(2400,19,'2012-09-24 23:20:30','2012-09-24 23:20:30','Behind a low glass case in Goucher’s Special Collection Room sits a humble blue book box that holds the first American edition of Jane Austen’s <em>Emma</em>. Valued from nineteen to seventy-five thousand dollars on ABEBooks.com, the edition is unquestionably valuable. But how did this extremely rare copy end up in Goucher’s modest library? In a letter to David Gilson on August 5th, 1967 Alberta Burke revealed that she owned a copy of the 1816 Philadelphia Emma, which formerly belonged to Siegfried Sassoon. The two corresponded from 1967 to 1975 until Alberta fell ill. Throughout this time a steady thread of conversation exists about the Philadelphia Emma.\r\n\r\nAfter seeing the interest that both Alberta Burke and David Gilson had in the first American edition of Emma, perusing the pages and studying the tome in detail was essential to discover first hand the majesty of the volumes.\r\n\r\n[caption id=\"attachment_1319\" align=\"alignright\" width=\"281\"]<a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/goucher_student-work-image2_kendall.jpg\"><img class=\"size-medium wp-image-1319  \" title=\"goucher_student work image2_kendall\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/goucher_student-work-image2_kendall-281x250.jpg\" alt=\"First Edition of Emma (1816)\" width=\"281\" height=\"250\" /></a> Front pastedown and first flyleaf of the Burke Collection copy of the American first edition of Emma (1816), with the book plates of the Countess of Dalhousie, Frank J. Hogan, and Alberta H. Burke.[/caption]\r\n\r\n<span class=\"caption\">Front pastedown and first flyleaf of the Burke Collection copy of the American first edition of <em>Emma</em> (1816), with the book plates of the Countess of Dalhousie, Frank J. Hogan, and Alberta H. Burke.</span>\r\n\r\nThe inside of the custom-made blue book box is coated with a light perimeter of oil damage. Nancy Magnuson, one of Goucher’s librarians and liaisons for the Special Collections, said that Alberta Burke felt so attached to the books and bindings in her collections that she oiled the leather twice a year, far more then necessary. The first volume’s brown leather is faded and has been repaired after cracking. On the inside cover are two pasted rectangular cutouts. The first, measuring 3.5cm tall and 8cm wide, reads “Countess of Dalhousie” in delicate black print. The mysterious figure of the Countess Dalhousie intrigued both David Gilson and Alberta Burke. In a letter dated August 15th 1967 Burke wrote, “The Countess of Dalhousie’s signature, but no date, is on the title page. I like to think, most romantically, but with no evidence that she purchased it in new york when she was in Canada with her husband who was governor-general there in 1819.”\r\n\r\nFive months later Burke and Gilson are still perplexed by the elusive Countess and her involvement with the edition. On January 12th, 1968 she writes to Gilson hoping to answer the questions he’d had about the 1816 Philadelphia Emma. She notes that over the first half of the page in volume I there is a note in pencil, “not I think in Sasoon’s writing, probably in that of Percy (Mathews) who was the agent who arranged the sale from Mr. Sasoon to Mr. Hogan.” The note, hand-written in pencil that has faded to the extent of being almost translucent, reads “Countess of D- wife to the 9th Earl (1770-1838). Who was Governor of Canada, Nova Scotia, etc 1819-1828- this explains her owning this edition, which was unknown to G. Keynes when he compiled his Bibliography of Jane Austen, 1929.”\r\n\r\n<!--nextpage-->\r\n\r\nThese pieces of evidence show that after being published by M. Carey in Philadelphia, this edition left Chesnut Street and most likely traveled into the hands of Lady Dalhousie. “This copy,” Gilson writes in his bibliography of Jane Austen, “was in the present century found in Salisbury by Siegfried Sassoon.”\r\n\r\nIn the same letter dated August 15th, 1967 in which she writes to Gilson about her romantic notion that the Countess of Dalhousie purchased Emma when visiting New York, she alludes to another letter involving Siegfried Sassoon. “You may be amused at a sentence from Siegfried Sassoon’s letter to Mr. Percy Elkin Mathews (who arranged the sale of the other 1816 Emma to Mr. Hogan in 1941. G. Keynes will be livid with me, as he wrote saying he must collate it as he wants to write something bout it for the Times Lit Supplement- which is poaching on your preserves, isn’t it?” She writes specifically to Gilson that, “ this is not for quotation in any article, but solely for your own pleasure.” Alberta Burke must have known this would tickle David Gilson’s fancy. Since Gilson first intended to write his bibliography on Jane Austen as a revised edition Geoffrey Keynes’s 1929 bibliography, he would understand Muir’s frustration with people encroaching on his research topic.\r\n\r\nBetween the letters from Burke and Gilson and the evidence left behind inside Emma, the provenance of this edition is fairly clear. Emma travels from the Philadelphia publisher to the Countess to Siegfried Sassoon. Inside the first volume of the Emma being examined lays a piece of lavender stationary, measuring 17.6cm tall x 13cm wide, folded in half. Opening it reveals that at the top of the stationary is typed “Heytesbury House, Wiltshire” and at the end of the letter is the minute script signature of Siegfried Sassoon.\r\n\r\nThe letter, addressed to Muir, dated March 12th, 1941 is written in Sassoon’s light and witty style. He starts his letter with, “Emma returns to you in a twitter of excitement about going to California. She is sure that Mr. F. Hogan is a very nice man, though she intends to be a bit sharp with him until she gets to know him.” He then jokes with Muir at the expense of Keynes, writing how “G. Keynes will be livid with me, as he wrote saying he must collate it as he wants to write something about it for the Times Lit Supplement- which is poaching on your preserves, isn’t it?”\r\n\r\nIn 1941 Sassoon sold the edition through Elkin Mathews to Frank J. Hogan (Gilson, 100). Under the Countess of Dalhousie’s book label is the red leather label of Frank J. Hogan. Around the name in gold lettering it reads “the true university of these days is a collection of books.”\r\n\r\nIn addition to the lavender letter from Siegfried Sassoon, two additional correspondences hide between the inside cover and the title page. One letter was written to Mr. Hogan from Mr. Muir relating that the 1816 Philadelphia edition of Emma was on its way. The stationary was that of The Antiquarian Booksellers Association, shown by the stamp on the top right corner. Printed at the top is the name “Elkin Mathews LTD” followed by the director’s names: Greville Worthington, Ian L. Fleming, and P. H. Muir. Underneath the names describes the objects in which these men were interested in: “Rare Books, Manuscripts, Literary Portraits, Music.”\r\n\r\n<!--nextpage-->\r\n\r\nLetters leading to other letters seems to be a theme when following this first American edition of Emma. In the letter to Mr. Hogan from Mr. Muir, Muir writes how he feels it is important that Mr. Hogan also get, along with the copy of Emma, the letter from Mr. Sassoon (the lavender letter found in the first volume.) “I think it is only right and proper that you should have with the book the letter that Sassoon sent me when sending the book to me. My own feeling is that one cannot have too much of this kind of thing in association with books.” The truth in Muir’s statement could not be more paramount as it relates to this particular edition of Emma. Burke and Gilson’s letter lead to examining the 1816 Philadelphia edition, which hold the additional correspondences from Sassoon and Muir. Being able to handle and analyze one of the three first American editions is a privilege in itself (Gilson, 100). Yet more than just handling the two volumes, I found the circuit of corresponding materials equally intriguing and helpful to track how the book came from Philadelphia, to the Countess Dalhousie, to Siegfried Sassoon to Frank J. Hogan and finally to Alberta Burke.\r\n\r\nThe last letter found inside the first volume relating to Emma’s provenance is from Mr. Muir to Alberta Burke. Muir writes to Alberta on different stationary then when writing to Mr. Hogan, perhaps to add a more personal touch. Typed on yellow paper with the green “Elkin Mathews Ltd” insignia printed at the top, the letter is typed and dated May 22nd, 1945. Mr. Muir writes that Mr. Hogan purchased the first American 1816 Philadelphia edition for Alberta for only 300 dollars. “I congratulate you,” he writes, “on getting it so cheaply. It is exceedingly rare.”\r\n\r\nThe last letter from Alberta Burke to David Gilson is dated February 4th, 1975. After this date the Austen letters continue between Alberta’s husband Henry Burke and David Gilson. After Alberta’s death on May 22nd, 1975 Goucher’s library received her Jane Austen collection. According to Goucher’s pamphlet “Twenty-Five Years of Jane Austen,” Alberta had always intended to donate the collection to Goucher. “From the time when my Jane Austen material first began to overflow the one-shelf bounds assigned to it, I have always intended that Goucher should be the ultimate recipient, and I have hoped that, sometime in the future, others would partake of the very great pleasure which they have given me for many years.”\r\n\r\nWhen David Gilson in 1982 published A Bibliography of Jane Austen he acknowledged his gratitude to Alberta and Henry Burke. Both Alberta Burke and David Gilson benefited from their letters to one another. Alberta Burke, with her deep seeded love and interest in all things Austen, was able to help David Gilson with his mission to track down Austen texts, study and describe them.\r\n<div class=\"footnote\">\r\n<h5>Works Cited</h5>\r\nGilson, David. <em>A Bibliography of Jane Austen</em>. first. Oxford: Clarendon Press, 1982.\r\n\r\n</div>\r\n<div class=\"footnote\">Austen, Jane. <em>Emma</em>. First. Philadelphia: M.Carey, 1816.</div>\r\n<!--nextpage-->\r\n<h5>Letters From Alberta Burke to David Gilson</h5>\r\n<ul>\r\n	<li>“Apartment Stationary” 18.8 cm tall x 25.9 cm wide, written section is 18.8cm tall x 13.1 cm wide, folded into four quarters for mailing, black ink, cream paper, red print of “Apartment 1318 116 West University Parkway Baltimore, Maryland 21210.” Gray and maroon thin stripe border.</li>\r\n	<li>“Blue Air Mail” 30.5 cm tall x 18.1cm wide, folded into a 9.7cm tall x 14.8cm wide envelope, black ink, written completely on first side and on first fourth and last fourth on other side.</li>\r\n	<li>“Gray Apartment Stationary” 18.8cm tall x 25.9cm wide, written section is 18.8 cm tall x 13.1 cm wide, folded into four quarters for mailing, black ink, cream paper, gray print of “Apartment 1318 116 West University Parkway Baltimore, Maryland 21210.” Gray thin stripe border.</li>\r\n	<li>“Small Note Card” 14cm tall x 8.4cm wide, thicker note-card type cream paper, written only on one side, addressed to “Mr. D.J Gilson, J1 Blenheim Drive Oxford OX2 8DL England” Airmail! is written above the address in red marker. “Burke 1318 Broadview Apts. 116 W. University Parkway Baltimore, Maryland 21210” is typed in upper left corner. Written in blue ink.</li>\r\n</ul>\r\n<strong>August 5, 1967\r\n</strong><em>Apartment Stationary\r\n</em>Tells Mr. Gilson that she has the Frank J. Hogan copy of the 1816 Philadelphia Emma, which formerly belonged to Siegfried Sassoon.\r\n\r\n<strong>August 15, 1967\r\n</strong><em>Apartment Stationary\r\n</em><em>Written in black fountain pen (script writing), fairly uniform line spacing\r\n</em>“You may be amused at a sentence from Siegfried Sassoon’s letter to Mr. Percy Elkin Mathews (who arranged the sale of the other 1816 Emma to Mr. Hogan in 1941. “G. Keynes will be livid with me, as he wrote saying he must collate it as he wants to write something bout it for the Times Lit Supplement- which is poaching on your preserves, isn’t it?” This is not for quotation in any article, but solely for your own pleasure.”\r\n\r\n“Since my copy of the 1816 Philadelphia Emma…her signature, but no date, is on the title page) I like to think, most romantically, but with no evidence, that she purchased it as a new work when she was in Canada with her husband who was governor- general there in 1819.”\r\n\r\n<strong>January 12, 1968\r\n</strong><em>Apartment Stationary\r\n</em>“I hope that I can answer your questions about the Philadelphia 1816 Emma satisfactorily. On inside cover of both volumes is a book place or visiting card (I don’t know which it is) bearing only the engraved words “Coweliers Dalhousie”…no device etc. In the first volume at the left and perpendicular to the lives of priutsey on the title pages is the signature “Cou C Dalhousie” (there is a bit of extra curlicue over the first letter.) However in volume two the signature…is plainly “C B Dalhousie” over the first preliminary half of volume I here is a note in pencil, not I think in Sassoon’s writing, probably in that of Percy (Mathews) who was the agent who arranged the sale from Mr. Sassoon to Mr. Hogan.”\r\n\r\n<strong>June 10, 1969\r\n</strong><em>Blue Air Mail\r\n</em>“Does Mr. C.B. Hogan’s copy of the 1st Am. E [Emma] conform to the Goodspeed, Boolm Cat. No 317, p.4, 1940 description: “Three vols. In 2…Published by M. Cary. 21 Chestnut St. ….Boston 1816.” I – not sure M. Hogan’s article so can’t collate my copy until his description of his E of my 1st edition is bound(?)”\r\n\r\n<strong>November 18, 1969\r\n</strong><em>Gray Apartment Stationary\r\n</em>“I was delighted to know of a 3rd (if imperfect copy of the Philadelphia E turning up. When I first read the description of it in Goodspeeds (I think) 1940 catalogue I thought it was some Bookshop.\r\n#16 went for $1300 to the same buyer\r\n#17 “ “ 550 “ “ “\r\n#18 $40.00\r\n#19 $35.00\r\n#20 (The companion to the A--) was valued at $1250 00 by the estate and had a reserve price of $550 which was not reached so that the item was withdrawn.”\r\n\r\n<strong>March 11, 1973\r\n</strong><em>Small Note Card\r\n</em>“In looking for something else, I picked out a letter of Dr. R.W. Chapurace to me dated 13.10.51. In it he says “The 1816 Philadelphia Emma was the result of Scott’s Quarterly Review, I guess. One day I looked out [the word looks like “whatelup” but this is impossible!] 2 R 1826 and found that it is of a ‘New Edition’ N.A+P that lso is unrecorded.” I haven’t checked further to see if I, or any one else has these listed, and perhaps, I am first causing you unnecessary trouble or being commonly behind the fair.”\r\n\r\n<strong>December 16, 1973\r\n</strong><em>Gray Apartment Stationary\r\n</em>“The only first in boards which I have which has its labels intact (they match Keynes) is M.P. The E has had the backstrips repaired and the N.A.+P 2 packstrips have crumbled away completely + 2 are very cracked + missing the labels”\r\n\r\n<!--nextpage-->\r\n<h5>Letters from Gilson to Henry Burke (after Alberta falls ill)</h5>\r\n<ul>\r\n	<li>“Small White Paper” 17.9cm tall x 13.7cm wide, blue ink, almost transparent white paper, written on only one side.</li>\r\n	<li>“Blue Air Mail” 30.5 cm tall x 18.1cm wide, folded into a 9.7cm tall x 14.8cm wide envelope, black ink, written completely on first side and on first fourth and last fourth on other side.</li>\r\n</ul>\r\n<strong>June 14th, 1975\r\n</strong><em>Blue Air Mail\r\n</em>“I see that Sotheby’s are selling on 23rd of June “an autograph letter by Jane Austen to her publisher commenting on the review of her novel Emma by Sir Walter Scott”: presumably RWC 127, marked as ‘original not traced’. I suppose the Pierpont Morgan will be bidding for this!”\r\n\r\n<strong>August 3rd, 1975\r\n</strong><em>Small White Paper\r\n</em>“It would be very kind if you could give me the correct address of Goucher College, and also the name of the librarian whom I should contact with any query relating to Alberta’s books (there may be queries over some of the rarer items, especially the 1816 Philadelphia Emma.)”\r\n\r\n<strong>October 16th, 1976\r\n</strong><em>Small White Pape</em><em>r\r\n</em><em>Written on both sides.\r\n</em>“I spent a very interesting morning on 1st September at John Murray in Albemarte Street; they kindly allowed me to see their ledgers, giving the publication costs and other details of the first editions of Emma and Northanger Abbey and Persuasion.”\r\n\r\n<strong>December 26th, 1976\r\n</strong><em>Small White Paper.\r\n</em><em>Written on both sides.\r\n</em>“Miss Jones of Goucher College has very kindly sent me-free of charge- an excellent photograph of the title page of Vol.1 of Alberta’s copy of the 1816 Philadelphia Emma (my reproduction in the Autumn 1969 Book Collector was from a Xerox of Mr. Hogan’s copy; this photograph is much clearer).”\r\n\r\n<strong>March 20th, 1977\r\n</strong><em>Small White Paper\r\n</em><em>Written on both sides.\r\n</em>“Christie’s sold first editions of Emma and of Northanger Abbey and Persuasion on 2nd February- not particularly good copies (from the catalogue descriptions) although with the half-titles in each case; I don’t know who bought them, but they fetched 350 pounds and 230 pounds respectively. I have been given an extremely imperfect copy of the first-edition of Emma, consisting only of Vol.1 (lacking the half-title), and Vol.3 (lacking all before p.19.) It clearly has no commercial value, but still seems worth having.”\r\n\r\n<!--nextpage-->\r\n<h5>Letters Found Inside First Volume of 1816 Philadelphia <em>Emma</em></h5>\r\n<strong>Letter 1\r\n</strong><em>17.6cm tall x 13cm wide, grayish blue stationary with “Heytesbury House, Wiltshire” printed on top, dated “12a.3.41,” hand written in script, black ink.</em>\r\n\r\n“Dear Muir,\r\n‘Emma’ returns to you in a twitter of excitement about ‘going to California.’ She is sure that Mr. F. Hogan is a very nice man though she intends to be a bit sharp with him until she has got to know him.\r\nSeriously- I am greatly obliged to you and --- agree to your 15% etc, and my wish you are making a bit more out of it. (G. Keynes will be livid with me, as he would say, he ---- collate it as he wants to write something about it for the ----- which his --- on your ---, isn’t it?) ….\r\nYours, SS (written on top of each other)\r\n\r\n[caption id=\"attachment_1316\" align=\"alignnone\" width=\"638\"]<img class=\"size-full wp-image-1316\" title=\"goucher_student work image3_kendall\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/goucher_student-work-image3_kendall.jpg\" alt=\"\" width=\"638\" height=\"857\" /> Siegfried Sassoon\'s letter to Percy Muir, antiquarian book dealer, regarding Sassoon\'s sale of the American first edition of <em>Emma</em> (1816) to Frank J. Hogan (dated December 3, 1941). The letter was discovered inside the front cover of the Burke Collection copy.[/caption]\r\n\r\n<strong>Letter 2</strong>\r\n\r\n<em>“Antiquarian Booksellers Association” stamp on top left, written March 18, 1941 and received April 17, 1941 (received date written in pencil on top right corner,) stationary is of “Elkin Mathews LTD. Directors: Greville Worthington, Ian L. Fleming, and P.H. Muir,” underneath is typed “Rare Books, Manuscripts, Literary Portraits, Music.”</em>\r\n\r\n“Dear Mr. Hogan,\r\nThis is just a brief note formally to announce the fact that “Emma” left here today on her long journey to California. I think it only right and proper that you should have with the book the letter that Sassoon sent me when sending the book to me. My own feeling is that one cannot have too much of this kind of thing in association with books. I think Siegfried Sassoon a great writer and I would be glad to have this letter myself were I buying one of his books, and I have the feeling that you may think that way, too, so I enclose the letter. He was a great friend and admirer of Charlotte Mew’s, by the way, which may help to endear him to you.\r\nWith every good wish and kind regards,\r\nYours very sincerely,\r\nP. H. MuirHand\r\nwritten note (in same green ink as Muir’s signature) written below signature of “P.H Muir”:\r\n“Note the date on SS’s letter, evidently written on 131h”\r\n\r\n<strong>Letter 3</strong>\r\n\r\n<em>Yellow paper, green “Elkin Mathews Ltd,” dated May 22, 1945, typed in faded black ink.</em>\r\n\r\n“Dear Mrs. Burke,\r\nThank you very much indeed for your letter of May 6th. I congratulate you on getting the “Emma” so cheaply. It is exceedingly rare and Mr. Hogan as very glad to pay 300 dollars for it. I mention the price in dollars because at the time he bought it the 1-pound was below par and fluctuating, so that the price was actually quoted in dollars. I say that the price was set by Mr. Sassoon and not by me, but I saw no reason at the time to take exception to it.\r\nI always have you in mind for any interesting Jane Austen items, which turn up.\r\nYours very sincerely,\r\nP.H. Muir (signed in green ink)\r\n\r\n<!--nextpage-->\r\n<h5>Emma (1st Edition Philadelphia 1816)</h5>\r\n18.3cm tall x 11.1cm (cover)\r\n\r\n<em>Inside Cover</em>\r\ncut and pasted paper of: COUNTESS OF DALHOUSIE, below: maroon and gold sticker of: Ex Libris Frank J. Hogan (around name says: the true university of these days is a collection of books”\r\n\r\n<em>Next Page</em>\r\nwritten by hand in faded pencil: ”Countess of d.- wife of the 9th Earl (1770-1838). Who was Governor of Canada, Nova Scotia, etc. 1819-1828- This explains her owning this edition, which was unknown to G. Keynes when he compiled his Bibliography of Jane Austen, 1929.”\r\nunder this is the paper square for the “Alberta H. Burke”\r\n\r\n[caption id=\"attachment_1314\" align=\"alignnone\" width=\"638\"]<img class=\"size-full wp-image-1314\" title=\"goucher_student work image1_kendall\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/goucher_student-work-image1_kendall.jpg\" alt=\"\" width=\"638\" height=\"1080\" /> Title page of the Burke Collection copy of the American first edition of Jane Austen\'s <em>Emma</em> (1816).[/caption]\r\n\r\n<em>Title Page</em>\r\nEMMA:\r\nA Novel\r\nHere Volumes in Two\r\n(written on side, vertically: A.B. Dallhousie)\r\nBy the Author of “Pride and Prejudice,”\r\n&amp;c. &amp;c.\r\nVol. 1\r\nPHILADELPHIA:\r\nPublished by M.Carey, No. 121 Chesnut Street\r\nAnd for Sale by Wells &amp; Lilly, Boston\r\n1816\r\n\r\n<em>Next Page</em>\r\nTo his Royal Highness\r\nThe Prince Regent, This Work Is, By his Royal Highness’s Permission, Most Respectfully Dedicated, By His Royal Highness’s Dutiful and Obedient Humble Servant, The Author.”\r\n\r\n<em>First Page of Text</em>\r\n18cm tall x 9.8cm wide\r\nA2 at bottom of first page – 8 pages later is “B” (vol.1), 4 pages later “B2”, 8 pages later “C” (vol.1.), 4 pages later “C2”, 8 pages later “D” (vol.1)\r\naverage full page text block: 12.5cm tall x 7.4cm wide\r\n\r\n<!--nextpage-->\r\n<h5>Letters Found Inside Second Volume</h5>\r\n<strong>Letter 1</strong>\r\n\r\n<em>21.5cm tall x13.9cm wide, typed: “Charles Sessler Inc.” Established 1882, Bookseller and Printseller 1308 Walnut Street Philadelphia, PA. 19107” stationary</em>\r\n<em> dated April 24, 1967</em>\r\n\r\n“Dear Mr. Burke:\r\nIn 1945 we purchased in New York at the sale of the Frank J. Hogan Library, item No. 7, a copy of EMMA, printed in Philadelphia by Carey in 1816.\r\nDo you still have this book and would you be willing to part with it?”\r\nYours Sincerely,\r\nMabel Zahn (signed in ink)\r\nZ.T. in bottom left corner, typed (?)\r\n\r\n<strong>Letter 2</strong>\r\n\r\n<em>Typed, same stationary as letter 1</em>\r\n<em> dated May 3, 1967</em>\r\n\r\n“Dear Mr. Burke:\r\nThank you so much for your letter of May 1st.\r\nI am glad that you still have the copy of EMMA. Our inquiry was for a bibliographic purpose. Someone who is working on the bibliography has asked us about the copy we sold you and naturally we followed through for him.\r\nWith best wishes,\r\nYours Sincerely,\r\nMabel Zahn\r\n-Z.T. in bottom left corner, typed (?)','How Emma Travels: by letters, hands and libraries','Behind a low glass case in Goucher’s Special Collection Room sits a humble blue book box that holds the first American edition of Jane Austen’s Emma. Valued from nineteen to seventy-five thousand dollars on ABEBooks.com, the edition is unquestionably valuable. But how did this extremely rare copy end up in Goucher’s modest library? In a letter to David Gilson on August 5th, 1967 Alberta Burke revealed that she owned a copy of the 1816 Philadelphia Emma, which formerly belonged to Siegfried Sassoon. The two corresponded from 1967 to 1975 until Alberta fell ill. Throughout this time a steady thread of conversation exists about the Philadelphia Emma.\r\n\r\nAfter seeing the interest that both Alberta Burke and David Gilson had in the first American edition of Emma, perusing the pages and studying the tome in detail was essential to discover first hand the majesty of the volumes.','inherit','open','open','','1300-revision-39','','','2012-09-24 23:20:30','2012-09-24 23:20:30','',1300,'http://www.archivejournal.net/issue/2/uncategorized/1300-revision-39/',0,'revision','',0),(2403,19,'2012-09-24 23:56:50','2012-09-24 23:56:50','Behind a low glass case in Goucher’s Special Collection Room sits a humble blue book box that holds the first American edition of Jane Austen’s <em>Emma</em>. Valued from nineteen to seventy-five thousand dollars on ABEBooks.com, the edition is unquestionably valuable. But how did this extremely rare copy end up in Goucher’s modest library? In a letter to David Gilson on August 5th, 1967 Alberta Burke revealed that she owned a copy of the 1816 Philadelphia Emma, which formerly belonged to Siegfried Sassoon. The two corresponded from 1967 to 1975 until Alberta fell ill. Throughout this time a steady thread of conversation exists about the Philadelphia Emma.\r\n\r\nAfter seeing the interest that both Alberta Burke and David Gilson had in the first American edition of Emma, perusing the pages and studying the tome in detail was essential to discover first hand the majesty of the volumes.\r\n\r\n<div id=\"attachment_1319\" align=\"alignright\" width=\"281\"><a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/goucher_student-work-image2_kendall.jpg\"><img class=\"size-medium wp-image-1319  \" title=\"goucher_student work image2_kendall\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/goucher_student-work-image2_kendall-281x250.jpg\" alt=\"First Edition of Emma (1816)\" width=\"281\" height=\"250\" /></a> <p class=\"wp-caption-text\">Front pastedown and first flyleaf of the Burke Collection copy of the American first edition of Emma (1816), with the book plates of the Countess of Dalhousie, Frank J. Hogan, and Alberta H. Burke.