Meet Jessica Floyd, Ph.D. ’17, language, literacy, and culture (LLC). She is an interdisciplinary researcher and scholar who investigates erotic worlds for what they might communicate about gender and sexuality. Her early interests began in her teens while reading the Marquis de Sade’s 120 Days of Sodom, which eventually led her to research John Wilmot, the Second Earl of Rochester, while an undergraduate student at Towson University, and then as a graduate student at the University of Maryland, College Park. Her interests eventually led her to study chanteys as a Ph.D. student at UMBC. Today, she is an adjunct instructor in the gender, women’s, and sexuality studies program at UMBC, and published her first book, Cabin Boys, Milkmaids, and Rough Seas: Identity in the Unexpurgated Repertoire of Stan Hugill, in 2024. Take it away, Jessica!
Q: What initially brought you to UMBC?
A: I came to UMBC because I was encouraged by a graduate of the LLC program, Dave Truscello, Ph.D. ’04, who was a member of the very first cohort of LLC doctoral students. Once I met faculty from UMBC, I knew that it was the place where I could achieve my dreams of a Ph.D. It was my hope that I would be able to grow a career as a scholar, publishing books and articles that were exciting and which stoked my curiosity. I have been able to do that.
Q: What do you love about the language, literacy, and culture program?
A: I loved the LLC program as it was a place where I was encouraged and supported in ways that I had never experienced before. The program is filled with faculty and mentors who are as excited about what you are doing as you are. There is nothing a student needs more than a group of people rallying behind them, and the LLC community felt like a safe and warm home.
My other favorite part of the LLC program and being in Retriever Nation is that I met my best friend and colleague, Steven Dashiell, professor of gender, women’s, and sexuality studies. He studied in the LLC program with me in my cohort.
Photos above: Floyd with her co-chairs, Amy Froide and Laura Rosenthal, after defending her doctoral thesis (left). Floyd with her family, Bill Sapp (dad), Kathy Sapp (mom), Cory Floyd (husband), after graduating from UMBC (right).
Q: How would you describe the support you find at UMBC?
A: UMBC is a place where you will be academically challenged, but supported in ways that will transform you. Challenges create strong scholars, but you need allies to work through those challenges. At UMBC, every faculty member is there to see you succeed and will lift you up even when you are at your most vulnerable.
Q: What is your favorite part of Retriever Nation?
A: UMBC is where I earned my doctorate, something that I have wanted since I was a teenager. Being a graduate from UMBC will always be associated with that accomplishment, and I continue to have a warm memory of UMBC based on the experiences there, the people I encountered, and the things I accomplished.
Q: Who in the UMBC community has inspired you or supported you?
A: At UMBC, I was able to find a home. My mentor Amy Froide, director of UMBC’s Dresher Center for the Humanities, inspired me to keep pushing and was always in my corner to encourage me as I finished my doctorate. Dr. Froide counseled me during some of my most challenging rejections/revisions. Christine Mallinson, my LLC mentor and advisor, was always there to guide me toward the right path and to steer me in the direction I needed to go in order to accomplish my goals. Kate Drabinski, professor of gender, women’s, and sexuality studies, was also an incredible support and inspiration to me as I was working. She gave me space to stretch my legs and try things out, moving me towards my completed project. Carole McCann, professor of gender, women’s, and sexuality studies, provided the space for me and fellow LLC students to explore theoretical frameworks in gender and women’s studies in an intimate cohort. That experience was foundational to some of my theoretical work in the dissertation. She inspired me to be exacting.
“UMBC's faculty allows you to be expansive and believe in you sometimes more than you believe in yourself.
Carole McCann hired me in the gender, women’s, and sexuality studies program in the spring of 2022, permitting me space to chase my dream of teaching at the four-year level. I have taught at the college level since 2011, but this was the first time that I taught at the four-year level and at a place that is dear to me.
I was hired to teach Intro to Critical Sexuality Studies, which is my passion and research focus. There, I introduce students to conceptions of sexuality, gender, and identity across time, from looking at erotic poetry from the Restoration in England to pulp erotic novels from the post-Stonewall era. I went on to teach Introduction to Gender and Women’s Studies and enjoyed working with students as we discussed foundational topics in the field.
Just this past fall 2024, I was asked to teach Doin’ It: Case Studies in the History of Western Sexuality, where I was able to draw on my doctoral work and teach an interdisciplinary history course, cross-listed with GWST. In my time teaching as an adjunct at UMBC, it has been exciting for me to work closely with students and see the incredibly creative projects and ideas they brought with them. What was most rewarding, for me, was seeing my own students light up in ways that I did as an undergraduate, taking some of their own research projects and developing them into conference papers, undergraduate theses, and even potential publications.
Q: Can you tell us about your book?
A: In 2024, I published my first book, Cabin Boys, Milkmaids, and Rough Seas: Identity in the Unexpurgated Repertoire of Stan Hugill, which grew out of my doctoral work at UMBC. The monograph specifically analyzes bawdy chanteys, sailing worksongs of the sea, from the repertoire of famed chantey singer and collector Stan Hugill and were a part of a collection of songs he sent to Gershon Legman, a notable collector and researcher of bawdy content. As a Dresher Center Fellow, I was able to travel to Opio, France, to meet with Legman’s widow and acquire the correspondence between Legman and Hugill that they exchanged as they were in the process of sharing material. Early in my doctoral work, Judith Legman, Legman’s widow, sent me a copy of the chapter containing the songs from Hugill’s repertoire that were a part of this epistolary exchange. These songs were thought long-lost, and nearly every collector I met noted the rarity of the collection.
The songs confirmed much of the cultural ideal about chanteys, which is that they are often salacious and highly erotic. Both my dissertation and the ultimate book project contend that chanteys are release valves for internal tensions: sexual, emotional, and psychological, and that sailors likely used chanteys as hidden transcripts that communicated complicated and kaleidoscopic desires. They are akin to confessions, and though they are often short and many sensations are buried under nautical metaphors, the songs are rich with complicated expressions of interiorities.
My initial interest in chanteys grew out of my master’s-level work at the University of Maryland, College Park. I began researching chanteys as anecdotal discussion of them demonstrated that they were a lot like the bawdy poetry I studied of John Wilmot, the Second Earl of Rochester. In fact, my initial interest in chanteys was based on hearing a rendition of “Barnacle Bill the Sailor” (not a chantey) sung at my kitchen table by my father. As I began researching chanteys, though, I realized that it was a far larger project than a master’s thesis, and ultimately proposed the chantey project when I applied for the Language, Literacy, and Culture Program at UMBC.
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Tags: LLC, Meet a Retriever, Retriever Authors, Sexuality