The topic of academic/research librarians with subject doctorates is largely unexplored in the literature, despite recent efforts to recruit them. Based on survey data gathered from non-LIS doctorate holders currently working in U.S. and Canadian academic/research libraries, this article highlights data and trends relating to these librarians, focusing on their demographic profile, educational background, paths into librarianship, and range of positions. It is important not only to provide vital information to the academic/research library community about these librarians as a distinct and potentially sought-after group but also to communicate their experiences to advanced-degree holders considering a career in librarianship.
The topic of academic/research librarians with subject doctorates remains largely unexplored. Based on survey data gathered from subject-doctorate holders (excluding those with doctorates in LIS) currently working in U.S. and Canadian academic/research libraries, this article extends the analysis published by the authors in the January 2008 issue of portal: Libraries and the Academy. While the first article featured quantitative analysis to highlight data and trends relating to these librarians over a 40-year period, focusing on their demographic profile, educational background, paths into librarianship, and range of positions, this article analyzes qualitative data to report their perceptions about their work environment and the advantages and challenges of academic librarianship as a career. Providing more information about this group of librarians and their experiences highlights the valuable skills they bring to the academic/research library environment. Moreover, it can help advanced-degree holders to determine whether a career in librarianship is right for them.
Although Thomas Arne (1710–78) was the greatest native-born English composer of his day, today he is largely forgotten. Arne's loss of reputation can be traced to the lasting effect on nineteenth-century critical aesthetics of the eighteenth-century distinction between the beautiful and the sublime as applied to music. Critics and audiences regarded Arne in aesthetic terms as an exemplar of the musically beautiful during his lifetime and long after; however, they regarded Handel as exemplifying the musical sublime, the highest peak to which music could ascend, and this aesthetic hierarchy persisted well into the nineteenth century.
For well over 250 years, The Beggar's Opera's explicit and implicit commentary on operatic forms and conventions has generated a steady stream of criticism detailing the work's purportedly censorious treatment of contemporary Italian opera. In fact, Italian opera has become a critical hobby-horse, eclipsing other musico-dramatic inquiry into Gay's work. Only two critics—the most recent fully 60 years ago—have attempted to situate this work in the equally immediate context of its contemporary British operatic history, theory, and practice, and even they have not recognized the most important implications of such inquiry: that one of The Beggar's Opera's central preoccupations is the championing of traditionally British musico-dramatic conventions against foreign forms, and that this preoccupation already had a long history in British literature and culture when The Beggar's Opera premiered.
scite is a Brooklyn-based organization that helps researchers better discover and understand research articles through Smart Citations–citations that display the context of the citation and describe whether the article provides supporting or contrasting evidence. scite is used by students and researchers from around the world and is funded in part by the National Science Foundation and the National Institute on Drug Abuse of the National Institutes of Health.