have begun,

And now I give my sensual race the rein:

Fit thy consent to my sharp appetite;

Lay by all nicety and prolixious blushes,

That banish what they sue for; redeem thy brother

By yielding up thy body to my will;

Or else he must not only die the death,

But thy unkindness shall his death draw out

To lingering sufferance. Answer me to-morrow,

Or, by the affection that now guides me most,

I'll prove a tyrant to him. As for you,
Say what you can, my false o'erweighs your true.

Isabella, trapped between her own morals and her brother's life, is left with an impossible choice and no one to confide in. Shakespeare wrote about a society where women's voices are inherently silenced and muffled, which is sadly a presently familiar topic. With Brett Kavanaugh's hearing and Dr. Ford's testimonial, there is a palpable feeling of history repeating itself; while Measure for Measure is fictional work, it echoes throughout Washington D.C. right now. You can trace it through memories of Anita Hill, Brock Turner, and the #MeToo Movement. It echoes through the daily life of so many who find themselves silenced as Isabella is and lost amongst the impossible.

Social attitudes and beliefs reinforce how power and dominance play out in our society. Explicit power is more overt and recognizable, like the top of an iceberg visible above the water. Below the water lurks implicit power which can be covert and less recognizable, yet justifies this explicit power as the deeply entrenched base of the iceberg. Often, our social attitudes and beliefs will recognize and push back against explicit power, such as an outrageously short sentence in the Brock Turner case, while implicit power continues along unchallenged, seen in societal attitudes and beliefs about sexual assault, objectification of human beings, justice, and the prison industrial complex.

"Measure for measure" is a phrase referring to the idea that people "get what they deserve," as a symbol of justice. This refers to the belief in an inherently "just" world, written and researched extensively by Melvin Lerner and more as the "Just World Hypothesis." Sometimes this is invoked by people who believe they have "pulled themselves up by their bootstraps," "working hard to get where they are." They may not care to notice the iceberg underneath the water, the privileges they have, the policies and structures that benefit them based on their race/gender identity/gender expression/sexual orientation/citizenship status or the groundwork that was paved for them, often on the backs of communities who are marginalized or oppressed. In addition, this message of "you get what you deserve" is often pitted against survivors, blaming them for the harm someone else chose to do to them. Survivors are regularly interrogated by friends, family and responders about what they were wearing, drinking, or doing, as if any of these things would be any excuse for someone else to choose to harm them.

No one ever deserves to be harmed or oppressed, no matter the color of their skin, their abilities, their gender identity or expression, the clothes they are wearing, whether or not they are drinking, nor who they are with or where they are. Only the person who harmed them is responsible for the harm. This double standard plays out to continue to benefit some at the expense of others. If we cue into the ways that white supremacy, misogyny, patriarchy, benevolent sexism, colonialism, capitalism, ableism, heterosexism, xenophobia and transphobia repeatedly play out in our society, we would recognize how "measure for measure" is used to justify power and dominance. Moreover, the belief in an inherently just world allows the rest of the community to condone this behavior and turn away rather than intervene as bystanders. In doing so, they deflect any social responsibility, resist re-examining biases, and reject any disruption of power and dominance, thus allowing it to remain firmly entrenched deep within our society.

The patriarchy of Measure for Measure is fervent and goes far beyond Angelo's sexual advances. Isabella is constantly told by the male characters around her how to act, what to say, and manipulating her decisions to their benefit. Her own brother, Claudio, pleads with her:

Claudio's desire to live outweighs the importance of Isabella's autonomy, and while the circumstances are incredibly fraught, it further illustrates the disregard for Isabella's well-being and control over her own body. With few female characters throughout the show, the empathy and/or sympathy Isabella receives is nearly negligent. Her story only becomes believable and viable when endorsed by the Duke at the end of the play. Until she has a male authoritative figure advocating for her, Isabella's tale remains overshadowed by men grappling over power and dominance.

