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Office of Grants and Research Services (OGRS): Post-Award
No full textThe Office of Grants and Research Services (OGRS) in conjunction with the Grant Accounting office (GAO) and Corporate, Foundation and Relations (CFR) will be presenting: Post-Award. Topics include: types of awards, understanding the requirements of the award, expenditures, reporting, time and effort, monitoring subawards, travel, equipment, No Cost Extension (NCE)
Caught in Citizenship Limbo: Lessons from the 2025 International Student Visa Crisis in the U.S
Full text linkThe Real Story of “The Happy Mother”: A Narrative Inquiry Exploring the Construction of Motherhood and Postpartum Depression
Full text linkThe transition to motherhood is a complex and challenging period, during which mothers undergo a considerable number of biological, hormonal, and identity changes. The first six to eight weeks following childbirth is a time of great susceptibility to postpartum depression for mothers. Despite its prevalence, there is a lack of research beyond the biological understanding of the experience. Prior literature has examined the biological aspects of postpartum depression and its societal influences on motherhood. However, no prior study has explored how postpartum depression impacts mothers’ construction and understanding of motherhood through investigating their subjective, lived experiences. This study fills that research gap, guided by two research questions: 1) How does the construction of motherhood impact mothers’ experiences of postpartum depression? 2) How do their experiences of postpartum depression impact their constructions of motherhood? The study conducted a narrative analysis on ten mothers who had experienced postpartum depression within the past six years but were not currently depressed. The narratives were analyzed using a content-holistic method and applying the hermeneutics of demystification, through which several predominant master narratives emerged. This comprised messages about what a good mother is, which included that a good mother sacrifices her own needs and focus on those of her child, prioritizes motherhood, and always opts for and successfully completes the instinctual aspects of motherhood. Counternarratives included the misalignment of preconceived notions of motherhood with lived realities, motherhood being far harder than expected, and realizing that there is no such thing as a perfect mother. This paper also discusses the limitations of the study, alongside implications for theory, practice, advocacy and policy, and future research
How AI has Improved and Built Upon Previous Methods in Determining Protein Structures and Folding
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“Umble” Vampirism: Socioeconomic Scapegoats and David Copperfield
Full text linkThe narrative framing of David Copperfield is oriented in a way that ignores the flaws of its titular hero. Dickens’ autobiographical David Copperfield is compounded to entertain readers. His social mobility refines their perception of David into a middle class gentleman who is neither aristocratic, nor working class. It is David’s narration which helps facilitate such a companionship between himself and the reader, clouding any serious criticisms behind the guise of his charm. The doubling of bias layered within the novel’s narrative structure thereby poses David as a sort-of golden boy. That is, Dickens’ adoration for his protagonist, coupled with David’s egocentric point of view, convince the reader of David’s innocence. Though he is not an objectively horrible man, David frequently remains willfully ignorant to the plights of those around him. Only when he feels threatened does he consider said plights, and in these cases his considerations are coded in fairy-tale-like criticisms of their appearance, manners, and “station”—a term David is undeniably fascinated by. I argue this is David’s way of rejecting the socioeconomic identity that has been superimposed onto him. In separating himself from these seemingly monstrous figures of the working class, David effectively establishes himself as an aristocrat.
As a way of exploring David’s narrative bias, this paper focuses on his nemesis, Uriah Heep. As doppelganger to Copperfield, Uriah represents the hard work associated with the proletariat. To be sure, Uriah certainly practices immoral and shady behavior; however, the novel portrays these practices as a presumed, naturalized aspect of his nature, attributed specifically to his seemingly inappropriate social mobility. Like David, he grows up without a true father figure, leaving his family in financial turmoil. Thus, once again mimetic of David, he is forced into the work force as a means of survival. Their differences are highlighted once David actively ignores the working-class identity associated to his socioeconomic status. He outright rejects this identification, instead assuming the role of an aristocrat under the guardianship of Aunt Betsey and Mr. Dick. This rejection in turn forms an abjection of Uriah’s identity, casting him and the proletariat into the undefinably horrific Other. Thus, within David and Uriah’s relationship lies a consideration of the middle-class that unveils cannibalistic mechanisms within the core of middle class identity formation; as this new, perhaps confused, socioeconomic identity grows in population, it simultaneously shrinks in contempt of itself. The novel stakes this claim by juxtaposing David and Uriah upon one another—its plot is reliant on supposing Uriah as a criminal. Both men effectively represent the same plights of Britain’s working class; however, David ascends the societal ladder, seemingly finding a means of escape from his labor. On the other hand, Uriah is continuously buried under the charismatic bourgeoise boys-club within Mr. Wickfield’s firm. Stated simply, Uriah must contend with the tyranny of capitalism, whereas David is afforded the opportunity of being an eccentric, working class aristocrat. Seemingly due to his likable and charismatic nature, David, rejecting his comrade, would rather deny his status as a middle-class laborer than take pride in it
