Special Collections Department Research Articles

Dickinson College Builds Carlisle Indian Industrial School Resource Center

NAIS 1:2 FALL 2014 Dickinson College Builds Carlisle Indian School Resource Center 149 Notes from the Field MALINDA TRILLER DORAN Dickinson College Builds Carlisle Indian Industrial School Resource Center MORE THAN TEN THOUSAND STUDENTS attended the Carlisle Indian School (CIS) between 1879 and 1918, and each one of them has a story. Over the last century, however , materials documenting the Carlisle experience, including photographs, letters, and the administrative files of the school itself, have been dispersed among various institutions. This scattered historical record makes it a challenge for descendants, scholars, teachers, and students to connect with the lives of the individuals who were affected by the school. The Archives and Special Collections department of Dickinson College has partnered with the College’s Community Studies Center to create a website that will bring together and make freely available these widely dispersed materials. The CIS paper trail currently leads to institutions such as the National­ Archives in Washington, D.C.; the Cumberland County Historical Society in Carlisle, Pennsylvania; and the Special Collections of Dickinson College. Jim Gerencser, college archivist at Dickinson, had long dreamed of building an online resource that would provide convenient access to digital versions of these resources, regardless of their geographic location. In October 2012, more than 290 individuals gathered at Dickinson for the symposium titled “Carlisle, PA: Site of Indigenous Histories, Memories, and Reclamations.” The response to this symposium provided the energy necessary to set a digitization project in motion. Gerencser collaborated with Susan Rose, professor of sociology and Community Studies Center director, and Malinda Triller Doran, special collections librarian, to develop a plan for an online Carlisle Indian School Resource Center . In spring 2013, the three project leaders secured funding from an Andrew W. Mellon Foundation Digital Humanities grant and Dickinson’s Research and Development Committee. Since that time, they have sent four research teams to the National Archives in Washington, D.C., to scan and photograph records located within the Bureau of Indian Affairs Record Group. These teams have scanned the files of four thousand students, which include items Malinda Triller Doran NAIS 1:2 FALL 2014 150 such as ­ photographs, correspondence, newspaper clippings, and administrative forms documenting the experience of students while they were enrolled at CIS and after they returned to their homes. One member of the research team also photographed twelve bound ledgers that contain entries documenting events such as the arrival and departure of students and their outing assignments. Upon their return to Dickinson, members of the research teams have prepared the digital images for presentation on the project website: http:// carlisleindian.dickinson.edu. As of July 2014, more than 1,775 student files were available online. Members of the project team have also begun transcribing the contents of the ledger volumes to provide the information they contain as searchable and sortable text. Gerencser, Rose, and Triller Doran plan to continue adding resources to the CIS website over a period of several years. Additional research teams will scan and upload the remaining student files and ledgers located at the National Archives in order to provide comprehensive access to those resources. Gerencser has also begun to seek partnerships with other institutions that hold materials related to the CIS, such as the Beinecke Library at Yale University , which holds the papers of Richard Henry Pratt, founder of the CIS, and the U. S. Army Heritage and Education Center in Carlisle, Pennsylvania. The ultimate goal is to provide a searchable database that will facilitate discovery, whether an individual wishes to search for information about a specific student or explore broader aspects of the CIS experience, such as tribal affiliations or outing assignments. The project leaders also anticipate building interactive capabilities into the site that will allow individuals to contribute photographs, family documents, or oral histories. In addition, they plan to work with both Native and non-Native scholars, teachers, and community members to develop teaching and learning materials utilizing the resource center content. The Carlisle Indian School Resource Center will continue to grow as project staff add new content almost daily. For more information about the project , please contact Jim Gerencser or Malinda Triller Doran in the Dickinson College Archives and Special Collections at...

