Category Archives: Humanities and Social Sciences

Professor Anthony Bale shares his passion for Chaucer & Medieval English

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Professor Bale recently elected President of New Chaucer Society and discusses a career-long interest in Chaucer and his intentions to broaden the appeal of the subject.

Professor Anthony Bale, Executive Dean, School of Arts

Professor Anthony Bale, Executive Dean, School of Arts

Some of us read Chaucer in school. What’s your earliest memory of the author’s work and what’s the relevance for our current times?

I didn’t actually read Chaucer at school – at my state school, the earliest literature I’d encountered before university was Shakespeare. However, I had long been interested in the Middle Ages and I immediately fell in love with medieval literature at university, whilst studying for my degree in English Language & Literature. I had some inspiring teachers at university and did special options on Chaucer and on Medieval & Renaissance Romance. Medieval literature remains relevant for our times – it helps us understand the language we speak, the changing idea of the nation we live in, and many of the institutions that continue to exist in contemporary Britain (for example, in the royal family, the legal system, universities, and local government). And London was Chaucer’s city – he lived for a time at Aldgate – and we can see traces of him and his era all across the city, from a bridge he had built at Eltham to his grave at Westminster.  Chaucer’s poetry is incredibly rich, and even after studying Chaucer for more than 25 years, every time I go back to his writing I find something new and exciting.

Tell us a bit more about the New Chaucer Society?

The New Chaucer Society was founded in 1979 and is the leading, global learned society for the teaching and study of the age of Chaucer – basically, the later Middle Ages, broadly from the thirteenth to the early sixteenth centuries. The ‘New’ reflects the connection to the original Chaucer Society, founded in 1868. But I’d like to think that the ‘New’ in the Society’s name shows how each generation keeps Chaucer and his era new and fresh, bringing new critical perspectives to bear on his life, work, and historical era. The Society is based at the University of Miami in Florida, and has a biennial Congress – which I co-organised in London in 2016. We’ll be meeting in Durham later this year. The Society also publishes a leading journal, Studies in the Age of Chaucer, and has members all over the world working on medieval studies in different languages, national traditions and critical perspectives.

In your new position as President of the Society, what will you be focusing on and hoping to achieve?

The New Chaucer Society is flourishing but there are many challenges to be faced. I anticipate that priorities for the Society over the next few years include rethinking our biennial Congress and its purposes. The Congress has to be more ethical, sustainable, and inclusive, and we must protect and extend funding to ensure that those who wish to participate are able to do so. I also plan to advocate for the teaching of late medieval literature on school curricula and internationally, particularly in non-elite schools, and help to develop the Society’s profile as a resource for teachers of medieval literature at all levels. Without medieval literature on syllabi, we will not foster the next generation of medievalists.

How do those priorities fit into the general landscape for late Medieval English literature and culture?

Fewer and fewer schools and universities teach medieval literature, and it’s imperative that we don’t let this field of study dwindle away and become a ‘specialist’, niche field. Medieval studies has often had the reputation, as a field, of being conservative and exclusive. This cannot be the case, and I want to ensure that the Society remains an inclusive place for fresh critical debates in medieval studies.

It’s a great achievement to be elected President. Can you share what the process was; who was part of the nomination and election process?

The Society’s Trustees developed a slate of three names and an election took place across the Society’s entire membership, based on candidates’ statements.

What is the tenure and how large is your team at the Society?

The position commences in July 2020 and will run for two years. I’ll be working closely with the Society’s brilliant Executive Director, Tom Goodmann, at the University of Miami, and the Society’s Trustees. Four new Trustees were elected at the same time, and they are from Iceland and from across the USA.

How will this align with the role you hold at Birkbeck?

As Dean of Arts much of my energy has been focused on protecting the arts, addressing educational inequality, and leading change. This has included developing funding for diversity scholarships and co-founding the Out@Birkbeck LGBT+ staff network. My own research has been at the forefront of challenging understandings of the cultural history of medieval antisemitism and global encounters through travel in the Middle Ages. I have published on Chaucer throughout my career, and continue to do so.

Out@BBK film screening for LGBT+ History Month

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Professor Anthony Bale, Executive Dean of the School of Arts discusses the feminist classic, Orlando, and why it was such an important landmark in the history of gender and transgender studies. The film adaptation of Orlando will be screened in the College cinema to mark LGBT History Month.

