To Cut Up Nightingales

dc.bibliographicCitation.article	2
dc.bibliographicCitation.volume	76
dc.contributor.author	Güthenke, Constanze
dc.date.accessioned	2025-03-10T07:51:31Z
dc.date.available	2025-03-10T07:51:31Z
dc.date.issued	2025
dc.description.abstract	If the American "classic" is involved in the dynamic of canons, value, and style, then what is the role of Classics as a field, and of the professional classicist? I argue that with the emergence of the professional classicist came significant anxiety, particularly regarding the transformative and unsettling consequences of specialist research. By discussing ostensibly established classicists like Basil Gildersleeve or Paul Shorey alongside Helen Magill, the first American woman to receive a PhD in Classics, I aim to destabilize the center of what establishment may or may not have meant in light of a shared, unsettled preoccupation with what a professional approach to a canon and a classic could be and ought to be.
dc.identifier.doi	10.18422/76-2094
dc.identifier.uri	http://resolver.sub.uni-goettingen.de/purl?fidaac-11858/3419
dc.language.iso	eng
dc.relation.issn	2750-7327
dc.relation.journal	New American Studies Journal
dc.relation.journalalt	A Forum
dc.rights	L::CC BY 4.0
dc.subject.ddc	ddc:370
dc.subject.ddc	ddc:973
dc.subject.field	americanstudies
dc.subject.field	scienceresearch
dc.subject.field	history
dc.title	To Cut Up Nightingales
dc.title.alternative	What Makes an American Classicist?
dc.type	article
dc.type.version	publishedVersion
dspace.entity.type	Publication