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September 2015

Faculty Research, Mindfulness and Contemplation

A University that Breathes

Two years ago, if you had invited me to spend an hour meditating on the quad I would have laughed in disbelief. “I’m a doer, not a sitter,” I’d have said. No time for that touchy-feely stuff.

And yet last September, there I sat cross-legged by the fountain, breathing in a spectacular fall day along with a crowd of other faculty, students and staff. And doing nothing but breathing. For an hour.

What happened?

The Project for Mindfulness and Contemplation happened. In July 2013, on an impulse, I signed up for the week-long faculty development workshop on mindfulness led by Bill Brendel and Vanessa Cornett-Murtada. As it turns out, that workshop was just the beginning of a movement that has quickly spread throughout campus.

But back in July 2013 I knew zero about mindfulness – less than zero, if you factor in my fundamental opposition to sitting still.

That first day I was definitely out of my comfort zone. Bill asked why we were there and everyone gave very productive-sounding answers. Popping on my director of Writing Across the Curriculum hat, I said something about discovering connections between mindfulness and writing pedagogy. Then Bill asked, “And why are you really here?” and we gave slightly less production-oriented answers, and he again asked, “But why, really?”

In the end, I just had to admit I was there because I personally wanted a break from the running-around stress of my life.

Breathe-by-SjengravingBefore long we were all just sitting there breathing. Bill hooked me with his invitational words: “You don’t have to be anywhere but here; you don’t have to do anything but this.” They were followed by long sessions of just sitting and being in the present moment. At first I occasionally peeked in fascination at my colleagues, people I am used to seeing very much in action now sitting like statues. But soon I settled in and a 45-minute session whisked by, leaving me wanting more.

In short, I discovered that if anyone asks me to just sit still and do nothing but breathe for any length of time, I will gladly do it.

At the end of the workshop we all had to commit to one way we would bring mindfulness to our teaching. My colleagues came up with all sorts of interesting activities, but being such a newbie, I leaned toward the simple: I’d meditate with my students for one minute at the start of class each day.

That was July. As September approached, I started getting nervous. Sure, I found mindful breathing incredibly refreshing, but would my students think I was off my rocker?

Luckily, my paired course partner that semester was Sherry Jordon, associate professor of theology, an old hand at meditation. When I told her about the fix I’d gotten myself into, she said she would do it with our group, too, so that I wouldn’t seem like such an oddball. Between our two classes, our students meditated five days a week that semester.

And so began the practice of starting my classes with meditation. We would usually begin with one minute, but before long the students would ask for more time, and then more again. By the end of the semester we’d be up to two or three minutes. I think some of them would have preferred to spend the whole class time meditating!

This past semester, I asked my students to fill out an anonymous survey on their experiences with in-class meditation. On a scale of 1 (“Terrible: I hope this never happens in any of my future classes”) to 5 (“Terrific: I hope this happens in many/all of my future classes”), 13 out of 17 students gave it a 5, with three 4’s and one 3. The main issue for my stressed-out, sleep-deprived students was fear of dozing off while meditating. Other than that, they included multiple comments about how starting with meditation helps them to focus in class. As one wrote, “AMAZING! If I truly sit here and relax, I find that I am more engaged in conversation and relaxed in class … I find my mind is fixed on the task at hand.”

Here are a few responses to my request for metaphors to describe their experiences:

  • “Slowly letting the air out of a very full balloon.”
  • “Changing an outfit. When I came into the room I was wearing an outfit of stress and distraction. Meditation made me change into a more calm, non-distracted outfit. That was the outfit I wore for the rest of the class which amplified my experience of the class.”
  • “A river. It gives me a chance to let my thoughts flow through me instead of damming them up or trying to divert them somewhere else.”
  • “It is like working out. The more you do it the longer it takes to get winded, the stronger you are, and the more you want to spend expanding on it.”
  • “When the sun fills me up with Vitamin D.”

Like my students, I’ve come to depend on our meditation time to relax and focus at the start of class. It helps me to let go of the past (that sticky meeting I just attended) and the future (that knotty administrative problem I need to solve), and simply breathe in the present moment. I can’t imagine not starting a class with mindful breathing beginning with the words, “You don’t need to be anywhere but here; you don’t need to do anything but this.”