Orlando (Tilda Swinton) in the film ‘Orlando’, Photo by Liam Longman © Adventure Pictures Ltd

As part of our campus, Birkbeck is fortunate to have 46 Gordon Square, now the School of Arts but formerly, from 1904 to 1907, the home of the young Virginia Woolf (1882-1941). Woolf was 22 when she moved from Kensington to Bloomsbury. Her time at Gordon Square was the beginning of her adult life as a professional writer and heralded the start of the weekly meetings of artists and intellectuals known as the Bloomsbury Group. As well as being an innovative author and thinker, Woolf was a feminist and lived what was then an unconventional life, including long relationships with women. Woolf’s affair in the 1920s with the writer Vita Sackville-West inspired her short novel Orlando, a ground-breaking queer text about identity, bodies, history, and love.

Orlando was presented by Woolf to Sackville-West in 1928 after the pair had been travelling in France together. The novel is the fantastical fictional biography of the hero of its title, a poet who changes sex and lives for centuries. Orlando meets key figures in English history including Elizabeth I, Charles II, and Alexander Pope, but Woolf creates a magical version of history in which the queer hero/heroine survives and succeeds. The novel culminates in 1928, the year of its publication. Orlando is at once a light-hearted historical satire and a feminist classic, and an important landmark in the history of gender and transgender studies.

As part of LGBT+ History Month, Out@BBK, Birkbeck’s LGBT+ staff group, is hosting a screening of Sally Potter’s Orlando (1992) in the Gordon Square cinema. The screening will be introduced by Dr Jo Winning and myself (we have previously taught Orlando on our undergraduate course Critically Queer).

Potter’s film is a creative and dazzling interpretation of Woolf’s novel. Tilda Swinton, in one of her signature roles as the titular, androgynous lead, heads an eccentric cast encompassing such diverse figures as Billy Zane, Quentin Crisp, Heathcote Williams and Lothaire Bluteau. It is also the film which saw British director Sally Potter emerge from an avant-garde notoriety into mainstream recognition, with a lavishly designed spectacle that earned numerous awards and two Oscar nominations.

Join us at Birkbeck’s Gordon Square cinema on Friday 28 February at 6pm to watch and discuss Orlando, a unique chance to see this fascinating film in Woolf’s Bloomsbury home. You can book your place in advance to save your seat.

Time to Shut Up! Racism, Royalty and the limitations of Britishness

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Following Prince Harry and Meghan Markle’s decision to step back from royal life, Dr William Ackah from the Department of Geography reflects on the media discussion around the couple’s decision and the nature of institutional racism in Britain. 

Meghan’s Blackness has lost its sparkle even quicker than I originally envisioned when I wrote an initial comment piece shortly after the royal wedding. As I alluded to at the time and reiterate here, the sparkle of Meghan’s Blackness could not last because at its core Britain is an institutionally racist country. From time to time the country wraps itself in multicultural garments of convenience like at the wedding, but as soon as Black people dare to question or challenge the multicultural facade, the garments come off and the nakedness of the faded empire’s racism is revealed.

The role of broadcast media has been pivotal in this regard. For the most part a multiracial cast of commentators have debated on various magazine and news programmes as to whether Meghan’s treatment has been racist. On the surface the debates seem fair, however a deeper dive reveals the deep-seated institutionalised racism of this form of broadcasting. Whether it is Andrew Neil, Andrew Marr, Robert Peston, Kay Burley, Victoria Derbyshire, Good Morning Britain, Politics Live, Newsnight, Question Time etc, etc all the permanent presenters, and regulators of the debates on these shows are White and the Black people that appear are temporary. White dominated media institutions make decisions about what is discussed, when it is discussed, how it is discussed and by who. Black people by contrast, have no control and are only invited to comment in highly contested spaces about our predicament. Even in these hostile spaces, in scenes straight out of Kafka, White males complain that they cannot speak about race and are victims of racism! This lets us know in no uncertain terms that there is very limited space to discuss on our own terms what it means to Black and British in this country.

