Journalism has rarely had a fiercer critic, nor a finer practitioner than the longtime writer for The New Yorker, Janet Malcolm, who died last week aged 86.

Some might quibble with the description of Malcolm as a journalist, but journalism is a far more supple practice than commonly believed. One list of the best American journalism of the 20th century, for instance, had Carl Bernstein and Bob Woodward’s Watergate reporting for The Washington Post ranked highly, but the top place went to John Hersey’s Hiroshima.

Published in 1946 in The New Yorker, Hersey’s 31,000-word article revealed in horrifying details the experiences of the victims of the first atomic bomb. It was also a pioneering, influential piece of what we would now call narrative non-fiction.

Malcolm began contributing to the magazine 17 years later, in 1963.

Over the next nearly six decades, she wrote many long reported pieces, profiles and essays that were published first in the magazine, then as books. Few journalists’ work has had as much influence on the way people thought about a range of topics – psychoanalysis, journalism, biography and the law.

She achieved this through a formidably sharp intelligence and sentences that were, as the magazine’s current editor, David Remnick, wrote last week, “clear as gin, spare as arrows, like no one else’s”.

A quiver of these sentences opens her withering critique of journalism, The Journalist and the Murderer, published in 1989:

Every journalist who is not too stupid or too full of himself [sic] to notice what is going on knows that what he does is morally indefensible. He is a kind of confidence man, preying on people’s vanity, ignorance, or loneliness, gaining their trust and betraying them without remorse.

When this was published, journalists exploded in outrage, not least because Malcolm had pierced the omertà observed by journalists concerning how they went about their work. There are all sorts of legitimate qualifications to be made about Malcolm’s insight, but more than three decades later it remains a key prod to any journalist, especially those working on longer projects, to reflect on the messy complexities inherent in the relationship between themselves and their sources.

Helen Garner’s ‘shard of horror’

The Journalist and the Murderer book cover

Malcolm’s influence extends to Australia, primarily through Helen Garner, who came to fame through her fiction but forged a second career as one of the nation’s foremost practitioners of narrative non-fiction, and a highly controversial one, too.

When Garner read The Journalist and the Murderer, she said it immediately struck a chord. “It sends a shard of horror right through you,” she said in an interview for Meanjin in 2012.

Later in the same interview with Sonya Voumard, she talked about her debt to Malcolm when writing The First Stone (1995), her still much-debated account of a sexual harassment case at Melbourne University’s Ormond College in the early 1990s.

She recalled interviewing a retired judge who had once chaired the Ormond College council and was a “tough, smart old lawyer” who revealed little. As they talked and drank tea, Garner found herself gobbling up the homemade shortbread biscuits he had provided.

After she’d had three, he put the lid on the jar, saying “I didn’t do that to keep you out”, but he had.

Garner recalled:

It wouldn’t have occurred to me, unless I’d read Janet Malcolm, to put a Freudian interpretation on his closing the jar – I mean Freudian in the sense that people are always doing and saying things that enact their real purpose. He would have thought the incident was about biscuits. But unconsciously he was indicating to me that he was in charge of how much would be given and taken.

A writer of unusual intellectual courage

At that stage Garner had been reading Malcolm’s The Silent Woman (1993), her excoriating attack on biography in general and the industry surrounding the short life and tragic death of Sylvia Plath in particular.

In it, Malcolm likens biographers to professional burglars:

The voyeurism and busybodyism that impel writers and readers of biography alike are obscured by an apparatus of scholarship designed to give the enterprise an appearance of banklike blandness and solidity.

Readers, as well as biographers, are skewered for colluding in the exciting, forbidden undertaking of “tiptoeing down the corridor together, to stand in front of the bedroom door and try to peep through the keyhole”.

Biographers were as outraged as journalists had been a few years earlier. Readers don’t appear to have objected. They — we — seem to think Malcolm must be talking about other readers, the voyeuristic ones. She couldn’t possibly be talking about us.