Past or Portal? Enhancing Undergraduate Learning through Special Collections and Archives ed. by Eleanor Mitchell, Peggy Seiden, and Suzy Taraba (review)

Reviewed by: Past or Portal? Enhancing Undergraduate Learning through Special Collections and Archives ed. by Eleanor Mitchell, Peggy Seiden, and Suzy Taraba Anne Bahde Past or Portal? Enhancing Undergraduate Learning through Special Collections and Archives, ed. Eleanor Mitchell, Peggy Seiden, and Suzy Taraba. Chicago: Association of College and Research Libraries, 2012. 320p. $60 (ISBN 978-083898610-3). Instruction in special collections and archives environments has been gaining attention in recent years, evidenced by a steady increase in the literature on instructional case studies using primary source materials, as well as increased activity within the ALA Connect community called Special Collections Teaching Strategies, and the Reference, Access, and Outreach Section of the Society of American Archivists. Despite this increased attention, the literature on instruction with original materials remains relatively limited, and compared to information literacy literature, only modestly offers best practices for pedagogy or programmatic models. With the publication of Past or Portal? Enhancing Undergraduate Learning through Special Collections and Archives, editors Eleanor Mitchell, Peggy Seiden, and Suzy Taraba have improved this environment dramatically, essentially doubling the literature on instruction in special collections and archives with this fantastically useful collection of case studies. The book includes nearly fifty case studies exploring the direct use of special collections and archives materials in undergraduate education. The work is divided into four complementary sections, which effectively categorize each contribution. Section one, The Artifact, presents case studies that focus on teaching the materiality of unique materials, either in single class sessions or full courses. With just one or two exceptions, the contributions in this section emphasize rare books or manuscripts, including two interesting projects integrating the book arts into undergraduate class sessions. Notable in this section is Michael Paulus’ essay, “What is Primary: Teaching Archival Epistemology and the Sources Continuum.” This continuum is an intriguing concept that “provides a framework for exploring and conceptualizing the primacy of sources,” and will be of enduring use to librarians, archivists, and historians teaching the complex issues that primary sources can raise. (p. 77) Section two, The Pedagogy, focuses on creative pedagogical methods for unique and original materials, in class sessions, course modules, or full courses. Several case studies in this section present inventive techniques for engaging disciplines that can be more challenging to attract and involve with special collections materials, such as creative writing, biochemistry, [End Page 423] microbiology, psychology, and music. One particularly compelling project from New York University asked computer science students to build an integrated digital archive site featuring a catalogue of digitized primary sources as well as a narrative exhibit element. A fine example of strong pedagogical collaboration between humanities teaching faculty, special collections librarians, and archivists, this adaptable project can yield both an original product for students’ capstone portfolio and a digital resource for the library. Section three, The Program, is a shorter section that includes wide-ranging, multidisciplinary programmatic models for integrating primary source-based curriculum at the institutional level; for example, book history programs (Oberlin College and University of Wyoming), and an undergraduate curriculum program based on the holdings of a digital library (University of California). An especially innovative contribution from Sarah Horowitz and Jamie Nelson at Augustana College describes a faculty stipend program to encourage use of primary source materials across the curriculum, an effort which has drastically increased both instruction sessions and student use of collections. The final section, The Work, demonstrates the integration of students into the fundamental description, access, or outreach work of special collections or archives departments. Examples of student-curated exhibitions, blogs, and even collections are featured in this section, along with ideas for student-led processing and digitization projects. The case study on undergraduate research partnerships at Lafayette College, described by Diane Shaw, showcases the remarkable range of internal projects accomplished by Lafayette’s Excel Scholars, academically talented students who gain real-world skills and knowledge through a program of experiential learning in the special collections department. Through this program, the department makes a meaningful contribution to the teaching and learning mission of the university, and generates products that improve access to holdings and enrich outreach efforts. The only negative aspect to the book is its organization scheme within the table of contents. Here...

A Note on Strict Implication (1935)

Editor's Note: This paper was found in galley proof form from the journal Mind in the C.I. Lewis Archives in the Special Collections Department of the Stanford University Libraries, call number M174, Box 18, Folder 1. There are two copies of the proofs in this folder, one includes Lewis's corrections. The version that appears here incorporates all of Lewis's corrections. Where these corrections are substantive, the original wording is give in a footnote. The paperwas withdrawn from publication by Lewis early in 1935. The proofs were found with Lewis's other papers in his house in Menlo Park after his death in 1964.