As I have watched and read the debates surrounding the issue of royalty and race what has struck me is the stark difference between White British and Black British experience. White Britishness or to probably be more precise White Englishness exudes a sense of permanent entitlement within the fabric of British public life. Whereas Black Britishness even though it has a longer historical presence in Britain than whiteness (e.g. cheddar man) is seen as temporary. Black Britons have no permanent markers of presence in British institutional life, no public memory of our long- term citizenship. As in the current debate we appear and then disappear until the next episode of race and celebrity, race and violence, race and underachievement, race and music, race and sport, race and discrimination, race and culture generates enough controversy to merit a re-appearance. When we protest and insist that institutional racism in Britain is real and therefore Britain and its institutions need to change, then we are told once again to shut up and be grateful to live in the best multicultural society in the world. (thanks so much White people for reminding us we are so privileged!)

What the treatment of Meghan Markle (the tip of a huge underwater iceberg) exemplifies is that there are limitations to Black British citizenship. Ours is a transactional citizenship based on what we are perceived to contribute to the nation. That being the case I think it is time for the British State to be honest and to take appropriate action. In key areas where we are treated differently and adversely, we should be compensated, where the State provides us with a higher-level service than the wider community we should pay more. This should be the transactional basis of our citizenship until equality has been achieved.

For example, Black British citizens should pay a reduced TV license, as we don’t receive the same benefits from public broadcasting as does the wider society. We should pay less for university tuition, as it has been clearly demonstrated that universities provide a poorer service to Black students, so it stands to reason that we should pay less or receive compensation for services not rendered.

More broadly Black citizens should pay a reduced income tax. I can’t think of any institution in Britain that is maintained directly or indirectly by the taxes that Black British citizens pay that has provided a service to Black citizens that is equal to or better than what it provides to its White citizens.

Black British Citizens have cleaned your bums, manned your transport and done the jobs you did not want to do. In response we take abuse and experience racism from the terraces to the boardrooms to the classrooms. Living in an institutionally racist society has been and is a material and existential threat to our positive well-being in this society. So please no more TV debates framed by White privilege, shut up and pay up until genuine equality is achieved.

William Ackah is Lecturer in Department of Geography, Chair of the Transatlantic Roundtable on Religion and Race .

Birkbeck’s London Landscapes

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Richard Clark, Honorary Research Fellow in the Department of Politics, writes about how Birkbeck is woven into the very framework of the capital city. This blog is a part of a series that celebrates Birkbeck’s 200th anniversary in 2023. 

Unlike paper maps, smartphone navigation will tell you how to get there but not what’s around you. But search through the index of an old ‘A to Z’ map of London and if your destination starts with ‘B’, you’ll probably be surprised to notice quite a few ‘Birkbeck’ place-names.

Birkbeck roads survive today in Hornsey N8, in Finchley N12, in Tottenham N17 and in Mill Hill NW7.  There are more in Ealing W5, and in Wimbledon SW7and Acton W3.  Acton also has a Birkbeck Mews, and there is a Birkbeck Grove in leafy Acton Park.  Dulwich SE21 has a Birkbeck Hill and a Birkbeck Place and the pub-like building where they join was once precisely that – the Birkbeck Tavern.  In east London, Bethnal Green E2 has a Birkbeck Street, Dalston E8 has a Birkbeck Road (as well as another Birkbeck Mews) and Leyton E11 has two Birkbeck Roads, North and South, as well as another Birkbeck Tavern – still a lively pub protected by its patrons who saved it from redevelopment by a campaigning ‘Birkfest’.

Outside the London postcode area, there are yet more Birkbeck roads — in Beckenham, in Brentwood, in Enfield, in Ilford, in Romford and in Sidcup.  There’s a Birkbeck Gardens in Woodford and a Birkbeck Avenue and a Birkbeck Way in Greenford.  Beckenham has its Birkbeck Station (established as Birkbeck Halt in 1858).

More Birkbeck place names can be found on old maps and census records of the London area.  For example Birkbeck Road, Birkbeck Place and Birkbeck Terrace in Streatham, Wandsworth, are recorded in the 1881 and 1891 census but have subsequently been lost as have Birkbeck Road and Birkbeck Place, Camberwell which appear also in the censuses of 1871.  Elthorne Road in Archway N19 started life as Birkbeck Road as did Holmesdale Road in Highgate N6.  Both had Birkbeck Taverns – the former is now converted into ‘Birkbeck Flats’ (but still, like the Dulwich Tavern, recognisably an old pub).  The Boogaloo at the top of Holmesdale Road is still a pub — a lively music and comedy venue, well worth a visit, with a ‘Birkbeck’ mosaic (desperately in need of protection) testifying to its past still on the threshold as you enter.