</p></div>\r\n\r\nThe inside of the custom-made blue book box is coated with a light perimeter of oil damage. Nancy Magnuson, one of Goucher’s librarians and liaisons for the Special Collections, said that Alberta Burke felt so attached to the books and bindings in her collections that she oiled the leather twice a year, far more then necessary. The first volume’s brown leather is faded and has been repaired after cracking. On the inside cover are two pasted rectangular cutouts. The first, measuring 3.5cm tall and 8cm wide, reads “Countess of Dalhousie” in delicate black print. The mysterious figure of the Countess Dalhousie intrigued both David Gilson and Alberta Burke. In a letter dated August 15th 1967 Burke wrote, “The Countess of Dalhousie’s signature, but no date, is on the title page. I like to think, most romantically, but with no evidence that she purchased it in new york when she was in Canada with her husband who was governor-general there in 1819.”\r\n\r\nFive months later Burke and Gilson are still perplexed by the elusive Countess and her involvement with the edition. On January 12th, 1968 she writes to Gilson hoping to answer the questions he’d had about the 1816 Philadelphia Emma. She notes that over the first half of the page in volume I there is a note in pencil, “not I think in Sasoon’s writing, probably in that of Percy (Mathews) who was the agent who arranged the sale from Mr. Sasoon to Mr. Hogan.” The note, hand-written in pencil that has faded to the extent of being almost translucent, reads “Countess of D- wife to the 9th Earl (1770-1838). Who was Governor of Canada, Nova Scotia, etc 1819-1828- this explains her owning this edition, which was unknown to G. Keynes when he compiled his Bibliography of Jane Austen, 1929.”\r\n\r\n<!--nextpage-->\r\n\r\nThese pieces of evidence show that after being published by M. Carey in Philadelphia, this edition left Chesnut Street and most likely traveled into the hands of Lady Dalhousie. “This copy,” Gilson writes in his bibliography of Jane Austen, “was in the present century found in Salisbury by Siegfried Sassoon.”\r\n\r\nIn the same letter dated August 15th, 1967 in which she writes to Gilson about her romantic notion that the Countess of Dalhousie purchased Emma when visiting New York, she alludes to another letter involving Siegfried Sassoon. “You may be amused at a sentence from Siegfried Sassoon’s letter to Mr. Percy Elkin Mathews (who arranged the sale of the other 1816 Emma to Mr. Hogan in 1941. G. Keynes will be livid with me, as he wrote saying he must collate it as he wants to write something bout it for the Times Lit Supplement- which is poaching on your preserves, isn’t it?” She writes specifically to Gilson that, “ this is not for quotation in any article, but solely for your own pleasure.” Alberta Burke must have known this would tickle David Gilson’s fancy. Since Gilson first intended to write his bibliography on Jane Austen as a revised edition Geoffrey Keynes’s 1929 bibliography, he would understand Muir’s frustration with people encroaching on his research topic.\r\n\r\nBetween the letters from Burke and Gilson and the evidence left behind inside Emma, the provenance of this edition is fairly clear. Emma travels from the Philadelphia publisher to the Countess to Siegfried Sassoon. Inside the first volume of the Emma being examined lays a piece of lavender stationary, measuring 17.6cm tall x 13cm wide, folded in half. Opening it reveals that at the top of the stationary is typed “Heytesbury House, Wiltshire” and at the end of the letter is the minute script signature of Siegfried Sassoon.\r\n\r\nThe letter, addressed to Muir, dated March 12th, 1941 is written in Sassoon’s light and witty style. He starts his letter with, “Emma returns to you in a twitter of excitement about going to California. She is sure that Mr. F. Hogan is a very nice man, though she intends to be a bit sharp with him until she gets to know him.” He then jokes with Muir at the expense of Keynes, writing how “G. Keynes will be livid with me, as he wrote saying he must collate it as he wants to write something about it for the Times Lit Supplement- which is poaching on your preserves, isn’t it?”\r\n\r\nIn 1941 Sassoon sold the edition through Elkin Mathews to Frank J. Hogan (Gilson, 100). Under the Countess of Dalhousie’s book label is the red leather label of Frank J. Hogan. Around the name in gold lettering it reads “the true university of these days is a collection of books.”\r\n\r\nIn addition to the lavender letter from Siegfried Sassoon, two additional correspondences hide between the inside cover and the title page. One letter was written to Mr. Hogan from Mr. Muir relating that the 1816 Philadelphia edition of Emma was on its way. The stationary was that of The Antiquarian Booksellers Association, shown by the stamp on the top right corner. Printed at the top is the name “Elkin Mathews LTD” followed by the director’s names: Greville Worthington, Ian L. Fleming, and P. H. Muir. Underneath the names describes the objects in which these men were interested in: “Rare Books, Manuscripts, Literary Portraits, Music.”\r\n\r\n<!--nextpage-->\r\n\r\nLetters leading to other letters seems to be a theme when following this first American edition of Emma. In the letter to Mr. Hogan from Mr. Muir, Muir writes how he feels it is important that Mr. Hogan also get, along with the copy of Emma, the letter from Mr. Sassoon (the lavender letter found in the first volume.) “I think it is only right and proper that you should have with the book the letter that Sassoon sent me when sending the book to me. My own feeling is that one cannot have too much of this kind of thing in association with books.” The truth in Muir’s statement could not be more paramount as it relates to this particular edition of Emma. Burke and Gilson’s letter lead to examining the 1816 Philadelphia edition, which hold the additional correspondences from Sassoon and Muir. Being able to handle and analyze one of the three first American editions is a privilege in itself (Gilson, 100). Yet more than just handling the two volumes, I found the circuit of corresponding materials equally intriguing and helpful to track how the book came from Philadelphia, to the Countess Dalhousie, to Siegfried Sassoon to Frank J. Hogan and finally to Alberta Burke.\r\n\r\nThe last letter found inside the first volume relating to Emma’s provenance is from Mr. Muir to Alberta Burke. Muir writes to Alberta on different stationary then when writing to Mr. Hogan, perhaps to add a more personal touch. Typed on yellow paper with the green “Elkin Mathews Ltd” insignia printed at the top, the letter is typed and dated May 22nd, 1945. Mr. Muir writes that Mr. Hogan purchased the first American 1816 Philadelphia edition for Alberta for only 300 dollars. “I congratulate you,” he writes, “on getting it so cheaply. It is exceedingly rare.”\r\n\r\nThe last letter from Alberta Burke to David Gilson is dated February 4th, 1975. After this date the Austen letters continue between Alberta’s husband Henry Burke and David Gilson. After Alberta’s death on May 22nd, 1975 Goucher’s library received her Jane Austen collection. According to Goucher’s pamphlet “Twenty-Five Years of Jane Austen,” Alberta had always intended to donate the collection to Goucher. “From the time when my Jane Austen material first began to overflow the one-shelf bounds assigned to it, I have always intended that Goucher should be the ultimate recipient, and I have hoped that, sometime in the future, others would partake of the very great pleasure which they have given me for many years.”\r\n\r\nWhen David Gilson in 1982 published A Bibliography of Jane Austen he acknowledged his gratitude to Alberta and Henry Burke. Both Alberta Burke and David Gilson benefited from their letters to one another. Alberta Burke, with her deep seeded love and interest in all things Austen, was able to help David Gilson with his mission to track down Austen texts, study and describe them.\r\n<div class=\"footnote\">\r\n<h5>Works Cited</h5>\r\nGilson, David. <em>A Bibliography of Jane Austen</em>. first. Oxford: Clarendon Press, 1982.\r\n\r\n</div>\r\n<div class=\"footnote\">Austen, Jane. <em>Emma</em>. First. Philadelphia: M.Carey, 1816.</div>\r\n<!--nextpage-->\r\n<h5>Letters From Alberta Burke to David Gilson</h5>\r\n<ul>\r\n	<li>“Apartment Stationary” 18.8 cm tall x 25.9 cm wide, written section is 18.8cm tall x 13.1 cm wide, folded into four quarters for mailing, black ink, cream paper, red print of “Apartment 1318 116 West University Parkway Baltimore, Maryland 21210.” Gray and maroon thin stripe border.</li>\r\n	<li>“Blue Air Mail” 30.5 cm tall x 18.1cm wide, folded into a 9.7cm tall x 14.8cm wide envelope, black ink, written completely on first side and on first fourth and last fourth on other side.</li>\r\n	<li>“Gray Apartment Stationary” 18.8cm tall x 25.9cm wide, written section is 18.8 cm tall x 13.1 cm wide, folded into four quarters for mailing, black ink, cream paper, gray print of “Apartment 1318 116 West University Parkway Baltimore, Maryland 21210.” Gray thin stripe border.</li>\r\n	<li>“Small Note Card” 14cm tall x 8.4cm wide, thicker note-card type cream paper, written only on one side, addressed to “Mr. D.J Gilson, J1 Blenheim Drive Oxford OX2 8DL England” Airmail! is written above the address in red marker. “Burke 1318 Broadview Apts. 116 W. University Parkway Baltimore, Maryland 21210” is typed in upper left corner. Written in blue ink.</li>\r\n</ul>\r\n<strong>August 5, 1967\r\n</strong><em>Apartment Stationary\r\n</em>Tells Mr. Gilson that she has the Frank J. Hogan copy of the 1816 Philadelphia Emma, which formerly belonged to Siegfried Sassoon.\r\n\r\n<strong>August 15, 1967\r\n</strong><em>Apartment Stationary\r\n</em><em>Written in black fountain pen (script writing), fairly uniform line spacing\r\n</em>“You may be amused at a sentence from Siegfried Sassoon’s letter to Mr. Percy Elkin Mathews (who arranged the sale of the other 1816 Emma to Mr. Hogan in 1941. “G. Keynes will be livid with me, as he wrote saying he must collate it as he wants to write something bout it for the Times Lit Supplement- which is poaching on your preserves, isn’t it?” This is not for quotation in any article, but solely for your own pleasure.”\r\n\r\n“Since my copy of the 1816 Philadelphia Emma…her signature, but no date, is on the title page) I like to think, most romantically, but with no evidence, that she purchased it as a new work when she was in Canada with her husband who was governor- general there in 1819.”\r\n\r\n<strong>January 12, 1968\r\n</strong><em>Apartment Stationary\r\n</em>“I hope that I can answer your questions about the Philadelphia 1816 Emma satisfactorily. On inside cover of both volumes is a book place or visiting card (I don’t know which it is) bearing only the engraved words “Coweliers Dalhousie”…no device etc. In the first volume at the left and perpendicular to the lives of priutsey on the title pages is the signature “Cou C Dalhousie” (there is a bit of extra curlicue over the first letter.) However in volume two the signature…is plainly “C B Dalhousie” over the first preliminary half of volume I here is a note in pencil, not I think in Sassoon’s writing, probably in that of Percy (Mathews) who was the agent who arranged the sale from Mr. Sassoon to Mr. Hogan.”\r\n\r\n<strong>June 10, 1969\r\n</strong><em>Blue Air Mail\r\n</em>“Does Mr. C.B. Hogan’s copy of the 1st Am. E [Emma] conform to the Goodspeed, Boolm Cat. No 317, p.4, 1940 description: “Three vols. In 2…Published by M. Cary. 21 Chestnut St. ….Boston 1816.” I – not sure M. Hogan’s article so can’t collate my copy until his description of his E of my 1st edition is bound(?)”\r\n\r\n<strong>November 18, 1969\r\n</strong><em>Gray Apartment Stationary\r\n</em>“I was delighted to know of a 3rd (if imperfect copy of the Philadelphia E turning up. When I first read the description of it in Goodspeeds (I think) 1940 catalogue I thought it was some Bookshop.\r\n#16 went for $1300 to the same buyer\r\n#17 “ “ 550 “ “ “\r\n#18 $40.00\r\n#19 $35.00\r\n#20 (The companion to the A--) was valued at $1250 00 by the estate and had a reserve price of $550 which was not reached so that the item was withdrawn.”\r\n\r\n<strong>March 11, 1973\r\n</strong><em>Small Note Card\r\n</em>“In looking for something else, I picked out a letter of Dr. R.W. Chapurace to me dated 13.10.51. In it he says “The 1816 Philadelphia Emma was the result of Scott’s Quarterly Review, I guess. One day I looked out [the word looks like “whatelup” but this is impossible!] 2 R 1826 and found that it is of a ‘New Edition’ N.A+P that lso is unrecorded.” I haven’t checked further to see if I, or any one else has these listed, and perhaps, I am first causing you unnecessary trouble or being commonly behind the fair.”\r\n\r\n<strong>December 16, 1973\r\n</strong><em>Gray Apartment Stationary\r\n</em>“The only first in boards which I have which has its labels intact (they match Keynes) is M.P. The E has had the backstrips repaired and the N.A.+P 2 packstrips have crumbled away completely + 2 are very cracked + missing the labels”\r\n\r\n<!--nextpage-->\r\n<h5>Letters from Gilson to Henry Burke (after Alberta falls ill)</h5>\r\n<ul>\r\n	<li>“Small White Paper” 17.9cm tall x 13.7cm wide, blue ink, almost transparent white paper, written on only one side.</li>\r\n	<li>“Blue Air Mail” 30.5 cm tall x 18.1cm wide, folded into a 9.7cm tall x 14.8cm wide envelope, black ink, written completely on first side and on first fourth and last fourth on other side.</li>\r\n</ul>\r\n<strong>June 14th, 1975\r\n</strong><em>Blue Air Mail\r\n</em>“I see that Sotheby’s are selling on 23rd of June “an autograph letter by Jane Austen to her publisher commenting on the review of her novel Emma by Sir Walter Scott”: presumably RWC 127, marked as ‘original not traced’. I suppose the Pierpont Morgan will be bidding for this!”\r\n\r\n<strong>August 3rd, 1975\r\n</strong><em>Small White Paper\r\n</em>“It would be very kind if you could give me the correct address of Goucher College, and also the name of the librarian whom I should contact with any query relating to Alberta’s books (there may be queries over some of the rarer items, especially the 1816 Philadelphia Emma.)”\r\n\r\n<strong>October 16th, 1976\r\n</strong><em>Small White Pape</em><em>r\r\n</em><em>Written on both sides.\r\n</em>“I spent a very interesting morning on 1st September at John Murray in Albemarte Street; they kindly allowed me to see their ledgers, giving the publication costs and other details of the first editions of Emma and Northanger Abbey and Persuasion.”\r\n\r\n<strong>December 26th, 1976\r\n</strong><em>Small White Paper.\r\n</em><em>Written on both sides.\r\n</em>“Miss Jones of Goucher College has very kindly sent me-free of charge- an excellent photograph of the title page of Vol.1 of Alberta’s copy of the 1816 Philadelphia Emma (my reproduction in the Autumn 1969 Book Collector was from a Xerox of Mr. Hogan’s copy; this photograph is much clearer).”\r\n\r\n<strong>March 20th, 1977\r\n</strong><em>Small White Paper\r\n</em><em>Written on both sides.\r\n</em>“Christie’s sold first editions of Emma and of Northanger Abbey and Persuasion on 2nd February- not particularly good copies (from the catalogue descriptions) although with the half-titles in each case; I don’t know who bought them, but they fetched 350 pounds and 230 pounds respectively. I have been given an extremely imperfect copy of the first-edition of Emma, consisting only of Vol.1 (lacking the half-title), and Vol.3 (lacking all before p.19.) It clearly has no commercial value, but still seems worth having.”\r\n\r\n<!--nextpage-->\r\n<h5>Letters Found Inside First Volume of 1816 Philadelphia <em>Emma</em></h5>\r\n<strong>Letter 1\r\n</strong><em>17.6cm tall x 13cm wide, grayish blue stationary with “Heytesbury House, Wiltshire” printed on top, dated “12a.3.41,” hand written in script, black ink.</em>\r\n\r\n“Dear Muir,\r\n‘Emma’ returns to you in a twitter of excitement about ‘going to California.’ She is sure that Mr. F. Hogan is a very nice man though she intends to be a bit sharp with him until she has got to know him.\r\nSeriously- I am greatly obliged to you and --- agree to your 15% etc, and my wish you are making a bit more out of it. (G. Keynes will be livid with me, as he would say, he ---- collate it as he wants to write something about it for the ----- which his --- on your ---, isn’t it?) ….\r\nYours, SS (written on top of each other)\r\n\r\n[caption id=\"attachment_1316\" align=\"alignnone\" width=\"638\"]<img class=\"size-full wp-image-1316\" title=\"goucher_student work image3_kendall\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/goucher_student-work-image3_kendall.jpg\" alt=\"\" width=\"638\" height=\"857\" /> Siegfried Sassoon\'s letter to Percy Muir, antiquarian book dealer, regarding Sassoon\'s sale of the American first edition of <em>Emma</em> (1816) to Frank J. Hogan (dated December 3, 1941). The letter was discovered inside the front cover of the Burke Collection copy.[/caption]\r\n\r\n<strong>Letter 2</strong>\r\n\r\n<em>“Antiquarian Booksellers Association” stamp on top left, written March 18, 1941 and received April 17, 1941 (received date written in pencil on top right corner,) stationary is of “Elkin Mathews LTD. Directors: Greville Worthington, Ian L. Fleming, and P.H. Muir,” underneath is typed “Rare Books, Manuscripts, Literary Portraits, Music.”</em>\r\n\r\n“Dear Mr. Hogan,\r\nThis is just a brief note formally to announce the fact that “Emma” left here today on her long journey to California. I think it only right and proper that you should have with the book the letter that Sassoon sent me when sending the book to me. My own feeling is that one cannot have too much of this kind of thing in association with books. I think Siegfried Sassoon a great writer and I would be glad to have this letter myself were I buying one of his books, and I have the feeling that you may think that way, too, so I enclose the letter. He was a great friend and admirer of Charlotte Mew’s, by the way, which may help to endear him to you.\r\nWith every good wish and kind regards,\r\nYours very sincerely,\r\nP. H. MuirHand\r\nwritten note (in same green ink as Muir’s signature) written below signature of “P.H Muir”:\r\n“Note the date on SS’s letter, evidently written on 131h”\r\n\r\n<strong>Letter 3</strong>\r\n\r\n<em>Yellow paper, green “Elkin Mathews Ltd,” dated May 22, 1945, typed in faded black ink.</em>\r\n\r\n“Dear Mrs. Burke,\r\nThank you very much indeed for your letter of May 6th. I congratulate you on getting the “Emma” so cheaply. It is exceedingly rare and Mr. Hogan as very glad to pay 300 dollars for it. I mention the price in dollars because at the time he bought it the 1-pound was below par and fluctuating, so that the price was actually quoted in dollars. I say that the price was set by Mr. Sassoon and not by me, but I saw no reason at the time to take exception to it.\r\nI always have you in mind for any interesting Jane Austen items, which turn up.\r\nYours very sincerely,\r\nP.H. Muir (signed in green ink)\r\n\r\n<!--nextpage-->\r\n<h5>Emma (1st Edition Philadelphia 1816)</h5>\r\n18.3cm tall x 11.1cm (cover)\r\n\r\n<em>Inside Cover</em>\r\ncut and pasted paper of: COUNTESS OF DALHOUSIE, below: maroon and gold sticker of: Ex Libris Frank J. Hogan (around name says: the true university of these days is a collection of books”\r\n\r\n<em>Next Page</em>\r\nwritten by hand in faded pencil: ”Countess of d.- wife of the 9th Earl (1770-1838). Who was Governor of Canada, Nova Scotia, etc. 1819-1828- This explains her owning this edition, which was unknown to G. Keynes when he compiled his Bibliography of Jane Austen, 1929.”\r\nunder this is the paper square for the “Alberta H. Burke”\r\n\r\n[caption id=\"attachment_1314\" align=\"alignnone\" width=\"638\"]<img class=\"size-full wp-image-1314\" title=\"goucher_student work image1_kendall\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/goucher_student-work-image1_kendall.jpg\" alt=\"\" width=\"638\" height=\"1080\" /> Title page of the Burke Collection copy of the American first edition of Jane Austen\'s <em>Emma</em> (1816).[/caption]\r\n\r\n<em>Title Page</em>\r\nEMMA:\r\nA Novel\r\nHere Volumes in Two\r\n(written on side, vertically: A.B. Dallhousie)\r\nBy the Author of “Pride and Prejudice,”\r\n&amp;c. &amp;c.\r\nVol. 1\r\nPHILADELPHIA:\r\nPublished by M.Carey, No. 121 Chesnut Street\r\nAnd for Sale by Wells &amp; Lilly, Boston\r\n1816\r\n\r\n<em>Next Page</em>\r\nTo his Royal Highness\r\nThe Prince Regent, This Work Is, By his Royal Highness’s Permission, Most Respectfully Dedicated, By His Royal Highness’s Dutiful and Obedient Humble Servant, The Author.”\r\n\r\n<em>First Page of Text</em>\r\n18cm tall x 9.8cm wide\r\nA2 at bottom of first page – 8 pages later is “B” (vol.1), 4 pages later “B2”, 8 pages later “C” (vol.1.), 4 pages later “C2”, 8 pages later “D” (vol.1)\r\naverage full page text block: 12.5cm tall x 7.4cm wide\r\n\r\n<!--nextpage-->\r\n<h5>Letters Found Inside Second Volume</h5>\r\n<strong>Letter 1</strong>\r\n\r\n<em>21.5cm tall x13.9cm wide, typed: “Charles Sessler Inc.” Established 1882, Bookseller and Printseller 1308 Walnut Street Philadelphia, PA. 19107” stationary</em>\r\n<em> dated April 24, 1967</em>\r\n\r\n“Dear Mr. Burke:\r\nIn 1945 we purchased in New York at the sale of the Frank J. Hogan Library, item No. 7, a copy of EMMA, printed in Philadelphia by Carey in 1816.\r\nDo you still have this book and would you be willing to part with it?”\r\nYours Sincerely,\r\nMabel Zahn (signed in ink)\r\nZ.T. in bottom left corner, typed (?)\r\n\r\n<strong>Letter 2</strong>\r\n\r\n<em>Typed, same stationary as letter 1</em>\r\n<em> dated May 3, 1967</em>\r\n\r\n“Dear Mr. Burke:\r\nThank you so much for your letter of May 1st.\r\nI am glad that you still have the copy of EMMA. Our inquiry was for a bibliographic purpose. Someone who is working on the bibliography has asked us about the copy we sold you and naturally we followed through for him.\r\nWith best wishes,\r\nYours Sincerely,\r\nMabel Zahn\r\n-Z.T. in bottom left corner, typed (?)','How Emma Travels: by letters, hands and libraries','Behind a low glass case in Goucher’s Special Collection Room sits a humble blue book box that holds the first American edition of Jane Austen’s Emma. Valued from nineteen to seventy-five thousand dollars on ABEBooks.com, the edition is unquestionably valuable. But how did this extremely rare copy end up in Goucher’s modest library? In a letter to David Gilson on August 5th, 1967 Alberta Burke revealed that she owned a copy of the 1816 Philadelphia Emma, which formerly belonged to Siegfried Sassoon. The two corresponded from 1967 to 1975 until Alberta fell ill. Throughout this time a steady thread of conversation exists about the Philadelphia Emma.\r\n\r\nAfter seeing the interest that both Alberta Burke and David Gilson had in the first American edition of Emma, perusing the pages and studying the tome in detail was essential to discover first hand the majesty of the volumes.','inherit','open','open','','1300-revision-42','','','2012-09-24 23:56:50','2012-09-24 23:56:50','',1300,'http://www.archivejournal.net/issue/2/uncategorized/1300-revision-42/',0,'revision','',0),(2404,19,'2012-09-24 23:57:17','2012-09-24 23:57:17','Behind a low glass case in Goucher’s Special Collection Room sits a humble blue book box that holds the first American edition of Jane Austen’s <em>Emma</em>. Valued from nineteen to seventy-five thousand dollars on ABEBooks.com, the edition is unquestionably valuable. But how did this extremely rare copy end up in Goucher’s modest library? In a letter to David Gilson on August 5th, 1967 Alberta Burke revealed that she owned a copy of the 1816 Philadelphia Emma, which formerly belonged to Siegfried Sassoon. The two corresponded from 1967 to 1975 until Alberta fell ill. Throughout this time a steady thread of conversation exists about the Philadelphia Emma.\r\n\r\nAfter seeing the interest that both Alberta Burke and David Gilson had in the first American edition of Emma, perusing the pages and studying the tome in detail was essential to discover first hand the majesty of the volumes.\r\n\r\n<div id=\"attachment_1319\" align=\"alignright\" width=\"281\"><a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/goucher_student-work-image2_kendall.jpg\"><img class=\"size-medium wp-image-1319  \" title=\"goucher_student work image2_kendall\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/goucher_student-work-image2_kendall-281x250.jpg\" alt=\"First Edition of Emma (1816)\" width=\"281\" height=\"250\" /></a> <p class=\"wp-caption-text caption\">Front pastedown and first flyleaf of the Burke Collection copy of the American first edition of Emma (1816), with the book plates of the Countess of Dalhousie, Frank J. Hogan, and Alberta H. Burke.</p></div>\r\n\r\nThe inside of the custom-made blue book box is coated with a light perimeter of oil damage. Nancy Magnuson, one of Goucher’s librarians and liaisons for the Special Collections, said that Alberta Burke felt so attached to the books and bindings in her collections that she oiled the leather twice a year, far more then necessary. The first volume’s brown leather is faded and has been repaired after cracking. On the inside cover are two pasted rectangular cutouts. The first, measuring 3.5cm tall and 8cm wide, reads “Countess of Dalhousie” in delicate black print. The mysterious figure of the Countess Dalhousie intrigued both David Gilson and Alberta Burke. In a letter dated August 15th 1967 Burke wrote, “The Countess of Dalhousie’s signature, but no date, is on the title page. I like to think, most romantically, but with no evidence that she purchased it in new york when she was in Canada with her husband who was governor-general there in 1819.”\r\n\r\nFive months later Burke and Gilson are still perplexed by the elusive Countess and her involvement with the edition. On January 12th, 1968 she writes to Gilson hoping to answer the questions he’d had about the 1816 Philadelphia Emma. She notes that over the first half of the page in volume I there is a note in pencil, “not I think in Sasoon’s writing, probably in that of Percy (Mathews) who was the agent who arranged the sale from Mr. Sasoon to Mr. Hogan.” The note, hand-written in pencil that has faded to the extent of being almost translucent, reads “Countess of D- wife to the 9th Earl (1770-1838). Who was Governor of Canada, Nova Scotia, etc 1819-1828- this explains her owning this edition, which was unknown to G. Keynes when he compiled his Bibliography of Jane Austen, 1929.”\r\n\r\n<!--nextpage-->\r\n\r\nThese pieces of evidence show that after being published by M. Carey in Philadelphia, this edition left Chesnut Street and most likely traveled into the hands of Lady Dalhousie. “This copy,” Gilson writes in his bibliography of Jane Austen, “was in the present century found in Salisbury by Siegfried Sassoon.”