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ARE WE TOO PROFESSIONAL? | More Intelligent Life

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How did the concept of professionalism become so dominant? And why is it assumed to be innately desirable? Professionalism has certainly travelled a long way in a short time. In the space of a hundred years, the words “professional” and “amateur” have virtually swapped places. At the end of the 19th century, an amateur meant someone who was motivated by the sheer love of doing something; professional was a rare, pejorative term for grubby money-making. Now, amateurism is a byword for sloppiness, disorganisation and ineptitude, while professionalism–as Humphrys suggested–is the default description of excellence.

Over-professionalism is everywhere. Teachers in England are trained to plan lessons in segments of three minutes, a theory which leaves little room for spontaneity in the classroom. They are also often exhausted before term even starts because of the endemic pressure to plan every lesson weeks in advance. It is all too tempting for teachers to sacrifice freshness–which is impossible to measure or record on paper–in favour of form-filling. But can education ever be mapped out in such prescriptive terms? Anthony Seldon, Master of Wellington College, thinks not: “The erosion of trust in education is sucking the life out of classrooms, teachers and students. You can tick all the boxes under the sun and still be a lousy teacher. You cannot encapsulate the human experience of learning in some mechanistic pedantry.”

Measurement is another fetish of professionalism, as if something that cannot be measured isn’t quite real. This was a central criticism by Sir Ivor Roberts, who wrote a stinging valedictory telegram when he retired as the British ambassador in Rome in 2006: “Well-conducted diplomacy cannot properly be measured. We manage or contain disputes; very rarely do we deliver a quantifiable solution. Indeed, we should be sceptical of ‘permanent’ solutions or models.”

Tags: fans, amateur_professional, sports

by: Nele Noppe

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Talk about the cultural economics of fanwork, data gathering and comparative research between Japanese dojinshi and English-language fanwork, and legal, economic and cultural policy issues related to dojinshi and to fanwork in general. This site is a personal research playground cum treasure hoard, and also a resource in the making about the function of dojinshi in Japan's system of cultural production. Warning: mature or triggering content in fanwork may be discussed here. See research ethics.

PhD research data (WIP)

  • Draft thesis text
    • Introduction
      • Problem statement
    • Methodology
      • Methodologies commonly used for fanfic and dojinshi research
      • Development of a theoretical framework and methodology for this project
        • The 'open work' according to Umberto Eco
        • Arguments for viewing fanwork as 'open work'
        • Advantages to viewing fanwork as 'open work'
        • An open work-based methodology in practice
    • Description of samples
      • Sample selection process
    • Analysis of samples
    • Hypothesis based on analysis
    • What is this good for?
    • Conclusion
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    • Dojinshi data set
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    • Glossary of dojinshi terminology
    • Visual grammar of manga dictionary
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