Brazil’s Steel City: Developmentalism, Strategic Power, and Industrial Relations in Volta Redonda, 1941-1964

Brazil’s Steel City: Developmentalism, Strategic Power, and Industrial Relations in Volta Redonda, 1941-1964

Of Fans, Friends, and Followers: Methods for Assessing Social Media Outreach in Special Collections Repositories

Increasing adoption and implementation of social media applications suggests a cultural shift in the way special collections departments communicate with external constituents. Research shows many social networking tools are used successfully to connect with special collections patrons, but limited documentation exists to describe whether special collections departments receive demonstrable returns for the time, effort, and energy expended to sustain social media activity. This article provides the results of an empirical study that examined social media usage in special collections departments at 125 Association of Research Libraries member institutions. By analyzing publicly available data from profiles on a variety of social media platforms, the authors explore how special collections units employ social networking tools and whether it is possible to determine success in terms of benefits received by the department, such as increased dialogue between departments and supporters. By using return on investment, this study found that special collections departments achieve moderate success when using social media to advertise collections, events, and activities, but they have little success when using social media to engage with external constituents. To address less successful aspects of social media projects, departments can engage in routine assessment activities, such as return on investment, to make the most of new technologies.

“Under These Classic Shades Together”:

cross American colleges and universities during the late antebellum period, young men associated outside the classroom in literary, social, and fraternal clubs, all-male spaces highly conducive to the formation of strong friendships. Strong male relationships developed in which such terms as “intimacy,” “fraternal love,” and the “after life” were fundamental tenets of a shared experience. Unlike the collective world found in the public sphere of adult men, the antebellum college setting differed precisely because the young men quite frequently lived and dined together in dormitories, boarding and rooming houses, and fraternities, often secretly organized, in the towns and cities in which their colleges were located. Their lives were marked by dynamic uncertainty: not yet fully independent adults, but no longer completely dependent for support on their families. Since at least the 1970s, historians have debated the possibilities of same-sex intimacy among women, the terms of which have often centered on their timing and their prevalence in early American society. Only recently, however, have men as gendered subjects A