\r\n\r\nIn the same letter dated August 15th, 1967 in which she writes to Gilson about her romantic notion that the Countess of Dalhousie purchased Emma when visiting New York, she alludes to another letter involving Siegfried Sassoon. “You may be amused at a sentence from Siegfried Sassoon’s letter to Mr. Percy Elkin Mathews (who arranged the sale of the other 1816 Emma to Mr. Hogan in 1941. G. Keynes will be livid with me, as he wrote saying he must collate it as he wants to write something bout it for the Times Lit Supplement- which is poaching on your preserves, isn’t it?” She writes specifically to Gilson that, “ this is not for quotation in any article, but solely for your own pleasure.” Alberta Burke must have known this would tickle David Gilson’s fancy. Since Gilson first intended to write his bibliography on Jane Austen as a revised edition Geoffrey Keynes’s 1929 bibliography, he would understand Muir’s frustration with people encroaching on his research topic.\r\n\r\nBetween the letters from Burke and Gilson and the evidence left behind inside Emma, the provenance of this edition is fairly clear. Emma travels from the Philadelphia publisher to the Countess to Siegfried Sassoon. Inside the first volume of the Emma being examined lays a piece of lavender stationary, measuring 17.6cm tall x 13cm wide, folded in half. Opening it reveals that at the top of the stationary is typed “Heytesbury House, Wiltshire” and at the end of the letter is the minute script signature of Siegfried Sassoon.\r\n\r\nThe letter, addressed to Muir, dated March 12th, 1941 is written in Sassoon’s light and witty style. He starts his letter with, “Emma returns to you in a twitter of excitement about going to California. She is sure that Mr. F. Hogan is a very nice man, though she intends to be a bit sharp with him until she gets to know him.” He then jokes with Muir at the expense of Keynes, writing how “G. Keynes will be livid with me, as he wrote saying he must collate it as he wants to write something about it for the Times Lit Supplement- which is poaching on your preserves, isn’t it?”\r\n\r\nIn 1941 Sassoon sold the edition through Elkin Mathews to Frank J. Hogan (Gilson, 100). Under the Countess of Dalhousie’s book label is the red leather label of Frank J. Hogan. Around the name in gold lettering it reads “the true university of these days is a collection of books.”\r\n\r\nIn addition to the lavender letter from Siegfried Sassoon, two additional correspondences hide between the inside cover and the title page. One letter was written to Mr. Hogan from Mr. Muir relating that the 1816 Philadelphia edition of Emma was on its way. The stationary was that of The Antiquarian Booksellers Association, shown by the stamp on the top right corner. Printed at the top is the name “Elkin Mathews LTD” followed by the director’s names: Greville Worthington, Ian L. Fleming, and P. H. Muir. Underneath the names describes the objects in which these men were interested in: “Rare Books, Manuscripts, Literary Portraits, Music.”\r\n\r\n<!--nextpage-->\r\n\r\nLetters leading to other letters seems to be a theme when following this first American edition of Emma. In the letter to Mr. Hogan from Mr. Muir, Muir writes how he feels it is important that Mr. Hogan also get, along with the copy of Emma, the letter from Mr. Sassoon (the lavender letter found in the first volume.) “I think it is only right and proper that you should have with the book the letter that Sassoon sent me when sending the book to me. My own feeling is that one cannot have too much of this kind of thing in association with books.” The truth in Muir’s statement could not be more paramount as it relates to this particular edition of Emma. Burke and Gilson’s letter lead to examining the 1816 Philadelphia edition, which hold the additional correspondences from Sassoon and Muir. Being able to handle and analyze one of the three first American editions is a privilege in itself (Gilson, 100). Yet more than just handling the two volumes, I found the circuit of corresponding materials equally intriguing and helpful to track how the book came from Philadelphia, to the Countess Dalhousie, to Siegfried Sassoon to Frank J. Hogan and finally to Alberta Burke.\r\n\r\nThe last letter found inside the first volume relating to Emma’s provenance is from Mr. Muir to Alberta Burke. Muir writes to Alberta on different stationary then when writing to Mr. Hogan, perhaps to add a more personal touch. Typed on yellow paper with the green “Elkin Mathews Ltd” insignia printed at the top, the letter is typed and dated May 22nd, 1945. Mr. Muir writes that Mr. Hogan purchased the first American 1816 Philadelphia edition for Alberta for only 300 dollars. “I congratulate you,” he writes, “on getting it so cheaply. It is exceedingly rare.”\r\n\r\nThe last letter from Alberta Burke to David Gilson is dated February 4th, 1975. After this date the Austen letters continue between Alberta’s husband Henry Burke and David Gilson. After Alberta’s death on May 22nd, 1975 Goucher’s library received her Jane Austen collection. According to Goucher’s pamphlet “Twenty-Five Years of Jane Austen,” Alberta had always intended to donate the collection to Goucher. “From the time when my Jane Austen material first began to overflow the one-shelf bounds assigned to it, I have always intended that Goucher should be the ultimate recipient, and I have hoped that, sometime in the future, others would partake of the very great pleasure which they have given me for many years.”\r\n\r\nWhen David Gilson in 1982 published A Bibliography of Jane Austen he acknowledged his gratitude to Alberta and Henry Burke. Both Alberta Burke and David Gilson benefited from their letters to one another. Alberta Burke, with her deep seeded love and interest in all things Austen, was able to help David Gilson with his mission to track down Austen texts, study and describe them.\r\n<div class=\"footnote\">\r\n<h5>Works Cited</h5>\r\nGilson, David. <em>A Bibliography of Jane Austen</em>. first. Oxford: Clarendon Press, 1982.\r\n\r\n</div>\r\n<div class=\"footnote\">Austen, Jane. <em>Emma</em>. First. Philadelphia: M.Carey, 1816.</div>\r\n<!--nextpage-->\r\n<h5>Letters From Alberta Burke to David Gilson</h5>\r\n<ul>\r\n	<li>“Apartment Stationary” 18.8 cm tall x 25.9 cm wide, written section is 18.8cm tall x 13.1 cm wide, folded into four quarters for mailing, black ink, cream paper, red print of “Apartment 1318 116 West University Parkway Baltimore, Maryland 21210.” Gray and maroon thin stripe border.</li>\r\n	<li>“Blue Air Mail” 30.5 cm tall x 18.1cm wide, folded into a 9.7cm tall x 14.8cm wide envelope, black ink, written completely on first side and on first fourth and last fourth on other side.</li>\r\n	<li>“Gray Apartment Stationary” 18.8cm tall x 25.9cm wide, written section is 18.8 cm tall x 13.1 cm wide, folded into four quarters for mailing, black ink, cream paper, gray print of “Apartment 1318 116 West University Parkway Baltimore, Maryland 21210.” Gray thin stripe border.</li>\r\n	<li>“Small Note Card” 14cm tall x 8.4cm wide, thicker note-card type cream paper, written only on one side, addressed to “Mr. D.J Gilson, J1 Blenheim Drive Oxford OX2 8DL England” Airmail! is written above the address in red marker. “Burke 1318 Broadview Apts. 116 W. University Parkway Baltimore, Maryland 21210” is typed in upper left corner. Written in blue ink.</li>\r\n</ul>\r\n<strong>August 5, 1967\r\n</strong><em>Apartment Stationary\r\n</em>Tells Mr. Gilson that she has the Frank J. Hogan copy of the 1816 Philadelphia Emma, which formerly belonged to Siegfried Sassoon.\r\n\r\n<strong>August 15, 1967\r\n</strong><em>Apartment Stationary\r\n</em><em>Written in black fountain pen (script writing), fairly uniform line spacing\r\n</em>“You may be amused at a sentence from Siegfried Sassoon’s letter to Mr. Percy Elkin Mathews (who arranged the sale of the other 1816 Emma to Mr. Hogan in 1941. “G. Keynes will be livid with me, as he wrote saying he must collate it as he wants to write something bout it for the Times Lit Supplement- which is poaching on your preserves, isn’t it?” This is not for quotation in any article, but solely for your own pleasure.”\r\n\r\n“Since my copy of the 1816 Philadelphia Emma…her signature, but no date, is on the title page) I like to think, most romantically, but with no evidence, that she purchased it as a new work when she was in Canada with her husband who was governor- general there in 1819.”\r\n\r\n<strong>January 12, 1968\r\n</strong><em>Apartment Stationary\r\n</em>“I hope that I can answer your questions about the Philadelphia 1816 Emma satisfactorily. On inside cover of both volumes is a book place or visiting card (I don’t know which it is) bearing only the engraved words “Coweliers Dalhousie”…no device etc. In the first volume at the left and perpendicular to the lives of priutsey on the title pages is the signature “Cou C Dalhousie” (there is a bit of extra curlicue over the first letter.) However in volume two the signature…is plainly “C B Dalhousie” over the first preliminary half of volume I here is a note in pencil, not I think in Sassoon’s writing, probably in that of Percy (Mathews) who was the agent who arranged the sale from Mr. Sassoon to Mr. Hogan.”\r\n\r\n<strong>June 10, 1969\r\n</strong><em>Blue Air Mail\r\n</em>“Does Mr. C.B. Hogan’s copy of the 1st Am. E [Emma] conform to the Goodspeed, Boolm Cat. No 317, p.4, 1940 description: “Three vols. In 2…Published by M. Cary. 21 Chestnut St. ….Boston 1816.” I – not sure M. Hogan’s article so can’t collate my copy until his description of his E of my 1st edition is bound(?)”\r\n\r\n<strong>November 18, 1969\r\n</strong><em>Gray Apartment Stationary\r\n</em>“I was delighted to know of a 3rd (if imperfect copy of the Philadelphia E turning up. When I first read the description of it in Goodspeeds (I think) 1940 catalogue I thought it was some Bookshop.\r\n#16 went for $1300 to the same buyer\r\n#17 “ “ 550 “ “ “\r\n#18 $40.00\r\n#19 $35.00\r\n#20 (The companion to the A--) was valued at $1250 00 by the estate and had a reserve price of $550 which was not reached so that the item was withdrawn.”\r\n\r\n<strong>March 11, 1973\r\n</strong><em>Small Note Card\r\n</em>“In looking for something else, I picked out a letter of Dr. R.W. Chapurace to me dated 13.10.51. In it he says “The 1816 Philadelphia Emma was the result of Scott’s Quarterly Review, I guess. One day I looked out [the word looks like “whatelup” but this is impossible!] 2 R 1826 and found that it is of a ‘New Edition’ N.A+P that lso is unrecorded.” I haven’t checked further to see if I, or any one else has these listed, and perhaps, I am first causing you unnecessary trouble or being commonly behind the fair.”\r\n\r\n<strong>December 16, 1973\r\n</strong><em>Gray Apartment Stationary\r\n</em>“The only first in boards which I have which has its labels intact (they match Keynes) is M.P. The E has had the backstrips repaired and the N.A.+P 2 packstrips have crumbled away completely + 2 are very cracked + missing the labels”\r\n\r\n<!--nextpage-->\r\n<h5>Letters from Gilson to Henry Burke (after Alberta falls ill)</h5>\r\n<ul>\r\n	<li>“Small White Paper” 17.9cm tall x 13.7cm wide, blue ink, almost transparent white paper, written on only one side.</li>\r\n	<li>“Blue Air Mail” 30.5 cm tall x 18.1cm wide, folded into a 9.7cm tall x 14.8cm wide envelope, black ink, written completely on first side and on first fourth and last fourth on other side.</li>\r\n</ul>\r\n<strong>June 14th, 1975\r\n</strong><em>Blue Air Mail\r\n</em>“I see that Sotheby’s are selling on 23rd of June “an autograph letter by Jane Austen to her publisher commenting on the review of her novel Emma by Sir Walter Scott”: presumably RWC 127, marked as ‘original not traced’. I suppose the Pierpont Morgan will be bidding for this!”\r\n\r\n<strong>August 3rd, 1975\r\n</strong><em>Small White Paper\r\n</em>“It would be very kind if you could give me the correct address of Goucher College, and also the name of the librarian whom I should contact with any query relating to Alberta’s books (there may be queries over some of the rarer items, especially the 1816 Philadelphia Emma.)”\r\n\r\n<strong>October 16th, 1976\r\n</strong><em>Small White Pape</em><em>r\r\n</em><em>Written on both sides.\r\n</em>“I spent a very interesting morning on 1st September at John Murray in Albemarte Street; they kindly allowed me to see their ledgers, giving the publication costs and other details of the first editions of Emma and Northanger Abbey and Persuasion.”\r\n\r\n<strong>December 26th, 1976\r\n</strong><em>Small White Paper.\r\n</em><em>Written on both sides.\r\n</em>“Miss Jones of Goucher College has very kindly sent me-free of charge- an excellent photograph of the title page of Vol.1 of Alberta’s copy of the 1816 Philadelphia Emma (my reproduction in the Autumn 1969 Book Collector was from a Xerox of Mr. Hogan’s copy; this photograph is much clearer).”\r\n\r\n<strong>March 20th, 1977\r\n</strong><em>Small White Paper\r\n</em><em>Written on both sides.\r\n</em>“Christie’s sold first editions of Emma and of Northanger Abbey and Persuasion on 2nd February- not particularly good copies (from the catalogue descriptions) although with the half-titles in each case; I don’t know who bought them, but they fetched 350 pounds and 230 pounds respectively. I have been given an extremely imperfect copy of the first-edition of Emma, consisting only of Vol.1 (lacking the half-title), and Vol.3 (lacking all before p.19.) It clearly has no commercial value, but still seems worth having.”\r\n\r\n<!--nextpage-->\r\n<h5>Letters Found Inside First Volume of 1816 Philadelphia <em>Emma</em></h5>\r\n<strong>Letter 1\r\n</strong><em>17.6cm tall x 13cm wide, grayish blue stationary with “Heytesbury House, Wiltshire” printed on top, dated “12a.3.41,” hand written in script, black ink.</em>\r\n\r\n“Dear Muir,\r\n‘Emma’ returns to you in a twitter of excitement about ‘going to California.’ She is sure that Mr. F. Hogan is a very nice man though she intends to be a bit sharp with him until she has got to know him.\r\nSeriously- I am greatly obliged to you and --- agree to your 15% etc, and my wish you are making a bit more out of it. (G. Keynes will be livid with me, as he would say, he ---- collate it as he wants to write something about it for the ----- which his --- on your ---, isn’t it?) ….\r\nYours, SS (written on top of each other)\r\n\r\n[caption id=\"attachment_1316\" align=\"alignnone\" width=\"638\"]<img class=\"size-full wp-image-1316\" title=\"goucher_student work image3_kendall\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/goucher_student-work-image3_kendall.jpg\" alt=\"\" width=\"638\" height=\"857\" /> Siegfried Sassoon\'s letter to Percy Muir, antiquarian book dealer, regarding Sassoon\'s sale of the American first edition of <em>Emma</em> (1816) to Frank J. Hogan (dated December 3, 1941). The letter was discovered inside the front cover of the Burke Collection copy.[/caption]\r\n\r\n<strong>Letter 2</strong>\r\n\r\n<em>“Antiquarian Booksellers Association” stamp on top left, written March 18, 1941 and received April 17, 1941 (received date written in pencil on top right corner,) stationary is of “Elkin Mathews LTD. Directors: Greville Worthington, Ian L. Fleming, and P.H. Muir,” underneath is typed “Rare Books, Manuscripts, Literary Portraits, Music.”</em>\r\n\r\n“Dear Mr. Hogan,\r\nThis is just a brief note formally to announce the fact that “Emma” left here today on her long journey to California. I think it only right and proper that you should have with the book the letter that Sassoon sent me when sending the book to me. My own feeling is that one cannot have too much of this kind of thing in association with books. I think Siegfried Sassoon a great writer and I would be glad to have this letter myself were I buying one of his books, and I have the feeling that you may think that way, too, so I enclose the letter. He was a great friend and admirer of Charlotte Mew’s, by the way, which may help to endear him to you.\r\nWith every good wish and kind regards,\r\nYours very sincerely,\r\nP. H. MuirHand\r\nwritten note (in same green ink as Muir’s signature) written below signature of “P.H Muir”:\r\n“Note the date on SS’s letter, evidently written on 131h”\r\n\r\n<strong>Letter 3</strong>\r\n\r\n<em>Yellow paper, green “Elkin Mathews Ltd,” dated May 22, 1945, typed in faded black ink.</em>\r\n\r\n“Dear Mrs. Burke,\r\nThank you very much indeed for your letter of May 6th. I congratulate you on getting the “Emma” so cheaply. It is exceedingly rare and Mr. Hogan as very glad to pay 300 dollars for it. I mention the price in dollars because at the time he bought it the 1-pound was below par and fluctuating, so that the price was actually quoted in dollars. I say that the price was set by Mr. Sassoon and not by me, but I saw no reason at the time to take exception to it.\r\nI always have you in mind for any interesting Jane Austen items, which turn up.\r\nYours very sincerely,\r\nP.H. Muir (signed in green ink)\r\n\r\n<!--nextpage-->\r\n<h5>Emma (1st Edition Philadelphia 1816)</h5>\r\n18.3cm tall x 11.1cm (cover)\r\n\r\n<em>Inside Cover</em>\r\ncut and pasted paper of: COUNTESS OF DALHOUSIE, below: maroon and gold sticker of: Ex Libris Frank J. Hogan (around name says: the true university of these days is a collection of books”\r\n\r\n<em>Next Page</em>\r\nwritten by hand in faded pencil: ”Countess of d.- wife of the 9th Earl (1770-1838). Who was Governor of Canada, Nova Scotia, etc. 1819-1828- This explains her owning this edition, which was unknown to G. Keynes when he compiled his Bibliography of Jane Austen, 1929.”\r\nunder this is the paper square for the “Alberta H. Burke”\r\n\r\n[caption id=\"attachment_1314\" align=\"alignnone\" width=\"638\"]<img class=\"size-full wp-image-1314\" title=\"goucher_student work image1_kendall\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/goucher_student-work-image1_kendall.jpg\" alt=\"\" width=\"638\" height=\"1080\" /> Title page of the Burke Collection copy of the American first edition of Jane Austen\'s <em>Emma</em> (1816).[/caption]\r\n\r\n<em>Title Page</em>\r\nEMMA:\r\nA Novel\r\nHere Volumes in Two\r\n(written on side, vertically: A.B. Dallhousie)\r\nBy the Author of “Pride and Prejudice,”\r\n&amp;c. &amp;c.\r\nVol. 1\r\nPHILADELPHIA:\r\nPublished by M.Carey, No. 121 Chesnut Street\r\nAnd for Sale by Wells &amp; Lilly, Boston\r\n1816\r\n\r\n<em>Next Page</em>\r\nTo his Royal Highness\r\nThe Prince Regent, This Work Is, By his Royal Highness’s Permission, Most Respectfully Dedicated, By His Royal Highness’s Dutiful and Obedient Humble Servant, The Author.”\r\n\r\n<em>First Page of Text</em>\r\n18cm tall x 9.8cm wide\r\nA2 at bottom of first page – 8 pages later is “B” (vol.1), 4 pages later “B2”, 8 pages later “C” (vol.1.), 4 pages later “C2”, 8 pages later “D” (vol.1)\r\naverage full page text block: 12.5cm tall x 7.4cm wide\r\n\r\n<!--nextpage-->\r\n<h5>Letters Found Inside Second Volume</h5>\r\n<strong>Letter 1</strong>\r\n\r\n<em>21.5cm tall x13.9cm wide, typed: “Charles Sessler Inc.” Established 1882, Bookseller and Printseller 1308 Walnut Street Philadelphia, PA. 19107” stationary</em>\r\n<em> dated April 24, 1967</em>\r\n\r\n“Dear Mr. Burke:\r\nIn 1945 we purchased in New York at the sale of the Frank J. Hogan Library, item No. 7, a copy of EMMA, printed in Philadelphia by Carey in 1816.\r\nDo you still have this book and would you be willing to part with it?”\r\nYours Sincerely,\r\nMabel Zahn (signed in ink)\r\nZ.T. in bottom left corner, typed (?)\r\n\r\n<strong>Letter 2</strong>\r\n\r\n<em>Typed, same stationary as letter 1</em>\r\n<em> dated May 3, 1967</em>\r\n\r\n“Dear Mr. Burke:\r\nThank you so much for your letter of May 1st.\r\nI am glad that you still have the copy of EMMA. Our inquiry was for a bibliographic purpose. Someone who is working on the bibliography has asked us about the copy we sold you and naturally we followed through for him.\r\nWith best wishes,\r\nYours Sincerely,\r\nMabel Zahn\r\n-Z.T. in bottom left corner, typed (?)','How Emma Travels: by letters, hands and libraries','Behind a low glass case in Goucher’s Special Collection Room sits a humble blue book box that holds the first American edition of Jane Austen’s Emma. Valued from nineteen to seventy-five thousand dollars on ABEBooks.com, the edition is unquestionably valuable. But how did this extremely rare copy end up in Goucher’s modest library? In a letter to David Gilson on August 5th, 1967 Alberta Burke revealed that she owned a copy of the 1816 Philadelphia Emma, which formerly belonged to Siegfried Sassoon. The two corresponded from 1967 to 1975 until Alberta fell ill. Throughout this time a steady thread of conversation exists about the Philadelphia Emma.\r\n\r\nAfter seeing the interest that both Alberta Burke and David Gilson had in the first American edition of Emma, perusing the pages and studying the tome in detail was essential to discover first hand the majesty of the volumes.','inherit','open','open','','1300-revision-43','','','2012-09-24 23:57:17','2012-09-24 23:57:17','',1300,'http://www.archivejournal.net/issue/2/uncategorized/1300-revision-43/',0,'revision','',0);

INSERT INTO `wp_posts` VALUES (2562,10,'2012-10-01 23:10:50','2012-10-01 23:10:50','<h3>Students as Archivists</h3>\r\nBehind the scenes in special collections libraries and archives across the country, undergraduate students are being hired as part-time, temporary employees to assist with processing cultural-heritage materials. A recent survey of recipients of Cataloging Hidden Collections Special Collections and Archives grant projects<sup><a title=\"footnote\" href=\"#_ftn1\">[1]</a></sup> found that 97% of respondents employ student workers, and 73% reported that their student workers included undergraduate students. Students are assisting with civil rights collections atEmoryUniversity, modernist architectural drawings and plans atNorth CarolinaStateUniversity, Jewish cultural-heritage materials at theCollege ofCharleston, and Moravian historical documents atLehighUniversity, to name just a few examples. Employing students in special collections libraries and archives is not a new practice; indeed, many of today\'s career librarians and archivists were once student workers themselves. Generally this is a budget-driven practice: students are in need of work and their labor is relatively inexpensive. The educational impact on students, however, is not widely understood or even acknowledged. How does working in archives impact students themselves? What skills do they acquire? Is their library employment connected to their studies? Does this work experience influence their career path? How does engagement with cultural-heritage materials affect their learning in the digital age?\r\n<h3>Archivists as Educators</h3>\r\nStudent workers require management:  recruitment, training, oversight, and mentorship. In fact, when viewed strictly as employees, student workers—a transitory population with jam-packed, fluctuating schedules—do not represent the ideal work force. At the same time, we know that employment in the archives gives students an exceptional opportunity for applied learning under the guidance of professional archivists who can provide for the growth of intellectual and practical skills. These skills include exposure to primary sources combined with hands-on training in cataloging, processing, preserving, and digitizing such materials. Working with primary sources involves precisely the kind of active, integrative, experiential learning that is vital to inspiring undergraduate research.<sup><a title=\"footnote\" href=\"#_ftn2\">[2]</a></sup> So, how can we better reconcile the challenges of employing student workers with the potential educational benefits of such labor? We believe that by recognizing and empowering archivists in their roles as teachers, the informal or “hidden” learning that student workers gain can become more visible.\r\n<h3>Linking Archival Work to the Educational Missions of Universities and Colleges</h3>\r\nBased on anecdotal evidence, we know that student workers\' exposure to primary sources and the skills and technologies necessary to preserve, manage, and study them is resulting in student learning, informing choices of major, and altering career paths. Yet, the informal or \"hidden learning” that is occurring behind the scenes in libraries and archives is treated largely as a side effect, a fortunate but contingent byproduct of labor, rather than as an integral part of the educational mission. We hope this situation changes with closer attention to the educational experiences of students working in the archives. To that end, we are currently engaged in a study that investigates the impact of working in libraries and archives on students involved in civil rights-related hidden collections projects. These civil rights collections—records of organizations such as the Mexican American Legal Defense and Education Fund, Alianza Hispano-Americana, the Southern Christian Leadership Conference, and the Voter Education Project—are often directly connected to local communities and relevant to contemporary issues and curricula. Most importantly, students are often able to recognize themselves and their communities in the collections, thus increasing the potential for transformative educational experiences. We believe that such work should be acknowledged as precisely the kind of applied learning that most higher education institutions are now actively pursuing in the form of internships, field work, and community service. Our study raises the following questions:\r\n<ul>\r\n	<li>What if “student workers” were perceived as “student archivists,” “young researchers,” or “apprentice scholars”?</li>\r\n	<li>What if student participation in the work of libraries and archives was foregrounded and celebrated, instead of remaining largely anonymous?</li>\r\n	<li>What if training students was seen as central to the business of library and archival practice in educational institutions?</li>\r\n	<li>What if the work students were being hired to do was considered essential to their educational experience and the mission of their universities?</li>\r\n	<li>What if professional archivists emphasized their role as teachers within institutions of higher education?