As market specialization and technical sophistication (esp. A similar program at Stanford emerged in the late 1970s, and in Canada the Banff Publishing Workshop was established in the early 1980s after the Radcliffe model: a short, intensive industry-led breeding ground for the next generation of publishing professionals.
#Ischool polymath professional#
In North America, professional development and in-service courses (most famously the with Radcliffe Publishing Course in the 1950s, later reestablished at Columbia) led the way. In the UK, a variety of university-based graduate programs emerged, dating back to the early 1960s at Oxford Brookes (then Oxford Polytechnic) and Edinburgh Napier (then Napier College), with several other Universities following in later years. Bright young people with liberal arts educations had always been a foundation, but the rise of specific publishing studies courses, workshops, and degree programs spoke to the need for a more targeted skill set. The maturity and growth of publishing markets and the firms that served them demanded employees who could serve that growth. Modern publishing education in the West gelled in the late-20th century, largely as an institutional response to a need for trained employees in a stable industry with a well understood set of competencies and skills. And it can do it without losing sight of an essential playfulness that leads to experience with the limits of what is possible. It is to nurture that cohort in a context of high-level discourse and practices, collectively generating and renewing the culture of publishing. Publishing education’s role, then, is the gathering and cultivation of those people who will take on this tradition, who will renew it and re-energize it. It argues that the foremost role for publishing education is in the grounding and nurturing of a set of values and virtues that are undoubtedly core to publishing in its industrial manifestation, but which serve a cultural milieu that transcends industry per se. It argues that publishing education-especially in a university setting-can serve a broader and longer-term agenda than typically realized in the industry training model upon which it has largely been founded. This essay looks at the role of publishing education within a larger ecology of publishing: as it has evolved in recent decades as it has responded to industry and market needs and as it cultivates a community of practice that is perhaps more resilient than many would expect. Publication is not the production of books but the production of a public for whom those books have meaning.Īt a time when both publishing and post-secondary education are in disruption, what is the role for university-level publishing education? To the extent that publishing education is construed as a kind of industry training, what are we to make of its future prospects as the industry itself struggles to navigate increasingly uncertain waters, struggles even to justify its own existence in the transition to a digital world? What can the publishing industry ask or want of the academy in such times?
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