All the above have a close connection with Birkbeck, University of London, and reveal something of the College’s past.  Greenford’s Birkbeck Avenue and Way are the most recent.  Both are named after what used to be the Birkbeck College Sports Ground, leased to the College by the City Parochial Foundation from the 1920s until 1998 when governors felt they could no longer justify the rent.  Today’s lessee is the London Marathon Charitable Trust and the ground’s football, rugby and cricket pitches serve clubs across West London.

Several of the Birkbeck toponyms – for example those in Bethnal Green, in Dalston and in Camberwell — are associated with the Birkbeck Schools, established by William Ellis between 1848 and the early 1860s.  Ellis was one of the founders and benefactors of Birkbeck College’s predecessor, the London Mechanic’s Institute —his name appears on a foundation stone in the lobby of the Malet Street entrance.  One Birkbeck School building — today Colvestone Primary School in Dalston — still stands, its structure (including well-lit classrooms in place of dull monitorial halls) reflecting what for the time were Ellis’s progressive educational theories.  The schools were set up to teach children ‘social economy’ as an antidote to the radical socialist ‘political economy’ then gaining ground in Europe and they prefigured the civics curricula taught in English schools today.

Most of the other toponyms mark the locations of ‘Birkbeck Estates’ – land purchased and developed by the Birkbeck Land and Building Societies established in the premises of the London Mechanics Institute by Francis Ravenscroft in 1851.  Ravenscroft had joined the LMI as a student a couple of years previously, became a Governor, and set up the Building Society as a ‘penny savings bank’ to encourage thrift and diligence amongst its students, offering them the prospect of a house – and (for the men) a vote.  Initially based in a cupboard in the LMI’s office, the Societies grew to become a major bank, taking over the LMI’s premises and financing its move —as the Birkbeck Literary and Scientific Institution — to new premises nearby.  Without Ravenscroft (his bust sits on a windowsill in the Council Room) Birkbeck College would probably not exist today.  The estates played a significant role in the suburbanisation of London and are interesting for many reasons – not least because, unlike the temperance building societies of the period, they featured pubs.

For more on the story of the Birkbeck Bank and Building Society, watch out for a subsequent blog or have a look here. And there’s some information on the Birkbeck Boozers here.  I’m about to submit a paper on the Birkbeck Schools, and perhaps I’ll blog a little later about these too.

Further information: 

 

Art and Conversation at the 58th Venice Biennale

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In 2019, BA History of Art student Patricia Yaker Ekall was one of Birkbeck’s British Council Fellows in Venice. In this blog, she shares her experiences in ‘The Floating City’ and what she learned from the trip. 

My time as a research fellow at the Venice art Biennale was an incredible experience that will stay with me for many years. With Venice, one typically thinks of the lagoon and its zany effect on perception (really, it’s like being on a giant float, often at risk, thanks to the bustle of the city, of falling into the seasoned turquoise waters). Venetian dining is famed for its cicchetti and gelato and the beloved spritz. The historical landmarks, with their height and ornamental expressions of astonishing beauty, are also of course part of Venice’s reputation as a ‘must-visit’ destination.  And, while the city is a wonderful representation of the value of tradition and heritage, Venice is equally known for its modern and contemporary art.

The Peggy Guggenheim Collection, at Palazzo Venier dei Leoni, boasts works by Jackson Pollock and Alberto Giacometti, giants among the assemblage of terrific artworks that shaped 20th-century art. With Venice being an artistic city, there are countless workshops dealing in everything from mask-making to pottery. But, bias allowing, I learned the most from the very reason I was there: the Venice Biennale, the showcase for international contemporary art that attracts thousands of visitors to Venice every other year.

My chance to be part of the Biennale was thanks to a Birkbeck/British Council Venice Fellowship, which funded a month in Venice in September, where I worked as a steward in the exhibition’s British Pavilion while pursuing my own research. The renowned event may have been in its 58th edition and 123rd year, but it was my first time attending. I tried to have as few expectations as possible, which stood me in good stead as the experience was full of unexpected elements. For example, I did not expect the dramatic variation in reactions to the art work in the British Pavilion. Cathy Wilkes’ installation drew on arte povera (a movement that subverts the commercialisation of art founded in 1960s Italy, ironically). It touched on themes of motherhood, poverty and death, and was not understood (let alone loved) by everyone. This took me by surprise, as I’d assumed the visitors would be surer of their own perspectives. Yet, alarmingly often, we were asked to explain Wilkes’ work. Since it was made deliberately inexplicable, our own interpretations would have to suffice. Another one of my assumptions was that everyone in Venice would support the Biennale and, save for a bit of context-focussed research conducted just before I travelled, I was not prepared for all the ways the event is challenged when it comes to issues around sustainability and Venice’s economic state.

