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But it will help amazingly well with basic translations, conjugations, verbs, pronouns, tenses, etc..... which is exactly what this person is asking for. Sure, I don't NEED to know how to say "She has a pretty green shirt" in French for translation, but the fundamentals of practicing are all there AND duolingo isn't simply just the lessons they give you, you're given a slew of translation opportunities on the website which is how it runs/pays for itself. You give the world free translations, and they teach you how to translate. It's a GREAT resource, especially since the articles for translation come in a variety of different lengths/subjects. I wouldn't discount duolingo unless you actually use it.

Maybe. Many museum studies degrees are going to be either related to collections care/management and education (and by some extent, research), so I don't know if they'll meet your true goals. In this case, it's probably best to just outright email people who do things you'd like to be doing, or to buy/ILL/check out a few books on science based careers in museums. Actually, what will inevitably be helpful is just reading books about sciences in museums in general, so here goes: Books: A Practical Guide to Museum Careers A Life in Museums: Managing your Museum Career Nontraditional Careers in Science Creating Connections: Museums and the Public Understanding of Current Research Museum Informatics: People, Information, and Technology in Museums By Press: Alta Mira: The Green Museum A Primer on Environmental Practice - Second Edition What Makes Learning Fun? Principles for the Design of Intrinsically Motivating Museum Exhibits Landscapes and Gardens for Historic Buildings A Handbook for Reproducing and Creating Authentic Landscape Settings - Second Fluid Preservation A Comprehensive Reference Left Coast Press: Dinosaurs and Dioramas Creating Natural History Exhibitions Group Inquiry at Science Museum Exhibits Getting Visitors to Ask Juicy Questions Science & Civic Life Museums & Social Issues 4:1 Thematic Issue The Intersection of Museums and The Learning Sciences Journal of Museum Education 33:2 Thematic Issue http://www.lcoastpress.com/books_subject.php?id=60 AAM http://www.aam-us.org/resources/bookstore - Career Management I'm sure you've already looked, but the list on the Smithsonian's website clearly lists a few programs that might be of interest: Arizona State University Tempe, AZ 85287 Master of Arts in Anthropology and Certificate in Museum Anthropology School of Human Evolution and Social Change, Museum Anthropology Program Master of Arts in Anthropology with a concentration in Museum Anthropology and Certificate in Museum Anthropology explores how museums actively produce knowledge, as well as examine fundamental questions concerning the role of museums in societies all over the world. University of Colorado Boulder, CO 80309 Master of Science in Museum and Field Studies and Certificate Graduate Program in Museum and Field Studies Program offers a Master's of Science in Museum and Field Studies, as well as a Professional Certificate option for museum professionals and graduate students in other departments. Eastern Michigan University Ypsilanti, MI 48197 Master of Science in Historic Preservation and Graduate Certificate in Historic Preservation Department of Geography and Geology, Historic Preservation Program MS degree with concentrations in: General Studies, Heritage Interpretation, Tourism and Administration, Preservation Planning, Conservation and Technology, and a graduate Certificate Program; Prepares students from a variety of educational and career backgrounds for professional service in the fields of preservation planning, historic administration, and heritage interpretation by providing both classroom theory and practical experience. University of Michigan Ann Arbor, MI 48109 Museum Studies Certificate - Undergraduate or Graduate Museum Studies Program Prepares individuals for innovative careers in museums and non-profit institutions. Designed to be flexible and tailored to a student’s specific interests. Students represent diverse majors, including art history, studio art, anthropology, communication arts, history and urban studies, zoology, fisheries and wildlife, geography, recreation, tourism and resource studies. Can be incorporated as a part of, or as an extension to, an undergraduate or graduate degree program. Bank Street College of Education New York, NY 10025 Master of Science in Education Childhood (grades 1-6) teaching certification Museum Education: Childhood (grades 1-6) Prepares students for two professional roles: that of a museum educator knowledgeable about children and schools; and that of a classroom teacher in grades 1 through 6, skilled in making effective use of museum resources. Master of Science in Education (no teaching certification) Museum Education (non-certification) Museum Education (non-certification); Prepares students to be a museum educator knowledgeable about children and schools, and work with diverse museum visitors of all ages. Program provides a foundation in human development, learning theories, school curriculum, and museum policy and practice, with field experiences in museums and schools. Master of Science in Education Leadership in Museum Education Leadership in Museum Education is geared to professionals and prepares educators for leadership positions in museums or cultural institutions. Year One provides the foundation for effective program and audience development with classes on human development, learning theory, exhibit development, and program design and evaluation. Year Two focuses on organizational management including leadership styles, understanding the role of the mission, strategic planning and board responsibilities, marketing, financial management and staff development. State University of New York College at Buffalo Buffalo, NY 14222 Multidisciplinary Studies - Museum Studies Option, Master of Arts, Master of Science Department of History and Social Studies Education Multidisciplinary studies programs are designed for individuals with unique professional and educational objectives not readily met by traditional master’s degree programs. Provides students with the conceptual and professional tools required for leadership roles in contemporary museums. The program is designed for individuals seeking employment in the evolving world of contemporary museums, and offers students maximum flexibility to design a museum studies program that suits their background, interests, and career plans. Primary disciplines contributing to the program typically include history and social studies education, fine art, design, anthropology, art education, and design. Secondary disciplines might include creative studies, science education, business, economics, communication, art conservation, and educational technology. University of Oregon Eugene, OR 97403 Master of Science in Historic Preservation Historic Preservation Program Interdisciplinary focus within the School of Architecture and Allied Arts; Three concentration areas: Preservation Theory, Design, and Technology; Preservation Planning and Cultural Resource Management; and Resource Identification and Evaluation. Students develop broad cultural concerns with a technical emphasis. Attention is given to historic places, buildings, and landscapes in terms of their specific forms, materials, and construction; the cultural and theoretical context in which they were developed; the impact of time upon their materials, meanings and functions; and the technologies, interpretations and means for sustaining the presence of historic places in the future. Undergraduate Minor available as well. University of Pennsylvania Philadelphia, PA 19104 Master of Science in Historic Preservation and Historic Preservation Certificates Graduate Program in Historic Preservation Historic preservation addresses change responsive to the historic environment; Provides an integrated approach for architects, landscape architects, planners, historians, archaeologists, conservators, managers, and other professionals to understand, sustain, and transform the existing environment. Students learn to identify and analyze cultural places and their historic fabric, determine significance and value, and design appropriate conservation and management measures. Texas Tech University Lubbock, TX 79409 Master of Arts in Museum Science and a Master of Science in Heritage Management Museum Science Program The Center for Advanced Study (CFAS) of Museum Science and Heritage Management prepares graduate students for entry into the international community of active professionals by providing both theoretical and practical preparation. Emphasizes thorough preparation in the broad spectrum of museum theory and practice; Receive a comprehensive background in museum studies, preparing students as generalists; Students may elect to become specialized in a number of museum subdisciplines including collection management; exhibitions and interpretation; museology; museum management and administration; and curatorship in anthropology, art, history, or the natural sciences. University of Wisconsin-Milwaukee Milwaukee, WI 53201 Museum Studies Graduate Certificate Department of Anthropology, Museum Studies Certificate Program Provides an overview of museum work, including philosophical and contemporary issues, museum history and methodology, collections care and management, curation, interpretation, preventive conservation, and exhibitions. Coursework is structured to develop a high degree of professionalism and responsibility, skills in problem solving, critical thinking and evaluation, writing, oral presentation, decision-making, and teamwork. Of course if your interest is less in education, collections management, conservation, etc -- then perhaps continuing on a pure science degree and interning your self out to museums would be better.