</li>\r\n</ul>\r\n<h3>Archival Work, the Digital Humanities, and the Library Commons</h3>\r\nConnecting informal learning to university education requires that librarians, archivists, and technologists view themselves as educators working alongside faculty to help students become researchers in a hybrid analog-digital world. Twenty-first-century models for collaborative learning and teaching are emerging, especially in the digital humanities, where students study primary sources in digital formats and apply new technologies to pose and answer research questions. In the digital humanities, students are being guided by faculty to identify and study research questions using new technologies in partnership with their peers. At many institutions, such classes and activities are being supported in Library Commons\' spaces—multi-service research and learning hubs that are technology-enabled and staffed by professional librarians and technologists. How might the hidden learning that students are experiencing behind the scenes in special collections libraries and archives be connected to the digital humanities and the Library Commons?\r\n<h3>Teaching the Whole Student: Faculty, Librarian, Archivist, and Technologist as a Team</h3>\r\nCreating an integrated learning experience demands a symbiotic mindset—a team approach—with archivists, librarians, technologists, and faculty working together to support student learning through engagement with primary sources and new technologies. At the very least, expanding access to primary sources, both physical and digital, in the undergraduate curriculum will require intensifying and scaling coordination and collaboration between the faculty member teaching disciplinary content, the librarian teaching research strategies, the technologist teaching digital tools, and the archivist teaching primary sources. The aim of such coordination would be to provide an environment in which students were more likely to develop skills necessary for success in the knowledge-driven economy of the twenty-first century. Today\'s students must learn not only to find and analyze reliable information, but also to communicate effectively, solve problems, work in teams, use advanced digital tools to create new knowledge, and engage in multicultural communities. The phenomenon of student employment on archival projects is happening largely undetected at the margins of higher education, but it could inspire a new approach to undergraduate learning that foregrounds the role of cultural heritage in the digital age.\r\n<div class=\"footnote\"><sup title=\"footnote\">[1]</sup> The <a href=\"http://www.clir.org/hiddencollections/index.html\">Cataloging Hidden Special Collections and Archives</a> grant program, funded by The Mellon Foundation and administered by the Council on Library and Information Resources, addresses the problem of “hidden collections”: millions of cultural heritage materials held by libraries and archives that have not been adequately described and remain unavailable to researchers.</div>\r\n<div class=\"footnote\"><sup title=\"footnote\">[2]</sup> See, the definition of “high-impact educational practices” articulated by the Association of American Colleges and Universities LEAP (Liberal Education andAmerica’s Promise) Program: http://www.aacu.org/leap/.</div>','Hidden Learning: Undergraduates at Work in the Archives','','inherit','open','open','','1899-revision-11','','','2012-10-01 23:10:50','2012-10-01 23:10:50','',1899,'http://www.archivejournal.net/issue/2/uncategorized/1899-revision-11/',0,'revision','',0),(2563,10,'2012-10-01 23:36:26','2012-10-01 23:36:26','<h3>Students as Archivists</h3>\r\nBehind the scenes in special collections libraries and archives across the country, undergraduate students are being hired as part-time, temporary employees to assist with processing cultural-heritage materials. A recent survey of recipients of Cataloging Hidden Collections Special Collections and Archives grant projects<sup><a title=\"footnote\" href=\"#_ftn1\">[1]</a></sup> found that 97% of respondents employ student workers, and 73% reported that their student workers included undergraduate students. Students are assisting with civil rights collections atEmoryUniversity, modernist architectural drawings and plans atNorth CarolinaStateUniversity, Jewish cultural-heritage materials at theCollege ofCharleston, and Moravian historical documents atLehighUniversity, to name just a few examples. Employing students in special collections libraries and archives is not a new practice; indeed, many of today\'s career librarians and archivists were once student workers themselves. Generally this is a budget-driven practice: students are in need of work and their labor is relatively inexpensive. The educational impact on students, however, is not widely understood or even acknowledged. How does working in archives impact students themselves? What skills do they acquire? Is their library employment connected to their studies? Does this work experience influence their career path? How does engagement with cultural-heritage materials affect their learning in the digital age?\r\n<h3>Archivists as Educators</h3>\r\nStudent workers require management:  recruitment, training, oversight, and mentorship. In fact, when viewed strictly as employees, student workers—a transitory population with jam-packed, fluctuating schedules—do not represent the ideal work force. At the same time, we know that employment in the archives gives students an exceptional opportunity for applied learning under the guidance of professional archivists who can provide for the growth of intellectual and practical skills. These skills include exposure to primary sources combined with hands-on training in cataloging, processing, preserving, and digitizing such materials. Working with primary sources involves precisely the kind of active, integrative, experiential learning that is vital to inspiring undergraduate research.<sup><a title=\"footnote\" href=\"#_ftn2\">[2]</a></sup> So, how can we better reconcile the challenges of employing student workers with the potential educational benefits of such labor? We believe that by recognizing and empowering archivists in their roles as teachers, the informal or “hidden” learning that student workers gain can become more visible.\r\n<h3>Linking Archival Work to the Educational Missions of Universities and Colleges</h3>\r\nBased on anecdotal evidence, we know that student workers\' exposure to primary sources and the skills and technologies necessary to preserve, manage, and study them is resulting in student learning, informing choices of major, and altering career paths. Yet, the informal or \"hidden learning” that is occurring behind the scenes in libraries and archives is treated largely as a side effect, a fortunate but contingent byproduct of labor, rather than as an integral part of the educational mission. We hope this situation changes with closer attention to the educational experiences of students working in the archives. To that end, we are currently engaged in a study that investigates the impact of working in libraries and archives on students involved in civil rights-related hidden collections projects. These civil rights collections—records of organizations such as the Mexican American Legal Defense and Education Fund, Alianza Hispano-Americana, the Southern Christian Leadership Conference, and the Voter Education Project—are often directly connected to local communities and relevant to contemporary issues and curricula. Most importantly, students are often able to recognize themselves and their communities in the collections, thus increasing the potential for transformative educational experiences. We believe that such work should be acknowledged as precisely the kind of applied learning that most higher education institutions are now actively pursuing in the form of internships, field work, and community service. Our study raises the following questions:\r\n<ul>\r\n	<li>What if “student workers” were perceived as “student archivists,” “young researchers,” or “apprentice scholars”?</li>\r\n	<li>What if student participation in the work of libraries and archives was foregrounded and celebrated, instead of remaining largely anonymous?</li>\r\n	<li>What if training students was seen as central to the business of library and archival practice in educational institutions?</li>\r\n	<li>What if the work students were being hired to do was considered essential to their educational experience and the mission of their universities?</li>\r\n	<li>What if professional archivists emphasized their role as teachers within institutions of higher education?</li>\r\n</ul>\r\n<h3>Archival Work, the Digital Humanities, and the Library Commons</h3>\r\nConnecting informal learning to university education requires that librarians, archivists, and technologists view themselves as educators working alongside faculty to help students become researchers in a hybrid analog-digital world. Twenty-first-century models for collaborative learning and teaching are emerging, especially in the digital humanities, where students study primary sources in digital formats and apply new technologies to pose and answer research questions. In the digital humanities, students are being guided by faculty to identify and study research questions using new technologies in partnership with their peers. At many institutions, such classes and activities are being supported in Library Commons\' spaces—multi-service research and learning hubs that are technology-enabled and staffed by professional librarians and technologists. How might the hidden learning that students are experiencing behind the scenes in special collections libraries and archives be connected to the digital humanities and the Library Commons?\r\n<h3>Teaching the Whole Student: Faculty, Librarian, Archivist, and Technologist as a Team</h3>\r\nCreating an integrated learning experience demands a symbiotic mindset—a team approach—with archivists, librarians, technologists, and faculty working together to support student learning through engagement with primary sources and new technologies. At the very least, expanding access to primary sources, both physical and digital, in the undergraduate curriculum will require intensifying and scaling coordination and collaboration between the faculty member teaching disciplinary content, the librarian teaching research strategies, the technologist teaching digital tools, and the archivist teaching primary sources. The aim of such coordination would be to provide an environment in which students were more likely to develop skills necessary for success in the knowledge-driven economy of the twenty-first century. Today\'s students must learn not only to find and analyze reliable information, but also to communicate effectively, solve problems, work in teams, use advanced digital tools to create new knowledge, and engage in multicultural communities. The phenomenon of student employment on archival projects is happening largely undetected at the margins of higher education, but it could inspire a new approach to undergraduate learning that foregrounds the role of cultural heritage in the digital age.\r\n<div class=\"footnote\"><sup title=\"footnote\">[1]</sup> The <a href=\"http://www.clir.org/hiddencollections/index.html\">Cataloging Hidden Special Collections and Archives</a> grant program, funded by The Mellon Foundation and administered by the Council on Library and Information Resources, addresses the problem of “hidden collections”: millions of cultural heritage materials held by libraries and archives that have not been adequately described and remain unavailable to researchers.</div>\r\n<div class=\"footnote\"><sup title=\"footnote\">[2]</sup> See, the definition of “high-impact educational practices” articulated by the Association of American Colleges and Universities LEAP (Liberal Education andAmerica’s Promise) Program: http://www.aacu.org/leap/.</div>','Hidden Learning: Undergraduates at Work in the Archives','','inherit','open','open','','1899-revision-12','','','2012-10-01 23:36:26','2012-10-01 23:36:26','',1899,'http://www.archivejournal.net/issue/2/uncategorized/1899-revision-12/',0,'revision','',0),(2564,10,'2012-10-01 23:37:28','2012-10-01 23:37:28','<h3>Students as Archivists</h3>\r\nBehind the scenes in special collections libraries and archives across the country, undergraduate students are being hired as part-time, temporary employees to assist with processing cultural-heritage materials. A recent survey of recipients of Cataloging Hidden Collections Special Collections and Archives grant projects<sup><a title=\"footnote\" href=\"#_ftn1\">[1]</a></sup> found that 97% of respondents employ student workers, and 73% reported that their student workers included undergraduate students. Students are assisting with civil rights collections atEmoryUniversity, modernist architectural drawings and plans atNorth CarolinaStateUniversity, Jewish cultural-heritage materials at theCollege ofCharleston, and Moravian historical documents atLehighUniversity, to name just a few examples. Employing students in special collections libraries and archives is not a new practice; indeed, many of today\'s career librarians and archivists were once student workers themselves. Generally this is a budget-driven practice: students are in need of work and their labor is relatively inexpensive. The educational impact on students, however, is not widely understood or even acknowledged. How does working in archives impact students themselves? What skills do they acquire? Is their library employment connected to their studies? Does this work experience influence their career path? How does engagement with cultural-heritage materials affect their learning in the digital age?\r\n\r\n&nbsp;\r\n<h3>Archivists as Educators</h3>\r\nStudent workers require management:  recruitment, training, oversight, and mentorship. In fact, when viewed strictly as employees, student workers—a transitory population with jam-packed, fluctuating schedules—do not represent the ideal work force. At the same time, we know that employment in the archives gives students an exceptional opportunity for applied learning under the guidance of professional archivists who can provide for the growth of intellectual and practical skills. These skills include exposure to primary sources combined with hands-on training in cataloging, processing, preserving, and digitizing such materials. Working with primary sources involves precisely the kind of active, integrative, experiential learning that is vital to inspiring undergraduate research.<sup><a title=\"footnote\" href=\"#_ftn2\">[2]</a></sup> So, how can we better reconcile the challenges of employing student workers with the potential educational benefits of such labor? We believe that by recognizing and empowering archivists in their roles as teachers, the informal or “hidden” learning that student workers gain can become more visible.\r\n\r\n&nbsp;\r\n<h3>Linking Archival Work to the Educational Missions of Universities and Colleges</h3>\r\nBased on anecdotal evidence, we know that student workers\' exposure to primary sources and the skills and technologies necessary to preserve, manage, and study them is resulting in student learning, informing choices of major, and altering career paths. Yet, the informal or \"hidden learning” that is occurring behind the scenes in libraries and archives is treated largely as a side effect, a fortunate but contingent byproduct of labor, rather than as an integral part of the educational mission. We hope this situation changes with closer attention to the educational experiences of students working in the archives. To that end, we are currently engaged in a study that investigates the impact of working in libraries and archives on students involved in civil rights-related hidden collections projects. These civil rights collections—records of organizations such as the Mexican American Legal Defense and Education Fund, Alianza Hispano-Americana, the Southern Christian Leadership Conference, and the Voter Education Project—are often directly connected to local communities and relevant to contemporary issues and curricula. Most importantly, students are often able to recognize themselves and their communities in the collections, thus increasing the potential for transformative educational experiences. We believe that such work should be acknowledged as precisely the kind of applied learning that most higher education institutions are now actively pursuing in the form of internships, field work, and community service. Our study raises the following questions:\r\n<ul>\r\n	<li>What if “student workers” were perceived as “student archivists,” “young researchers,” or “apprentice scholars”?</li>\r\n	<li>What if student participation in the work of libraries and archives was foregrounded and celebrated, instead of remaining largely anonymous?</li>\r\n	<li>What if training students was seen as central to the business of library and archival practice in educational institutions?</li>\r\n	<li>What if the work students were being hired to do was considered essential to their educational experience and the mission of their universities?</li>\r\n	<li>What if professional archivists emphasized their role as teachers within institutions of higher education?</li>\r\n</ul>\r\n<h3></h3>\r\n<h3>Archival Work, the Digital Humanities, and the Library Commons</h3>\r\nConnecting informal learning to university education requires that librarians, archivists, and technologists view themselves as educators working alongside faculty to help students become researchers in a hybrid analog-digital world. Twenty-first-century models for collaborative learning and teaching are emerging, especially in the digital humanities, where students study primary sources in digital formats and apply new technologies to pose and answer research questions. In the digital humanities, students are being guided by faculty to identify and study research questions using new technologies in partnership with their peers. At many institutions, such classes and activities are being supported in Library Commons\' spaces—multi-service research and learning hubs that are technology-enabled and staffed by professional librarians and technologists. How might the hidden learning that students are experiencing behind the scenes in special collections libraries and archives be connected to the digital humanities and the Library Commons?\r\n<h3></h3>\r\n<h3>Teaching the Whole Student: Faculty, Librarian, Archivist, and Technologist as a Team</h3>\r\nCreating an integrated learning experience demands a symbiotic mindset—a team approach—with archivists, librarians, technologists, and faculty working together to support student learning through engagement with primary sources and new technologies. At the very least, expanding access to primary sources, both physical and digital, in the undergraduate curriculum will require intensifying and scaling coordination and collaboration between the faculty member teaching disciplinary content, the librarian teaching research strategies, the technologist teaching digital tools, and the archivist teaching primary sources. The aim of such coordination would be to provide an environment in which students were more likely to develop skills necessary for success in the knowledge-driven economy of the twenty-first century. Today\'s students must learn not only to find and analyze reliable information, but also to communicate effectively, solve problems, work in teams, use advanced digital tools to create new knowledge, and engage in multicultural communities. The phenomenon of student employment on archival projects is happening largely undetected at the margins of higher education, but it could inspire a new approach to undergraduate learning that foregrounds the role of cultural heritage in the digital age.\r\n<div class=\"footnote\"><sup title=\"footnote\">[1]</sup> The <a href=\"http://www.clir.org/hiddencollections/index.html\">Cataloging Hidden Special Collections and Archives</a> grant program, funded by The Mellon Foundation and administered by the Council on Library and Information Resources, addresses the problem of “hidden collections”: millions of cultural heritage materials held by libraries and archives that have not been adequately described and remain unavailable to researchers.</div>\r\n<div class=\"footnote\"><sup title=\"footnote\">[2]</sup> See, the definition of “high-impact educational practices” articulated by the Association of American Colleges and Universities LEAP (Liberal Education andAmerica’s Promise) Program: http://www.aacu.org/leap/.</div>','Hidden Learning: Undergraduates at Work in the Archives','','inherit','open','open','','1899-revision-13','','','2012-10-01 23:37:28','2012-10-01 23:37:28','',1899,'http://www.archivejournal.net/issue/2/uncategorized/1899-revision-13/',0,'revision','',0),(2565,10,'2012-09-21 16:02:20','2012-09-21 16:02:20','Having cut my teeth on <em>From the Mixed-Up Files of Mrs. Basil E. Frankenweiler </em>and the Indiana Jones films as a kid<em>, </em>it comes as no surprise perhaps that my scholarly career is informed and driven by archival research. I am addicted to the smell and feel of yellowed paper, ancient vellum, and the sight of spidery, faded fountain pen inscriptions makes my heart race—yes, I suffer from an incurable case of archive fever.\r\n<a href=\"http://stage.archivejournal.net/wp-content/uploads/2011/02/code-letter1-810x10241.jpg\"><img class=\"size-medium wp-image-2005 alignright\" title=\"civil-war-letter\" src=\"http://stage.archivejournal.net/wp-content/uploads/2011/02/code-letter1-810x10241-197x250.jpg\" alt=\"\" width=\"197\" height=\"250\" /></a> In grad school my interest in archives led me to Britain (thank you, University of Florida!) where, beneath the blue and gold and white dome of the <a href=\"http://www.britishmuseum.org/the_museum/history_and_the_building/reading_room.aspx\">old British Library</a>, I fancied I could still almost hear the whispered wishes for enlightenment that scholars and revolutionaries and historians had prayed for. Later, in the <a href=\"http://www.bronte.org.uk/\">Brontë parsonage museum</a> on the edge of the moors, I sat in a research room off the Brontës’ kitchen, reading their juvenilia <em>in situ. </em>In the <a href=\"http://www.uflib.ufl.edu/spec/baldwin/baldwin.html\">Baldwin archive</a> at UF I encountered E.R.’s <em>Geography and History by a Lady for the Use of her own Children </em>(1790), the book that changed my life by opening up an entire forgotten genre of writing by middle-class women who sought to participate in the imperial project through socially sanctioned writing for children. This taught me that archives still hold so many stories and secrets; their potential sleeps very patiently.\r\n\r\nThe lesson helped me during my postdoc at Lehigh when, in the process of cataloguing over 400 miscellaneous letters for the <a href=\"http://digital.lib.lehigh.edu/remain/\">“I remain…”</a> project, I ran across a document whose garbled syntax at first suggested too long a day, but then thrillingly emerged as a coded Civil War letter. All that year I researched the letter, talking about it to computer scientists who tried to develop an algorithm to break the Stager Cipher, discussing it with historians, presenting it to local fourth graders who eagerly peppered me with questions, and even corresponding with the NSA cryptology center to track down one of the few remaining code books about the ciphers. Though I never managed to crack it, the mystery was sustaining, engaging, and a great conversation starter wherever I went. I carried its story with me, imagined its content, and marveled at its survival. It came from the smoke of the battlefield, from the anxious hands of a telegraph operator who hurriedly crossed out mistakes and scrawled incorrect calculations in the margins on the eve of the second battle of Bull Run when so many lives and the military career of the writer hung in the balance. With the Digital Library Team, we scanned the letter, sketched its history, and <a href=\"http://digital.lib.lehigh.edu/cdm4/remain_viewer.php?DMTHUMB=1&amp;cat=Civil%20War&amp;ptr=124&amp;CISOSTART=21\">put it online</a> so that others could enjoy the mystery. This year, it was gratifying when special collections librarian Ilhan Citak forwarded me an article by computer scientists Ali Assarpour and Kent D. Boklan detailing how they broke the 148-year old code. In the end, the story of the letter goes on and so many of us have yoked our own stories to it. It seems that Derrida was right when he said that the archive opens out of and into the future, gathering associations, richness, devotees, and memories as it glides past us into the future. The past becomes a present in every sense.','Cracking a Civil War Code','Having cut my teeth on From the Mixed-Up Files of Mrs. Basil E. Frankenweiler and the Indiana Jones films as a kid, it comes as no surprise perhaps that my scholarly career is informed and driven by archival research. I am addicted to the smell and feel of yellowed paper, ancient vellum, and the sight of spidery, faded fountain pen inscriptions makes my heart race—yes, I suffer from an incurable case of archive fever.','inherit','open','open','','235-revision-42','','','2012-09-21 16:02:20','2012-09-21 16:02:20','',235,'http://www.archivejournal.net/issue/2/uncategorized/235-revision-42/',0,'revision','',0),(2566,10,'2012-09-21 01:54:15','2012-09-21 01:54:15','A publication of interest to Archive<em> readers: </em><a href=\"http://www.arl.org/news/pr/spec326-6dec11.shtml\">http://www.arl.org/news/pr/spec326-6dec11.shtml</a>\r\n\r\nDescription from the press release: \"The Association of Research Libraries (ARL) has published <em>Digital Humanities</em>, SPEC Kit 326, which provides a snapshot of research library experiences with digital scholarship centers or services that support the humanities (e.g., history, art, music, film, literature, philosophy, religion, etc.) and the benefits and challenges of hosting them. The survey asked ARL libraries about the organization of these services, how they are staffed and funded, what services they offer and to whom, what technical infrastructure is provided, whether the library manages or archives the digital resources produced, and how services are assessed, among other questions.\"','ARL on DH','','inherit','open','open','','2216-revision-6','','','2012-09-21 01:54:15','2012-09-21 01:54:15','',2216,'http://www.archivejournal.net/issue/2/uncategorized/2216-revision-6/',0,'revision','',0),(2567,10,'2012-09-21 01:52:46','2012-09-21 01:52:46','Policies and Practices in Access to Digital Archives: Towards a New\r\nResearch and Policy Agenda\r\n\r\nThe Central European University invite applicants for an intensive\r\none-week summer session in Budapest from 2 July-6 July, 2012.\r\n\r\nThis course has been developed to meet the specific needs of\r\nestablished professionals looking to deepen their impact on policy\r\nissues related to digitital archives. The creation of a diverse\r\ncoalition of experts is an envisioned goal of the course.