Manuscript Curators Research Articles

Collecting Sarah Piatt at the Ohio State University's Rare Books & Manuscripts Library

Collecting Sarah Piatt at the Ohio State University's Rare Books & Manuscripts Library

Contributors

Other| October 01 2021 Contributors Pedagogy (2021) 21 (3): 565–567. https://doi.org/10.1215/15314200-9137158 Cite Icon Cite Share Icon Share Twitter Permissions Search Site Citation Contributors. Pedagogy 1 October 2021; 21 (3): 565–567. doi: https://doi.org/10.1215/15314200-9137158 Download citation file: Zotero Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search Books & JournalsAll JournalsPedagogy Search Advanced Search Gautam Basu Thakur is associate professor of English and director of the critical theory minor at Boise State University, where he teaches theoretical psychoanalysis, postcoloniality and globalization studies, and literature of the British Empire. His books include Postcolonial Theory and Avatar (2015), Lacan and the Nonhuman (coedited, 2018), Postcolonial Lack (2020), and Reading Lacan's Seminar VIII (coedited, 2020).Saradindu Bhattacharya teaches at the Department of English, University of Hyderabad, India. His recent publications have been in the domains of trauma studies, young adult literature, and the pedagogy of English. He has been teaching cultural studies, Renaissance literature, and new literatures in English at the postgraduate level. Additionally, he has also taught elective courses on nation, media, and popular culture and on children's literature. He particularly enjoys teaching English poetry and reading dystopian fiction.Jolie Braun is curator of modern literature and manuscripts at The Ohio State University Libraries, where she... Issue Section: Contributors You do not currently have access to this content.

What Is Feminist Art?

In 1976 feminist activists Ruth Iskin, Lucy Lippard, and Arlene Raven mailed a pink postcard to their network of artists with the prompt, “If you consider yourself a feminist, would you respond by using one 8 ½ × 11" page to share your ideas about what feminist art is or could be.” More than 200 artists replied in the form of collages, manifestos, drawings, and prints. On February 3, 1977, the responses went on view in a public gallery at the Woman’s Building, a feminist art and education cooperative in Los Angeles. The Center for Feminist Art Historical Studies, an organization affiliated with the Woman’s Building, filed the responses for future reference, and today they reside in the Woman’s Building Records at the Archives of American Art. The launch of the Smithsonian American Women’s History Initiative in 2018 provided an opportunity for the Archives to reconsider these historical documents. In 2019, the Archives’ curator of manuscripts invited some of the original artists as well as a number of new voices to address the question, “What is feminist art?.” This Art Work journal feature reproduces ten examples of the 2019 responses alongside five from 1976–77, inviting comparison and conversation.

Jeffrey F. Hamburger and Joshua O’Driscoll, Imperial Splendor: The Art of the Book in the Holy Roman Empire, 800‐1500. New York: The Morgan Library & Museum, 2021, 216 pp., 149 colored ill.

When a major library and museum such as The Morgan organizes an exhibition of some of its finest medieval manuscripts, and when a famous art historian such as Jeffrey F. Hamburger, together with the assistant curator of medieval and Renaissance manuscripts at the Morgen, Joshua O’Driscoll, authors the catalog accompanying the exhibit, we can be certain to receive a most bibliophile and at the same time scholarly erudite publication. This is certainly the case with Imperial Splendor. The purpose is to bring to light some of the most impressive manuscripts produced in the Holy Roman Empire between 800 and 1500, i.e., throughout the entire Middle Ages. The examples brought together come not only from the Morgan, but also from many other major North American collections.

News, Programs, Publications, and Awards

News, Programs, Publications, and Awards

A Game of Thrones: Power structures in medievalisms, manuscripts, and the museum

As manuscripts curators at Getty Museum, we endeavor to make the Middle Ages relevant and accessible to diverse audiences both onsite and online. This essay is our credo for what we call ‘social media-evalism,’ coined for our multi-year Game of Thrones initiative that recapped the HBO series with medieval art. Reflecting on our role as public medievalists engaged in ongoing dialogue with our audiences, we confess our ambivalence toward chronologically flexible medievalisms, as above all we work to dismantle dangerous appropriations of the medieval past. In assessing strategies for and resistance to confession in Game of Thrones by two protagonists – Queen Cersei and knight Ser Loras – as well as the problematic racial, gender, and queer medievalisms in Game of Thrones more broadly, we interrogate the mechanisms of power in ‘the medieval’ and medieval fantasy within the museum and advocate for a multivocal and equitable medieval past.