Hold up. To clarify: You believe you could get into a more prestigious school for the MFA in creative writing than say, a PhD in art history, am I correct? I think what needs to be said here, is that some people will always believe you have to be in a top ten. I think this is maybe true for fields like Philosophy, but not necessarily true everywhere, especially here. Keeping in mind that for many people in the field it's who and what you know. If your subfield is over-saturated, it's just going to plain be a problem no matter what. If you're not in the top ten BUT you know well connected people or are studying under an established and well known scholar...well then, you're talking about something different. Getting hired isn't a process that happens in a vacuum. If people hiring already know you through your advisor/committee/experience in the field/conferences/etc, it's again, going to be different than going up against the candidate who is less familiar but has a great institution name. What the name of an institution really matters is less that it's an Ivy at this point, and more that the school has a reputation for something you want to be known for, or similarly, your advisor has a reputation, etc. Going to Podunk #46 State school for your PhD isn't necessarily bad if you're studying say, Ancient Egyptian Art and they're really well known for it, and have an abundance of facilities and research in the area. Going to Northwestern for Art History is impressive, but not exactly helpful if you're hoping to study Pre-columbian Art. So like you've surmised, the ranks don't exactly match to the internal ranking system people do in real life. What's more important is the connection of your school or advisor/committee to have recognition for what you are studying in your sub-field. If you go to Podunk, you want people to go "OH, they have an AMAZING scholar/focus on [thing you study]." I have no idea how well writing poetry would serve you in the job market in general, but they are obviously completely different degrees. If you want to be in Art History -- seriously and completely -- then apply to funded MA's, and then you'll have a much better chance at getting into whatever top notch PhD you really want if you are an excellent scholar, etc. To me, they're different fields, with different requirements and goals. I know some people with creative writing MFAs who work in museums, but they're A.) not in poetry and B.) not curatorial or academic. What do you want from your degree? Do you need a degree to be a poet? In art history, a degree is required to work or teach in the field, almost universally. Of course, no degree is required to appreciate art, or even to volunteer in places with amazing works of art. What do you want to be hired for, what do you want to do, and then work from that. I see no reason to do a degree in Art History if you'd rather be teaching Poetry, or have an MFA in Poetry if you really want to be an Art History professor. If the money is of no question, then do whatever makes you most happy -- neither are guaranteed to give you a job anyways.

