Search results for ""Author Leonard Cassuto""

Reconstructs a dialogue between objectifiers (American Puritans, slaveowners) and objectifieds (Native Americans, slaves) by arguing that the literature of race in antebellum America is the continuing story of an encounter with the grotesque. The focus is on literature-from Puritan captivity accounts, fugitive slave narratives, and proslavery fiction to the work of Melville, Stowe, Douglass, and their contemporaries. But Cassuto also ranges from colonial prodigies to nineteenth-century freak shows and Sambo stereotyping, from horror movies to the Holocaust Museum.

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It is no secret that American graduate education is in disarray. Graduate students take too long to complete their studies and face a dismal academic job market if they succeed. The Graduate School Mess gets to the root of these problems and offers concrete solutions for revitalizing graduate education in the humanities. Leonard Cassuto, professor and graduate education columnist for The Chronicle of Higher Education, argues that universities’ heavy emphasis on research comes at the expense of teaching. But teaching is where reforming graduate school must begin.Cassuto says that graduate education must recover its mission of public service. Professors should revamp the graduate curriculum and broaden its narrow definition of success to allow students to create more fulfilling lives for themselves both inside and outside the academy. Cassuto frames the current situation foremost as a teaching problem: professors rarely prepare graduate students for the demands of the working worlds they will actually join. He gives practical advice about how faculty can teach and advise graduate students by committing to a student-centered approach.In chapters that follow the career of the graduate student from admissions to the dissertation and placement, Cassuto considers how each stage of graduate education is shaped by unexamined assumptions and ancient prejudices that need to be critically confronted. Written with verve and infused with history, The Graduate School Mess returns our national conversation about graduate study in the humanities to first principles.

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Leonard Cassuto's cultural history links the testosterone-saturated heroes of American crime stories to the sensitive women of the nineteenth-century sentimental novel. From classics like The Big Sleep and The Talented Mr. Ripley to neglected paperback gems, Cassuto chronicles the dialogue--centered on the power of sympathy--between these popular genres and the sweeping social changes of the twentieth century, ending with a surprising connection between today's serial killers and the domestic fictions of long ago.

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This book examines the failed graduate school reforms of the past and presents a plan for a practical and sustainable PhD.For too many students, today's PhD is a bridge to nowhere. Imagine an entering cohort of eight doctoral students. By current statistics, four of the eight—50%!—will not complete the degree. Of the other four, two will never secure full-time academic positions. The remaining pair will find full-time teaching jobs, likely at teaching-intensive institutions. And maybe, just maybe, one of them will garner a position at a research university like the one where those eight students began graduate school. But all eight members of that original group will be trained according to the needs of that single one of them who might snag a job at a research university. Graduate school has been preparing students for jobs that don't exist—and preparing them to want those jobs above all others. In The New PhD, Leonard Cassuto and Robert Weisbuch argue that universities need to ready graduate students for the jobs they will get, not just the academic ones. Connecting scholarly training to the vast array of career options open to graduates requires a PhD that looks outside the walls of the university, not one that turns inward—a PhD that doesn't narrow student minds but unlocks and broadens them practically as well as intellectually. Cassuto and Weisbuch document the growing movement for a student-centered, career-diverse graduate education, and they highlight some of the most promising innovations that are taking place on campuses right now. They also review for the first time the myriad national reform efforts, sponsored by major players like Carnegie and Mellon, that took place between 1990 and 2010, look at why these attempts failed, and ask how we can do better this time around. A more humane and socially dynamic PhD experience, the authors assert, is possible. This new PhD reconceives of graduate education as a public good, not a hermetically sealed cloister—and it won't happen by itself. Throughout the book, Cassuto and Weisbuch offer specific examples of how graduate programs can work to:• reduce the time it takes students to earn a degree;• expand career opportunities after graduation;• encourage public scholarship;• create coherent curricula and rethink the dissertation;• attract a truly representative student cohort; and • provide the resources—financial, cultural, and emotional—that students need to successfully complete the program.The New PhD is a toolbox for practical change that will teach readers how to achieve consensus on goals, garner support, and turn talk to action. Speaking to all stakeholders in graduate education—faculty, administrators, and students—it promises that graduates can become change agents throughout our world. By fixing the PhD, we can benefit the entire educational system and the life of our society along with it.

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Jack London has long been recognized as one of the most colorful figures in American literature. He is America’s most widely translated author (into more than eighty languages), and although his works have been neglected until recently by academic critics in the United States, he is finally winning recognition as a major figure in American literary history. The breadth and depth of new critical study of London’s work in recent decades attest to his newfound respectability. London criticism has moved beyond a traditional concerns of realism and naturalism as well as beyond the timeworn biographical focus to engage such theoretical approaches as race, gender, class, post-structuralism, and new historicism. The range and intellectual energy of the essays collected here give the reader a new sense of London’s richness and variety, especially his treatment of diverse cultures. Having in the past focused more on London’s personal “world,” we are now afforded an opportunity to look more closely at his art and the numerous worlds it uncovers.

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