I’ve also learned that at this point in my life, solo mediation does not work for me. Last semester I tried meditating in my office for just one minute after arriving to work each day; the experiment was an utter failure. I’m just too easily distracted when I’m not accountable to others for staying put. Luckily the PMC offers free weekly meditation sessions in the Wellness Center for people who, like me, are social meditators.

As if that weren’t enough, I’ve actively begun to embed opportunities to meditate with others into various corners of my life: a group at my church, the faculty writing retreats and English Department meetings.

My reach only extends so far, but through the Project for Mindfulness and Contemplation I’ve learned that the ranks of meditators at St. Thomas are many and our number continues to grow. So what’s next? What if every class included a minute or two of mindful breathing? What about every meeting: including those with students, faculty, staff, administrators … the Board of Trustees?

What if St. Thomas becomes a university that breathes?

Studio portrait of Associate Professor of English Erika Scheurer. Taken October 7, 2014

Erika Scheurer is a professor in the English Department and the director of the St. Thomas Writing Across the Curriculum program. Her research interests include writing theory and pedagogy as well as the work of the poet Emily Dickinson

Faculty Research, Mindfulness and Contemplation

The Blessing of a Sabbatical

The blessing of a sabbatical, at least as I always understood it, was something limited pretty much to college teachers. That is to say a sabbatical is that period of paid leave granted to a college teacher for study or travel, traditionally every seventh year. Little did I know! The corporate world (at least pockets of it) now offers sabbaticals. To find out how the corporate world does it, take a look at That site has a top 100 list of sabbatical ideas, such as “Circuit Iceland by car, Tackle Kilimanjaro, … Trap and track puma in Argentina’s pampas grass, Raft the Zambezi with your dad.” Hhmmm! Well, intriguing ideas I suppose but that’s not what I undertook.

Being a language fiend I couldn’t stop myself from thinking of the roots of “sabbatical,” a word derived from “Shabbat.” Shabbat comes from the root Shin-Beit-Tav, meaning to cease, to end, or to rest. In other words, a sabbatical is a gift of time when we can set aside all of our routine concerns and devote ourselves to discovery and enrichment. My time of discovery and enrichment involved research, of course, a spiritual retreat, and being a student in a creative writing class.

Pacem in Terris is a retreat center following the thread of Franciscan spirituality. That’s where I went for my retreat. Look for it in the Isanti area.

Warren2Warren3 Each retreatant has her or his own hermitage so solitude is the first gift that’s received. The hermitages are scattered throughout the woods that belong to the retreat center. Lots of good walking through the woods and to Lake Tamarack which is not far away at all. A favorite memory is sitting in the early evening at the end of the dock, looking out over the lake, watching the trumpeter swans and listening to their calls as the snow floated down; then scurrying through the woods to my hermitage before darkness fell. The solitude, the freedom from all devices electronic, were healing and nourishing; a real sabbath. Try it!

Warren1The main thrust of my sabbatical was to create (a) a modern English translation of, and (b) an edition of Patience, a Middle English alliterative poem from the late 14th century. The poem is one of four found in the same manuscript, British Library MS Cotton Nero A.x. and is often written about as a poem in homiletic style. Inevitably, this research led to a trip to the Hill Museum & Manuscript Library at St. John’s in Collegeville, MN. The HMML project was born in 1965 in response to the loss of manuscripts and books in European libraries during World War II especially. HMML’s mission is to identify, digitally photograph, catalog, archive and preserve the contents of manuscripts, especially manuscripts from threatened communities. To whet your appetite for a visit check out HMML’s Newsletter.

Back to my project! The translation of Patience is complete though I’m still playing round with imitating the poem’s alliterative style. That truly is fun. I know I’ve always liked the poet of Patience (especially because of the poet’s other works such as Sir Gawain and the Green Knight and Pearl) but after these months of study I am impressed by the poet’s canniness. There’s more to this poet than meets the eye and definitely much more to the poem itself. My ideas of this poem’s thrust and its intended audience have changed and that ultimately affects the construction of the edition itself. In the meantime during the sabbatical, another project I was working on (parrhesia and mysticism) came to completion.

And the creative writing class I mentioned? Hard work and bliss! “Writing muscles” that hadn’t been exercised for quite some time came to a rude awakening. Will you see what I created in that class? I don’t think so! Another creative writing class is in order!