But she was, of course. One of the paradoxes of Malcolm’s work is she continued to practice the crafts that she forensically critiques — journalism and biography. For some, this might amount to hypocrisy. To me, it underscores her intellectual courage, taking seriously the power and influence inherent in the practice of these two forms, and refusing to shelter behind loyalty to her tribe.

Which brings me to my favourite rhetorical aria of Malcolm’s, also from The Silent Woman:

The narratives of journalism (significantly called ‘stories’), like those of mythology and folklore, derive their power from their firm undeviating sympathies and antipathies. Cinderella must remain good and the stepsisters bad. ‘Second stepsister not so bad after all’ is not a good story.

Malcolm refused to write fairytales. Her stories may be as sharp as arrows; they also fly true.

Matthew Ricketson, Professor of Communication, Deakin University

This article is republished from The Conversation under a Creative Commons license. Read the original article.

Moved by words: how poetry helps us express our feelings

23 June 2021 by particularkev

Maria Takolander, Deakin University

Poetry has made something of a comeback in popular culture, thanks to America’s Amanda Gorman, who read her performance poems at a presidential inauguration and this year’s Super Bowl. Gorman has been described as bringing poetry to the masses.

However, when it comes to the mainstream, poetry has long been hiding in plain sight. Gorman’s spoken-word performances, which have been compared to hip hop, drew attention to poetry in music lyrics. But poetry is also visible in movies and on TV.

These media representations are interesting because they show how poetry is popularly understood in connection with feelings. And that popular wisdom chimes with findings in cognitive neuroscience about how language and, by extension, poetry work.

Aside from films or TV series about poets, such as Dickinson or Paterson, poetry makes a cameo in some of our most iconic films, where it is said to represent or intensify a range of emotions. These include love (Before Sunrise), mad ambition (Citizen Kane), nostalgic patriotism (Skyfall), pride (Invictus), nihilism (Apocalypse Now) and trauma (The Piano).

Poetry, representative of emotion, is also frequently used to symbolise humanity. This is particularly apparent in films about clones.

In the Tom Cruise blockbuster Oblivion, when the clone Jack Harper recites a poem from Thomas Babington Macaulay’s Lays of Ancient Rome this reinforces his legitimacy. In Blade Runner, Rutger Hauer’s Roy Batty misquotes William Blake:

Fiery the angels fell; deep thunder rolled around their shores; burning with the fires of Orc.

What emerges from poetry’s onscreen appearances, then, is a popular understanding of it as an expression of human feeling and evidence of genuine humanity.

Cognitive neuroscience

This intuitive understanding of poetry resonates with findings in cognitive neuroscience. Leaving behind theories of the brain that suggest it operates like a computer and theories of language that focus on “mental grammar”, many scientists now acknowledge the body and emotion as the foundations of both cognition and speech.

Of particular interest is the role of mirror neurons. These brain cells fire when an action is observed or performed, and they tell us a lot about how we understand the actions of others. They suggest understanding comes from a mirroring or imitation that takes place in the brain but is acted out or felt in the body.

An example is the contagious effect of a smile. When we observe someone smiling, we mirror that action to understand it.

Something similar happens when understanding language. Words contagiously move us. As neuroscientist Christian Keysers explains in The Empathic Brain, if you hear or read the word “lick”, the part of your brain that moves your mouth is activated to aid understanding. The same happens if you hear or read the word “kick”. As a result, we feel the meaning of these words in our bodies.

What about producing words? Speech is fundamentally a motor activity, which evolved from gesture. We are moved to speak, and we literally move — our lips, our tongue, our lungs, our stomach muscles, and often even our hands — to express ourselves.

As infants, we begin learning language in interaction with a caregiver, imitating the shapes of their mouth, and waving our arms and legs in excitement and frustration at the repetitive noises they make, until eventually we are able to imitate their sounds. Those sounds are accompanied by feelings, related most strongly to a desire to communicate beyond the boundaries of ourselves.