Yeah you're going to be extremely limited on the West coast. UC Irvine discontinued their Appraiser's decorative arts courses some years back http://unex.uci.edu/areas/arts_culture/appraisals/ Your dec arts specific programs are limited in general: Winterthur/U Delaware, Bard, George Mason/Smithsonian, and Parsons/Cooper Hewitt. The amount of scholars working not in one of these above programs (or are simply in a general Art History department) but whose interests intersect with them are a fair few more, but concentrated on the East Coast. This was great for me because I wanted to move east, and the options are essentially, NYC, DC, or Delaware (which lies between the two cities). ASU does not have a program in decorative arts, however as an alumna I A.) found the faculty to be absolutely wonderful B.) found them extremely helpful. If you can afford to pay for ASU (I don't know that they award much for MAs in Art History), I think there are some pluses and minuses. I liked my professors and the ease of visiting local museums, and enjoyed the seminars I took. However, ASU is a big institution and acts like one. The professors will get to know you, but the administration of the university may be complicated. The 19th century scholar Julie Codell mostly works in Victorian/Pre-Raphaelite stuff and material culture, but covers france in coursework. The Americanist is Betsy Fahlman, and she has recently had a lot of interest in Public Art and women's art. She is also the point-person for all internships and work experience. However the only 19th century American decorative arts specific collection in AZ is two hours south in Tucson Museum of Art's decorative arts home. The Phoenix Art Museum may have paintings of interest, and the Heard may have things related to Native American dec arts but you'd need to be flexible enough to also look at history museums or just interning summers as a two hour commute is not practical. If, on the off chance, you mean ASU's Museum Studies/Material Culture MA, it is not actually connected with the art history department or even the museum studies BA degree, but with the Anthropology school. It's a bizarre flaw in the system, but there you go. If you're interested in more anthropological/historical work with material culture, you might look into it. in interest of disclosure I'm on the East coast in an art history program with scholars who also study dec arts.

Alright this may seem like a weird question, but how many of you first year grads feel vaguely ill or sick? I've been talking to a friend in my cohort over coffee about the weird, slightly "off" feeling we both have. We've only been in classes for a week and a half, but both of us feel like we have a sort of "new Grad malaise". Our symptoms are rather general and could probably be attributed to other things, but we've both felt slightly feverish at times, aching joints, and a nagging sort of exhaustion. The thing is, I might believe this was the flu if i felt any more sick, but besides being hot under the collar and tired, I feel fine. It's not anything specific per se, but a general ache and exhaustion. I personally have already been to the campus health center, and I was fine. Clean bill of health! It could simply be the stress of a new environment, but I don't feel overly stressed and I love my program. So the only other thing I could pin it down to is some kind of "new school/grad student malaise". Does anyone else feel like this? Slightly off or ill? Or have experience with it in their own first year? I've also had a major relocation - switched 3 time zones and a big climate difference (from dry to humid), which might contribute. Crazy, or common place?

This would be a different story, I think, if the person was a humanities student, where additional foreign languages are required. But it doesn't seem like that's always the case in STEM.

