LaTeX Template for Columbia University Dissertations

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Like many other academics, I’m writing my dissertation using LaTeX. It’s great software to use for preparing large documents with complex citations. My impression is that most academics who use LaTeX work in the sciences or mathematics, but I know I lot of people in humanities departments (especially philosophy) who use it, too.

Columbia (like most universities) requires dissertations to follow very particular formatting guidelines, and it can be tricky to get LaTeX to do exactly what you want regarding formatting. (In fact, one of the great advantages of using LaTeX is that it automatically formats your documents really well.) I wrote a template to meet the guidelines for dissertations at Columbia, and I’ve posted the template here at GitHub. The template should be really helpful for anyone writing a dissertation here. Even if you study at a different university, the template could be useful just to get your formatting on the right track.

The template includes some extra features on top of fulfilling these formatting guidelines. It sets up Unicode support, it provides a folder structure to keep your chapters organized, and it sets up a citation style (using biblatex) that should be especially helpful for students in the humanities.

Stravinsky’s Grand Choral (from L’histoire du soldat)

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The college class that exerts the most influence on my day-to-day life is Music 51: Theory and Composition. Influence at least construed as whistling repertoire. Leading tones and parallel fifths aren’t really relevant to my job as a Latinist, except maybe when looking at a manuscript like the example above from The Cloisters.

Anyhow, last night I was digging through some old course materials, and I found a piano transcription/adaptation of Stravinsky’s Grand Choral from his suite L’histoire du soldat. It’s a really remarkable piece especially if you’ve ever looked at baroque chorales. The original suite, written for septet, is based on an old Russian parable, and performances often include narration. It sounds like a modernist version of Peter and the Wolf written by Bach.

I’ve uploaded a copy of the music here, and you can find the full-size .jpg linked below. If anyone is really good at typesetting sheet music with MuseScore, it would be great to have a smaller non-image version for transposing and making PDFs.

You can listen to the original version (including narration) here. And many thanks to the stranger who first made this transcription of such a great piece of music!

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Travel, Magistra Vitae

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“We no longer seek a cultural centre, the journey is no longer finite,” writes Ted Scheinman of today’s young travelers and their updated Grand Tour. Gone are the days when monied Englishmen would traipse around Western Europe, hunting for taste and refinement on the Continent.

Today’s travelers are not just the elites of Britain, nor are they so narrow in their geographic interests. They no longer visit a small constellation of European hubs in search of culture and history. Having left behind this Cassiopeia, they explore a limitless galaxy of vineyards and mountains, temples and villages, and yes, sometimes even museums.

Scheinman’s right to point out that today’s travel is less about finding the center of the world and more about centering your own world. I’d like to suggest that in addition to widening their geographic and cultural boundaries, today’s critical and savvy “Grand Tourists” also widen their own temporal and even ethical views.

As Scheinman writes, Richard Lassels (who coined the term “Grand Tour”) believed that “travel is central to the four areas of improvement and education: intellectual, social, ethical, and political.” Yet as Alexander Pope reminds us, travel abroad was and is often an exercise in luxury if not decadence. The English traveler of yore “Tried all hors-d’œuvres, all liqueurs defined, / Judicious drank, and greatly daring dined.” I have to admit, these lines remind me of some of my own wine-soaked experiences of summertime Italy.

But I’ve been reminded recently of how this original aim of travel as ethical edification is still alive today. This past July, a teenager posted a saccharine selfie taken at Auschwitz, the notorious World War II concentration camp. The Internet’s collective blood boiled at the ignorance of history and the appropriation of atrocious inhumanity as tactless backdrop. Tourists, so we learned, are expected to learn the errors of history, not simply to enjoy the view.

A similar but perhaps less obvious example is the Colosseum in Rome. As a teacher of the Latin education program to which Scheinman refers throughout his article, I have taken students to this Roman mega-monument (or perhaps magno-monument?) more times than I can enumerare. Around this building one finds sunburned men in gladiator costumes, waiting to take silly photographs with tourists. Most visitors are simply “doing” the Colosseum: they take a couple pictures, they march quickly around the inside looking for shade, and they make a few thumb motions from that movie about that guy with the sword or whatever.

But as museum placards, surviving literature from Augustine and Martial, and sure, even Russell Crowe in Gladiator remind us, we should be awestruck by more than the beauty of this massive stone theater. We should also marvel at the savagery of the Flavian emperors and at the forgotten victims who died cruel, violent deaths on the Colosseum floor. To do more than “doing” the Colosseum requires travelers to seek out tragedy and loss.

Learning about these travesties should never be an excuse to develop smug presentism. Yes, autocratic empires infringed upon basic human rights, and yes, the brutality of war merits a more contemplative reaction than a wide grin. But inhumanity is a historical constant. It is a hard lesson to learn, but one we must study vigilantly.

Travel itself may, in fact, be the best teacher of this lesson. Like Cicero’s historia, travel can be a modern magistra vitae: a “teacher of life” that both demands and provides our geographic, temporal, cultural, and ethical consciousness. It allows us to learn about the faults and accomplishments of the past, the problems and progress of the present, and the dangers and promise of the future. Travel shows us that these dimensions of history and experience, perhaps as Lassels himself originally conceived, are inseparable.