Of course, language develops into a more abstract system for communication. It can often remain a struggle, however, to give expression to feelings that are powerfully felt in the body, such as loneliness or grief or trauma. As John Hannah’s character says in Four Weddings and a Funeral, when trying to articulate his feelings about his dead partner, “Unfortunately there I run out of words”.

Rhymes and rhythms

This is where poetry comes in, making use of the rhymes and rhythms that have helped us find speech from infancy, calling attention to the auditory qualities of language to convey meaning through feeling.

If we can’t do it ourselves, we quote someone else’s words, instinctively and ritualistically associating poetry with the expression of emotion.

This link to emotion, as well as child-like speech, undoubtedly goes some way to explaining another popular idea about poetry: that it signals “madness”. Biopics of poets feed this stereotype by overwhelmingly choosing poets with mental illnesses as their subjects — for instance, Sylvia and Pandaemonium, portraits of Sylvia Plath and Samuel Taylor Coleridge respectively.

However, cognitive neuroscience — and popular wisdom — suggest poetry actually exemplifies an important truth about language and human nature.

While poetry is regularly denounced for “not making sense”, our cognition and our language do not arise according to purely rational principles.

We are bodies wrought by feeling. Robin Williams’ character simplifies this truth in Dead Poets Society:

We read and write poetry because we are members of the human race. And the human race is filled with passion.

Maria Takolander, Associate Professor in Creative Writing and Literary Studies, Deakin University

This article is republished from The Conversation under a Creative Commons license. Read the original article.

Shakespeare’s rulers and generals are all flawed, but the books on his leadership lessons keep coming

23 June 2021 by particularkev

John Bell, pictured here in 2006, is the latest to write a book on Shakespeare and leadership.
Paul Millar/AAP

Robert White, The University of Western Australia

Review: John Bell, Some Achieve Greatness: Lessons on leadership from Shakespeare and one of his greatest admirers. With illustrations by Cathy Wilcox. Pantera Press, 2021.

John Bell’s new book Some Achieve Greatness is but the latest to use Shakespeare’s works to inspire and teach would-be leaders in the modern world.

In 2000 alone, two books appeared aimed at business management students: Power Plays and Shakespeare on Management. In perhaps the best of the genre, Shakespeare the Coach (2004), Australian Olympian, medical graduate, politician and hockey coach Ric Charlesworth applies the dramatist’s words to the sporting arena and people management. Naturally he devotes a chapter to motivational leadership, headed “Purpose and Persuasion”.

The new book from Bell, the actor and renowned theatre director, is both more, and less, than these. More, because it is as much a pithy “business autobiography” as instructional manual, from a man who has devoted his career to bringing Shakespeare to Australian audiences.

Bell has not only performed most of the major characters, learning their words by heart and internalising the subtleties and plural meanings, he has also directed the plays. He has shown business acumen in administering two successful theatre companies, co-founding Nimrod in 1970 (dedicated to producing Australian plays as well as Shakespeare’s), and of course, the Bell Shakespeare Company.

His name has become almost synonymous with the bard’s in our cultural life through this company and a series of scholarly editions of plays named after him. He also authored a substantial book titled On Shakespeare (2011), full of insights: the fruit of a practised actor-director’s rich and detailed experience.

And, as one of Australia’s Living Treasures, Bell has cemented his reputation by “dying” hundreds of times onstage in Shakespearean roles — like Cleopatra, he “hath such a celerity in dying”.

Reflecting on his multifaceted career, Bell applies his accumulated knowledge to recount his own leadership style as it evolved through experience. Sage advice is offered, enlivened and illustrated with pertinent quotations from speeches, which no doubt Bell can enviably recite from memory.