It seemed to me that every aspect of this tiny jewel, Venice, was up for passionate debate. Such conversations ranged from questioning of the Biennale’s effect (and dare I say relevance) in relation to the locals, to the issue of excess tourism and the tensions between the old and new and, glaringly at times, the rich and the poor. These were the conversations that a lot of the pavilion’s visitors – be they Italian, or from France, Japan, Germany or the UK – felt at ease in bringing to us, while we as art enthusiasts were primed and keen to discuss instead materials, style and the artwork’s contextual background! Though somewhat unexpected, I very much enjoyed this part of the experience. It added another dimension to my take on the power of contemporary art and all its demands. I enjoyed these roiling debates cocooned in artistic excellence!

From the orientation evening that informed us of the fellowship, to the day before we left for England, Birkbeck and the British Council were on hand to keep us informed. I was particularly touched by the program’s flexibility and understanding in the face of the unexpected. There was a real sense of openness of conversation and options, especially when it came to planning our individual research projects. If there was a change in direction which meant more resources would be needed, for example, they would not hesitate to put us in touch with the relevant modes of help.

Moreover, the fellowship program was structured such that we were introduced to the other people we’d be working with at an early stage to facilitate an easier melding process on arrival in Venice. Now, most would probably say the same of their own group but, mine was filled with the most incredible, laid-back but focused people. From early-career Oxbridge grads, to third wave career professionals who used their research practice to inform their doctorate, there was a diverse mix of interesting people. We had one thing in common: our love of art, its histories and its contemporary practices. In a way, the Biennale was the ideal hub for all of these keen minds to meet – which was, of course, the intention.

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Zhanna Chenenk: studying theatre at Birkbeck

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Moscow native and former MA Text and Performance student, Zhanna Chenenk reflects on her year at Birkbeck.

What made you decide to study at Birkbeck?

I was looking for an MA in theatre. I was intrigued by the Text and Performance course thanks to its mix of academic and practical disciplines with the bonus of being able to study at the Royal Academy of Dramatic Art (RADA).

Could you tell us about moving to London?

When I was sixteen I moved from my parents’ house in a small town close to Saint-Petersburg in Russia. That was a very stressful experience; a big city, a different culture, a huge distance (2000 kilometres) between myself and my family. Before coming to Birkbeck I had moved and travelled a lot and lived in many different cities, but it is still very hard to start from scratch in a new place. I arrived just before the course began and spent around a month searching for the right accommodation. I encountered many different people which was an interesting introduction to London life.

How was it coming to study at Birkbeck at first?

Before I applied for the course I met with a Birkbeck representative in Moscow to clarify some issues and later, when I was in London she took me on a tour of the campus and RADA. I liked the arts building as there is no logic to the room locations and you can easily find an empty space for a rehearsal.

Have you encountered any difficulties? How is the British system different from your country’s? Have you been to study skills sessions?

It was hard getting used to the British system, and once you’ve learned to cope with it, the year is over. Writing in a different language is a challenge in itself, but in addition this you are writing in many different ways; academic and narrative style, essays, scripts and portfolios. You even have to perform on stage in English – but I finally feel very comfortable using it. Now I feel it in my body. My program involved constant switching between practice and academic lessons and I wish I had more time to perfect everything.

What is it like living in London?

It took time getting used to London. Sometimes I loved it. I enjoyed wandering through the jungle of a city with my sketch book, but sometimes it was very oppressive. To escape these feelings, I travelled to new places like Berlin or Paris or Palestine, or even within the UK. I especially liked going to Brighton, Liverpool and Manchester! Most recently I discovered the Yorkshire Sculpture Park! The transport in London is also tricky to get used to and although I loved the poeticism of night buses, I hated using them during the day. Ultimately, opinions of cities are always built out of the opportunities that they give, and the connections you make. Not just the bricks and mortar which make it up.

Have you made friends on your course?