\r\nPractitioners from the field of archives, research, law and policy\r\nmaking are encouraged to apply.\r\n\r\nThe course deals with the contemporary complexities of accessibility\r\nand the long-term preservation of archival material within\r\ninstitutional settings. It will explore the driving/prohibitive role\r\nof IPR and various implications of the regulation of digital material:\r\nWill access to primary sources become the luxury of the few under a\r\nnew type of digital divide? Do we have evidential data of the market\r\nvalue of digitised archival collections? What kind of policy agenda\r\nwill ensure the future availability of cultural heritage content? What\r\nkind of strategy will guarantee that archives within the digital\r\nEuropean single market are sustainable? The course will consist of\r\nintensive teaching sessions and participants will be expected to\r\nprepare a paper in advance for presentation purposes.\r\n\r\nPlease note that places are limited to 30 participants and offered on\r\na competitive basis. This summer course is able to offer a limited\r\namount of grants. Applicants will be asked to explain what their\r\nengagement with archival material is and what particular\r\npolicy-related issues they consider most challenging. The deadline for\r\napplication is February 15, 2012.\r\n\r\nFor further information and to apply, please visit the CEU Summer\r\nUniversity website: http://www.summer.ceu.hu/node/350','Digital Archives Course','','inherit','open','open','','2221-revision-2','','','2012-09-21 01:52:46','2012-09-21 01:52:46','',2221,'http://www.archivejournal.net/issue/2/uncategorized/2221-revision-2/',0,'revision','',0),(2568,10,'2012-09-21 01:50:20','2012-09-21 01:50:20','(From AAS): American Antiquarian Society Visiting Academic Fellowships, 2012-2013\r\n\r\nThe American Antiquarian Society (AAS) invites applications for its 2012-13 visiting academic fellowships. At least three AAS-National Endowment for the Humanities fellowships will be awarded for periods extending from four to twelve months. Long-term fellowships are intended for scholars beyond the doctorate; senior and mid-career scholars are particularly encouraged to apply. Over thirty short-term fellowships will be awarded for one to three months.\r\n\r\nThe short-term grants are available for scholars holding the Ph.D. and for doctoral candidates engaged in dissertation research, and offer a stipend of $1850/month. Special short-term fellowships support scholars working in the history of the book in American culture, in the American eighteenth century, and in American literary studies, as well as in studies that draw upon the Society\'s preeminent collections of graphic arts, newspapers, and periodicals. Accommodations are available for visiting fellows in housing owned by AAS.\r\n\r\nThe deadline for applications is January 15, 2012. For further details about the fellowships, as well as application materials, please consult our website &lt;http://www.americanantiquarian.org/fellowships.htm&gt;\r\n\r\nThe AAS is a research library whose collections focus on American history, literature, and culture from the colonial era through 1876. The Society\'s collections are national in scope, and include manuscripts, printed works of all kinds, newspapers and periodicals, photographs, lithographs, broadsides, sheet music, children\'s literature, maps, games, and a wide range of ephemera. For detailed descriptions of the collections, please consult our guidebook, Under Its Generous Dome, available online at &lt;http://www.americanantiquarian.org/collections.htm&gt;','AAS Fellowships','','inherit','open','open','','2212-revision-4','','','2012-09-21 01:50:20','2012-09-21 01:50:20','',2212,'http://www.archivejournal.net/issue/2/uncategorized/2212-revision-4/',0,'revision','',0),(2569,10,'2012-09-21 01:47:37','2012-09-21 01:47:37','A new issue of <a href=\"http://www.digitalhumanities.org/dhq/\">DHQ </a>just came out, on the \"Future of Digital Studies.\"','Reading List','','inherit','open','open','','2210-revision-2','','','2012-09-21 01:47:37','2012-09-21 01:47:37','',2210,'http://www.archivejournal.net/issue/2/uncategorized/2210-revision-2/',0,'revision','',0),(2570,10,'2012-09-21 01:53:24','2012-09-21 01:53:24','For readers of the round table on <em>The Walt Whitman Archive</em>, here\'s another interesting analysis: Emily Monks-Leeson, \"Archives on the Internet: Representing Contexts and Provenance from Repository to Website.\" <em>The American Archivist</em>. Vol. 74 (Spring/Summer 2011): 38-57.','More on the Walt Whitman Archive','','inherit','open','open','','2206-revision-5','','','2012-09-21 01:53:24','2012-09-21 01:53:24','',2206,'http://www.archivejournal.net/issue/2/uncategorized/2206-revision-5/',0,'revision','',0),(2571,10,'2012-09-28 18:54:06','2012-09-28 18:54:06','<h1>How to Work with Primary Source Documents</h1>\r\nArchival research is an important source for coursework and teaching, as professors and instructors are increasingly incorporating work with primary documents into undergraduate courses. Because access to primary resources is often restricted by research room hours, and can be further limited because of preservation concerns if materials are extremely fragile or if collections are not fully inventoried, this kind of research takes time. Despite this, many student researchers leave archives with a great deal more information than they will be able to explore in their written scholarship. Students’ research goals also inform their actual practice, although, due to the many pleasures and challenges of working with primary documents, even the best intentions often change dramatically when working through a collection of materials. Whatever the situation, undergraduates working with primary documents need to be aware of a number of general recommendations, in addition to any particular archive’s specific rules.\r\n\r\nThough the individual archive or library is the best first source of information for working with specific collections, the following resources provide general information about working effectively with archival materials that may be of use to students and/or their teachers.\r\n\r\n<h3>Comprehensive</h3>\r\nSchmidt, Laura. \"Using Archives: A Guide to Effective Research.\" <em>Society of American Archivists</em>. 2011. <a href=\"http://www2.archivists.org/usingarchives\">http://www2.archivists.org/usingarchives</a>. An excellent primer for using archives, with considerations such as: \"What Are Archives and How do They Differ from Libraries?\"; \"Requesting Materials Remotely\"; \"Planning to Visit an Archive\"; and \"Notes on Copyright, Restrictions, and Unprocessed Collections.\"\r\n\r\n<h3>Handling Documents</h3>\r\nNational Archives (UK). \"Handling Documents.\" <em>The National Archives.</em> 2011. <a href=\"http://www.nationalarchives.gov.uk/visit/document-handling.htm\">http://www.nationalarchives.gov.uk/visit/document-handling.htm</a>. A basic overview for handling documents, including best practices and an explanation of common types of documents and handling needs.\r\n\r\nNational Park Service. \"Handling Archival Documents and Manuscripts.\" <em>Conserve O Gram </em>19, no. 17 (Sept. 1996). <a href=\"http://www.nps.gov/museum/publications/conserveogram/19-17.pdf\">http://www.nps.gov/museum/publications/conserveogram/19-17.pdf</a>. A brief guide focused on handling archival documents and manuscripts organized into a series of do’s and don’ts, including setting up the research area, moving materials, and dealing with problems (brittle, damaged, attached, and contaminated materials).\r\n\r\n<h3>Working in Archives</h3>\r\nArchives of American Art. \"Frequently Asked Questions.\" <em>Archives of American Art: Ask Us.</em> 2011. <a href=\"http://www.aaa.si.edu/askus/faq\">http://www.aaa.si.edu/askus/faq</a>: A general FAQ addressing basic questions and providing policy information, such as the need for researchers to schedule appointments, a useful reminder no matter which archive you plan to use.\r\n\r\nNew York University Libraries. \"Using Archives and Manuscripts.\" <em>New York</em><em> University</em><em> Libraries: Research Guides.</em> 2011. <a href=\"http://nyu.libguides.com/content.php?pid=38517\">http://nyu.libguides.com/content.php?pid=38517</a>. Intended for researchers using NYU collections, this guide also provides general relevant information, including definitions, recommendations on handling materials, and best practices for archival research.\r\n\r\n<h3>Teaching</h3>\r\nThe National Archives Experience (US). \"Tool Box.\"<em> The National Archives Experience: Educators and Students. </em>2011. <a href=\"http://www.archives.gov/nae/education/tool-box.html\">http://www.archives.gov/nae/education/tool-box.html</a>. The \"Tool Box\" includes many basic documents explaining the benefits of teaching with primary sources, basics for teaching with primary documents, and links to teaching workshops and collaborative opportunities (<a href=\"http://www.archives.gov/nae/education/collaboration.html\">http://www.archives.gov/nae/education/collaboration.html</a>).\r\n\r\nNational Archives of Australia. <em>Vrroom: Virtual Reading Room</em>. 2011. <a href=\"http://vrroom.naa.gov.au/\">http://vrroom.naa.gov.au/</a>. With a tagline of \"easy access to archival records for teachers and students,\" <em>Vrroom</em> is designed as a full virtual reading room, allowing users to search and browse archival collections, as well as providing support for teaching and research.\r\n<h3>Working with Technology in Archives</h3>\r\nBateman, Kirklin, Sheila Brennan, Douglas Mudd, and Paula Petrik. \"Taking a Byte Out of the Archives: Making Technology Work for You.\" <em>Perspectives Online </em>43, no. 1: (Jan. 2005)\r\n<a href=\"http://www.historians.org/perspectives/issues/2005/0501/0501arc1.cfm\">http://www.historians.org/perspectives/issues/2005/0501/0501arc1.cfm</a>. A useful overview of working with technology in archives, as well as maintaining electronic documents and notes from archival research. Published in 2005, the guide is somewhat dated (it does not include Zotero, for example, which rolled out in 2006).','How to Work with Primary Source Documents','','inherit','open','open','','2045-revision-13','','','2012-09-28 18:54:06','2012-09-28 18:54:06','',2045,'http://www.archivejournal.net/issue/2/uncategorized/2045-revision-13/',0,'revision','',0),(2573,10,'2012-10-01 23:45:18','2012-10-01 23:45:18','\r\nArchival research is an important source for coursework and teaching, as professors and instructors are increasingly incorporating work with primary documents into undergraduate courses. Because access to primary resources is often restricted by research room hours, and can be further limited because of preservation concerns if materials are extremely fragile or if collections are not fully inventoried, this kind of research takes time. Despite this, many student researchers leave archives with a great deal more information than they will be able to explore in their written scholarship. Students’ research goals also inform their actual practice, although, due to the many pleasures and challenges of working with primary documents, even the best intentions often change dramatically when working through a collection of materials. Whatever the situation, undergraduates working with primary documents need to be aware of a number of general recommendations, in addition to any particular archive’s specific rules.\r\n\r\nThough the individual archive or library is the best first source of information for working with specific collections, the following resources provide general information about working effectively with archival materials that may be of use to students and/or their teachers.\r\n\r\n<h3>Comprehensive</h3>\r\nSchmidt, Laura. \"Using Archives: A Guide to Effective Research.\" <em>Society of American Archivists</em>. 2011. <a href=\"http://www2.archivists.org/usingarchives\">http://www2.archivists.org/usingarchives</a>. An excellent primer for using archives, with considerations such as: \"What Are Archives and How do They Differ from Libraries?\"; \"Requesting Materials Remotely\"; \"Planning to Visit an Archive\"; and \"Notes on Copyright, Restrictions, and Unprocessed Collections.\"\r\n\r\n<h3>Handling Documents</h3>\r\nNational Archives (UK). \"Handling Documents.\" <em>The National Archives.</em> 2011. <a href=\"http://www.nationalarchives.gov.uk/visit/document-handling.htm\">http://www.nationalarchives.gov.uk/visit/document-handling.htm</a>. A basic overview for handling documents, including best practices and an explanation of common types of documents and handling needs.\r\n\r\nNational Park Service. \"Handling Archival Documents and Manuscripts.\" <em>Conserve O Gram </em>19, no. 17 (Sept. 1996). <a href=\"http://www.nps.gov/museum/publications/conserveogram/19-17.pdf\">http://www.nps.gov/museum/publications/conserveogram/19-17.pdf</a>. A brief guide focused on handling archival documents and manuscripts organized into a series of do’s and don’ts, including setting up the research area, moving materials, and dealing with problems (brittle, damaged, attached, and contaminated materials).\r\n\r\n<h3>Working in Archives</h3>\r\nArchives of American Art. \"Frequently Asked Questions.\" <em>Archives of American Art: Ask Us.</em> 2011. <a href=\"http://www.aaa.si.edu/askus/faq\">http://www.aaa.si.edu/askus/faq</a>: A general FAQ addressing basic questions and providing policy information, such as the need for researchers to schedule appointments, a useful reminder no matter which archive you plan to use.\r\n\r\nNew York University Libraries. \"Using Archives and Manuscripts.\" <em>New York</em><em> University</em><em> Libraries: Research Guides.</em> 2011. <a href=\"http://nyu.libguides.com/content.php?pid=38517\">http://nyu.libguides.com/content.php?pid=38517</a>. Intended for researchers using NYU collections, this guide also provides general relevant information, including definitions, recommendations on handling materials, and best practices for archival research.\r\n\r\n<h3>Teaching</h3>\r\nThe National Archives Experience (US). \"Tool Box.\"<em> The National Archives Experience: Educators and Students. </em>2011. <a href=\"http://www.archives.gov/nae/education/tool-box.html\">http://www.archives.gov/nae/education/tool-box.html</a>. The \"Tool Box\" includes many basic documents explaining the benefits of teaching with primary sources, basics for teaching with primary documents, and links to teaching workshops and collaborative opportunities (<a href=\"http://www.archives.gov/nae/education/collaboration.html\">http://www.archives.gov/nae/education/collaboration.html</a>).\r\n\r\nNational Archives of Australia. <em>Vrroom: Virtual Reading Room</em>. 2011. <a href=\"http://vrroom.naa.gov.au/\">http://vrroom.naa.gov.au/</a>. With a tagline of \"easy access to archival records for teachers and students,\" <em>Vrroom</em> is designed as a full virtual reading room, allowing users to search and browse archival collections, as well as providing support for teaching and research.\r\n<h3>Working with Technology in Archives</h3>\r\nBateman, Kirklin, Sheila Brennan, Douglas Mudd, and Paula Petrik. \"Taking a Byte Out of the Archives: Making Technology Work for You.\" <em>Perspectives Online </em>43, no. 1: (Jan. 2005)\r\n<a href=\"http://www.historians.org/perspectives/issues/2005/0501/0501arc1.cfm\">http://www.historians.org/perspectives/issues/2005/0501/0501arc1.cfm</a>. A useful overview of working with technology in archives, as well as maintaining electronic documents and notes from archival research. Published in 2005, the guide is somewhat dated (it does not include Zotero, for example, which rolled out in 2006).','How to Work with Primary Source Documents','','inherit','open','open','','2045-revision-14','','','2012-10-01 23:45:18','2012-10-01 23:45:18','',2045,'http://www.archivejournal.net/issue/2/uncategorized/2045-revision-14/',0,'revision','',0),(2574,10,'2012-10-01 23:48:43','2012-10-01 23:48:43','Archival research is an important source for coursework and teaching, as professors and instructors are increasingly incorporating work with primary documents into undergraduate courses. Because access to primary resources is often restricted by research room hours, and can be further limited because of preservation concerns if materials are extremely fragile or if collections are not fully inventoried, this kind of research takes time. Despite this, many student researchers leave archives with a great deal more information than they will be able to explore in their written scholarship. Students’ research goals also inform their actual practice, although, due to the many pleasures and challenges of working with primary documents, even the best intentions often change dramatically when working through a collection of materials. Whatever the situation, undergraduates working with primary documents need to be aware of a number of general recommendations, in addition to any particular archive’s specific rules.\r\n\r\nThough the individual archive or library is the best first source of information for working with specific collections, the following resources provide general information about working effectively with archival materials that may be of use to students and/or their teachers.\r\n&nbsp;\r\n<h2>Resources for Working with Primary Source Documents</h2>\r\n<h3>Comprehensive</h3>\r\nSchmidt, Laura. \"Using Archives: A Guide to Effective Research.\" <em>Society of American Archivists</em>. 2011. <a href=\"http://www2.archivists.org/usingarchives\">http://www2.archivists.org/usingarchives</a>. An excellent primer for using archives, with considerations such as: \"What Are Archives and How do They Differ from Libraries?\"; \"Requesting Materials Remotely\"; \"Planning to Visit an Archive\"; and \"Notes on Copyright, Restrictions, and Unprocessed Collections.\"\r\n<h3>Handling Documents</h3>\r\nNational Archives (UK). \"Handling Documents.\" <em>The National Archives.</em> 2011. <a href=\"http://www.nationalarchives.gov.uk/visit/document-handling.htm\">http://www.nationalarchives.gov.uk/visit/document-handling.htm</a>. A basic overview for handling documents, including best practices and an explanation of common types of documents and handling needs.\r\n\r\nNational Park Service. \"Handling Archival Documents and Manuscripts.\" <em>Conserve O Gram </em>19, no. 17 (Sept. 1996). <a href=\"http://www.nps.gov/museum/publications/conserveogram/19-17.pdf\">http://www.nps.gov/museum/publications/conserveogram/19-17.pdf</a>. A brief guide focused on handling archival documents and manuscripts organized into a series of do’s and don’ts, including setting up the research area, moving materials, and dealing with problems (brittle, damaged, attached, and contaminated materials).\r\n<h3>Working in Archives</h3>\r\nArchives of American Art. \"Frequently Asked Questions.\" <em>Archives of American Art: Ask Us.</em> 2011. <a href=\"http://www.aaa.si.edu/askus/faq\">http://www.aaa.si.edu/askus/faq</a>: A general FAQ addressing basic questions and providing policy information, such as the need for researchers to schedule appointments, a useful reminder no matter which archive you plan to use.\r\n\r\nNew York University Libraries. \"Using Archives and Manuscripts.\" <em>New York</em><em> University</em><em> Libraries: Research Guides.</em> 2011. <a href=\"http://nyu.libguides.com/content.php?pid=38517\">http://nyu.libguides.com/content.php?pid=38517</a>. Intended for researchers using NYU collections, this guide also provides general relevant information, including definitions, recommendations on handling materials, and best practices for archival research.\r\n<h3>Teaching</h3>\r\nThe National Archives Experience (US). \"Tool Box.\"<em> The National Archives Experience: Educators and Students. </em>2011. <a href=\"http://www.archives.gov/nae/education/tool-box.html\">http://www.archives.gov/nae/education/tool-box.html</a>. The \"Tool Box\" includes many basic documents explaining the benefits of teaching with primary sources, basics for teaching with primary documents, and links to teaching workshops and collaborative opportunities (<a href=\"http://www.archives.gov/nae/education/collaboration.html\">http://www.archives.gov/nae/education/collaboration.html</a>).\r\n\r\nNational Archives of Australia. <em>Vrroom: Virtual Reading Room</em>. 2011. <a href=\"http://vrroom.naa.gov.au/\">http://vrroom.naa.gov.au/</a>. With a tagline of \"easy access to archival records for teachers and students,\" <em>Vrroom</em> is designed as a full virtual reading room, allowing users to search and browse archival collections, as well as providing support for teaching and research.\r\n<h3>Working with Technology in Archives</h3>\r\nBateman, Kirklin, Sheila Brennan, Douglas Mudd, and Paula Petrik. \"Taking a Byte Out of the Archives: Making Technology Work for You.\" <em>Perspectives Online </em>43, no. 1: (Jan. 2005)\r\n<a href=\"http://www.historians.org/perspectives/issues/2005/0501/0501arc1.cfm\">http://www.historians.org/perspectives/issues/2005/0501/0501arc1.cfm</a>. A useful overview of working with technology in archives, as well as maintaining electronic documents and notes from archival research. Published in 2005, the guide is somewhat dated (it does not include Zotero, for example, which rolled out in 2006).','How to Work with Primary Source Documents','','inherit','open','open','','2045-revision-15','','','2012-10-01 23:48:43','2012-10-01 23:48:43','',2045,'http://www.archivejournal.net/issue/2/uncategorized/2045-revision-15/',0,'revision','',0),(2575,10,'2011-05-02 04:50:32','2011-05-02 04:50:32','<em>Archive </em>focuses on the use and theory of archives and special collections in higher education.\r\n\r\nThe academic community has invested deeply in the preservation, use, and digitization of materials in special collections. Projects from and with such archives have been executed and continue with great success.  Digitization efforts large and small have freed collections from the bounds of brick and mortar by bringing a wealth of texts and objects into virtual circulation. Teachers and librarians have increasingly emphasized work with original materials for students at all levels as a way to enrich student experience and position students as researchers.  The use of materials in special collections as the objects of scholarly study continues to be a key methodology of humanities disciplines even as new technologies, from data mining to visualizations to chemical analyses of vellum, open up possibilities for what scholars learn from these objects.\r\n\r\nRecent archival projects have involved multiple institutions (universities and colleges, independent libraries and archives, and non-profit organizations) and multiple constituencies (including librarians, archivists, undergraduate and graduate students, faculty, university press directors, and information technologists).  Envisioned as a central meeting place for currently disparate and dispersed projects and participants, this journal provides the opportunity to use the common ground of the archive to build conversations among members of the academic community and to bridge institutions.\r\n\r\nThe presumption guiding most archival projects, whether the use of special collections in an undergraduate research project or a large digital project, is that the encounter between scholar and object enriches all participants, and that better learning and scholarship is produced when more people have greater access to “original materials, whether they be analog, digital surrogates, or born-digital.  Yet, what the positive result is, exactly, is often anecdotal: increased student interest, a new focus for a dissertation, a new treasure uncovered.  How projects enable a generative encounter between archival object and human consciousness is an open question.  Indeed, we don’t fully know what kinds of generative encounters are being facilitated by these contacts, let alone how to share, scale, and build from them.  What the nature of our ongoing investment in archives and special collections is, and how best to enact it, demands that we aggregate our experiences, resources, and knowledge to address these fundamental questions.  We propose, as a community widely dispersed among academic positions and institutions, to study the scholarly life of archives in all of its richness.  This postulate lays the groundwork for <em>Archive</em>.\r\n\r\nThe project has been supported with a Andrew W. Mellon Foundation Grant.','About','','inherit','open','open','','2-revision-12','','','2011-05-02 04:50:32','2011-05-02 04:50:32','',2,'http://www.archivejournal.net/issue/2/uncategorized/2-revision-12/',0,'revision','',0),(2576,10,'2012-10-01 23:54:04','2012-10-01 23:54:04','<h2><a href=\"#welcome\">Welcome</a> | <a href=\"#mission\">Mission</a> |  <a href=\"#content\">Journal Content</a> |  <a href=\"#editors\">Editorial Team &amp; Editorial Board</a> | <a href=\"#submissions\">Submissions</a>\r\n\r\n<a href=\"#review\">Peer Review</a> |  <a href=\"#copyright\">Copyright &amp; Licenses</a> | <a href=\"#publication\">Publication</a> |  <a href=\"#design\">Web Design</a> | <a href=\"#support\"> Support</a></h2>\r\n<a name=\"welcome\"></a>\r\n<h2>Welcome</h2>\r\n<p class=\"textblock\">What you see on this site is the pilot issue, published April 2011. Work is underway (as of October 1, 2011) on Issue 2, which will focus on undergraduate work in the archive. We are also accepting proposals for Issue 3, a special issue focused on data curation.</p>\r\n\r\n<h2><a name=\"mission\"></a>Mission</h2>\r\n<em>Archive</em> focuses on the use and theory of archives and special collections in higher education.\r\n<p class=\"textblock\">The academic community has invested deeply in the preservation, use, and digitization of materials in special collections, and <em>Archive</em> provides the space to reflect on this investment. The objects and texts in special collections and archives are the focus of this journal, just as they are the focus of the many projects from and in archives that have been executed and continue with great success. Digitization efforts large and small have freed archives from the bounds of brick and mortar by bringing a wealth of texts and objects into virtual circulation. Teachers and librarians have increasingly emphasized work with original materials for students at all levels as a way to enrich student experience and position students as researchers. The use of materials in special collections as the objects of scholarly study continues to be a key methodology of humanities disciplines even as new technologies, from data mining to visualizations, open up possibilities for what scholars learn from these objects. Recent archival projects have involved multiple institutions (universities and colleges, independent libraries and archives, and non-profit organizations) and multiple constituencies (including librarians, archivists, undergraduate and graduate students, faculty, university press directors, and information technologists). In this moment when archival projects, both virtual and real, have become the norm rather than the exception, <em>Archive</em> offers a way to forge connections among the projects and the communities producing them.