Bell, centre, as Falstaff during a dress rehearsal of Henry 4 in Canberra in 2013.
Alan Porritt/AAP

The book offers lessons gleaned from a Shakespeare who is seen as a natural “collaborator never a one-man band”. We find chapters on “Courage, or how to be a leader in times of crisis”, “Decisiveness, timing and tough decisions”, “Charisma, confidence and humility”, and other virtues such as integrity and humanity. These are set against dangerous managerial vices like ambition, arrogance and entitlement.

Along the way are sprinkled inspirational quotations about leadership from the likes of Abraham Lincoln, Nelson Mandela, John F. Kennedy and Michelle Obama, alongside cautionary reminders of a less savoury, more recent American president .

No ideal leaders

However, Bell offers less than Charlesworth (my benchmark), in that the latter dwells more on applicable quotations than characters and dramatic context. This allows him to skirt the problem Bell faces: there are, in fact, no unflawed or ideal leaders in Shakespeare.

Although Bell ranges across the complete works, his major examples of good or bad leadership are surprisingly few in number. All are, to some extent flawed. Bell readily concedes this, since their failures are instructive. The figure who recurs in most detail is Henry V. For all his faults as a ruthless, likely war criminal, he seems to come closest to Bell’s ideal leader, at least in his rousing speeches.

Kenneth Branagh as Henry V in the 1989 film: ruthless but with rousing speeches?

Julius Caesar and Brutus emerge as ambiguous and lacking in strategical competence. Antony for all his brilliant oratory is too much the playboy who believes in his own “celebrity”, while King Lear is easy prey for sycophants and flatterers.

Naturally enough, Richard III and Macbeth as leaders are definitely not to be emulated, though there is somehow a touch of unintended humour in the homily-like way Bell warns us against using murder as a career move:

Watching the downfall of the Macbeths we have to ask ourselves: What am I prepared to pay to make it to the top of the pile? Is the reward worth my sanity, my self-respect, my relationship, my reputation, my friendships?

Who would answer yes to such a piously phrased question?

Michael Fassbinder as Macbeth in the 2015 film: not a great role model.
See-Saw Films, DMC Film, Anton

What about the women?

We have to wait for the final chapter before some women make an appearance, exemplifying such admirable qualities as adaptability and negotiating skills (Portia), integrity and plain-speaking honesty (Cordelia), and playfulness (Rosalind), although Bell sees their agency as qualified in a man’s world:

In the Comedies, women find a voice and authority by adopting a false male persona and using their wit, charm and female tenderness to lead the menfolk to an awareness of their follies and a better understanding of successful male/female coexistence and interdependence.

This book is very readable and can probably be devoured in a single sitting, though Bell might prefer us to take our time and savour at leisure the lessons taught. It also features witty and pertinent cartoons by Cathy Wilcox.

Robert White, Winthrop Professor of English, The University of Western Australia

This article is republished from The Conversation under a Creative Commons license. Read the original article.

Guide to the classics: Shakespeare’s sonnets — an honest account of love and a surprising portal to the man himself

21 May 2021 by particularkev

Giovanni Cariani, Portrait of Two Young Men. The bulk of the sonnets are addressed to a young man known as the ‘fair youth’.

Dr Jamie Q Roberts, University of Sydney

Most of us are familiar with Shakespeare’s plays. Even if we aren’t Shakespeare geeks, chances are we’ve waded through five or six in school, seen several movie adaptations and been to an “in the park” production.

And then there is the constant background of Shakespearean quotations and references colouring our lives, from recognisable lines like “let slip the dogs of war”, to the oh, I didn’t know Shakespeare wrote that cliches, such as “one fell swoop” or “wear my heart upon my sleeve”.

However, apart from a few hits, Shakespeare’s sonnets are less known.

Fortified with a familiarity with the plays, a virgin journey into the sonnets is as good a literary adventure as anyone could hope for. It is both unsettling and beguiling.

The Shakespeare of the plays is god-like: he is everywhere in his creations as a masterful and unifying presence, and yet he is aloof. If I had to take a punt, I’d say he was wise, wry — the kind of person who knew how to do life right.