News, Programs, Publications, and Awards

News, Programs, Publications, and Awards

Chris Clarkson and his Contributions to the Study, Care, and Conservation of Manuscripts and Rare Books at the Walters Art Museum

ABSTRACT Early in his career as a rare book conservator Christopher Clarkson worked at the Walters Art Museum in Baltimore, Maryland, from February 1977 to August 1979. Hired by the Curator of Manuscripts and Rare Books, Dr. Lilian M.C. Randall, with a grant from the National Endowment for the Humanities, Clarkson conducted a condition survey of the western European manuscripts and wrote detailed descriptions of their structure and bindings for the first comprehensive catalogue to be published of the collection. Clarkson provided training for Walters staff in the handling and display of early books and, with Randall's support, drafted a lengthy monograph on the subject that included instructions on the fabrication of Plexiglas® book cradles. As Clarkson's time was limited, he was unable to undertake the specialized treatment of manuscripts with broken textblocks and bindings. Recognizing the complex problems of thickly applied media on flexible parchment supports, Clarkson made a significant contribution to the preservation of the Walters collection by recommending important changes to existing protocols, established in the late 1960s, for the consolidation of flaking paint in the manuscripts. The experience that Clarkson had at the Walters was significant, as it shaped his thinking about the role of the conservator in studying and caring for early books and in establishing model preservation programmes for special collections in research libraries as well as museums.

Film Music Bibliography 2015-2018

Research Article| October 01 2019 Film Music Bibliography 2015-2018 Robert Kosovsky; Robert Kosovsky Robert Kosovsky is currently curator of Rare Books and Manuscripts for the Music Division of the New York Public Library for the Performing Arts. He also teaches music theory in the Extension Division of Mannes College the New School for Music. At the library he has processed archival collections of Heinrich Schenker, John Cage, and numerous others. He has written reviews for Notes. He has a Ph.D. from the Graduate Center of the City University of New York, where he wrote a dissertation, “Bernard Herrmann’s Radio Music for the ‘Columbia Workshop.‘” Search for other works by this author on: This Site Google Danijela Kulezic-Wilson; Danijela Kulezic-Wilson Danijela Kulezic-Wilson teaches film music, film sound, and intermedia at University College Cork. Her research interests include approaches to film that emphasize its inherent musical properties, the musicality of sound design, and the sensuousness of film soundtrack. She is the author of The Musicality of Narrative Film (Palgrave Macmillan, 2015) and Sound Design is the New Score: Theory, Aesthetics, and Erotics of the Integrated Soundtrack (Oxford University Press, 2019). She is also coeditor (with Liz Greene) of The Palgrave Handbook of Sound Design and Music in Screen Media: Integrated Soundtracks (Palgrave Macmillan, 2016). Search for other works by this author on: This Site Google Warren Sherk Warren Sherk Warren M. Sherk is head of Special Collections at the Academy of Motion Picture Arts and Sciences’ Margaret Herrick Library in Beverly Hills, California. His previous roles in the department include database archivist and music specialist. He is the author of Film and Television Music: A Guide to Books, Articles, and Composer Interviews (Scarecrow Press, 2010). Trained as a composer, he previously worked as an orchestrator and orchestration proofreader in the field of music preparation for films from I Spy to Rush Hour 3. He serves on the board of the Film Music Foundation. Search for other works by this author on: This Site Google Music and the Moving Image (2019) 12 (3): 58–61. https://doi.org/10.5406/musimoviimag.12.3.0058 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn MailTo Permissions Search Site Citation Robert Kosovsky, Danijela Kulezic-Wilson, Warren Sherk; Film Music Bibliography 2015-2018. Music and the Moving Image 1 January 2019; 12 (3): 58–61. doi: https://doi.org/10.5406/musimoviimag.12.3.0058 Download citation file: Zotero Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All Scholarly Publishing CollectiveUniversity of Illinois PressMusic and the Moving Image Search Advanced Search The text of this article is only available as a PDF. Copyright 2019 by the Board of Trustees of the University of Illinois2019 Article PDF first page preview Close Modal You do not currently have access to this content.

