A post from my Research Degree Voodoo blog was republished in the Times Higher Education online.
Read the article here:
Often we think that we learned to read by the time we were about 8. We know that we have to continue to learn to write and that the thesis is a major writing task that we have to learn how to succeed in – and there’s a lot of books, advice and workshops out there on improving doctoral writing.
But a lot of the difficulties that doctoral students have in getting started, in powering through the shitty middle, and in getting to completion, are actually caused by reading. And why? Because, and I hate to tell you this, you’re probably reading wrong.
The five biggest reading mistakes and how to avoid them:
Katherine Firth on why you should approach texts less like a Victorian maiden and more like a pirate hero
On 21 July 2014, Katherine Firth returns ‘home’ to Trinity College, the University of Melbourne.
In 2009, Katherine joined the college as a Visiting Research Fellow and Director of Studies (Arts), tutoring and researching in the Residential College. She was Secretary of the Senior Common Room, before moving on to work full-time in Student Services at the University of Melbourne. She maintained her connection to the college, however, retaining the research fellowship and becoming adjunct faculty at the Trinity College Theological School (associated with the University of Divinity).
From 21 July, she will return to the college as Head of Academic Programs, a senior role with responsibility for the Residential College’s tutorial and visiting scholar’s programs.
An invited paper was given to the Royal Overseas League at ANZAC House on 26 May, 2014, on “The Arts of Peace and the 1953 Coronation: Creating a new, modern and free Commonwealth”, discussing some of the findings from Katherine Firth’s doctoral thesis, recently published in the Finzi Journal.
Discussed were A Garland for the Queen and, in passing, the Choral dances from Benjamin Britten’s opera, Gloriana.
The launch of the Theological Commentary, by Andreas Loewe with a new scholarly translation by Katherine Firth will take place on Saturday 12 April 2014, at St Paul’s Cathedral Melbourne.
The Commentary will be launched by the Revd Professor Dorothy Lee, an expert on the Gospel of John, and Dean of Trinity College Theological School, and Frank Woods Distinguished Lecturer in Biblical Studies; and the Very Revd Dr Andreas Loewe, Dean of the Cathedral and author, will give a talk.
Following the launch, The Choir of Trinity College, Melbourne, will perform the St. John Passion, conducted by Jonathan Greives-Smith.
The Commentary will be available on the 12 April as an ebook, with the hardback copies coming in early May.
The Commentary can be ordered from all major online booksellers, or directly from the publisher.
Andreas Loewe’s new Johann Sebastian Bach’s St John Passion: A Theological Commentary includes a new study translation by Katherine Firth.
The translation enables readers who have limited or no German to nonetheless engage with the ideas, word patterns, and meanings of the libretto to the St John Passion (BWV 245). The study translation compliments Loewe’s commentary on the theology and music of the Passion.
This Theological Commentary is the first full-length work in English to consider Johann Sebastian Bach’s St John Passion in its entirety, both the words and the music. Bach’s oratorio is a globally popular musical work, and a significant expression of Lutheran theology.
The commentary has a preface provided by New Testament scholar N.T. Wright.
The Theological Commentary is available from Brill’s website.
I read Rowan William’s poem, ‘Emmaus‘ and speak to Margaret Coffey about what the poem might mean, on ABC National radio’s program Encounter, on the program ‘Bread and Body, Wine and Blood’.
Listen again to the program or read a transcript on the ABC website.
On 17 October 2011, the choir of Trinity College, the University of Melbourne, performed ‘Anthem for the Feast of Any Healer: in memoriam Norman Heatley’ at the opening ceremony for the Melbourne Brain Centre.
The work was commissioned by Dr Jack Best, composed by Micheal Leighton Jones, with words by Katherine Firth.
This was the third performance of the work. The world premiere was at Trinity College, Cambridge; with an Australian premiere of the extended piece at Trinity College, Melbourne, in March 2011.