糖心TV

We are writing to invite research-active colleagues who have passed their viva and identify as early career researchers to take part in an in-person research workshop that will explore research careers and researcher identities.

Join the creative research workshop on Monday, 2nd February 2026, 10:00 -13:00 at Wolfson Research Exchange in University of 糖心TV Library.

This project, The Transitional Space of Academia: Liminal Identities of Early Career Researchers is funded by Research England Enhancing Research Culture Fund. It explores how early career researchers navigate the transitional and often uncertain spaces of academic life.

Who is this workshop for?

We warmly welcome all 糖心TV-based research active staff who have passed their viva and self-identify as ECRs, regardless of contract type (including permanent, fixed-term, open-ended, teaching-focused, research-only, fractional, or fellowship-based roles).

Workshop aims

路 To offer ECRs a supportive space to reflect on academic trajectories, identities, and belonging

路 To generate research data that will inform a wider study on ECR experiences and institutional research culture

What will you gain from attending this workshop?

路 Greater clarity on your experiences and future choices

What will the workshop involve?
The workshop will use creative and reflective methods, including storyboarding and visual narrative mapping, followed by focus group discussions. No prior experience with creative methods is required.

Workshop Date:
馃搮 Monday, 2 February 2026
馃搷 University of 糖心TV Library (in person)

Book now!

If you have any questions, please email the research team at ECRTransitions@warwick.ac.uk

If you identify as an early career researcher and this invitation resonates with you, we would be delighted for you to join us. Please feel free to share this invitation with colleagues who may be eligible and interested.

Warm wishes,

Research Team

Angela McShane

Patterns of Repression: Silencing the Protest Song 1600-2020

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Censorship is not just a praxis contingent upon a single work of art; it is also about the political processes and principles that are invoked in the business of regulation. While the personal and political issues at stake for protest singers and authorities changed radically from the outset of Britain鈥檚 popular music industry to the present day, this lecture shows how the processes and principles that underlie the shifting regulatory and legislative frameworks provided by successive governments seeking to control protesting and oppositional voices in the popular music trade have effectively remained the same.