I have basically nothing up and got accepted to a PhD -- but I have a pretty thorough LinkedIn. I just feel weird about loading up my academic papers. Like things may not necessarily reflect what I write now? And certainly what was acceptable to turn in for classwork isn't necessarily ready for publishing, so I'd want to refine and edit more People keep looking at my profile, however. I'm just not sure if I should put things up just to have something, or if they'll "taint" my highest quality work. Should everything be super polished and ready to publish, or are class papers fine? I'd also love to hear from more experienced folks!

I would think your biggest concern would be knowing if you know how to (and can prove to yourself) you can buckle down and retain a steady pace of work, attend all your classes, write your essays on time, and finish your work, write in a readable prose not in a stylish mimic of James Joyce (which would be inappropriate for academic writing). You'd have to prove with multiple recommendation letters, and I'm assuming -- additional courses at a higher level -- that you don't just understand the material, but can also handle the actual work. If you can't prove the latter, at minimal, you won't have much of a shot at graduate school, because time management, work, readings, following the expected academic styles for your field, and having a work ethic are all things you need to be successful.

I did (presented at) an undergrad conference shortly before I graduated this year -- and it was great because I was not expected to be totally practiced at it yet, but got the experience under my belt. It was great, and I'm glad I did it so that when I begin my PhD program in the fall, I don't feel as if I've never experienced a conference before. I'm also of the opinion that practice makes perfect, so while I took it seriously, I knew I would also make mistakes and learn from them for the next conference. I enjoyed it, and public speaking is a fairly common part of my field, so my question would be -- why wouldn't you pursue as many opportunities as feasible? It made sense for me, as an UG to do an UG conference. And if there was one locally I was asked to chair, or wanted to visit (they do have guest speakers!) I would go. Local conferences are also -- local -- and may be cheaper, depending on where you are. It connects you to your more immediate surroundings of colleagues, a more intimate setting, and a smaller trial run space for ideas that need more tweaking.

It *can* be ignoring someone. But it's "an indirect expression of hostility", like being sarcastic, "making jokes", procrastinating because you know it will harm the other person, being resentful, sullen, stubborn, and then using it to inflict upon someone else like intentional inefficiency or sabotaging work, or planned lateness. In other words, being a complete pain in the ass in such a way that it's harder to prove you're doing anything wrong. But it wouldn't, say, be the same as dealing with different regional or even country-based work attitudes (like, say, the commonalities of being indirect in East Asian countries, group work, and "saving face" is not the same because no one is being hostile directly or indirectly, and in actuality, being indirect prevents actions seen as hostile), being passive aggressive is not avoiding conflict but creating conflict indirectly. All that said, I usually maintain a policy of being direct and open with people. If (and when) they become passive aggressive, I look to see if they are actually going to cause me any problems outside of being annoying. If I can "fix" any problems they create by not relying on them, I do so. If I have to rely on them anyways, that's when I'd speak with a supervisor, etc.

I always recommend museums for socializing. I suppose I'm technically cheating -- going to a museum can essentially be homework for me (and often is), but I try to recruit other people outside of my field to go with me. Though I won't start my program until fall, I did have a moment where i was doing 21 credits and working two jobs at once. I was lucky that I had work friends to chat with. Our biggest hurdle in having free time is usually that we don't schedule it, and don't plan it. People expect things to be easy and spontaneous like in childhood, but it just doesn't work out that way. I scheduled a specific time that myself and another friend didn't have classes or work that semester so we could meet, have coffee/breakfast, and catch up. Literally it was only a firm hour once a week, but it was really nice to have. I find combining a food break with a friend break can ensure you get a real amount of time to eat and to socialize. Cook dinner, even! Schedule everything you *must* do in a block schedule format first (ie lab hours, work hours, sleep, classes). Then schedule your meals in 30 min - 1 hr long blocks, and then schedule basic prep time (showers, dressing, etc). When the necessities are covered, add flexible research/writing blocks, study blocks, and so on. When you have blocks (think in terms of 15 minutes, 30 minutes, 50 minutes, or an hour) of work filled out find the remaining time and make it free time. See fellow classmates after class. See them for lunch. Find a study group at the coffee shop or make your own and offer to bring snacks. Find an extracurricular class (sports, yoga, painting, dance, whatever) at school, at a local facility or community rec center. There's no such thing as zero time to do something - if you make a schedule and and understand what is immovable and what isn't. Is 30 hours a week of research a requirement or is that just the number you feel you need to do? Is it 30 hours of efficient work, or 30 hours of some efficient work, and then some feeling restless and bored because you're slogging through things?

