I am unashamed to say that my annual Eastertide pilgrimage to the meeting of the Shakespeare Association of America is one of the intellectual highlights of my year. It comes at a time in the term when I am hungry for an injection of intellectual engagement and friendship. One of the great gifts of my profession, for me at the least and despite all of its failings, is that of lifelong friendship. In the age of near-instant regular communication across the globe, that gratitude is two-fold.
Aside from the fact that I will stretching my current research agenda in new DH directions with the “Shakespeare at Scale” seminar (see our abstracts here), I am especially excited this year to be a part of the inaugural peer mentor initiative #SAAllies. I can remember my first SAA in Boston, feeling both so excited but so awkward in not knowing the dance moves. Older students in my PhD program swept me up and let me tag along without making me feel small or juvenile.
Part of the experience of being an early-career researcher includes learning how to transition from graduate student to scholar and peer. While much of the advice about this transition centers around issues of self-presentation, these blogrolls will focus on the changes in how one funds the work. Some of us are lucky to have monetary support from within our home institutions or live in states or provinces with government sponsorships for the Humanities, while others less so. In this five-part series, I list the current funding sources available for scholars of Renaissance literature—with a focus on early modern drama—divided into relative period of a “typical” career trajectory.
Essay prizes and awards for conference papers are third on the list, with selection bias toward ECRs and first publications.