Traveling Shoes

Traveling Shoes Aaron Smithers, music editor (bio) Despite a devotion to the idyllic homestead, the southern journey circumvents the globe. The traveler takes to the road on a never-ending search for home, that ever-elusive sanctuary constructed in memory and remodeled in song. The seeker looks to the edges of the earth for enlightenment, and the sinner looks beyond for sonic salvation. Their stories feed the dreams of voices as yet unheard, singing songs of a new South that reverberate with echoes from the past. Track List 1 |. "Waipio" WILLIAM SMITH & WALTER K. KOLOMOKU 3:10 Edison Records, 2726 Edison Blue Amberol (1915), Cylinder 1000, courtesy of the Cylinder Preservation and Digitization Project, Department of Special Collections, Donald C. Davidson Library, University of California, Santa Barbara, cylinders.library.ucsb.edu 2 |. "New Nashville" JOSEPH DECOSIMO & THE BUCKING MULES 2:51 Sequatchie Valley, cdbaby.com/cd/josephdecosimo 3 |. "Appalachistan" HINDUGRASS 6:17 Hindugrass, hindugrass.net 4 |. "Para el mundo entero" ORQUESTA GARDEL 4:50 Lo Que Tú Querías, orquestagardel.com 5 |. "Bani" DIALI CISSOKHO & KAIRA BA 4:28 Resonance, kairabamusic.com 6 |. "Our Lady of the Tall Trees" CAHALEN MORRISON & ELI WEST 3:36 Our Lady of the Tall Trees, cahalenandeli.com 7 |. "Ana Mía" LOS TEXMANIACS 3:19 Texas Towns & Tex-Mex Sounds, Smithsonian Folkways, courtesy of Max Baca, folkways.si.edu, texmaniacs.com 8 |. "Cry for Judas" THE MOUNTAIN GOATS 3:09 Transcendental Youth, courtesy of Merge Records, mergerecords.com, mountain-goats.com 9 |. "Tout ça" TOUSSA 3:52 Toussa, courtesy of Toussa Senerap, reverbnation.com/toussasenerap 10 |. "Lotus" ANN YAO 3:13 More Music from the Florida Folklife Collection, CD 2, courtesy State Library and Archives of Florida and Ann Yao, floridamemory.com 11 |. "Lamplighting Time" RAYNA GELLERT & NATHAN SALSBURG 4:24 Old Light: Songs from My Childhood & Other Gone Worlds, StorySound Records, storysoundrecords.com, raynagellert.com 12 |. "Night Comes In" DAN MELCHIOR 2:54 The Backwards Path, Northern-Spy, in recognition of the Letha Rodman Melchior Cancer Fund, northern-spy.com, danmelchior.net, melchiorfund.blogspot.com 13 |. "Parte Pri" JEFF REHNLUND 3:54 peripheral heavens, discogs.com/artist/Jeff+Rehnlund 14 |. "Looking for All (All Rendered Truth)" LONNIE HOLLEY 3:05 Just Before Music, Dust-to-Digital, dust-digital.com 15 |. "Seven Pines" DANIEL BACHMAN 7:06 Seven Pines, Tompkins Square, tompkinssquare.com, discogs.com/artist/Daniel+Bachman 16 |. "Flat Wheel Train Blues (Part 1)" JACK WELLMAN & RED GAY 3:18 Work Hard, Play Hard, Pray Hard: Hard Time, Good Time & End Time Music, 1923-1936, Tompkins Square, tompkinssquare.com, roothogordie.wordpress.com 17 |. "Resurrection Blues" HISS GOLDEN MESSENGER 5:36 Root Work, Heaven and Earth Magic Recording Company, heavenandearthmagic.com 18 |. "Standing in Your Door" JESSE LÉGE, JOEL SAVOY, & THE CAJUN COUNTRY REVIVAL 2:46 The Right Combination, Valcour Records, valcourrecords.com, jesseandjoel.com, CalebKlauder.com 19 |. "Agua Fresca" PAVELID CASTAÑEDA 3:15 I Love You Much Too Much, reverbnation.com/pavelid 20 |. "Pretty Good Beards of the Civil War" THE TWO MAN GENTLEMEN BAND 2:11 thetwogentlemen.com RUNNING TIME 77:14 MASTERED BY Aaron Smithers and John Loy, UNC's Southern Folklife Collection Aaron Smithers Aaron Smithers is a folklorist living in Carrboro, NC. A long time organizer of the International Accordion Festival in San Antonio, TX, he currently works as assistant to the curator at UNC's Southern Folklife Collection and as an instructor of audio documentary at the Center for Documentary Studies at Duke University. Special thanks to Steve Weiss, Head, UNC's Southern Folklife Collection [End Page 1] Copyright © 2013 Center for the Study of the American South

Suitcase Cinema

Suitcase Cinema Haidee Wasson (bio) When did the film screen grow a handle? In 1939, the Victor Animatograph Company announced a new 16mm film projector, the Victor 40, also known as the "Add-a-Unit." Sold from 1939 to 1947, the machine espoused a devout multimedia modularity (Figures 1 and 2). The Add-a-Unit could be purchased with a range of lenses, a record player, a radio, a microphone, a public address system, a sound recording unit, multiple speakers, and an auxiliary amplifying unit. The Add-a-Unit invited users to create their own live or recorded soundtracks. It allowed them to turn the volume up or down, to make the image bigger or smaller. The projector had the ability to play at different speeds and to be stopped, in order to project a single film frame in suspended form. Thus, the user [End Page 148] exercised a degree of control over key vectors of cinema such as size, speed, volume, illumination, and image density. The Add-a-Unit was presumed—as a projector proper—to be incomplete, sold as it was to be attached to other related media. Also key to completing this particular device was a portable screen, perched opposite the projector, providing the necessary stage for any show. Throughout this period, portable screens and projectors often came in cases integral to their design. A sturdy handle allowed each to be carried with ease. As when clocks were first attached to wristbands and cassette players to belt clips, the handle of the projector and screen indicates a shift in technological articulation. In the case of this portable pair, there is a rebuff to the professionalized, purpose-built theater and an embrace of the load-bearing, ambulatory human body. The Add-a-Unit, like many portable projectors from this period, was designed to be carried by a single person. It came with finger-friendly knobs and buttons, inviting manipulation, tinkering, and a degree of agency over projected images and amplified sounds. These projectors allowed any person to become a film projectionist, a human-machine hybrid purveying electro-mechanical, audiovisual expression. The current variety of lightweight moving-image cameras, rapid-fire distribution methods, and pocket-size display gadgets is often understood by invoking the enduring sense that before video, and most certainly before the rise of the digital, the technological apparatus that constituted moving pictures was relatively stable, coherent, and unchanged from its nineteenth-century beginnings. To be sure, the so-called early and silent periods of film history have been complicated by recent scholarship that posits hybridity in film form and theatrical presentation, with its relations to varied spaces, industries, and audiences. The transition to synch-sound cinema has been plainly revealed as an intermedial one.1 Yet, with few exceptions, there remains an overdetermined narrative of a dominant cinematic ideal that endured throughout the midcentury: large and dark room, celluloid, projector, screen, seated audience—in short, the movie theater. Click for larger view View full resolution Figures 1 and 2. The Victor 40, or "Add-a-Unit," was a multimedia projector that connected to an array of cognate media devices. It was sold from 1939 to 1947 by the Victor Animatograph Corporation, Davenport, Iowa (Papers of the Victor Animatograph Company, Special Collections Department, University of Iowa). [End Page 149] The history of portable projectors and the small screens that accompanied them tells the story of a very different kind of cinema from the one we are accustomed to discussing, researching, and theorizing. This is a story of a cinema that readily complicates ideas about a stable cinematic apparatus, providing insight into the variations of design, function, and use that have long characterized but one branch of cinema's technological family tree. In our current media environment saturated with the language of mobility, the concept of portability sounds familiar but also rather quaint. The term, which essentially names the quality of a thing that can be moved, has a complicated genealogy. It has been applied throughout the twentieth century to seemingly huge and permanent things like buildings (e.g., mail-order homes) and to seemingly immaterial and ephemeral things like music. In the context of cinema, the term...