</p>\r\n\r\n<h2><a name=\"content\"></a>Journal Content</h2>\r\n<p class=\"textblock\">The journal consists of three content areas:</p>\r\n\r\n<ul>\r\n	<li><em>360°: Analysis and Discussion in the Round</em> features an asynchronous “discussion” among contributors from various backgrounds — in the form of several individual, linked essays — on a single archive or archival topic.</li>\r\n	<li><em>Archives, Remixed: Critical Perspectives and Pathways</em> invites analytical and creative pieces that reflect on meaning-making in and through archives. The format is open to both traditional research or theoretical essays, as well as multi-modal, alternate, or experimental formats.  Contributions that analyze, use, theorize, create, find ways through, or reconstitute particular archives, objects or exhibits are invited.  Only original work that has not been published elsewhere will be accepted for publication.</li>\r\n	<li><em>Life in the Archive</em> serves as a community space for people to share best practices, archival finds, reports from the field, and thoughts on current work in the field.</li>\r\n</ul>\r\n<h2><a name=\"editors\"></a>Editorial Team</h2>\r\n<table>\r\n<tbody>\r\n<tr>\r\n<th><em>Editor</em></th>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Lauren Coats</td>\r\n<td>.......</td>\r\n<td>Assistant Professor of English (LSU)</td>\r\n</tr>\r\n<tr>\r\n<th><em>Managing Editor</em></th>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Gabrielle Dean</td>\r\n<td>.......</td>\r\n<td>Curator of Modern Literary Rare Books and Manuscripts, Librarian for English and the Writing Seminars (Johns Hopkins University)</td>\r\n</tr>\r\n<tr>\r\n<th><em>Technical Editor</em></th>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Daniel Chamberlain</td>\r\n<td>.......</td>\r\n<td>Director, Center for Digital Learning and Research (Occidental College)</td>\r\n</tr>\r\n<tr>\r\n<th><em>Contributing Editors</em></th>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Cecily Marcus</td>\r\n<td>.......</td>\r\n<td>Curator in Archives and Special Collections (University of Minnesota)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Laurie N. Taylor</td>\r\n<td>.......</td>\r\n<td>Digital Humanities Librarian, Digital Library Center (University of Florida)</td>\r\n</tr>\r\n<tr>\r\n<th><em>Editorial Board</em></th>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Wendy Hui Kyong Chun</td>\r\n<td>.......</td>\r\n<td>Professor of Modern Culture and Media (Brown University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Dan Cohen</td>\r\n<td>.......</td>\r\n<td>Associate Professor, Department of History and Art History; Director, Center for History and New Media (George Mason University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Sharon Farb</td>\r\n<td>.......</td>\r\n<td>Associate University Librarian (UCLA)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Kathleen Fitzpatrick</td>\r\n<td>.......</td>\r\n<td>Director of Scholarly Communications (MLA) and Professor of Media Studies (Pomona College)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Julia Flanders</td>\r\n<td>.......</td>\r\n<td>Director, Women Writers Project; Associate Director for Textbase Development, Center for Digital Scholarship (Brown University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Amanda French</td>\r\n<td>.......</td>\r\n<td>THATCamp Coordinator, Center for History and New Media (George Mason University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Chuck Henry</td>\r\n<td>.......</td>\r\n<td>President, Council on Library and Information Resources (CLIR)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Patricia Hswe</td>\r\n<td>.......</td>\r\n<td>Digital Collections Curator (Penn State University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Tara McPherson</td>\r\n<td>.......</td>\r\n<td>Associate Professor of Critical Studies, School of Cinematic Arts (University of Southern California)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Kenneth M. Price</td>\r\n<td>.......</td>\r\n<td>University Professor and Hillegass Chair of American Literature; Co-Director, Center for Digital Research in the Humanities (University of Nebraska-Lincoln)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Elliott Shore</td>\r\n<td>.......</td>\r\n<td>CIO, Director of Libraries, and Professor of History (Bryn Mawr College)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Richard Szary</td>\r\n<td>.......</td>\r\n<td>Director, Louis Round Wilson Library; Associate University Librarian for Special Collections (UNC-Chapel Hill)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Ed Whitley</td>\r\n<td>.......</td>\r\n<td>Associate Professor of English (Lehigh University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">John Willinsky</td>\r\n<td>.......</td>\r\n<td>Khosla Family Professor of Education (Stanford University)</td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n<strong><a name=\"submissions\"></a>Submissions</strong>\r\n\r\nPlease review our <a href=\"http://archivejournal.net/journal/home/submit-to-archive-journal/\">submit page</a>, if you are interested in submitting to the journal, or have any suggestions for or comments about the journal.\r\n<h2><a name=\"review\"></a>Peer Review</h2>\r\nAll materials in <em>Archive Journal</em> are peer-reviewed.\r\n\r\nPeer review is central to scholarly communication by providing feedback for improvement, ensuring the quality of published materials, and validating the scholarly merit and proper credentialing of published materials. <em>Archive Journal</em>’s peer review policy is designed to achieve these goals, while also using emerging forms of peer review.  Because <em>Archive Journal</em> focuses on the use and theory of archives and special collections in higher education, offering a way to forge connections among diverse projects and the communities producing them, the review process is structured to support building connections while retaining the scholarly rigor inherent in peer review.\r\n\r\nOur review process consists of editorial and open review in the following stages:\r\n<ul>\r\n	<li>Every submission is read by the Editorial Team to determine suitability for publication. The Editorial Team declines materials that are not appropriate at this stage; gives detailed feedback and the opportunity to resubmit for appropriate materials that need substantial revision; and gives feedback and facilitates the process towards publication for appropriate materials that need minor or no revisions. Because <em>Archive Journal</em> is an interdisciplinary space to forge connections and because the online format continues to evolve, this stage may include a series of back and forth feedback from the Editorial Team in order to ensure scholarly rigor, communicability across scholarly fields, and appropriateness of online display.</li>\r\n	<li>If deemed necessary by the Editorial Team, submissions within specialized subject areas that the Editorial Team cannot assess will be sent to reviewers with the appropriate expertise. Reviewers are encouraged to provide guidance to the Editorial Team and constructive feedback for the authors.</li>\r\n	<li>Revised submissions are reviewed after revision for final approval by the Editorial Team before publication. <em>Archive Journal</em> reserves the right to reject revised materials that are deemed not suitable for publication.</li>\r\n	<li>Following peer review and before publication, all accepted materials are copyedited for style and consistency.</li>\r\n	<li>All submissions will be subject to open review via reader comments. After an appropriate open review period has passed, the author(s) will have the opportunity to revise the submission. The final version will be posted and marked as such, with a clear link to the original version and associated open review comments.</li>\r\n</ul>\r\n<h2><a name=\"copyright\"></a>Copyright &amp; Licenses</h2>\r\nAuthors published in <em>Archive Journal</em> retain permanent ownership of their work via an open-access license. In order to facilitate access and preservation, <em>Archive Journal</em> retains a perpetual, non-exclusive right to publish accepted work and to include it in other aggregations and indexes. Authors are free to deposit a pre-publication version in an institutional repository, individual webpage, or similar site, as well as to reprint, reuse, or republish their work in any venue after one year.\r\n\r\nThe <em>Archive Journal</em> site is made available under the terms of a <a href=\"http://creativecommons.org/licenses/by-nc-sa/3.0/us/\">Creative Commons Attribution-Noncommercial-Share Alike 3.0 United States License</a>. The license grants permission for non-commercial, attributed re-use of content that is produced by <em>Archive Journal</em>.\r\n\r\n<em>Archive</em> has made every effort to ensure that third-party materials used in this journal and on this site follows all copyright and other restrictions. If you have any more information about an item you\'ve seen on our website or if you are the copyright owner and believe our website has not properly attributed your work to you or has used it without permission, we want to hear from you. Please email us at <a href=\"mailto:contact@archivejournal.net\">contact@archivejournal.net</a> with your contact information and a link to the relevant content.\r\n<h2><a name=\"publication\"></a>Publication</h2>\r\nPermanent access and preservation for citation and reproducible research are core components of scholarly communication. <em>Archive Journal</em> provides permanent open, online access for all journal issues.\r\n<h2><a name=\"design\"></a>Web Design</h2>\r\n<a href=\"http://lamppostcreative.com/\">Lamppost Creative</a> serves as the current developer and designer.\r\n\r\n<a href=\"http://infernalcontraption.com/\">Infernal Contraption</a> provided the original design and layout.\r\n<h2><a name=\"support\"></a>Support</h2>\r\nThe project has been generously supported with grant funds from the Andrew W. Mellon Foundation.','About','','inherit','open','open','','2-revision-13','','','2012-10-01 23:54:04','2012-10-01 23:54:04','',2,'http://www.archivejournal.net/issue/2/uncategorized/2-revision-13/',0,'revision','',0),(2577,10,'2012-10-01 23:54:36','2012-10-01 23:54:36','<h2><a href=\"#welcome\">Welcome</a> | <a href=\"#mission\">Mission</a> | <a href=\"#content\">Journal Content</a> | <a href=\"#editors\">Editorial Team &amp; Editorial Board</a> | <a href=\"#submissions\">Submissions</a></h2>\r\n<a href=\"#review\">Peer Review</a> | <a href=\"#copyright\">Copyright &amp; Licenses</a> | <a href=\"#publication\">Publication</a> | <a href=\"#design\">Web Design</a> | <a href=\"#support\"> Support</a>\r\n\r\n<a name=\"welcome\"></a>\r\n<h2>Welcome</h2>\r\n<p class=\"textblock\">What you see on this site is the pilot issue, published April 2011. Work is underway (as of October 1, 2011) on Issue 2, which will focus on undergraduate work in the archive. We are also accepting proposals for Issue 3, a special issue focused on data curation.</p>\r\n\r\n<h2><a name=\"mission\"></a>Mission</h2>\r\n<em>Archive</em> focuses on the use and theory of archives and special collections in higher education.\r\n<p class=\"textblock\">The academic community has invested deeply in the preservation, use, and digitization of materials in special collections, and <em>Archive</em> provides the space to reflect on this investment. The objects and texts in special collections and archives are the focus of this journal, just as they are the focus of the many projects from and in archives that have been executed and continue with great success. Digitization efforts large and small have freed archives from the bounds of brick and mortar by bringing a wealth of texts and objects into virtual circulation. Teachers and librarians have increasingly emphasized work with original materials for students at all levels as a way to enrich student experience and position students as researchers. The use of materials in special collections as the objects of scholarly study continues to be a key methodology of humanities disciplines even as new technologies, from data mining to visualizations, open up possibilities for what scholars learn from these objects. Recent archival projects have involved multiple institutions (universities and colleges, independent libraries and archives, and non-profit organizations) and multiple constituencies (including librarians, archivists, undergraduate and graduate students, faculty, university press directors, and information technologists). In this moment when archival projects, both virtual and real, have become the norm rather than the exception, <em>Archive</em> offers a way to forge connections among the projects and the communities producing them.</p>\r\n\r\n<h2><a name=\"content\"></a>Journal Content</h2>\r\n<p class=\"textblock\">The journal consists of three content areas:</p>\r\n\r\n<ul>\r\n	<li><em>360°: Analysis and Discussion in the Round</em> features an asynchronous “discussion” among contributors from various backgrounds — in the form of several individual, linked essays — on a single archive or archival topic.</li>\r\n	<li><em>Archives, Remixed: Critical Perspectives and Pathways</em> invites analytical and creative pieces that reflect on meaning-making in and through archives. The format is open to both traditional research or theoretical essays, as well as multi-modal, alternate, or experimental formats. Contributions that analyze, use, theorize, create, find ways through, or reconstitute particular archives, objects or exhibits are invited. Only original work that has not been published elsewhere will be accepted for publication.</li>\r\n	<li><em>Life in the Archive</em> serves as a community space for people to share best practices, archival finds, reports from the field, and thoughts on current work in the field.</li>\r\n</ul>\r\n<h2><a name=\"editors\"></a>Editorial Team</h2>\r\n<table>\r\n<tbody>\r\n<tr>\r\n<th><em>Editor</em></th>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Lauren Coats</td>\r\n<td>.......</td>\r\n<td>Assistant Professor of English (LSU)</td>\r\n</tr>\r\n<tr>\r\n<th><em>Managing Editor</em></th>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Gabrielle Dean</td>\r\n<td>.......</td>\r\n<td>Curator of Modern Literary Rare Books and Manuscripts, Librarian for English and the Writing Seminars (Johns Hopkins University)</td>\r\n</tr>\r\n<tr>\r\n<th><em>Technical Editor</em></th>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Daniel Chamberlain</td>\r\n<td>.......</td>\r\n<td>Director, Center for Digital Learning and Research (Occidental College)</td>\r\n</tr>\r\n<tr>\r\n<th><em>Contributing Editors</em></th>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Cecily Marcus</td>\r\n<td>.......</td>\r\n<td>Curator in Archives and Special Collections (University of Minnesota)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Laurie N. Taylor</td>\r\n<td>.......</td>\r\n<td>Digital Humanities Librarian, Digital Library Center (University of Florida)</td>\r\n</tr>\r\n<tr>\r\n<th><em>Editorial Board</em></th>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Wendy Hui Kyong Chun</td>\r\n<td>.......</td>\r\n<td>Professor of Modern Culture and Media (Brown University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Dan Cohen</td>\r\n<td>.......</td>\r\n<td>Associate Professor, Department of History and Art History; Director, Center for History and New Media (George Mason University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Sharon Farb</td>\r\n<td>.......</td>\r\n<td>Associate University Librarian (UCLA)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Kathleen Fitzpatrick</td>\r\n<td>.......</td>\r\n<td>Director of Scholarly Communications (MLA) and Professor of Media Studies (Pomona College)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Julia Flanders</td>\r\n<td>.......</td>\r\n<td>Director, Women Writers Project; Associate Director for Textbase Development, Center for Digital Scholarship (Brown University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Amanda French</td>\r\n<td>.......</td>\r\n<td>THATCamp Coordinator, Center for History and New Media (George Mason University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Chuck Henry</td>\r\n<td>.......</td>\r\n<td>President, Council on Library and Information Resources (CLIR)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Patricia Hswe</td>\r\n<td>.......</td>\r\n<td>Digital Collections Curator (Penn State University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Tara McPherson</td>\r\n<td>.......</td>\r\n<td>Associate Professor of Critical Studies, School of Cinematic Arts (University of Southern California)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Kenneth M. Price</td>\r\n<td>.......</td>\r\n<td>University Professor and Hillegass Chair of American Literature; Co-Director, Center for Digital Research in the Humanities (University of Nebraska-Lincoln)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Elliott Shore</td>\r\n<td>.......</td>\r\n<td>CIO, Director of Libraries, and Professor of History (Bryn Mawr College)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Richard Szary</td>\r\n<td>.......</td>\r\n<td>Director, Louis Round Wilson Library; Associate University Librarian for Special Collections (UNC-Chapel Hill)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Ed Whitley</td>\r\n<td>.......</td>\r\n<td>Associate Professor of English (Lehigh University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">John Willinsky</td>\r\n<td>.......</td>\r\n<td>Khosla Family Professor of Education (Stanford University)</td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n<strong><a name=\"submissions\"></a>Submissions</strong>\r\n\r\nPlease review our <a href=\"http://archivejournal.net/journal/home/submit-to-archive-journal/\">submit page</a>, if you are interested in submitting to the journal, or have any suggestions for or comments about the journal.\r\n<h2><a name=\"review\"></a>Peer Review</h2>\r\nAll materials in <em>Archive Journal</em> are peer-reviewed.\r\n\r\nPeer review is central to scholarly communication by providing feedback for improvement, ensuring the quality of published materials, and validating the scholarly merit and proper credentialing of published materials. <em>Archive Journal</em>’s peer review policy is designed to achieve these goals, while also using emerging forms of peer review. Because <em>Archive Journal</em> focuses on the use and theory of archives and special collections in higher education, offering a way to forge connections among diverse projects and the communities producing them, the review process is structured to support building connections while retaining the scholarly rigor inherent in peer review.\r\n\r\nOur review process consists of editorial and open review in the following stages:\r\n<ul>\r\n	<li>Every submission is read by the Editorial Team to determine suitability for publication. The Editorial Team declines materials that are not appropriate at this stage; gives detailed feedback and the opportunity to resubmit for appropriate materials that need substantial revision; and gives feedback and facilitates the process towards publication for appropriate materials that need minor or no revisions. Because <em>Archive Journal</em> is an interdisciplinary space to forge connections and because the online format continues to evolve, this stage may include a series of back and forth feedback from the Editorial Team in order to ensure scholarly rigor, communicability across scholarly fields, and appropriateness of online display.</li>\r\n	<li>If deemed necessary by the Editorial Team, submissions within specialized subject areas that the Editorial Team cannot assess will be sent to reviewers with the appropriate expertise. Reviewers are encouraged to provide guidance to the Editorial Team and constructive feedback for the authors.</li>\r\n	<li>Revised submissions are reviewed after revision for final approval by the Editorial Team before publication. <em>Archive Journal</em> reserves the right to reject revised materials that are deemed not suitable for publication.</li>\r\n	<li>Following peer review and before publication, all accepted materials are copyedited for style and consistency.</li>\r\n	<li>All submissions will be subject to open review via reader comments. After an appropriate open review period has passed, the author(s) will have the opportunity to revise the submission. The final version will be posted and marked as such, with a clear link to the original version and associated open review comments.</li>\r\n</ul>\r\n<h2><a name=\"copyright\"></a>Copyright &amp; Licenses</h2>\r\nAuthors published in <em>Archive Journal</em> retain permanent ownership of their work via an open-access license. In order to facilitate access and preservation, <em>Archive Journal</em> retains a perpetual, non-exclusive right to publish accepted work and to include it in other aggregations and indexes. Authors are free to deposit a pre-publication version in an institutional repository, individual webpage, or similar site, as well as to reprint, reuse, or republish their work in any venue after one year.\r\n\r\nThe <em>Archive Journal</em> site is made available under the terms of a <a href=\"http://creativecommons.org/licenses/by-nc-sa/3.0/us/\">Creative Commons Attribution-Noncommercial-Share Alike 3.0 United States License</a>. The license grants permission for non-commercial, attributed re-use of content that is produced by <em>Archive Journal</em>.\r\n\r\n<em>Archive</em> has made every effort to ensure that third-party materials used in this journal and on this site follows all copyright and other restrictions. If you have any more information about an item you\'ve seen on our website or if you are the copyright owner and believe our website has not properly attributed your work to you or has used it without permission, we want to hear from you. Please email us at <a href=\"mailto:contact@archivejournal.net\">contact@archivejournal.net</a> with your contact information and a link to the relevant content.\r\n<h2><a name=\"publication\"></a>Publication</h2>\r\nPermanent access and preservation for citation and reproducible research are core components of scholarly communication. <em>Archive Journal</em> provides permanent open, online access for all journal issues.\r\n<h2><a name=\"design\"></a>Web Design</h2>\r\n<a href=\"http://lamppostcreative.com/\">Lamppost Creative</a> serves as the current developer and designer.\r\n\r\n<a href=\"http://infernalcontraption.com/\">Infernal Contraption</a> provided the original design and layout.\r\n<h2><a name=\"support\"></a>Support</h2>\r\nThe project has been generously supported with grant funds from the Andrew W. Mellon Foundation.','About','','inherit','open','open','','2-revision-14','','','2012-10-01 23:54:36','2012-10-01 23:54:36','',2,'http://www.archivejournal.net/issue/2/uncategorized/2-revision-14/',0,'revision','',0),(2578,10,'2012-10-01 23:56:04','2012-10-01 23:56:04','<a href=\"#welcome\">Welcome</a> | <a href=\"#mission\">Mission</a> | <a href=\"#content\">Journal Content</a> | <a href=\"#editors\">Editorial Team &amp; Editorial Board</a> | <a href=\"#submissions\">Submissions</a>\r\n<a href=\"#review\">Peer Review</a> | <a href=\"#copyright\">Copyright &amp; Licenses</a> | <a href=\"#publication\">Publication</a> | <a href=\"#design\">Web Design</a> | <a href=\"#support\"> Support</a>\r\n\r\n<a name=\"welcome\"></a>\r\n<h2>Welcome</h2>\r\n<p class=\"textblock\">What you see on this site is the pilot issue, published April 2011. Work is underway (as of October 1, 2011) on Issue 2, which will focus on undergraduate work in the archive. We are also accepting proposals for Issue 3, a special issue focused on data curation.</p>\r\n\r\n<h2><a name=\"mission\"></a>Mission</h2>\r\n<em>Archive</em> focuses on the use and theory of archives and special collections in higher education.\r\n<p class=\"textblock\">The academic community has invested deeply in the preservation, use, and digitization of materials in special collections, and <em>Archive</em> provides the space to reflect on this investment. The objects and texts in special collections and archives are the focus of this journal, just as they are the focus of the many projects from and in archives that have been executed and continue with great success. Digitization efforts large and small have freed archives from the bounds of brick and mortar by bringing a wealth of texts and objects into virtual circulation. Teachers and librarians have increasingly emphasized work with original materials for students at all levels as a way to enrich student experience and position students as researchers. The use of materials in special collections as the objects of scholarly study continues to be a key methodology of humanities disciplines even as new technologies, from data mining to visualizations, open up possibilities for what scholars learn from these objects. Recent archival projects have involved multiple institutions (universities and colleges, independent libraries and archives, and non-profit organizations) and multiple constituencies (including librarians, archivists, undergraduate and graduate students, faculty, university press directors, and information technologists). In this moment when archival projects, both virtual and real, have become the norm rather than the exception, <em>Archive</em> offers a way to forge connections among the projects and the communities producing them.</p>\r\n\r\n<h2><a name=\"content\"></a>Journal Content</h2>\r\n<p class=\"textblock\">The journal consists of three content areas:</p>\r\n\r\n<ul>\r\n	<li><em>360°: Analysis and Discussion in the Round</em> features an asynchronous “discussion” among contributors from various backgrounds — in the form of several individual, linked essays — on a single archive or archival topic.</li>\r\n	<li><em>Archives, Remixed: Critical Perspectives and Pathways</em> invites analytical and creative pieces that reflect on meaning-making in and through archives. The format is open to both traditional research or theoretical essays, as well as multi-modal, alternate, or experimental formats. Contributions that analyze, use, theorize, create, find ways through, or reconstitute particular archives, objects or exhibits are invited. Only original work that has not been published elsewhere will be accepted for publication.