‘A real hunger’: English literature, cultural engagement, and China

ABSTRACTAn edited conversation with Alexandra Ault, a Lead curator of manuscripts at the British Library, who recently curated a series of exhibitions about English literature in cities across China, and Andrew Dickson, a freelance culture writer and journalist. The Chapter looks at the ways that English literature has been received historically in China, and sets these in the contemporary context of an increasing awareness of the broader interest in, and support for, these forms of cultural exchange by Government and other national agencies.

A Tale of Two Cities: Evolution of Academic Physiatry in Boston and Baltimore: Part 1: The Boston Marathon

A Tale of Two Cities: Evolution of Academic Physiatry in Boston and Baltimore: Part 1: The Boston Marathon

A Descriptive Catalogue of the Medieval and Renaissance Manuscripts of the University of Notre Dame and St Mary's College by David T. Gura

Reviewed by: A Descriptive Catalogue of the Medieval and Renaissance Manuscripts of the University of Notre Dame and St Mary's College by David T. Gura John O. Ward Gura, David T., A Descriptive Catalogue of the Medieval and Renaissance Manuscripts of the University of Notre Dame and St Mary's College, Notre Dame, University of Notre Dame Press, 2016; cloth; pp. xxxiv, 716; 8 colour plates; R.R.P. US $150.00; ISBN 9780268100605. 'This catalogue describes the 288 medieval and Renaissance manuscripts (69 codices and 219 fragments from 86 parent manuscripts) held by repositories in Notre Dame, Indiana' (p. 1). Those repositories are the University of Notre Dame Hesburgh Library (containing the majority of items), the University of Notre Dame Snite Museum of Art, and the Cushwa-Leighton Library at St Mary's College. 'Bound manuscripts, individual leaves, cuttings, and extracted binding fragments written in Western historical Latin scripts are included (and a single twelfth-century leaf in Greek). Charters and other documentary materials, letters, and fragments still in book bindings are excluded' (p. 1). The idea is to update the 1978 catalogue of James A. Corbett. The majority of manuscripts are liturgical (Books of Hours, Psalters, Missals, Graduals, Breviaries, Pontificals, Evangeliaries, Prayer-books, Antiphonaries, sermon collections, and Bibles), but there are also works by Peter Comestor, Cyprian, Boethius, Buridan, Pope Boniface VIII, Catherine of Siena, Isidore of Seville, Giles of Rome, Peter Lombard, and others. Two fragments are from the eleventh century, but the bulk of the items come from the fifteenth century. Italy and England provide the largest number of items; most are in Latin but a few are in Dutch, English, French, German, Greek, or Italian. There is a list of abbreviations and eight (colour) plates; a fifty-page introduction covering 'Formation of the Collection and Fonds in Use', 'Overview of the Collection', 'Utility of the Collection', 'Method of Citation', 'Format of Entries', 'Arrangement of Entries'. The catalogues of the various institutions themselves follow, and at the end we find Appendix 1 on 'Former and Permanent Hesburgh Library Shelfmarks', Appendix 2 on 'North American Manuscripts by State or Province', and Appendix 3 with 'Tables of Distribution of Watermarks'. [End Page 219] There is a bibliography, an 'Index of Manuscripts Cited', an 'Index of Incipits' and a 'General Index'. David T. Gura is the Curator of Ancient and Medieval Manuscripts in the Hesburgh Library, and concurrent assistant professor in the Medieval Institute at the University of Notre Dame. In the opinion of the present reviewer, the Catalogue is comprehensive, professional, and utterly reliable. The remarks on the uses to which the collection can be put (pp. 41–42) will interest teachers and lecturers at tertiary academies. John O. Ward The University of Sydney Copyright © 2018 John O. Ward