My course was international, so I’ve gained many connections across the world over the year. I participated in workshops and took on internships, so I’ve been able to build up my professional contacts to build a career upon.  London has been good to me. Whilst here I’ve met people who I have connected easily with. And even if some of them leave the UK soon I know that I have gained a wealth of friendships. I found my tribe here.

What has been your highlight of your time in London and at Birkbeck?

I would say that it has been good for me to review some of my personal values. Some of the things which were once important to me suddenly became very small. The same with my relationships; I revised all of them. I started to draw and take photos again. And I started writing. I found my experiences in London coming back to me in Berlin, when my friend asked me write a short story for his magazine. Thanks to the development of my language skills I was able to do this in in one morning and drew a picture to accompany it.

Can you tell us a little more about your dissertation?

I chose a practical path for my dissertation. For this I did a presentation – a 30-minute production and an 8000-word analytical portfolio. I chose to focus on women’s choices and the freedom to shape yourself as an artist. I have really enjoyed it, because I have had time to focus on one thing that I find interesting. It has also allowed me to make mistakes in the safety of an academic framework. I’m happy that I have had time to make these mistakes as they have taught me valuable lessons.

What are you doing since you completed your studies at Birkbeck?

I took on a thorough research tasks for my performance and now I have material to extend the performance into a trilogy. But, for now I am applying to take part in festivals for emerging directors with the presentation I created as a part of my dissertation. As for my other plans, details of these can be found in newspapers.

Further information:

The Bonnart Trust PhD Scholarship

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Zehra Miah is a Bonnart Scholar who is currently undertaking a PhD on the experiences of Turkish immigrants in London from 1971 to 1991. In this blog, she shares what it was like applying for the scholarship and how it has allowed her to pursue her project full-time.

Pictured: Idris Sinmaz (Zehra’s grandfather) came to London from Istanbul in 1971 to work in the restaurant of his landlord’s son. His two sons and wife joined him in 1973, his married daughter stayed in Turkey. This image was taken in 1980, by which time Idris had opened his own restaurant, Abant on Kingsland High Street in Dalston. Abant is a lake in his hometown of Bolu, Turkey.

Freddie Bonnart-Braunthal founded the Bonnart Trust to fund research aimed at tackling the causes and consequences of intolerance. Largely inspired by his own experiences leaving Vienna in 1935 and being branded an enemy alien and interred in the UK, he wanted to provide funding for scholars, such as myself, to explore these topics and to use their findings to help make a more tolerant and equal world.

When considering embarking on a PhD one of the main hurdles, once you have written your proposal, met with a supervisor, perhaps even had an interview and secured a place is – how to pay for it! My own story, is that I had returned to study as a mature student with three young children and a full-time job as an Executive Assistant. I had studied for my BA and MA at Birkbeck part-time and decided that if I was going to do a PhD then I wanted it to be all or nothing, so I applied for a full-time place. Starting the PhD meant not only the loss of my salary for me but also for my family, even cobbling together the fees would have been a struggle.  In short, without the Bonnart Trust seeing value in my research and awarding me the scholarship, I would, best case scenario perhaps, be pushing through a part-time PhD or, more likely have made the decision to take a different career path.

As a prospective student, you will already know from the institutions that you have applied to that whilst there is not an awful lot of funding about, it is a different offer with every university having vastly different application processes. If you have chosen to study at Birkbeck, or you are considering it and your research area fits within the remit of the Trust, namely addresses diversity and inclusivity or social justice and equality, then I would urge you to consider applying for this fantastic scholarship.

My research considers whether ethnic, religious and racial labels have helped or hindered the Turkish speaking minorities in London between 1971-1999.  When I read the guidelines and spoke to my supervisors (Professor David Feldman and Dr Julia Laite) it was clear that the Bonnart Trust Scholarship was most closely aligned with my research interests.  I have previously held a fees scholarship for my Master’s at Birkbeck and one thing I was not aware of at the time is quite how many people I would meet, collaborate with and the opportunities to present that come along when you hold a scholarship.

These opportunities are worth just as much, as the funding,which is full fees, an annual stipend, and a research allowance of up to £1,000.  The scholarship is open to the entire School of Social Sciences, History and Philosophy so it is competitive, but I can honestly say that I thoroughly enjoyed the process. The form had very specific questions (as do all funding applications, and helpfully they all ask different things with different word counts).  For the Bonnart Trust Scholarship I had to succinctly answer a number of questions about my research in general, , why it was important, what sort of influence outside of academia I hoped for and the possibilities it might offer to help address some of the Trust’s aims; no section allowed more than 250 words.