Tarana Burke, founder of #MeToo, shares that the goal of the Me Too Movement is "to reframe and expand the global conversation to speak to the needs of a broader spectrum of survivors. Young people, queer folx, trans folx, people with disabilities, Black women and girls, and all communities of color. We want perpetrators to be held accountable and we want strategies implemented to sustain long-term, systemic change." To move towards systemic change and transforming a culture of intrusion, intimidation, harassment, and oppression to one of community-building, radical care, and healing justice, each of us can ask ourselves:

What are messages I receive about power, dominance, and power-based interpersonal violence, including sexual assault and harassment, stalking and threats, child abuse and neglect, human trafficking, and abusive relationships?

How might I believe some of these messages?

How are my communities are impacted by power-based interpersonal violence?

What am I willing to do to transform culture? (e.g. support survivors in my communities, intervene as a bystander, question social misperceptions about power-based violence, disrupt power and dominance)

Though it is not one of Shakespeare's most widely produced plays, Measure for Measure remains a relevant piece of theatre. Audiences witness the injustices within their own societies reflected back on them as a sort of reckoning. It strips away our passive bystander syndrome and asks us to act, to press against the injustices we see in our own everyday lives and to dismantle the power structures that remain unwieldy and unregulated. However, the ownership of that responsibility is not an individualistic effort; It is a collective process and requires the support of those around us, audience members sitting next to us and the knowledge that we are here to assist each other against various inequities. Measure for Measure, though written several hundred years ago, still persists as a narrative of our contemporary society, and until it is no longer is relevant, the work is not yet done.

If you would like support around something you've experienced, know that we're here for you:
This post was written in collaboration with the Healing and Advocacy Collective at Emerson College. Representatives from the Healing and Advocacy Collective will also be present in the lobby during and after the performances of Measure for Measure with resources for those who may need it.

Healing & Advocacy Collective (Emerson College) 617-824-8857 or advocate@emerson.edu

Boston Area Rape Crisis Center (24/7) 800-841-8371

The Network La Red (helpline for LGBTQ community) 1-800-832-1901

National Sexual Assault Line (24/7 helpline and live chat) 800-656-4673

Love is Respect (24/7 helpline and live chat about abusive relationships) 866-331-9474

Additional resources at: emerson.edu/healing

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Measure for Measure and #MeToo - ArtsEmerson Blog

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Shakespeare's Measure for Measure is an unexpectedly modern play. Though it was written in the 17th century, each time it resurfaces it brings along a modern context. Struggling against the tides of power and how that power can affect humanity, Measure for Measure amplifies the political turmoil within its performance context.

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CrossTalk DC and the Folger Shakespeare Library

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CrossTalk DC and the Folger Shakespeare Library

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"community engagement initiative that brought disparate publics together to think about race and religion thoughtfully and deeply, through the lens of literature and history."

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The Folger was excited to build from the success of CrossTalk: DC Reflects on Identity and Difference, supported by the National Endowment for the Humanities, and launched an institution-wide community engagement initiative, CrossTalk DC, through programming from our community partners and Folger events.

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CrossTalk: DC Reflects on Identity and Difference

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The Folger was excited to build from the success of CrossTalk: DC Reflects on Identity and Difference, supported by the National Endowment for the Humanities, and launched an institution-wide community engagement initiative, CrossTalk DC , through programming from our community partners and Folger events.

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Humanities and Arts Organizations and Institutions

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Humanities and Arts Organizations and Institutions

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South Carolina Humanities

National Endowment for the Humanities

National Endowment for the Arts

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Staying abreast of new works is one of my job responsibilities-and joys. In 2018, I had the privilege of hearing the premiere of Huang Ruo 's opera, An American Soldier , at Opera Theatre of Saint Louis, which was an incredibly moving evening of opera based on the true story of the suicide of Danny...

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IDST Alumni Video about the IDST Degree at USCB

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IDST Alumni Video about the IDST Degree at USCB