Notes on Contributors

Notes on Contributors

Ben Buchanan Photographs of Artists

Previous articleNext article FreeAcquisitionsBen Buchanan Photographs of ArtistsMary SavigMary Savig Search for more articles by this author PDFPDF PLUSFull Text Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinked InRedditEmailQR Code SectionsMoreThis story begins on April 23, 1985, at Mr. Chow restaurant on East 57th Street, in Manhattan. Dozens of artists, including Jean-Michel Basquiat, Robert Mapplethorpe, and Andy Warhol, had gathered for a dinner hosted by the owners of Area—a downtown nightclub known for its immersive and idiosyncratic environments—in advance of an upcoming “Art” theme there (see section opener and fig. 1). Ben Buchanan (b. 1958), Area’s official photographer, has donated to the Archives twelve photographs documenting these events, several of which highlight the activities of the gender-bending performer and artists’ muse Bernard Zette, who helped bring the nightclub’s elaborate installations to life.fig. 1. Ben Buchanan, “Jean Michel Basquiat [and] Benjamin Liu 1985 at Mr. Chows NYC.” Ben Buchanan Photographs of Artists, Archives of American Art, Smithsonian Institution.During Area’s brief existence (1983–1987) Zette assumed the guise of dozens of characters, from Marie Antoinette to Cleopatra to a mermaphrodite (a hermaphrodite mermaid). At Mr. Chow, he transformed himself into a human guestbook by acquiring many of the diners’ signatures on his coral-hued unitard. “I positioned myself in the entry vestibule and somehow coerced everyone to sign their names,” he recalled in a 2015 email to Buchanan. Alex Katz signed the chest, and Julian Schnabel (who crashed the party) initialed just below. Stefano and Dennis Oppenheim signed the right thigh. David Hockney added his name along the right hip. Kenny Scharf doodled a face over the pelvis. Basquiat embellished his signature (which graced the back of both legs) with a trademark symbol. William Wegman sketched a small dog with a halo on the left foot. Warhol signed under the left arm. And Keith Haring drew one of his dancing figures on the rear end.Weeks later, Zette posed again as a human guestbook to kick off the “Art” theme at Area. At the opening event, and periodically throughout the theme’s six-week run, he draped himself over the open pages of a large book made of foam, posing to display the artists’ signatures on his unitard (fig. 2). Zette later sold the garment and it eventually made its way to a gallery in Japan, where it was purchased by its current owner, an anonymous collector in Sweden. In 2015, Buchanan photographed the unitard in his London studio, and these images are included in his gift to the Archives.fig. 2. Ben Buchanan, “Bernard ‘Zette’ human guestbook on display at AREA 1985 NYC” (detail). Ben Buchanan Photographs of Artists, Archives of American Art, Smithsonian Institution.Buchanan’s collection of photos help contextualize a more formal portrait of the dinner guests at Mr. Chow, taken by photographer Michael Halsband and donated to the Archives by Dennis Oppenheim in 1996. Indeed, it was this very portrait that prompted the Swedish collector to share with me the story of Zette’s unitard. More broadly, Buchanan’s 1985 photographs document many of the art world luminaries who expanded the boundaries of pop art by merging art with everyday life. His images compliment the Archives’ existing holdings of personal papers, gallery records, and oral history interviews with artists who attended the events at Mr. Chow and Area, including Hockney, Oppenheim, Warhol, Wegman, and LeRoy Nieman, among many others. Notes Mary Savig is the curator of manuscripts at the Archives of American Art. Previous articleNext article DetailsFiguresReferencesCited by Archives of American Art Journal Volume 56, Number 1Spring 2017 Sponsored by the Archives of American Art, Smithsonian Institution Article DOIhttps://doi.org/10.1086/692641 © 2017 by The Smithsonian Institution. All rights reserved.PDF download Crossref reports no articles citing this article.