Thus it is a shock to meet the Shakespeare of the sonnets. This Shakespeare is frail (sonnets 29 and 145), obsessed (28), judgmental (130), fickle (110) and self-pitying (72). And so we are drawn in. We begin to ponder how much of himself Shakespeare reveals in the sonnets, and, if he is in there, how one of the most remarkable humans could be so like the rest of us.

What is a sonnet?

A sonnet is a short poem, traditionally about love. The “English” or “Shakespearean” sonnet has a standard form. There are 14 lines, each with five “beats”.

Each beat has two syllables, with the second being stressed. This is known as “iambic pentameter”. Try it out with the most famous line from the sonnets: “Shall I compare thee to a summer’s day?” (18)

The sonnet has three “quatrains” — stanzas with four lines — and a final rhyming couplet — two lines that rhyme. The couplet packs a certain punch that turns the sonnet on its head or provides the key to the sonnet or something similar.

A brief overview

When we talk about Shakespeare’s sonnets, we are usually referring to the 154 sonnets published in 1609 when Shakespeare was about 45. The sonnets were likely written and revised throughout Shakespeare’s adult life (though there is debate).

Keeping to the tradition, Shakespeare’s sonnets are about love. But they take us into love’s maelstrom. The sonnets speak, often in the most raw fashion, of jealousy (61), fear (48), infidelity (120) and love triangles (41, 42), but also of the simple happiness that love can bring (25). Because of this, according to poet and essayist Anthony Hecht, young lovers make up the most substantial readership of the sonnets.

The bulk of the sonnets (1-126) are addressed to a young man, often referred to as the “fair youth”.

The dedication to the sonnets.
Author provided

The last 28 are mostly addressed to or about a woman: “the dark lady”. The real-life identities of both figures are not known. However, the dedication to the sonnets, which some consider to be a code, may contain the youth’s identity (see this article by amateur Shakespeare scholar, John Rollett).

Within these two broad sets there are smaller groupings. Sonnets 1 to 17 are known as the “procreation sonnets”, while 78 to 86, which reveal that another poet is drawing inspiration from the fair youth, are referred to as the “rival poet” sequence.

And throughout, two and sometimes three sonnets are directly linked as if they were a longer poem (for instance 66, 67 and 68 — look out here for the objection to the silly wigs everyone wore).

The fair youth sequence

There are several recurring themes here.

A number of sonnets address the pain of being apart (such as 44 and 45). And in 49 we see the persona’s anxiety about parting permanently when he imagines the time “when thou [the fair youth] shalt strangely pass, / And scarcely greet me with that sun, thine eye.”

But we also witness the persona drawing on his love for the youth to fortify himself against unhappy memories. The well known 30 begins with:

When to the sessions of sweet silent thought / I summon up remembrance of things past, / I sigh the lack of many a thing I sought, / And with old woes new wail my dear time’s waste.

It finishes with the lines, “But if the while I think on thee, dear friend, / All losses are restor’d, and sorrows end.”

There are also the themes of time’s destruction of beauty and the horror of death. And hand-in-hand with these, we see the persona searching for ways for the youth to achieve immortality.

In 12, one of the “procreation sonnets”, the youth is encouraged to seek immortality by having children. It finishes with: “And nothing ‘gainst Time’s scythe can make defence, / Save breed, to brave him, when he takes thee hence.”

However, even more poignant are the persona’s many explicit attempts to preserve the youth through his poetry — a quixotic enterprise that, remarkably, has worked. This is best exemplified in 18. We read:

Nor shall Death brag thou wander’st in his shade, / When in eternal lines to time thou growest. / So long as men can breathe, or eyes can see, / So long lives this, and this gives life to thee.

Portrait by John Taylor, thought to be of Shakespeare.
Wikimedia Commons

A common discussion is whether the fair youth sequence reveals that Shakespeare was gay or bisexual. Unless the sonnets are a wild fabrication, Shakespeare certainly wasn’t straight.