</li>\r\n	<li><em>Life in the Archive</em> serves as a community space for people to share best practices, archival finds, reports from the field, and thoughts on current work in the field.</li>\r\n</ul>\r\n<h2><a name=\"editors\"></a>Editorial Team</h2>\r\n<table>\r\n<tbody>\r\n<tr>\r\n<th><em>Editor</em></th>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Lauren Coats</td>\r\n<td>.......</td>\r\n<td>Assistant Professor of English (LSU)</td>\r\n</tr>\r\n<tr>\r\n<th><em>Managing Editor</em></th>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Gabrielle Dean</td>\r\n<td>.......</td>\r\n<td>Curator of Modern Literary Rare Books and Manuscripts, Librarian for English and the Writing Seminars (Johns Hopkins University)</td>\r\n</tr>\r\n<tr>\r\n<th><em>Technical Editor</em></th>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Daniel Chamberlain</td>\r\n<td>.......</td>\r\n<td>Director, Center for Digital Learning and Research (Occidental College)</td>\r\n</tr>\r\n<tr>\r\n<th><em>Contributing Editors</em></th>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Cecily Marcus</td>\r\n<td>.......</td>\r\n<td>Curator in Archives and Special Collections (University of Minnesota)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Laurie N. Taylor</td>\r\n<td>.......</td>\r\n<td>Digital Humanities Librarian, Digital Library Center (University of Florida)</td>\r\n</tr>\r\n<tr>\r\n<th><em>Editorial Board</em></th>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Wendy Hui Kyong Chun</td>\r\n<td>.......</td>\r\n<td>Professor of Modern Culture and Media (Brown University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Dan Cohen</td>\r\n<td>.......</td>\r\n<td>Associate Professor, Department of History and Art History; Director, Center for History and New Media (George Mason University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Sharon Farb</td>\r\n<td>.......</td>\r\n<td>Associate University Librarian (UCLA)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Kathleen Fitzpatrick</td>\r\n<td>.......</td>\r\n<td>Director of Scholarly Communications (MLA) and Professor of Media Studies (Pomona College)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Julia Flanders</td>\r\n<td>.......</td>\r\n<td>Director, Women Writers Project; Associate Director for Textbase Development, Center for Digital Scholarship (Brown University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Amanda French</td>\r\n<td>.......</td>\r\n<td>THATCamp Coordinator, Center for History and New Media (George Mason University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Chuck Henry</td>\r\n<td>.......</td>\r\n<td>President, Council on Library and Information Resources (CLIR)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Patricia Hswe</td>\r\n<td>.......</td>\r\n<td>Digital Collections Curator (Penn State University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Tara McPherson</td>\r\n<td>.......</td>\r\n<td>Associate Professor of Critical Studies, School of Cinematic Arts (University of Southern California)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Kenneth M. Price</td>\r\n<td>.......</td>\r\n<td>University Professor and Hillegass Chair of American Literature; Co-Director, Center for Digital Research in the Humanities (University of Nebraska-Lincoln)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Elliott Shore</td>\r\n<td>.......</td>\r\n<td>CIO, Director of Libraries, and Professor of History (Bryn Mawr College)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Richard Szary</td>\r\n<td>.......</td>\r\n<td>Director, Louis Round Wilson Library; Associate University Librarian for Special Collections (UNC-Chapel Hill)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Ed Whitley</td>\r\n<td>.......</td>\r\n<td>Associate Professor of English (Lehigh University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">John Willinsky</td>\r\n<td>.......</td>\r\n<td>Khosla Family Professor of Education (Stanford University)</td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n<strong><a name=\"submissions\"></a>Submissions</strong>\r\n\r\nPlease review our <a href=\"http://archivejournal.net/journal/home/submit-to-archive-journal/\">submit page</a>, if you are interested in submitting to the journal, or have any suggestions for or comments about the journal.\r\n<h2><a name=\"review\"></a>Peer Review</h2>\r\nAll materials in <em>Archive Journal</em> are peer-reviewed.\r\n\r\nPeer review is central to scholarly communication by providing feedback for improvement, ensuring the quality of published materials, and validating the scholarly merit and proper credentialing of published materials. <em>Archive Journal</em>’s peer review policy is designed to achieve these goals, while also using emerging forms of peer review. Because <em>Archive Journal</em> focuses on the use and theory of archives and special collections in higher education, offering a way to forge connections among diverse projects and the communities producing them, the review process is structured to support building connections while retaining the scholarly rigor inherent in peer review.\r\n\r\nOur review process consists of editorial and open review in the following stages:\r\n<ul>\r\n	<li>Every submission is read by the Editorial Team to determine suitability for publication. The Editorial Team declines materials that are not appropriate at this stage; gives detailed feedback and the opportunity to resubmit for appropriate materials that need substantial revision; and gives feedback and facilitates the process towards publication for appropriate materials that need minor or no revisions. Because <em>Archive Journal</em> is an interdisciplinary space to forge connections and because the online format continues to evolve, this stage may include a series of back and forth feedback from the Editorial Team in order to ensure scholarly rigor, communicability across scholarly fields, and appropriateness of online display.</li>\r\n	<li>If deemed necessary by the Editorial Team, submissions within specialized subject areas that the Editorial Team cannot assess will be sent to reviewers with the appropriate expertise. Reviewers are encouraged to provide guidance to the Editorial Team and constructive feedback for the authors.</li>\r\n	<li>Revised submissions are reviewed after revision for final approval by the Editorial Team before publication. <em>Archive Journal</em> reserves the right to reject revised materials that are deemed not suitable for publication.</li>\r\n	<li>Following peer review and before publication, all accepted materials are copyedited for style and consistency.</li>\r\n	<li>All submissions will be subject to open review via reader comments. After an appropriate open review period has passed, the author(s) will have the opportunity to revise the submission. The final version will be posted and marked as such, with a clear link to the original version and associated open review comments.</li>\r\n</ul>\r\n<h2><a name=\"copyright\"></a>Copyright &amp; Licenses</h2>\r\nAuthors published in <em>Archive Journal</em> retain permanent ownership of their work via an open-access license. In order to facilitate access and preservation, <em>Archive Journal</em> retains a perpetual, non-exclusive right to publish accepted work and to include it in other aggregations and indexes. Authors are free to deposit a pre-publication version in an institutional repository, individual webpage, or similar site, as well as to reprint, reuse, or republish their work in any venue after one year.\r\n\r\nThe <em>Archive Journal</em> site is made available under the terms of a <a href=\"http://creativecommons.org/licenses/by-nc-sa/3.0/us/\">Creative Commons Attribution-Noncommercial-Share Alike 3.0 United States License</a>. The license grants permission for non-commercial, attributed re-use of content that is produced by <em>Archive Journal</em>.\r\n\r\n<em>Archive</em> has made every effort to ensure that third-party materials used in this journal and on this site follows all copyright and other restrictions. If you have any more information about an item you\'ve seen on our website or if you are the copyright owner and believe our website has not properly attributed your work to you or has used it without permission, we want to hear from you. Please email us at <a href=\"mailto:contact@archivejournal.net\">contact@archivejournal.net</a> with your contact information and a link to the relevant content.\r\n<h2><a name=\"publication\"></a>Publication</h2>\r\nPermanent access and preservation for citation and reproducible research are core components of scholarly communication. <em>Archive Journal</em> provides permanent open, online access for all journal issues.\r\n<h2><a name=\"design\"></a>Web Design</h2>\r\n<a href=\"http://lamppostcreative.com/\">Lamppost Creative</a> serves as the current developer and designer.\r\n\r\n<a href=\"http://infernalcontraption.com/\">Infernal Contraption</a> provided the original design and layout.\r\n<h2><a name=\"support\"></a>Support</h2>\r\nThe project has been generously supported with grant funds from the Andrew W. Mellon Foundation.','About','','inherit','open','open','','2-revision-15','','','2012-10-01 23:56:04','2012-10-01 23:56:04','',2,'http://www.archivejournal.net/issue/2/uncategorized/2-revision-15/',0,'revision','',0),(2579,10,'2012-10-01 23:58:15','2012-10-01 23:58:15','<a href=\"#welcome\">Welcome</a> | <a href=\"#mission\">Mission</a> | <a href=\"#content\">Journal Content</a> | <a href=\"#editors\">Editorial Team &amp; Editorial Board</a> | <a href=\"#submissions\">Submissions</a>\r\n<a href=\"#review\">Peer Review</a> | <a href=\"#copyright\">Copyright &amp; Licenses</a> | <a href=\"#publication\">Publication</a> | <a href=\"#design\">Web Design</a> | <a href=\"#support\"> Support</a>\r\n\r\n<a id=\"welcome\"></a>\r\n<h2>Welcome</h2>\r\n<p class=\"textblock\">What you see on this site is the pilot issue, published April 2011. Work is underway (as of October 1, 2011) on Issue 2, which will focus on undergraduate work in the archive. We are also accepting proposals for Issue 3, a special issue focused on data curation.</p>\r\n\r\n<h2><a name=\"mission\"></a>Mission</h2>\r\n<em>Archive</em> focuses on the use and theory of archives and special collections in higher education.\r\n<p class=\"textblock\">The academic community has invested deeply in the preservation, use, and digitization of materials in special collections, and <em>Archive</em> provides the space to reflect on this investment. The objects and texts in special collections and archives are the focus of this journal, just as they are the focus of the many projects from and in archives that have been executed and continue with great success. Digitization efforts large and small have freed archives from the bounds of brick and mortar by bringing a wealth of texts and objects into virtual circulation. Teachers and librarians have increasingly emphasized work with original materials for students at all levels as a way to enrich student experience and position students as researchers. The use of materials in special collections as the objects of scholarly study continues to be a key methodology of humanities disciplines even as new technologies, from data mining to visualizations, open up possibilities for what scholars learn from these objects. Recent archival projects have involved multiple institutions (universities and colleges, independent libraries and archives, and non-profit organizations) and multiple constituencies (including librarians, archivists, undergraduate and graduate students, faculty, university press directors, and information technologists). In this moment when archival projects, both virtual and real, have become the norm rather than the exception, <em>Archive</em> offers a way to forge connections among the projects and the communities producing them.</p>\r\n\r\n<h2><a name=\"content\"></a>Journal Content</h2>\r\n<p class=\"textblock\">The journal consists of three content areas:</p>\r\n\r\n<ul>\r\n	<li><em>360°: Analysis and Discussion in the Round</em> features an asynchronous “discussion” among contributors from various backgrounds — in the form of several individual, linked essays — on a single archive or archival topic.</li>\r\n	<li><em>Archives, Remixed: Critical Perspectives and Pathways</em> invites analytical and creative pieces that reflect on meaning-making in and through archives. The format is open to both traditional research or theoretical essays, as well as multi-modal, alternate, or experimental formats. Contributions that analyze, use, theorize, create, find ways through, or reconstitute particular archives, objects or exhibits are invited. Only original work that has not been published elsewhere will be accepted for publication.</li>\r\n	<li><em>Life in the Archive</em> serves as a community space for people to share best practices, archival finds, reports from the field, and thoughts on current work in the field.</li>\r\n</ul>\r\n<h2><a name=\"editors\"></a>Editorial Team</h2>\r\n<table>\r\n<tbody>\r\n<tr>\r\n<th><em>Editor</em></th>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Lauren Coats</td>\r\n<td>.......</td>\r\n<td>Assistant Professor of English (LSU)</td>\r\n</tr>\r\n<tr>\r\n<th><em>Managing Editor</em></th>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Gabrielle Dean</td>\r\n<td>.......</td>\r\n<td>Curator of Modern Literary Rare Books and Manuscripts, Librarian for English and the Writing Seminars (Johns Hopkins University)</td>\r\n</tr>\r\n<tr>\r\n<th><em>Technical Editor</em></th>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Daniel Chamberlain</td>\r\n<td>.......</td>\r\n<td>Director, Center for Digital Learning and Research (Occidental College)</td>\r\n</tr>\r\n<tr>\r\n<th><em>Contributing Editors</em></th>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Cecily Marcus</td>\r\n<td>.......</td>\r\n<td>Curator in Archives and Special Collections (University of Minnesota)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Laurie N. Taylor</td>\r\n<td>.......</td>\r\n<td>Digital Humanities Librarian, Digital Library Center (University of Florida)</td>\r\n</tr>\r\n<tr>\r\n<th><em>Editorial Board</em></th>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Wendy Hui Kyong Chun</td>\r\n<td>.......</td>\r\n<td>Professor of Modern Culture and Media (Brown University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Dan Cohen</td>\r\n<td>.......</td>\r\n<td>Associate Professor, Department of History and Art History; Director, Center for History and New Media (George Mason University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Sharon Farb</td>\r\n<td>.......</td>\r\n<td>Associate University Librarian (UCLA)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Kathleen Fitzpatrick</td>\r\n<td>.......</td>\r\n<td>Director of Scholarly Communications (MLA) and Professor of Media Studies (Pomona College)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Julia Flanders</td>\r\n<td>.......</td>\r\n<td>Director, Women Writers Project; Associate Director for Textbase Development, Center for Digital Scholarship (Brown University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Amanda French</td>\r\n<td>.......</td>\r\n<td>THATCamp Coordinator, Center for History and New Media (George Mason University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Chuck Henry</td>\r\n<td>.......</td>\r\n<td>President, Council on Library and Information Resources (CLIR)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Patricia Hswe</td>\r\n<td>.......</td>\r\n<td>Digital Collections Curator (Penn State University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Tara McPherson</td>\r\n<td>.......</td>\r\n<td>Associate Professor of Critical Studies, School of Cinematic Arts (University of Southern California)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Kenneth M. Price</td>\r\n<td>.......</td>\r\n<td>University Professor and Hillegass Chair of American Literature; Co-Director, Center for Digital Research in the Humanities (University of Nebraska-Lincoln)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Elliott Shore</td>\r\n<td>.......</td>\r\n<td>CIO, Director of Libraries, and Professor of History (Bryn Mawr College)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Richard Szary</td>\r\n<td>.......</td>\r\n<td>Director, Louis Round Wilson Library; Associate University Librarian for Special Collections (UNC-Chapel Hill)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Ed Whitley</td>\r\n<td>.......</td>\r\n<td>Associate Professor of English (Lehigh University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">John Willinsky</td>\r\n<td>.......</td>\r\n<td>Khosla Family Professor of Education (Stanford University)</td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n<strong><a name=\"submissions\"></a>Submissions</strong>\r\n\r\nPlease review our <a href=\"http://archivejournal.net/journal/home/submit-to-archive-journal/\">submit page</a>, if you are interested in submitting to the journal, or have any suggestions for or comments about the journal.\r\n<h2><a name=\"review\"></a>Peer Review</h2>\r\nAll materials in <em>Archive Journal</em> are peer-reviewed.\r\n\r\nPeer review is central to scholarly communication by providing feedback for improvement, ensuring the quality of published materials, and validating the scholarly merit and proper credentialing of published materials. <em>Archive Journal</em>’s peer review policy is designed to achieve these goals, while also using emerging forms of peer review. Because <em>Archive Journal</em> focuses on the use and theory of archives and special collections in higher education, offering a way to forge connections among diverse projects and the communities producing them, the review process is structured to support building connections while retaining the scholarly rigor inherent in peer review.\r\n\r\nOur review process consists of editorial and open review in the following stages:\r\n<ul>\r\n	<li>Every submission is read by the Editorial Team to determine suitability for publication. The Editorial Team declines materials that are not appropriate at this stage; gives detailed feedback and the opportunity to resubmit for appropriate materials that need substantial revision; and gives feedback and facilitates the process towards publication for appropriate materials that need minor or no revisions. Because <em>Archive Journal</em> is an interdisciplinary space to forge connections and because the online format continues to evolve, this stage may include a series of back and forth feedback from the Editorial Team in order to ensure scholarly rigor, communicability across scholarly fields, and appropriateness of online display.</li>\r\n	<li>If deemed necessary by the Editorial Team, submissions within specialized subject areas that the Editorial Team cannot assess will be sent to reviewers with the appropriate expertise. Reviewers are encouraged to provide guidance to the Editorial Team and constructive feedback for the authors.</li>\r\n	<li>Revised submissions are reviewed after revision for final approval by the Editorial Team before publication. <em>Archive Journal</em> reserves the right to reject revised materials that are deemed not suitable for publication.</li>\r\n	<li>Following peer review and before publication, all accepted materials are copyedited for style and consistency.</li>\r\n	<li>All submissions will be subject to open review via reader comments. After an appropriate open review period has passed, the author(s) will have the opportunity to revise the submission. The final version will be posted and marked as such, with a clear link to the original version and associated open review comments.</li>\r\n</ul>\r\n<h2><a name=\"copyright\"></a>Copyright &amp; Licenses</h2>\r\nAuthors published in <em>Archive Journal</em> retain permanent ownership of their work via an open-access license. In order to facilitate access and preservation, <em>Archive Journal</em> retains a perpetual, non-exclusive right to publish accepted work and to include it in other aggregations and indexes. Authors are free to deposit a pre-publication version in an institutional repository, individual webpage, or similar site, as well as to reprint, reuse, or republish their work in any venue after one year.\r\n\r\nThe <em>Archive Journal</em> site is made available under the terms of a <a href=\"http://creativecommons.org/licenses/by-nc-sa/3.0/us/\">Creative Commons Attribution-Noncommercial-Share Alike 3.0 United States License</a>. The license grants permission for non-commercial, attributed re-use of content that is produced by <em>Archive Journal</em>.\r\n\r\n<em>Archive</em> has made every effort to ensure that third-party materials used in this journal and on this site follows all copyright and other restrictions. If you have any more information about an item you\'ve seen on our website or if you are the copyright owner and believe our website has not properly attributed your work to you or has used it without permission, we want to hear from you. Please email us at <a href=\"mailto:contact@archivejournal.net\">contact@archivejournal.net</a> with your contact information and a link to the relevant content.\r\n<h2><a name=\"publication\"></a>Publication</h2>\r\nPermanent access and preservation for citation and reproducible research are core components of scholarly communication. <em>Archive Journal</em> provides permanent open, online access for all journal issues.\r\n<h2><a name=\"design\"></a>Web Design</h2>\r\n<a href=\"http://lamppostcreative.com/\">Lamppost Creative</a> serves as the current developer and designer.\r\n\r\n<a href=\"http://infernalcontraption.com/\">Infernal Contraption</a> provided the original design and layout.\r\n<h2><a name=\"support\"></a>Support</h2>\r\nThe project has been generously supported with grant funds from the Andrew W. Mellon Foundation.','About','','inherit','open','open','','2-revision-16','','','2012-10-01 23:58:15','2012-10-01 23:58:15','',2,'http://www.archivejournal.net/issue/2/uncategorized/2-revision-16/',0,'revision','',0),(2580,10,'2012-10-02 00:01:06','2012-10-02 00:01:06','<a href=\"#welcome\">Welcome</a> | <a href=\"#mission\">Mission</a> | <a href=\"#content\">Journal Content</a> | <a href=\"#editors\">Editorial Team &amp; Editorial Board</a> | <a href=\"#submissions\">Submissions</a>\r\n<a href=\"#review\">Peer Review</a> | <a href=\"#copyright\">Copyright &amp; Licenses</a> | <a href=\"#publication\">Publication</a> | <a href=\"#design\">Web Design</a> | <a href=\"#support\"> Support</a>\r\n\r\n&nbsp;\r\n<h2><a name=\"welcome\"></a>Welcome</h2>\r\n<p class=\"textblock\">What you see on this site is the pilot issue, published April 2011. Work is underway (as of October 1, 2011) on Issue 2, which will focus on undergraduate work in the archive. We are also accepting proposals for Issue 3, a special issue focused on data curation.</p>\r\n\r\n<h2><a name=\"mission\"></a>Mission</h2>\r\n<em>Archive</em> focuses on the use and theory of archives and special collections in higher education.\r\n<p class=\"textblock\">The academic community has invested deeply in the preservation, use, and digitization of materials in special collections, and <em>Archive</em> provides the space to reflect on this investment. The objects and texts in special collections and archives are the focus of this journal, just as they are the focus of the many projects from and in archives that have been executed and continue with great success. Digitization efforts large and small have freed archives from the bounds of brick and mortar by bringing a wealth of texts and objects into virtual circulation. Teachers and librarians have increasingly emphasized work with original materials for students at all levels as a way to enrich student experience and position students as researchers. The use of materials in special collections as the objects of scholarly study continues to be a key methodology of humanities disciplines even as new technologies, from data mining to visualizations, open up possibilities for what scholars learn from these objects. Recent archival projects have involved multiple institutions (universities and colleges, independent libraries and archives, and non-profit organizations) and multiple constituencies (including librarians, archivists, undergraduate and graduate students, faculty, university press directors, and information technologists). In this moment when archival projects, both virtual and real, have become the norm rather than the exception, <em>Archive</em> offers a way to forge connections among the projects and the communities producing them.</p>\r\n\r\n<h2><a name=\"content\"></a>Journal Content</h2>\r\n<p class=\"textblock\">The journal consists of three content areas:</p>\r\n\r\n<ul>\r\n	<li><em>360°: Analysis and Discussion in the Round</em> features an asynchronous “discussion” among contributors from various backgrounds — in the form of several individual, linked essays — on a single archive or archival topic.</li>\r\n	<li><em>Archives, Remixed: Critical Perspectives and Pathways</em> invites analytical and creative pieces that reflect on meaning-making in and through archives. The format is open to both traditional research or theoretical essays, as well as multi-modal, alternate, or experimental formats. Contributions that analyze, use, theorize, create, find ways through, or reconstitute particular archives, objects or exhibits are invited. Only original work that has not been published elsewhere will be accepted for publication.</li>\r\n	<li><em>Life in the Archive</em> serves as a community space for people to share best practices, archival finds, reports from the field, and thoughts on current work in the field.</li>\r\n</ul>\r\n<h2><a name=\"editors\"></a>Editorial Team</h2>\r\n<table>\r\n<tbody>\r\n<tr>\r\n<th><h3>Editor</h3></th>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Lauren Coats</td>\r\n<td>.......</td>\r\n<td>Assistant Professor of English (LSU)</td>\r\n</tr>\r\n<tr>\r\n<th><h3>Managing Editor</h3></th>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Gabrielle Dean</td>\r\n<td>.......</td>\r\n<td>Curator of Modern Literary Rare Books and Manuscripts, Librarian for English and the Writing Seminars (Johns Hopkins University)</td>\r\n</tr>\r\n<tr>\r\n<th><em>Technical Editor</em></th>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Daniel Chamberlain</td>\r\n<td>.......</td>\r\n<td>Director, Center for Digital Learning and Research (Occidental College)</td>\r\n</tr>\r\n<tr>\r\n<th><em>Contributing Editors</em></th>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Cecily Marcus</td>\r\n<td>.......