I am naturally a ‘better in the room’ sort of person so when I was shortlisted and invited to interview I knew that this was my opportunity to demonstrate just how important I felt my research was.  I can understand though, that interviews can be a bit daunting and my interview for the scholarship involved a panel comprising a linguist, two historians and a political scientist (one of whom was a past Bonnart Scholar).  I had lots of great advice, but there are two key points I want to share; firstly, you are the expert and you love your project, but spend some time considering what could go wrong and what the challenges might be and secondly, be ready to address every member of the panel even if they are outside your discipline, find one thing to engage with them on within your research.  They aren’t there to catch you out; they simply want to hear that you have thought through your ideas.

I was in Prague Castle when I got the email informing me that I had been successful and I am so grateful that the funding is allowing me to carry out this work. Since starting my PhD I have had numerous opportunities to meet Bonnart Scholars working in other disciplines. Next term there is the annual Bonnart Trust research seminarwhich will, I hope, be a great forum to meet more people interested in what I do and doing interesting things; they are now my peers, colleagues and maybe even my future employers!

I would urge anyone who feels that their research aligns with the Trust’s mission to take a look at the website, have a read of the current and previous projects and see where you fit – and then apply!

Applications are now open for the Bonnart Trust PhD Scholarship and will close on 31 January 2020.

Further information:

 

Considering a career in counselling?

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People reach out to counsellors for many reasons; to try and resolve an emotional or psychological issue in their lives; if they have underlying anxiety or depression affecting their day-to-day life; if they’ve experienced a particular period of distress, such as divorce or bereavement; or if they are isolated, with no one else to talk to – or just prefer to talk to a professional who is impartial and understanding.

As such, to be an effective counsellor you need a wide range of skills and attributes. You need to be able to communicate and relate to people from a variety of different backgrounds, be patient, tolerant and non-judgemental; to always act ethically and with integrity; and to have undergone professional training, based on recognised standards of quality and competence, providing training in reflective, competent and ethical practice.

There are three main models of counselling:

  • Cognitive Behavioural Therapy looks at the links between thoughts and feelings, patterns and behaviour. A CBT counsellor would work collaboratively with the client to actively change thoughts and behaviour patterns in healthy ways.
  • Psychodynamic therapy is concerned with exploring the ways in which the past affects the present, and looks at how unconscious processes impact the ways in which we experience the word.
  • Person centred therapy is concerned with empowering the individual to self-actualise in order to find fulfilment.

Birkbeck’s Introduction to Counselling course is a great way to find out whether training in counselling is the right career move for you, with the freedom to explore these different models of counselling. You will be introduced to the core theories, aims and methods of the main counselling traditions and you will consider the role of the counsellor and the importance of the therapeutic relationship. You will also explore the idea of ethics and learn about the importance of self-awareness and reflective practice. It may also be useful to those who work in people-focused roles, like teachers or social workers, for whom developing new skills and techniques around empathy and support is useful.

This year, the Introduction to Counselling short course will take place on Wednesdays 10am – 1pm, for five weeks from 13 November to 11 December 2019.

“Studying in London gave me a new perspective on important issues that I may have overlooked before”

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Hitomi Imamura, an international student who was awarded an international merit scholarship from Japan, tells us about studying for the MSc Education, Power and Social Change at Birkbeck and how she has made the most of her time studying in London.

After a long career in Japan, I wanted to follow my childhood dream to study abroad and make friends from all over the world. I chose London because it is a multicultural city and the best place to study with international students. I decided to apply for Birkbeck because it is famous for its evening classes and it is an environment where I could study with students who had varied lifestyles and careers.

Also, I was interested in the MSc Education, Power and Social Change as I had worked in education in Japan for many years and could not find this type of subject at other universities. The atmosphere around Birkbeck is ideal, surrounded by other universities, parks, amenities, and many university libraries. I enjoyed London life even though the cost of living is high. There are many things to do in your free time as it is such a large and historic city.

I found some things quite difficult to start with including a huge amount of reading assignments and the obvious language barrier. There were a lot of assignments to finish at the same time over a short period. It was very stressful so I had to take care of myself but it was also very rewarding. I used some of the study skills sessions provided by the university which gave me useful information on how to improve my writing.