“Selfish, Short-Sighted, and Sanctimonious”: Bowdoin College, Alex Schulten, the 1.600 Rule and the Welch Scholarship

In this article, the author examines passage of the National Collegiate Athletic Association’s (NCAA) 1.600 Rule in 1965 and the ramifications of that mandate. In drawing from administrative letters and memoranda available through the George J. Mitchell Department of Special Collections and Archives, the author investigates Bowdoin College’s response to the 1.600 Rule, the influence of the College’s confrontation with the NCAA on its athletes and their ability to compete at the national level, and how the conflict shaped the institution’s operations. Ramifications for Bowdoin College and the NCAA are discussed.

Notes for Notes

Notes for Notes John H. Roberts, David Peter Coppen, and Darwin Scott Kostas Ostrauskas (1926-2012). Few readers of Notes will know the name of Kostas Ostrauskas. Few, I suspect, would have known him during the twenty-five years he served as music librarian at the University of Pennsylvania from 1958 until 1982. He did not attend MLA meetings or participate in professional activities outside the library or write articles about librarianship. Instead he wrote avant-garde plays in his native Lithuanian, plays that could not be published or performed in the Soviet Union and had a very limited readership in this country. Yet he kept on writing. Since Lithuania regained its independence in 1990 he has been widely recognized as one of the major figures in postwar Lithuanian drama. As a young man Kostas studied to be a singer, but after leaving Lithuania in 1944 to escape the advancing Soviet army, he turned to literature. Emigrating to the United States in 1949, he received a Ph.D. in Slavic and Baltic Studies from the University of Pennsylvania in 1958. As music librarian, he was a dedicated and discerning selector, systematically perusing the reviews and lists of recent publications in every music journal in search of potential purchases, and choosing titles solely on the basis of scholarly importance, regardless of language. It is to him above all that Penn's music collection owes its remarkable consistency and strength. When I arrived as his successor in 1982, I found numerous slips in the card catalog for orders placed up to the previous day, not because Kostas was reluctant to relinquish control but because he wanted to ensure the integrity of the collection. Until just before his death on 9 January at the age of eighty-five, long after retirement, he was still selecting titles in Lithuanian for the Penn libraries. Surely one of the most extraordinary members of our profession, Kostas Ostrauskas was also one of its unsung heroes. John H. Roberts The Sibley Music Library (Eastman School of Music) is now receiving the papers of the late Rolande Falcinelli (1920-2006), French organist, composer, and pedagogue. Madame Falcinelli's papers are the gift of her daughter, musicologist Dr. Sylviane Falcinelli, whose generous consideration of the gift followed the Eastman School-hosted premiere performance in March 2011 of Rolande Falcinelli's composition for organ and orchestra, Mausolée "à la gloire de Marcel Dupré," opus 47. Altogether, [End Page 59] the Rolande Falcinelli Archive, residing within the library's Ruth T. Watanabe Special Collections Department, will be comprised of manuscripts of original compositions, including works for organ, for vocal and choral forces, and for piano, as well as orchestrations of other composers' works and transcriptions of works by J. S. Bach; professional correspondence; and pedagogical works and other writings. Of special interest are those documents reflecting Mme Falcinelli's tutelage under, and lasting professional association with, organist-composer Marcel Dupré, including several original manuscripts given by Dupré to Mme Falcinelli. As of March 2012 the Library has received three installments of the archive, with one final installment, comprising the bulk of the archive, yet pending. Completion of processing is anticipated in the winter of 2012-13. David Peter Coppen Eastman School of Music The Princeton University Library is presently cataloging a large, recently acquired collection of over 500 rare music items published in Cuba after 1959 that includes around 470 scores (mostly sheet music) and 60 monographs on Cuban and Latin American music. As of late March 2012, individual bibliographic records for approximately half of the publications appear in the library catalog (http://catalog.princeton.edu) with the searchable collection description "Cuban post-revolutionary music imprints." The entire collection should be bibliographically accessible before the end of 2012. Darwin Scott Arthur Mendel Music Library Princeton University From the Editor: More Anniversary Keepers. This issue continues the tradition of publishing bibliographic tributes to composers in their anniversary years with Deborah Campana's essay on John Cage, "Happy New Ears! In Celebration of 100 Years: The State of Research on John Cage," which fittingly appears in time for what would have been his hundredth birthday on 5 September. Please add Campana's Cage essay...

