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To Tom Wescott:
Although a tiny field per se, musicology appears huge compared to Ripperology, and there are tons of international publications, not necessarily competing with each other, at least not directly. Plus, even if there is antagonism (as in every field of scholarship), there's never been a precedent of sources been withheld between colleagues. Obviously we don't work at all with sensitive police files, but for opera we work a lot with politics and censorship, often researching sensitive matters (of the past) and financial records of people having engaged in not too clean business.
I completely understand how it would be a huge faux pas to submit an article to 2 (or 3, but no more than 4, as this is all there is today) different Ripperological publications.
As for editing, I wouldn't wish to work as an editor in a mag or publishing firm either, as I too lack the patience for this, and prefer to write my own texts. Although, to be honest, I prefer doing research even better than writing, or, more accurately, I prefer to present my text at a conference when it's done. Having to write it, at least in the initial state, brings up laziness and procrastination. The editing I'll do in my line of job pertains to Acts of conferences – as the 2 I'll be organising in the next 2 years, for which I was careful to invite people (young and old) whom I very much respect and admire, so that not only the conference is productive, but I won't be bored to death editing their texts for publication. (And for most of these colleagues it remains to be seen if I'm worthy enough to be “editing“ their written word.
)
Now back to my paper on deadline, for which I'm most deeply disgusted with myself for being so indifferent and lazy.
Oh, and to attempt a (lame) return to the thread's subject, with most profound apologies to The Grave Maurice. Chris George just sent me Rip 117. How can one not subscribe after such a generous gesture?
Although a tiny field per se, musicology appears huge compared to Ripperology, and there are tons of international publications, not necessarily competing with each other, at least not directly. Plus, even if there is antagonism (as in every field of scholarship), there's never been a precedent of sources been withheld between colleagues. Obviously we don't work at all with sensitive police files, but for opera we work a lot with politics and censorship, often researching sensitive matters (of the past) and financial records of people having engaged in not too clean business.
I completely understand how it would be a huge faux pas to submit an article to 2 (or 3, but no more than 4, as this is all there is today) different Ripperological publications.
As for editing, I wouldn't wish to work as an editor in a mag or publishing firm either, as I too lack the patience for this, and prefer to write my own texts. Although, to be honest, I prefer doing research even better than writing, or, more accurately, I prefer to present my text at a conference when it's done. Having to write it, at least in the initial state, brings up laziness and procrastination. The editing I'll do in my line of job pertains to Acts of conferences – as the 2 I'll be organising in the next 2 years, for which I was careful to invite people (young and old) whom I very much respect and admire, so that not only the conference is productive, but I won't be bored to death editing their texts for publication. (And for most of these colleagues it remains to be seen if I'm worthy enough to be “editing“ their written word.
)Now back to my paper on deadline, for which I'm most deeply disgusted with myself for being so indifferent and lazy.
Oh, and to attempt a (lame) return to the thread's subject, with most profound apologies to The Grave Maurice. Chris George just sent me Rip 117. How can one not subscribe after such a generous gesture?
).
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