However, we should, as scholar Dennis Kay reminds us, be cautious of “applying a modern understanding of, and attitudes toward, homosexuality to early modern culture.” Read 20 and see what you think.

Not all the sonnets in the fair youth sequence are addressed to the youth. An exception is another of the evergreen sonnets: 116. This ode to the eternal nature of love begins with:

Let me not to the marriage of true minds / Admit impediments. Love is not love / Which alters when it alteration finds, / Or bends with the remover to remove: / O, no! it is an ever-fixed mark.

Returning to sonnet 66 (my favourite), although the final couplet addresses love, the sonnet stands out because its focus is not love, but the corruptions of the world.

In it, the persona objects to “folly (doctor-like) controlling skill” and “art made tongue-tied by authority.” Here we are reminded of the battles many who are capable and spirited must fight against soulless bureaucracies and the censorious.

The dark lady sequence

The “dark lady” is “dark” because when she is introduced in 127, her complexion and eyes are described as black:

In the old age black was not counted fair, / Or if it were, it bore not beauty’s name; / But now is black beauty’s successive heir, / And beauty slander’d with a bastard shame.

And later in the sonnet we read: “my mistress’ eyes are raven black.”

In the dark lady sequence, the persona suffers familiar torments. But there are also several instances of humor — the fair youth sequence is almost humorless.

In sonnet 135 and 136 the persona puns bawdily and relentlessly on the world “will”: “Wilt thou, whose will is large and spacious, / Not once vouchsafe to hide my will in thine?”

But the stand-out is 130. Here the persona pointedly declines to use tired comparisons to praise the attributes of his mistress.

We read: “My mistresses’ eyes are nothing like the sun”, and, “And in some perfumes is there more delight / Than in the breath that from my mistress reeks.”

Then come the glorious lines: “I grant I never saw a goddess go; / My mistress when she walks, treads on the ground.”

Their reception

The sonnets were not much read for nearly 200 years after their publication, but since then they have only grown in popularity. This was, perhaps, assisted by Wordsworth’s own sonnet: “Scorn Not the Sonnet”. (I know, it’s hard not to laugh.)

Today, lines from the sonnets turn up from time to time in popular culture. Naturally, in “Dead Poets Society” sonnet 18 is recited.

So what do the sonnets mean for us today? Many things. Most commonly, they have come to stand for perfect love, but this is likely because few readers make it past two of them: sonnets 18 and 116.

For those who do read further, the sonnets provide a more honest account of love, while exploring other substantial themes such as fear of death and the search for immortality.

The sonnets can also be enlisted to support social and political causes, from freedom to sexuality. And then there is the possible portal they provide into Shakespeare the man.

Ultimately though, we read on because of Shakespeare’s inimitable commingling of beauty and truth — if the two can be separated. And because each reading reveals that we are still only splashing about in the shallows of an immeasurable ocean.

Dr Jamie Q Roberts, Lecturer in Politics and International Relations, University of Sydney

This article is republished from The Conversation under a Creative Commons license. Read the original article.

Book publishing sidelined in the game of university measurement and rankings

21 May 2021 by particularkev

Agata Mrva-Montoya, University of Sydney and Edward Luca, University of Sydney

Academic book publishing is under threat. Global university rankings and competition for funding and international student enrolments are reshaping the research landscape. Academics are under more pressure to win grant funding and publish journal articles, rather than books, and be more strategic in their publishing.

With universities losing billions in revenue due to the impacts of COVID-19, these pressures are only going to increase.

Traditionally, a monograph published with a prestigious publisher has been a key medium to create and disseminate research in the humanities and social sciences. It has also been important for building scholarly careers and reputations. However, our research shows publishing pressures, incentives and rewards are changing.

A shift from quantity to quality

The Australian government’s approach to funding research has had a strong impact on what types of publications have been encouraged.