More Than Flowers Left Behind: Building an Archival Collection and Remembering April 16, 2007 at Virginia Tech

In the past 15 years a number of school shootings have captured international attention and sparked heated debates. In the aftermath of such tragedies, those directly affected and people from all walks of life expressed their condolences in a variety of ways. Following the tragic events of April 16, 2007, Virginia Tech received tens of thousands of condolence items. The special collections department of the University Libraries at Virginia Tech took responsibility for the selection, organization, and processing of this unique collection of condolence artifacts. This article reviews how that collection evolved, some of the administrative challenges of managing collections of tragedy, and the important role that archivists play in documenting tragic events.

Additional Archives of the Yatoi

FO R some time scholars have realized that it would be difficult to treat modern Japanese relations with the West, more particularly, Japan's contacts with America, without a visit to New Brunswick. This is true because of the location of the Griffis Papers in the Department of Special Collections and Archives of the University Libraries. The presence of the Griffis Papers at Rutgers University was in turn the product of the experience and interest of a remarkable individual, as well as of a fortuitous relationship between Rutgers and Japan during the nineteenth century. The individual was, of course, William Elliot Griffis (1843-1928, Rutgers Class of 1869),1 who was doubtless America's first old Japan hand. The relationship was technically between the Rutgers Grammar School (now Rutgers Preparatory School),2 Rutgers College (now part of Rutgers University), and a feudal domain, Echizen (modern Fukui Prefecture).3 The ties began in the 1860s, when a band of samurai (with assumed names to hide their illegal exit from Japan) arrived to study English and then to transfer into college-level work at Rutgers. In our day, thanks to the work of American and Japanese scholars and to the generosity of Japanese philanthropy, the original Griffis Papers have been greatly augmented and the significance of this resource greatly enhanced. On December 6, 1980 in the Alexander

A Checklist of Incunabula in the Department of Special Collections and Archives, A. S. Alexander Library, Rutgers University

A Checklist of Incunabula in the Department of Special Collections and Archives, A. S. Alexander Library, Rutgers University