The Making and Meaning of the Liber Floridus: A Study of the Original Manuscript, Ghent, University Library MS 92 by Albert Derolez

Reviewed by: The Making and Meaning of the Liber Floridus: A Study of the Original Manuscript, Ghent, University Library MS 92 by Albert Derolez Mary Franklin-Brown Albert Derolez. The Making and Meaning of the Liber Floridus: A Study of the Original Manuscript, Ghent, University Library MS 92. Studies in Medieval and Early Renaissance Art History 76 Turnhout: Harvey Miller/Brepols, 2015 Iv + 355 pp., 22 black-and-white illustrations, 98 color illustrations. €125. ISBN 978-1-909400-22-1. The Liber Floridus (now Ghent, University Library MS 92) has inspired powerful fascination in the Middle Ages and our own day. Compiled by Lambert of Saint-Omer, canon of the Church of Our Lady in the Flemish city, in the period 1111–21, this encyclopedia is preeminent for its remarkable illustrations, some of which are masterpieces of Romanesque drawing. But it is also unique for its proliferation of maps and circular diagrams and the considerable space it accords to poetry and literary narrative. The latter may surprise, given Lambert’s own limitations as a Latinist, and that is just one mystery among many. What was the codex’s original structure, before illustrations and even whole quires disappeared? The question is complicated by the fact that Lambert’s organizational logic is nothing like what we find in antique or scholastic encyclopedias, and he himself altered its structure more than once in the course of his work. Finally, what was Lambert’s relation to the great abbey of Saint-Bertin in the same town? Why would a canon at a neighboring church not have access to essential encyclopedic texts, present in the abbey’s library, until he had already worked on his own encyclopedia for years? Why, if any of the monks did take interest in his work, would he be so poorly supplied with writing materials that he would be obliged to compile an encyclopedia on unevenly [End Page 569] sized pieces of parchment and disused leaves from other books—and to make of his first draft his only fair copy? No scholar working today knows the book as well or has come as close to answering these questions as Albert Derolez, who was for many years the curator of manuscripts and rare books at the Ghent University Library. Derolez’s 1968 edition (semi-diplomatic, semi-facsimile), and his dissertation, published in Dutch in 1978 and in English in 1998 (The Autograph Manuscript of the Liber Floridus: A Key to the Encyclopedia of Lambert of Saint-Omer, Corpus Christianorum, Autographa Medii Aevi, 4 [Turnhout: Brepols]), have until now provided the best access to the Liber Floridus. But the copies of the in-folio edition have themselves become rare books, and Derolez’s dissertation demanded from readers a high degree of prior familiarity with codicology before they could follow his argument about Lambert’s stages of compilation and revision. Fortunately, the new millennium has brought three great contributions to Liber Floridus scholarship and teaching. The Ghent University Library has digitized the entire codex and made it available online, while an attractive affiliated site offers helpful introductory blurbs in Dutch, French, and English on the genre, the author, and the historical and intellectual context (www.liberfloridus.be/index_eng.html). The library has also made the 1968 edition available for download. Now, Derolez has published a new study, The Making and Meaning of the Liber Floridus, based on his dissertation but updated to reflect the latest scholarship and expanded with new notes providing the incipit of every text, 120 photographic plates, and extensive tables and indices. Derolez has worked very hard to make this new book accessible. It begins with a selective bibliography. This is followed by two pages of “Preliminary Notes and Definitions,” a primer on quire structure and codicological terminology that also shows readers how to understand the diagrams he will use throughout the book, thus preparing students and general readers for what will follow. The introduction is divided into ten sections, beginning with a survey of scholarship and proceeding to treat Lambert, the autograph manuscript, its parchment, quire structure, layout, script, and illumination, and the text, its sources, structure, and table of contents. All this is dispatched in...

A Faded Legacy: Amy Brown Lyman and Mormon Women’s Activism, 1872–1959

Book Review| January 01 2017 A Faded Legacy: Amy Brown Lyman and Mormon Women’s Activism, 1872–1959 Dave Hall, A Faded Legacy: Amy Brown Lyman and Mormon Women’s Activism, 1872–1959, Salt Lake City: University of Utah Press, 2015. xvi + 266 pp. Photographs, notes, bibliography, index. Hardcover; $34.95; ISBN 978-1-60781-453-5. Ryan K. Lee Ryan K. Lee RYAN LEE is the curator of nineteenth century Mormon and Western manuscripts in the L. Tom Perry Special Collections at Brigham Young University. He has worked as a professional archivist for ten years, including four years as corporate records archivist at the LDS Church History Library in Salt Lake City, Utah. Search for other works by this author on: This Site Google Journal of Mormon History (2017) 43 (1): 211–214. https://doi.org/10.5406/jmormhist.43.1.0211 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn MailTo Permissions Search Site Citation Ryan K. Lee; A Faded Legacy: Amy Brown Lyman and Mormon Women’s Activism, 1872–1959. Journal of Mormon History 1 January 2017; 43 (1): 211–214. doi: https://doi.org/10.5406/jmormhist.43.1.0211 Download citation file: Zotero Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All Scholarly Publishing CollectiveUniversity of Illinois PressJournal of Mormon History Search Advanced Search The text of this article is only available as a PDF. Copyright 2017 by the Board of Trustees of the University of Illinois2017 Article PDF first page preview Close Modal You do not currently have access to this content.