Australian universities first began reporting details of academics’ research outputs to the government in the 1990s as part of the formula for distributing research funding. The funds allocated for publication were significant. By 2001, a peer-reviewed journal article was “worth” more than A$3,000 to the university. A book was “worth” $15,000.

These rewards applied regardless of where the research was published. “Publish or perish” had well and truly taken over. Without appropriate measures to account for quality and impact, the system had the unintended consequence of encouraging academics to publish low-quality research with low-quality journals and publishers just to meet performance targets. The use of quantitative measures alone also increases the possibility for gaming and manipulation.

Publication data were eventually removed from the Higher Education Research Data Collection (HERDC) specifications in 2016. Since then, no government funding based on quantity (or quality) of research outputs has been distributed.

Australia’s current national research assessment exercise, Excellence in Research for Australia (ERA), began in 2010. The ERA system is designed to identify and improve quality of research through international benchmarking.

As a result, all universities expect “quality” publications from their staff. This is invariably understood as publishing with international and prestigious publishers and in high-ranking journals.

As universities compete against each other, they have a strong incentive to lift their research profile and to design internal reward schemes based on how ERA defines quality.

Academics are now fundraisers

Our research project looked at the publishing strategies and behaviours of academics in the humanities and social sciences. We found the pressures for quantity appear to have subsided (for some at least). However, there is now a greater push for quality, competitive grant funding and real-world impact.

While universities are still interested in quality publications, the changing funding rules mean universities that receive competitive funding get additional research funds through HERDC. This translates to greater pressure on academics to apply for and secure funding. Academic production appears to have shifted from publication as an outcome in itself to funding as the main measure of performance.

women weighs up books in one hand against piggybank in the other — Academics must now weigh up the expectation that they attract funding against other performance criteria.
Shutterstock

Funding bodies, in turn, are increasingly looking to researchers to show their research has quantifiable, real-world impacts. And ideally they should publish in open access publications.

Juggling publication quality and research impact

Academics are caught in the middle between the pressure to publish in quality outlets versus the need to demonstrate impact in the broader society. This creates a conundrum for academics in the humanities and social sciences in particular.

A number of participants in our research described the ways in which their university’s performance evaluations are aligned to publishing practices in science, technology and medicine. Citation metrics are commonly used as a proxy for quality in these fields. Books are generally not available or poorly represented in citation databases.

Many respondents felt their institutions devalued book publishing in favour of journal articles and collaborative authorship.

The emphasis on international publication means some subject areas are rated higher than others. For example, academics in Australian studies told us they felt their institutions undervalued their work.

We also observed an increase in the number of journal ranking lists or recommended publisher lists, created internally by universities. These are intended to make “quality” explicit by identifying where academics are advised to publish.

However, these lists discourage academics from publishing with local, niche, emerging or open-access book publishers and journals. These outlets might actually be a better fit for their target audiences and so lead to greater impact.

Distorting the value of academic inquiry

The different expectations of various stakeholders mean academics receive conflicting advice about publishing strategically. Academics are encouraged to engage with the Australian context and communities. At the same time, they are told to produce research that prestigious international journals and publishers will accept.

These pressures lead researchers to publish in ways that reflect how they are being measured. This appears, in turn, to influence their research agendas. The current research landscape seems to be more a reflection of what is being measured, rather than what is needed by society or would advance knowledge.

Academics, especially early career researchers, have no choice but to remain open to changing priorities, be they institutional or governmental. They must balance the contradictions and tensions in academia. In spite of the rhetoric of academic freedom, university performance expectations mean academics are increasingly required to construct their research agendas and publishing strategies to be attractive to grant funders and international publishers.

Apart from affecting individual academics’ careers, these practices have broad social and intellectual costs. For the humanities and social sciences, in particular, these trends could affect the future and relevance of these disciplines in Australia.

Agata Mrva-Montoya, Honorary Associate, Department of Media and Communication, University of Sydney and Edward Luca, Manager, Academic Services, University of Sydney

This article is republished from The Conversation under a Creative Commons license. Read the original article.