I joined some events specially provided for international students such as the University tour and Parliament tour. They were very interesting. I became a member of the Japan Society of Birkbeck and taught Japanese to the students. The students appreciated my contribution and I received a Birkbeck Student Union award in 2019 for an outstanding contribution to club and societies.

I could meet caring tutors and nice classmates from all over the world and they helped me when I was struggling with my study.  We were able to support each other without considering the differences in the ages and nationalities of my classmates.

My dissertation theme was related to the important Japanese primary school education reform going through 2020. I interviewed 5 Japanese education experts and one American expert that included the former State-Minister of Japanese Education. I found that many changes are happening in Japan because of globalisation through my research. I’m very glad I came to Birkbeck, and think it is important to see my own country from overseas. It gives me a new perspective on important issues that I may have overlooked before studying abroad.

I aim to continue to PhD level study as I would like to continue my research after graduating from the master’s course. Birkbeck has enabled me to improve my ability to study and conduct research at a high level so I can progress on to the next stage.

I am satisfied that I completed my master’s degree and met the challenge I set for myself to make my life more positive. Unfortunately, the number of Japanese foreign students is currently decreasing. However, I feel it would be good if more Japanese people studied abroad and exercised their global citizenship as I did at Birkbeck. For me, that is a great personal achievement. I would like to thank all the course tutors and various administrative staff for making my time at Birkbeck such a worthwhile and enjoyable experience.

Department of English, Theatre and Creative Writing gets a refresh

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The Department of English, Theatre and Creative Writing has begun a fresh phase in its distinguished history. Formerly the Department of English and Humanities, it is developing existing critical and creative strengths from the early middle ages to today.

We are proud of our bold research culture. Our work ranges from studies of foundational texts and subjects to new and emerging cultural forms, combining traditional approaches with explorative and speculative analyses from our research centres and networks including postgraduate-led initiatives.

Our historical and contemporary, creative and practice-led research engages with some of the most pressing questions of today including in relation to the environment, migration, race, gender and sexuality, medical, material and visual cultures, and new digital worlds.

We are excited to introduce a number of new courses and initiatives that complement and expand our established programmes in Medieval, Renaissance, Victorian, Modern and Contemporary Literature and Culture, Critical and Cultural Studies, Theatre Studies and Creative Writing.

At undergraduate level we have updated the BA English, developing challenging core modules on Decolonising the Canon and Storytelling alongside options that reflect the full range of our research interests. We have opened up the joint BA English and BA Creative Writing programme to part-time students and radically reimagined our humanities provision, with a new BA Liberal Arts that provides access to modules from the arts, social sciences and law launching in 2020/21.

At postgraduate level we offer a new MA Critical and Creative Writing, which bridges the divide between these two popular yet often separately taught fields, and an MFA Creative Writing, which provides an exceptional opportunity for advanced writers to complete, a fully supported, major independent project.

We have furthermore remodelled our medical humanities provision, launching the MA Applied Medical Humanities aimed at practitioners, and an MA Medical Humanities: Bodies, Cultures and Ideas, which is co-delivered in an exciting cross-School collaboration with the Department of History, Classics and Archaeology. In 2020-21 we will be offering for the first time a new MA Dramaturgy, an important theory and practice-based addition to our suite of programmes dedicated to the world of theatre-making.

We support an active doctoral community whose work spans and expands our research interests and expertise. The Department is part of CHASE, the AHRC-funded Consortium of the Humanities and the Arts in south-east England, and students regularly organise and participate in conferences, seminars, talks, reading groups, performances and exhibitions.

Students in the Department can take advantage of an extraordinary location right in the heart of Bloomsbury, in 43-46 Gordon Square, the childhood home of Virginia Woolf and later the residence of the famous economist Maynard Keynes. The Department is part of the School of Arts, and benefits from a state-of-the art cinema, a theatre and performance space, the Peltz Gallery and links with world-class cultural institutions such as the Globe Theatre, RADA, the ICA, the V&A and the British Museum. Our students have gone on to a wide range of careers in fields such as teaching, journalism and the creative industries.

If you want to find out more about the Department of English, Theatre and Creative Writing contact programme directors directly or get in touch with the Head of Department, Professor Heike Bauer h.bauer@bbk.ac.uk.

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