Dugaw, Dianne (M.) 1948–

PERSONAL: Born August 24, 1948, in Seattle, WA; daughter of W. J. (a doctor) and Donna (a nurse; maiden name, Lund) Dugaw; companion of Amanda Powell (a writer, translator, and scholar). Ethnicity: "Euroamerican." Education: University of Portland, B.A. (English), 1971; University of Colorado, M.Mus. (musicology), 1974; University of California at Los Angeles, Ph.D. (English), 1982.

ADDRESSES: Home—3520 Glen Oak Dr., Eugene, OR 97405. Office—Department of English, University of Oregon, Eugene, OR 97403-1286. E-mail—[email protected].

CAREER: University of California at Los Angeles, visiting lecturer in composition, 1982–85; University of Colorado at Boulder, assistant professor of English, 1985–89, member of executive committee of Center for British Studies, 1988–89, member of women studies executive committee, 1988–89; Harvard University, Cambridge, MA, Mellon teaching fellow, 1989–90; University of Oregon, Eugene, associate professor, 1990–98, professor of English, 1999–, member of executive committee of Center for the Study of Women in Society, 1992–93. Grinnell College, Grinnell, IA, guest lecturer, 1992; speaker at other institutions, including Memorial University of Newfoundland, Lehigh University, Washington State University, University of Minnesota, University of Northern Kentucky, Simon Fraser University, Linfield College, and Graduate Center of the City University of New York. Musician and folk singer, including performances at Oregon Festival of American Music, 1995, at New York City People's Poetry Gathering, 2003, and for Oregon Council for the Humanities.

MEMBER: Modern Language Association of America (member of executive committee, Folklore and Literature, 1986–90, and Restoration and Eighteenth-Century Literature, 2002–06), American Society for Eighteenth-Century Studies, American Folklore Society, Augustan Reprint Society, Society for Values in Higher Education, Northwest Society for Eighteenth-Century Studies, Western Society for Eighteenth-Century Studies, Oregon Folklore Society (president, 1993), California Folklore Society, Eugene Folklore Society, Pi Kappa Lambda.

AWARDS, HONORS: Grant from National Endowment for the Humanities, 1989; grants from CRCW and American Council of Learned Societies, 1987; Eugene M. Kayden Book Manuscript Award, 1988; Mellon fellow at Huntington Library, 1990; Rippey Award for Teaching Innovation, University of Oregon, 1996; grant for Center for Eighteenth-Century Studies, University of California—Los Angeles, 1998; Huntington Library grant, South Central Modern Language Association, 1989–90; fellow of Clark Library, 1983, 1990, and Newberry Library, 1986.

WRITINGS:

(Editor and author of introduction) The Female Soldier (facsimile reprint), Augustan Reprint Society (Los Angeles, CA), 1989.

Warrior Women and Popular Balladry, 1650–1850, Cambridge University Press (New York, NY), 1989, reprinted with new preface, University of Chicago Press (Chicago, IL), 1996.

(Editor) The Anglo-American Ballad: A Folklore Casebook, Garland Publishing (New York, NY), 1995.

"Deep Play:" John Gay and the Invention of Modernity, University of Delaware Press (Newark, DE), 2001.

Contributor to books, including History, Gender, and Eighteenth-Century Literature, edited by Elizabeth Fowkes Tobin, University of Georgia Press (Athens, GA), 1994; Iron Men, Wooden Women: Gender and Anglo-American Seafaring, edited by Margaret Creighton and Lisa Norling, Johns Hopkins University Press (Baltimore, MD), 1996; Ballads into Books: Legacies of Francis James Child, edited by Tom Cheesman and Sigrid Rieuwerts, Peter Lang (Bern, Switzerland), 1997; Women and Literature in Britain, 1700–1800, edited by Vivien Jones, Cambridge University Press (Cambridge, England), 1999; and Enchanted Ground: Reimagining John Dryden, edited by Jayne Lewis and M. E. Novak, University of Toronto Press (Toronto, Ontario, Canada), 2004. Contributor of articles and reviews to scholarly journals, including Folklore Historian, Philological Quarterly, International Journal of Maritime History, Studies in English Literature, Journal of Folklore Research, Western Folklore, Eighteenth-Century Life, and Folklore and Mythology Studies. Member of advisory editorial board, Eighteenth-Century Studies, 1993–96. Also compiler of compact disc recording, Dangerous Examples: Fighting and Sailing Women in Song, cdbaby/dugaw.com (Eugene, OR), 2002.

WORK IN PROGRESS: How Do the Horses Know?, a memoir; The Hidden Baroque in Britain, 1600–1750; Living Mountains: Volcanos—Lands and Cultures, with K. Cashman.

SIDELIGHTS: Dianne Dugaw told CA: "I have written almost all my life. Writing lets me share experiences and ideas, and my feelings about them, with others and also brings me to understand and feel my experiences and ideas more thoroughly for myself. I have written scholarly books and articles, songs, poems, narrative memoirs, everyday journals for work and sorting things out, as well as many work-related reports and commentaries.

"The past especially influences me—thinking of myself, my family, my friends and colleagues on a path with generations of humans, striving to care for each other and find our way on this beautiful, often troubling planet. Teachers have been important to me—talented music teachers, eye-opening grammar school teachers, back-porch singers and banjo-pickers, my dissertation directors. Animals have been tremendously important—dogs, especially horses, and a few cats. Many animals have high integrity in their responses and investigations. They know how to be fully engaged without as much self-centered concern for appearances as we humans. Writers who have shaped my work and outlook include John Gay, Aphra Behn, John Dryden, E. E. Cummings, Olga Broumas, Max Novak, Amanda Powell, Dorothy Sayers, William Stafford, Ursula LeGuin, and many anonymous creators and carriers of traditional songs and stories.

"My writing process begins with jottings and ramblings. It's important not to know where things are headed or even where they're coming from. My scholarly writing emerges from extensive reading and usually many conversations with people. Teaching and talking about topics with students can be a big help. Next, I revise and revise again, especially with the help of other readers, notably my partner, Amanda Powell. I rewrite and rework, carry on with and get carried along with a project, again and again.

"I am almost always led by 'directives' that make themselves known to me. At times, someone makes a request. At others, I finish one project and as I'm ending it, threads from it lead me into another. The prompting has sometimes been a desire to collaborate with someone or contribute to a particular event; or, I perceive that something really needs to be spoken about and looked into.

"When possible, I only write on topics that deeply interest me. Critiquing and 'putting things down' leaves me feeling flat and cranky. For example, I make an effort not to review books that I cannot admire. When I'm writing on something, the topic envelopes me and carries me along, so it is important that I feel nourished and enthused as it takes me from one month to another, one year to the next. It takes me a long time to write about things, so it's a mistake for me not to feel engaged by and loving the topic, even if it might be challenging at times to work with (like a difficult friend or relative)."