Marty Warren is an associate professor of the English department. His interests are medieval literature, science fiction, and the intersection of spirituality and literature.

Student Research, Undergraduate English

Ecofeminism: the catalyst moment

When I signed up for Dr. Alexis Easley’s Women Writers and Celebrity: The Victorian Era, I wanted to read books written about and by women and we did that, but that class was more than just a bunch of books that involved women. That class taught me how important and amazing women and women writers are. We focused mainly on women writers between 1880-1920 during the fin de siècle period. These novels were categorized as “New Woman” novels due to the independent main female characters that didn’t fit the stereotypical Victorian Woman.

woman with bicycle

In addition to that English class, I also went to a Feminist Friday talk on campus presented by Dr. Britain Scott from the Psychology department titled “Babes and the woods: Women’s objectification and the feminine beauty ideal as ecological hazards.” Dr. Scott’s talk was about ecofeminism, how women are connected to nature, and how that connection influences every part of her. Ecofeminism is defined as the movement that focuses on the education, preservation, and protection of the natural world while also aiming to dismantle the unjustified domination of women, people of color, children, the poor. The intersections of the class and this talk and my weekly meetings with FemCom (UST’s Feminist Community) sparked a profound interest in Women’s Studies and women writers.

One of the novels I read in class tied the talk, my interests, and the class together perfectly. Ella Hepworth Dixon’s The Story of a Modern Woman illustrates the interconnections between women and nature in a New Woman novel. I picked apart the actions the main character, Mary Erle, made in regards to the nature that surrounded her and how it changed her and her thoughts. I wrote my final paper on ecofeminist theory and New Woman novels by incorporating the ecofeminist points made in the “Babes and the woods” talk and The Story of a Modern Woman. After discussing with Dr. Easley about how I could further my studies on this connection, she suggested I apply for the Young Scholars Research Grant. I had never heard of it, but I was all excited about it. I worked on the proposal for the grant by consulting with Dr. Easley about what novels from this period would work well for this project and what kind of format it should be in. From there, I waited for an answer.

woman in treeAfter I received the congratulations for the research grant, I immediately began compiling lists of novels, textbooks, and articles about the Victorian era, ecofeminism, feminism, New Woman novels, and the environment. I even went to the Annual Celebration of Undergraduate Research to see what research at St. Thomas was like. My research began and I never thought it would be as successful as it was.

My argument began as justifying early ecofeminism theory as beginning in the Victorian era in Great Britain rather than in the 1970s in the U.S.A.

Melanie Kraemer reading


As I read novels like Olive Schreiner’s The Story of an African Farm (1883), Sarah Grand’s The Heavenly Twins (1893), Ella Hepworth Dixon’s The Story of a Modern Woman (1894), Thomas Hardy’s Jude the Obscure (1895), and Sarah Grand’s The Beth Book (1897), I made note of the ecofeminist theory and ideology, the use of nature imagery and language, and the connections the characters have with nature. The more novels I read, the more my argument became not only plausible, but possible. Once I connected my findings with points made in books like Karen Warren’s Ecofeminist Philosophy: A Western Perspective on What it is and Why it Matters and Irene Diamond’s Reweaving the World: The Emergence of Ecofeminism, I knew I had something worthwhile on my hands.

As the summer drew to a close, my research transformed into something more tailored and precise, focusing mainly on the dualisms existing in patriarchal society like male/female, body/mind, reason/emotion, etc. and how ecofeminism dismantles those dualisms. The novels I chose to illustrate the importance of this connection within New Woman novels were Hardy’s Jude the Obscure, Schreiner’s The Story of an African Farm, and Grand’s The Heavenly Twins. I chose these specifically because they illustrate better than any other New Woman novels that I read the importance of stripping the patriarchy of its power over society with harmful dualisms. This concept is not only important to ecofeminism, but all feminisms.

My experience with the Young Scholars Research Grant, Dr. Easley, Dr. Scott, the librarians, and the books I read has been amazing and has been the catalyst for me as a scholar. As a senior this year, I plan to continue with research on women, English, and ecofeminism in any way that I can.

Melanie Karemer with cat

Melanie Kraemer is a senior majoring in English with a Writing Emphasis and double minoring in Communications and Journalism and Women’s Studies. She is the Vice President of Lit Club and a member of FemComShe hopes to one day publish a book of poetry.