The Rutgers' Collection of Children's Literature

H E R U T G E R S Collection of Children's Literature is a repository for the original art of children's books and contains over 3,000 pieces of artwork spanning fifty years of book illustration. The collection is housed at the Jane Voorhees Zimmerli Art Museum, Rutgers, the State University of New Jersey. Although the emphasis is on New Jersey illustrators, the collection represents artists from all over the country who have generously donated their artwork. The collection is dedicated to furthering scholarly research and artistic creativity by documenting the production of children's books from the preparatory sketches to the full-color illustrations and the finished book. Original manuscripts are also collected and preserved by the Special Collections Department at the Archibald S. Alexander Library, the main library center for the university. By gathering together the written and visual material of children's books, the collection provides an invaluable archive for future research on this important genre. The director of the art museum, Phillip Dennis Cate, first became interested in the art for children's books in 1974 when he organized the exhibition American Illustrators of Children's Books. The quality of the artwork in that exhibition inspired the university to respond to the growing interest in establishing an archive for manuscripts and illustrations of children's books. Harry Devlin, a prominent illustrator and member of the Advisory Council on Children's Literature, was the prime mover behind the concept of the repository. It was his concern that a wealth of artwork by New Jersey artists was leaving the state and being collected by other institutions. The collection was officially founded in 1979 and was quickly expanded to encompass artists from all parts of the United States, Europe, and Asia. A collection of the original art for the printed book complements the art

An Eighteenth Century Attorney's Financial Advice to His Client: A Note on the Correspondence of Joseph Newton to Mrs. Dorothea Gibbon, 1773-1779

letters written by Joseph Newton, Mrs. Gibbon's attorney, shed some light on the type of financial advice given the widow of the 1770's. Specifically they deal with the question as to whether Mrs. Gibbon should sell her holdings of New South Sea Annuities. These letters (thirty in all) are held in the Special Collections Department of the Rutgers University Library. Mrs. Gibbon was the stepmother of Edward Gibbon, the author of The Decline and Fall of the Roman Empire.

Use of Special Collections as an Opportunity for Outreach in the Academic Library

ABSTRACT Academic special collections librarians have made great strides in making their collections discoverable and accessible to a wide audience. This article examines use of special collections departments and the many kinds of outreach librarians undertake to increase access to and knowledge of their collections, including creating electronic finding aids, digitizing material, collaborating with faculty, increasing participation in instruction and reference, and using exhibits, social media, and relationships with community partners to further the mission and goals of the library and the college or university. The article uses the University of Illinois at Chicago Special Collections Department as a case study.

Lola Ridge's Pivotal Editorial Role at Broom

Many scholars know lola ridge (1873–1941) as a passionate, irish-born american poet and activist whose poetry was of-ten tied to American subjects, employed various traditional and avant-garde styles, invited a diverse readership, and “expressed a fiery awareness of social injustice” (Kay Boyle [McAlmon 15]). Her time as magazine editor, however, continues to be overlooked. In 1912 Ridge founded the Ferrer Association's journal Modern School and edited its first issue (Avrich 166). The periodical started as a radical, politically based newsletter for parents but soon became less political, publishing artistic and literary work by students of the association's school. Between late 1918 and early 1919, Ridge oversaw, along with several other associate editors, three issues of the avant-garde poetry journal Others. Ridge also organized the Others Lecture Bureau, which toured parts of the Midwest and hosted several literary parties for magazine contributors and supporters (Churchill 58). Ridge's leading editorial role occurred from February 1922 to April 1923, when she served as the American literary editor of Broom: An International Magazine of the Arts. Broom was an elaborate magazine praised by many, including William Carlos Williams, who exclaimed, “What a magazine that was! Too expensive for its time but superb to hold in the hand and to read” (187). Although publications that discuss Broom largely marginalize Ridge, the correspondence between her and Broom‘s expatriate editor and publisher, Harold Loeb, in files in Princeton's Department of Rare Books and Special Collections labeled “Broom Correspondence of Harold Loeb, 1920–1956,” shows that from the New York office Ridge orchestrated the magazine's recovery, making it one of the most widely circulated privately owned literary magazines of its time. She also created the magazine's standout “all-American” issue, which pushed against European influences and presented modernism as an American project in its own right. Ridge's pivotal role at Broom is noteworthy because the disagreements she had with Loeb highlight prescribed roles female editors encountered, polarize the modernist debates on both sides of the Atlantic, show her confronting one of modernism's well-known artists, and demonstrate how the fallout over the American issue irrevocably affected Broom‘s future.