For Art History, I just grabbed the CAA guide to graduate programs, but for History itself I'd just use the NCPH database for Public History and the AHA's by specialization search. I made a spread sheet of all the schools and a list of general areas I was interested in meeting - theoretically, geographically, specialty-wise, whatever, and chose to apply to the schools that had the most "matches" to me and my interests. When I had a long list of places that met basic areas of interest, I went back and looked for specific professors at each school. If none of them interested me, they went off the list. It shouldn't take six months?

Mm, I was told that I should simply "get fantastic letters from full professors" (this was from a non-tenured Prof w/ a PhD) as opposed to lukewarm ones. I actually had an ABD instructor explicitly tell my class that she would be a bad choice for writing LORs because she was ABD -- but that she was more than willing to help us with the applications process if we needed it. My full professors all re-iterated this by saying they were good choices because they were tenured. So the answer my school would give you? "No, we don't recommend it. You should just manage to get good letters from tenured professors." The issue with being ABD is that they haven't completed the PhD so how can they speak to someone else's ability to do the same? (or so the logic I was told goes). The LOR might be okay for an MA (if she's strongly connected with the school and profs) but for a PhD I would perhaps just ask for an informal word in my favor rather than a LOR.

They won't bother. They don't want answers -- especially not from women who object to being dismissed. That's it. That's the crux of it -- I find the show offensive and dismissive and because they don't like my opinions and the fact that I object to marginalization as "humor", they will dismiss my objections. Big Bang Theory pisses me off for this exact reason. I couldn't ask for a more clear illustration of my objection to the show, its writing, and the attitudes that follow it. They did not want an actual answer to their question, they wanted validation and to feel superior.

Because apparently this is how the show is written: Or: It's not actually funny. The joke is "haha look at these losers". I find that boring. I don't actually see anything related to myself as an "academic" so I think you mean STEM Academics. I could care less -- though I was raised by an original wave D&D player, it incidentally, has little to do with "academia" for me. I was raised in nerd/geek culture but I still find much of it detestable (see: San Diego Comicon refuses to admit there is a sexual harassment problem at Cons) We're also expected to laugh when a woman wanders into a comic book shop "is she lost?" instead of realizing this is not weird or unusual and also not a joke. We're expected to laugh when things that look like gay advances are played out between male characters - we're supposed to find "predatory lesbian advances" funny (between Penny and Amy). We're supposed to laugh at "quirky" qualities that remind us of Aspergers. It's not funny. It's sexist, it's ableist, it's homophobic, it's racist. This is old and tired and boring. I think this just implies you were going to refuse all counter-arguments from the beginning. "stereotypes have a purpose". Yes! They do serve a purpose in our culture -- for anyone out there studying human behavior, sociology, media studies, humanities & what have you, we know this. Even a quick wikipedia will tell you what that purpose is!: Stereotypes, prejudice, and discrimination are understood as related but different concepts.[8][9][10][11] Stereotypes are regarded as the most cognitive component and often occurs without conscious awareness, whereas prejudice is the affective component of stereotyping and discrimination is the behavioral component of prejudicial reactions.[8][9][12] In this tripartite view of intergroup attitudes, stereotypes reflect expectations and beliefs about the characteristics of members of groups perceived as different from one's own, prejudice represents the emotional response, and discrimination refers to actions.[8][9] Although related, the three concepts can exist independently of each other.[9][13] According to Daniel Katz and Kenneth Braly, stereotyping leads to racial prejudice when people emotionally react to the name of a group, ascribe characteristics to members of that group, and then evaluate those characteristics.[10] Possible prejudicial effects of stereotypes[3] are: Justification of ill-founded prejudices or ignorance Unwillingness to rethink one's attitudes and behavior towards stereotyped groups Preventing some people of stereotyped groups from entering or succeeding in activities or fields[14] huh. Who would have thought, right? You mean like how women don't enter STEM fields at the same rates as men do? Weird, right? Our Media and culture couldn't POOOOSSSIBLY affect this phenomenon, right? The audience laughs at Penny because Penny (a woman) is the joke. That's it. The crux of the humor regarding Penny is she's a funny dumb girl who doesn't "get" nerd culture. And I'm sick and tired of bad, lazy writing which alienates me. It has nothing to do with feeling misrepresented as a nerd and everything to do with a lack of basic human decency and respect towards being a woman in the "nerd" culture. Other sitcoms exist. I pretend TBBT doesn't.