The Pacific Mail Steamship Company Collection

Research Article| November 01 2012 The Pacific Mail Steamship Company Collection Mario M. Einaudi, Mario M. Einaudi Mario Einaudi is currently the Kemble Digital Projects Librarian at the Henry E. Huntington Library in San Marino, California. From 1998 to 2010, Einaudi pro- cessed the John Haskell Kemble Collection of maritime ephemera, some 24,000 items in all. He continues to catalog the prints and photographs in this collection. Einaudi has a MLIS from San José State University (2003), a MA from George Washington University (1994) in Modern European and Diplomatic History. He has worked as an archivist/librarian since 1995. Search for other works by this author on: This Site PubMed Google Scholar Jennifer Allan Goldman Jennifer Allan Goldman Jennifer Allan Goldman is the Institutional Archivist and a Curator of Manuscripts at The Huntington Library in San Marino, California. In addition to her responsibility for the collections related to Henry Huntington, his family, his business interests, and the Huntington Institutional Archives, Jennifer oversees collections in transportation, modern southern California corporations, and twentieth-century American history. Search for other works by this author on: This Site PubMed Google Scholar Southern California Quarterly (2012) 94 (4): 407–409. https://doi.org/10.1525/scq.2012.94.4.407 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Twitter LinkedIn Tools Icon Tools Cite Icon Cite Search Site Citation Mario M. Einaudi, Jennifer Allan Goldman; The Pacific Mail Steamship Company Collection. Southern California Quarterly 1 November 2012; 94 (4): 407–409. doi: https://doi.org/10.1525/scq.2012.94.4.407 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu nav search search input Search input auto suggest search filter All ContentSouthern California Quarterly Search This content is only available via PDF. © 2012 by The Historical Society of Southern California. All rights reserved.2012 Article PDF first page preview Close Modal You do not currently have access to this content.

Ether Day's William T. G. Morton

Ether Day's William T. G. Morton

Digital Attraction : from the real to the virtual in manuscript studies

In a BBC Radio 4 programme broadcast on 26 April 2011 (Tales from the Digital Archive), archaeologist Christine Finn explored some of the ways in which the digital revolution has changed writers’ working methods, and the consequential impact that these have had on librarians, curators and conservators. Wendy Cope recently donated an archive of 40,000 emails to the British Library, providing scholars with invaluable material for research on drafts of her poems as they developed. Fay Weldon found herself changing quite easily from pen and paper to computer and mouse, discovering in the process that it changed how she actually wrote her novels. Altering phrases or drafts became much easier, and much cheaper too. Weldon’s archive is destined for the University of Indiana. Salman Rushdie’s archive went to Emory University in 2006, becoming available to researchers in 2010; it includes 15 years of electronic material from his computer. The British Library has a Curator of Digital Manuscripts, Jeremy John, whose strongroom contains IBM and Macintosh computers, floppies, CDs and other ephemera such as post-it slips (stored in archive boxes alongside the machines they were attached to).

Bridging the Gap: Taking Practical Steps Toward Managing Born-Digital Collections in Manuscript Repositories

A few years ago I attended a lecture by a well-known digital libraries researcher who, when discussing the issue of digital preservation, clicked forward to a PowerPoint slide that included Pablo Picasso’s iconic ink illustration of Don Quixote, the placement of which seemed a little too conveniently symbolic to be accidental. Regardless of the presenter’s intent, it is clear that the quest for sound and simple processes to support the management and preservation of electronic records—now often referred to as “born-digital” records—has remained a Quixotic one for many manuscripts curators and archivists, even more than two decades into . . .