An Ethiopian Magical Manuscript at the University Library of Cluj, Romania (BCU, MS 681)

The University Library of Cluj (Biblioteca Centrala Universitara) owns important number of incunabula, early printed books, and (mainly Western) manuscripts, all included in Gheorghe Sion special collections department. The card catalogue of collection labels MS 68 1 as a Coptic but no further information is offered. Upon examination of manuscript, we were able to ascertain that codex was in fact Ethiopian book of magic. The book is written on thick vellum of a small, square format (75 ? 70 mm, text: 50 ? 55 mm). According to Siegbert Uhlig, main authority on Ethiopian palaeography and codicology, this is smallest book size in that culture.1 Small book sizes dominate in Uhligs periods VI and VII, spanning eighteenth, nineteenth, and twentieth centuries. However, square formats tend to disappear after eighteenth century,2 which makes it possible that our manuscript belongs to that period. Moreover, according to Stefan Strelcyn and David Appleyard, most surviving Ethiopian magical texts fall into period stretching precisely from eighteenth to twentieth century.3 The codex amounts to 53 unnumbered folios, bound into irregular groupings, as follows4: I2+1 (first fol. blank), 26-46, 5 6102 (lacks last two fols.), 76, 84-94, 106. The pages exhibit visible drypoint ruling and prickings in margins. The text layout varies between one (fols. 2r, 4r-53v) and two columns (fol. 3rv); fol. 2r accommodates 17 lines of text; fols. 3r-53v mainly 12, but sometimes 10-11 lines. The only color in manuscript is red of rubrics; The binding of manuscript consists of two bare wooden boards (78 ? 70 mm), tooled with a geometric pattern (Figure 2). The cover decoration has a hatched frame, inside of which is drawn X-form- Sergew Hable Selassie's pattern nr 5.6 The book has been preserved together with its leather case (mahdar, Figure 3).7 The carrying case is of a simple type, as it does not contain inner and outer box. The book's decoration is extremely modest. The only ink drawing in manuscript occupies fol. 2v (Figure 4), and belongs to one of most frequent types of illustration in magical scrolls and books.8 According to best survey of literature, this type of drawing has generally been described as a in eight-pointed star. 9 Some scholars believe that this magical figure represents a net to catch demons, the secret king, leader of all demons,10 or an eight-pointed star with face of Satan.11 A more plausible interpretation posits a friendly figure, such as a Cherub or even God's face.12 We are tempted to interpret drawing as a Cherub, or indeed as a stylized Theophany icon, both equally frequent in Ethiopian art.13 The apotropaic representation of icons would in any case be in keeping with nature of Ethiopian magical syncretism. Magical writings in Ethiopian culture appear mainly in form of scrolls, produced by healing dabtaras14 in size of person they meant to protect. However, dabtaras also owned sourcebooks from which they copied magical drawings, prayers, and formulas onto personalized scrolls. However, such sourcebooks (carnets de dabtara according to Strelcyn)15 containing magical prayers (maftdhe sdray) are generally thicker than Cluj, BCU MS 681. The manuscript contains magical spells and prayers, as follows: 1. 2r. Magical spells. Many letters are illegible. Written later than rest of manuscript, by hand A. In Name of Father, Son and Holy Spirit, one God. …

Zasób Flores Oratorii – norbertańskiej silvae rerum przechowywanej w Bibliotece Prowincjalnej Franciszkanów w Gnieźnie

In this article I present the content of the Norbertine commonplace book stored in the special collections department of the Franciscan Provincial Library in Gniezno. This commonplace book (Latin: silva rerum) is a kind of library of its own: a collection of copies of speeches, orations on the current political life in the eighteenth century, poetic works, greetings, occasional congratulations, as well as own works of the unknown Premonstratensian monk – the creator and owner of this commonplace book.

Politically Charged Records: A Case Study with Recommendations for Providing Access to a Challenging Collection

In the months leading up to the 2008 presidential election, a collection of organizational records held by the Special Collections Department of the University of Illinois at Chicago became a politically charged source of public scrutiny, and the department's role in providing access to the collection became one of the top library stories of the year. This case study relates how the department implemented new collections management policies and procedures and developed an attuned sensitivity to balancing donor obligations with researcher needs in the wake of a public relations crisis.