</td>\r\n<td>Curator in Archives and Special Collections (University of Minnesota)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Laurie N. Taylor</td>\r\n<td>.......</td>\r\n<td>Digital Humanities Librarian, Digital Library Center (University of Florida)</td>\r\n</tr>\r\n<tr>\r\n<th><em>Editorial Board</em></th>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Wendy Hui Kyong Chun</td>\r\n<td>.......</td>\r\n<td>Professor of Modern Culture and Media (Brown University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Dan Cohen</td>\r\n<td>.......</td>\r\n<td>Associate Professor, Department of History and Art History; Director, Center for History and New Media (George Mason University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Sharon Farb</td>\r\n<td>.......</td>\r\n<td>Associate University Librarian (UCLA)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Kathleen Fitzpatrick</td>\r\n<td>.......</td>\r\n<td>Director of Scholarly Communications (MLA) and Professor of Media Studies (Pomona College)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Julia Flanders</td>\r\n<td>.......</td>\r\n<td>Director, Women Writers Project; Associate Director for Textbase Development, Center for Digital Scholarship (Brown University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Amanda French</td>\r\n<td>.......</td>\r\n<td>THATCamp Coordinator, Center for History and New Media (George Mason University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Chuck Henry</td>\r\n<td>.......</td>\r\n<td>President, Council on Library and Information Resources (CLIR)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Patricia Hswe</td>\r\n<td>.......</td>\r\n<td>Digital Collections Curator (Penn State University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Tara McPherson</td>\r\n<td>.......</td>\r\n<td>Associate Professor of Critical Studies, School of Cinematic Arts (University of Southern California)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Kenneth M. Price</td>\r\n<td>.......</td>\r\n<td>University Professor and Hillegass Chair of American Literature; Co-Director, Center for Digital Research in the Humanities (University of Nebraska-Lincoln)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Elliott Shore</td>\r\n<td>.......</td>\r\n<td>CIO, Director of Libraries, and Professor of History (Bryn Mawr College)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Richard Szary</td>\r\n<td>.......</td>\r\n<td>Director, Louis Round Wilson Library; Associate University Librarian for Special Collections (UNC-Chapel Hill)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Ed Whitley</td>\r\n<td>.......</td>\r\n<td>Associate Professor of English (Lehigh University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">John Willinsky</td>\r\n<td>.......</td>\r\n<td>Khosla Family Professor of Education (Stanford University)</td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n<strong><a name=\"submissions\"></a>Submissions</strong>\r\n\r\nPlease review our <a href=\"http://archivejournal.net/journal/home/submit-to-archive-journal/\">submit page</a>, if you are interested in submitting to the journal, or have any suggestions for or comments about the journal.\r\n<h2><a name=\"review\"></a>Peer Review</h2>\r\nAll materials in <em>Archive Journal</em> are peer-reviewed.\r\n\r\nPeer review is central to scholarly communication by providing feedback for improvement, ensuring the quality of published materials, and validating the scholarly merit and proper credentialing of published materials. <em>Archive Journal</em>’s peer review policy is designed to achieve these goals, while also using emerging forms of peer review. Because <em>Archive Journal</em> focuses on the use and theory of archives and special collections in higher education, offering a way to forge connections among diverse projects and the communities producing them, the review process is structured to support building connections while retaining the scholarly rigor inherent in peer review.\r\n\r\nOur review process consists of editorial and open review in the following stages:\r\n<ul>\r\n	<li>Every submission is read by the Editorial Team to determine suitability for publication. The Editorial Team declines materials that are not appropriate at this stage; gives detailed feedback and the opportunity to resubmit for appropriate materials that need substantial revision; and gives feedback and facilitates the process towards publication for appropriate materials that need minor or no revisions. Because <em>Archive Journal</em> is an interdisciplinary space to forge connections and because the online format continues to evolve, this stage may include a series of back and forth feedback from the Editorial Team in order to ensure scholarly rigor, communicability across scholarly fields, and appropriateness of online display.</li>\r\n	<li>If deemed necessary by the Editorial Team, submissions within specialized subject areas that the Editorial Team cannot assess will be sent to reviewers with the appropriate expertise. Reviewers are encouraged to provide guidance to the Editorial Team and constructive feedback for the authors.</li>\r\n	<li>Revised submissions are reviewed after revision for final approval by the Editorial Team before publication. <em>Archive Journal</em> reserves the right to reject revised materials that are deemed not suitable for publication.</li>\r\n	<li>Following peer review and before publication, all accepted materials are copyedited for style and consistency.</li>\r\n	<li>All submissions will be subject to open review via reader comments. After an appropriate open review period has passed, the author(s) will have the opportunity to revise the submission. The final version will be posted and marked as such, with a clear link to the original version and associated open review comments.</li>\r\n</ul>\r\n<h2><a name=\"copyright\"></a>Copyright &amp; Licenses</h2>\r\nAuthors published in <em>Archive Journal</em> retain permanent ownership of their work via an open-access license. In order to facilitate access and preservation, <em>Archive Journal</em> retains a perpetual, non-exclusive right to publish accepted work and to include it in other aggregations and indexes. Authors are free to deposit a pre-publication version in an institutional repository, individual webpage, or similar site, as well as to reprint, reuse, or republish their work in any venue after one year.\r\n\r\nThe <em>Archive Journal</em> site is made available under the terms of a <a href=\"http://creativecommons.org/licenses/by-nc-sa/3.0/us/\">Creative Commons Attribution-Noncommercial-Share Alike 3.0 United States License</a>. The license grants permission for non-commercial, attributed re-use of content that is produced by <em>Archive Journal</em>.\r\n\r\n<em>Archive</em> has made every effort to ensure that third-party materials used in this journal and on this site follows all copyright and other restrictions. If you have any more information about an item you\'ve seen on our website or if you are the copyright owner and believe our website has not properly attributed your work to you or has used it without permission, we want to hear from you. Please email us at <a href=\"mailto:contact@archivejournal.net\">contact@archivejournal.net</a> with your contact information and a link to the relevant content.\r\n<h2><a name=\"publication\"></a>Publication</h2>\r\nPermanent access and preservation for citation and reproducible research are core components of scholarly communication. <em>Archive Journal</em> provides permanent open, online access for all journal issues.\r\n<h2><a name=\"design\"></a>Web Design</h2>\r\n<a href=\"http://lamppostcreative.com/\">Lamppost Creative</a> serves as the current developer and designer.\r\n\r\n<a href=\"http://infernalcontraption.com/\">Infernal Contraption</a> provided the original design and layout.\r\n<h2><a name=\"support\"></a>Support</h2>\r\nThe project has been generously supported with grant funds from the Andrew W. Mellon Foundation.','About','','inherit','open','open','','2-revision-17','','','2012-10-02 00:01:06','2012-10-02 00:01:06','',2,'http://www.archivejournal.net/issue/2/uncategorized/2-revision-17/',0,'revision','',0),(2581,10,'2012-10-02 00:07:19','2012-10-02 00:07:19','<a href=\"#welcome\">Welcome</a> | <a href=\"#mission\">Mission</a> | <a href=\"#content\">Journal Content</a> | <a href=\"#editors\">Editorial Team &amp; Editorial Board</a> | <a href=\"#submissions\">Submissions</a>\r\n<a href=\"#review\">Peer Review</a> | <a href=\"#copyright\">Copyright &amp; Licenses</a> | <a href=\"#publication\">Publication</a> | <a href=\"#design\">Web Design</a> | <a href=\"#support\"> Support</a>\r\n\r\n&nbsp;\r\n<h2><a name=\"welcome\"></a>Welcome</h2>\r\n<p class=\"textblock\">What you see on this site is the pilot issue, published April 2011. Work is underway (as of October 1, 2011) on Issue 2, which will focus on undergraduate work in the archive. We are also accepting proposals for Issue 3, a special issue focused on data curation.</p>\r\n\r\n<h2><a name=\"mission\"></a>Mission</h2>\r\n<em>Archive</em> focuses on the use and theory of archives and special collections in higher education.\r\n<p class=\"textblock\">The academic community has invested deeply in the preservation, use, and digitization of materials in special collections, and <em>Archive</em> provides the space to reflect on this investment. The objects and texts in special collections and archives are the focus of this journal, just as they are the focus of the many projects from and in archives that have been executed and continue with great success. Digitization efforts large and small have freed archives from the bounds of brick and mortar by bringing a wealth of texts and objects into virtual circulation. Teachers and librarians have increasingly emphasized work with original materials for students at all levels as a way to enrich student experience and position students as researchers. The use of materials in special collections as the objects of scholarly study continues to be a key methodology of humanities disciplines even as new technologies, from data mining to visualizations, open up possibilities for what scholars learn from these objects. Recent archival projects have involved multiple institutions (universities and colleges, independent libraries and archives, and non-profit organizations) and multiple constituencies (including librarians, archivists, undergraduate and graduate students, faculty, university press directors, and information technologists). In this moment when archival projects, both virtual and real, have become the norm rather than the exception, <em>Archive</em> offers a way to forge connections among the projects and the communities producing them.</p>\r\n\r\n<h2><a name=\"content\"></a>Journal Content</h2>\r\n<p class=\"textblock\">The journal consists of three content areas:</p>\r\n\r\n<ul>\r\n	<li><em>360°: Analysis and Discussion in the Round</em> features an asynchronous “discussion” among contributors from various backgrounds — in the form of several individual, linked essays — on a single archive or archival topic.</li>\r\n	<li><em>Archives, Remixed: Critical Perspectives and Pathways</em> invites analytical and creative pieces that reflect on meaning-making in and through archives. The format is open to both traditional research or theoretical essays, as well as multi-modal, alternate, or experimental formats. Contributions that analyze, use, theorize, create, find ways through, or reconstitute particular archives, objects or exhibits are invited. Only original work that has not been published elsewhere will be accepted for publication.</li>\r\n	<li><em>Life in the Archive</em> serves as a community space for people to share best practices, archival finds, reports from the field, and thoughts on current work in the field.</li>\r\n</ul>\r\n<h2><a name=\"editors\"></a>Editorial Team</h2>\r\n<table>\r\n<thead>\r\n<tr>\r\n<td></td><td></td><td></td>\r\n</tr>\r\n<tbody>\r\n<tr>\r\n<td colspan=\"3\"><h3>Editor</h3></td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Lauren Coats</td>\r\n<td>.......</td>\r\n<td>Assistant Professor of English (LSU)</td>\r\n</tr>\r\n<tr>\r\n<td><h3>Managing Editor</h3></td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Gabrielle Dean</td>\r\n<td>.......</td>\r\n<td>Curator of Modern Literary Rare Books and Manuscripts, Librarian for English and the Writing Seminars (Johns Hopkins University)</td>\r\n</tr>\r\n<tr>\r\n<th><em>Technical Editor</em></th>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Daniel Chamberlain</td>\r\n<td>.......</td>\r\n<td>Director, Center for Digital Learning and Research (Occidental College)</td>\r\n</tr>\r\n<tr>\r\n<th><em>Contributing Editors</em></th>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Cecily Marcus</td>\r\n<td>.......</td>\r\n<td>Curator in Archives and Special Collections (University of Minnesota)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Laurie N. Taylor</td>\r\n<td>.......</td>\r\n<td>Digital Humanities Librarian, Digital Library Center (University of Florida)</td>\r\n</tr>\r\n<tr>\r\n<th><em>Editorial Board</em></th>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Wendy Hui Kyong Chun</td>\r\n<td>.......</td>\r\n<td>Professor of Modern Culture and Media (Brown University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Dan Cohen</td>\r\n<td>.......</td>\r\n<td>Associate Professor, Department of History and Art History; Director, Center for History and New Media (George Mason University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Sharon Farb</td>\r\n<td>.......</td>\r\n<td>Associate University Librarian (UCLA)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Kathleen Fitzpatrick</td>\r\n<td>.......</td>\r\n<td>Director of Scholarly Communications (MLA) and Professor of Media Studies (Pomona College)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Julia Flanders</td>\r\n<td>.......</td>\r\n<td>Director, Women Writers Project; Associate Director for Textbase Development, Center for Digital Scholarship (Brown University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Amanda French</td>\r\n<td>.......</td>\r\n<td>THATCamp Coordinator, Center for History and New Media (George Mason University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Chuck Henry</td>\r\n<td>.......</td>\r\n<td>President, Council on Library and Information Resources (CLIR)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Patricia Hswe</td>\r\n<td>.......</td>\r\n<td>Digital Collections Curator (Penn State University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Tara McPherson</td>\r\n<td>.......</td>\r\n<td>Associate Professor of Critical Studies, School of Cinematic Arts (University of Southern California)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Kenneth M. Price</td>\r\n<td>.......</td>\r\n<td>University Professor and Hillegass Chair of American Literature; Co-Director, Center for Digital Research in the Humanities (University of Nebraska-Lincoln)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Elliott Shore</td>\r\n<td>.......</td>\r\n<td>CIO, Director of Libraries, and Professor of History (Bryn Mawr College)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Richard Szary</td>\r\n<td>.......</td>\r\n<td>Director, Louis Round Wilson Library; Associate University Librarian for Special Collections (UNC-Chapel Hill)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Ed Whitley</td>\r\n<td>.......</td>\r\n<td>Associate Professor of English (Lehigh University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">John Willinsky</td>\r\n<td>.......</td>\r\n<td>Khosla Family Professor of Education (Stanford University)</td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n<strong><a name=\"submissions\"></a>Submissions</strong>\r\n\r\nPlease review our <a href=\"http://archivejournal.net/journal/home/submit-to-archive-journal/\">submit page</a>, if you are interested in submitting to the journal, or have any suggestions for or comments about the journal.\r\n<h2><a name=\"review\"></a>Peer Review</h2>\r\nAll materials in <em>Archive Journal</em> are peer-reviewed.\r\n\r\nPeer review is central to scholarly communication by providing feedback for improvement, ensuring the quality of published materials, and validating the scholarly merit and proper credentialing of published materials. <em>Archive Journal</em>’s peer review policy is designed to achieve these goals, while also using emerging forms of peer review. Because <em>Archive Journal</em> focuses on the use and theory of archives and special collections in higher education, offering a way to forge connections among diverse projects and the communities producing them, the review process is structured to support building connections while retaining the scholarly rigor inherent in peer review.\r\n\r\nOur review process consists of editorial and open review in the following stages:\r\n<ul>\r\n	<li>Every submission is read by the Editorial Team to determine suitability for publication. The Editorial Team declines materials that are not appropriate at this stage; gives detailed feedback and the opportunity to resubmit for appropriate materials that need substantial revision; and gives feedback and facilitates the process towards publication for appropriate materials that need minor or no revisions. Because <em>Archive Journal</em> is an interdisciplinary space to forge connections and because the online format continues to evolve, this stage may include a series of back and forth feedback from the Editorial Team in order to ensure scholarly rigor, communicability across scholarly fields, and appropriateness of online display.</li>\r\n	<li>If deemed necessary by the Editorial Team, submissions within specialized subject areas that the Editorial Team cannot assess will be sent to reviewers with the appropriate expertise. Reviewers are encouraged to provide guidance to the Editorial Team and constructive feedback for the authors.</li>\r\n	<li>Revised submissions are reviewed after revision for final approval by the Editorial Team before publication. <em>Archive Journal</em> reserves the right to reject revised materials that are deemed not suitable for publication.</li>\r\n	<li>Following peer review and before publication, all accepted materials are copyedited for style and consistency.</li>\r\n	<li>All submissions will be subject to open review via reader comments. After an appropriate open review period has passed, the author(s) will have the opportunity to revise the submission. The final version will be posted and marked as such, with a clear link to the original version and associated open review comments.</li>\r\n</ul>\r\n<h2><a name=\"copyright\"></a>Copyright &amp; Licenses</h2>\r\nAuthors published in <em>Archive Journal</em> retain permanent ownership of their work via an open-access license. In order to facilitate access and preservation, <em>Archive Journal</em> retains a perpetual, non-exclusive right to publish accepted work and to include it in other aggregations and indexes. Authors are free to deposit a pre-publication version in an institutional repository, individual webpage, or similar site, as well as to reprint, reuse, or republish their work in any venue after one year.\r\n\r\nThe <em>Archive Journal</em> site is made available under the terms of a <a href=\"http://creativecommons.org/licenses/by-nc-sa/3.0/us/\">Creative Commons Attribution-Noncommercial-Share Alike 3.0 United States License</a>. The license grants permission for non-commercial, attributed re-use of content that is produced by <em>Archive Journal</em>.\r\n\r\n<em>Archive</em> has made every effort to ensure that third-party materials used in this journal and on this site follows all copyright and other restrictions. If you have any more information about an item you\'ve seen on our website or if you are the copyright owner and believe our website has not properly attributed your work to you or has used it without permission, we want to hear from you. Please email us at <a href=\"mailto:contact@archivejournal.net\">contact@archivejournal.net</a> with your contact information and a link to the relevant content.\r\n<h2><a name=\"publication\"></a>Publication</h2>\r\nPermanent access and preservation for citation and reproducible research are core components of scholarly communication. <em>Archive Journal</em> provides permanent open, online access for all journal issues.\r\n<h2><a name=\"design\"></a>Web Design</h2>\r\n<a href=\"http://lamppostcreative.com/\">Lamppost Creative</a> serves as the current developer and designer.\r\n\r\n<a href=\"http://infernalcontraption.com/\">Infernal Contraption</a> provided the original design and layout.\r\n<h2><a name=\"support\"></a>Support</h2>\r\nThe project has been generously supported with grant funds from the Andrew W. Mellon Foundation.','About','','inherit','open','open','','2-revision-18','','','2012-10-02 00:07:19','2012-10-02 00:07:19','',2,'http://www.archivejournal.net/issue/2/uncategorized/2-revision-18/',0,'revision','',0),(2582,10,'2012-10-02 00:09:30','2012-10-02 00:09:30','<a href=\"#welcome\">Welcome</a> | <a href=\"#mission\">Mission</a> | <a href=\"#content\">Journal Content</a> | <a href=\"#editors\">Editorial Team &amp; Editorial Board</a> | <a href=\"#submissions\">Submissions</a>\r\n<a href=\"#review\">Peer Review</a> | <a href=\"#copyright\">Copyright &amp; Licenses</a> | <a href=\"#publication\">Publication</a> | <a href=\"#design\">Web Design</a> | <a href=\"#support\"> Support</a>\r\n\r\n&nbsp;\r\n<h3><a name=\"welcome\"></a>Welcome</h3>\r\n<p class=\"textblock\">What you see on this site is the pilot issue, published April 2011. Work is underway (as of October 1, 2011) on Issue 2, which will focus on undergraduate work in the archive. We are also accepting proposals for Issue 3, a special issue focused on data curation.</p>\r\n\r\n<h3><a name=\"mission\"></a>Mission</h3>\r\n<em>Archive</em> focuses on the use and theory of archives and special collections in higher education.\r\n<p class=\"textblock\">The academic community has invested deeply in the preservation, use, and digitization of materials in special collections, and <em>Archive</em> provides the space to reflect on this investment. The objects and texts in special collections and archives are the focus of this journal, just as they are the focus of the many projects from and in archives that have been executed and continue with great success. Digitization efforts large and small have freed archives from the bounds of brick and mortar by bringing a wealth of texts and objects into virtual circulation. Teachers and librarians have increasingly emphasized work with original materials for students at all levels as a way to enrich student experience and position students as researchers. The use of materials in special collections as the objects of scholarly study continues to be a key methodology of humanities disciplines even as new technologies, from data mining to visualizations, open up possibilities for what scholars learn from these objects. Recent archival projects have involved multiple institutions (universities and colleges, independent libraries and archives, and non-profit organizations) and multiple constituencies (including librarians, archivists, undergraduate and graduate students, faculty, university press directors, and information technologists). In this moment when archival projects, both virtual and real, have become the norm rather than the exception, <em>Archive</em> offers a way to forge connections among the projects and the communities producing them.</p>\r\n\r\n<h3><a name=\"content\"></a>Journal Content</h3>\r\n<p class=\"textblock\">The journal consists of three content areas:</p>\r\n\r\n<ul>\r\n	<li><em>360°: Analysis and Discussion in the Round</em> features an asynchronous “discussion” among contributors from various backgrounds — in the form of several individual, linked essays — on a single archive or archival topic.</li>\r\n	<li><em>Archives, Remixed: Critical Perspectives and Pathways</em> invites analytical and creative pieces that reflect on meaning-making in and through archives. The format is open to both traditional research or theoretical essays, as well as multi-modal, alternate, or experimental formats. Contributions that analyze, use, theorize, create, find ways through, or reconstitute particular archives, objects or exhibits are invited. Only original work that has not been published elsewhere will be accepted for publication.</li>\r\n	<li><em>Life in the Archive</em> serves as a community space for people to share best practices, archival finds, reports from the field, and thoughts on current work in the field.</li>\r\n</ul>\r\n<h3><a name=\"editors\"></a>Editorial Team</h3>\r\n<table>\r\n<thead>\r\n<tr>\r\n<td></td>\r\n<td></td>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td col span=\"3\">\r\n<h2>Editor</h2>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Lauren Coats</td>\r\n<td>.......</td>\r\n<td>Assistant Professor of English (LSU)</td>\r\n</tr>\r\n<tr>\r\n<td col span=\"3\">\r\n<h2>Managing Editor</h2>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Gabrielle Dean</td>\r\n<td>.......</td>\r\n<td>Curator of Modern Literary Rare Books and Manuscripts, Librarian for English and the Writing Seminars (Johns Hopkins University)</td>\r\n</tr>\r\n<tr>\r\n<th><em>Technical Editor</em></th>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Daniel Chamberlain</td>\r\n<td>.......</td>\r\n<td>Director, Center for Digital Learning and Research (Occidental College)</td>\r\n</tr>\r\n<tr>\r\n<th><em>Contributing Editors</em></th>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Cecily Marcus</td>\r\n<td>.......</td>\r\n<td>Curator in Archives and Special Collections (University of Minnesota)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Laurie N. Taylor</td>\r\n<td>.......</td>\r\n<td>Digital Humanities Librarian, Digital Library Center (University of Florida)</td>\r\n</tr>\r\n<tr>\r\n<th><em>Editorial Board</em></th>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Wendy Hui Kyong Chun</td>\r\n<td>.......</td>\r\n<td>Professor of Modern Culture and Media (Brown University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Dan Cohen</td>\r\n<td>.......</td>\r\n<td>Associate Professor, Department of History and Art History; Director, Center for History and New Media (George Mason University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Sharon Farb</td>\r\n<td>.......</td>\r\n<td>Associate University Librarian (UCLA)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Kathleen Fitzpatrick</td>\r\n<td>.......</td>\r\n<td>Director of Scholarly Communications (MLA) and Professor of Media Studies (Pomona College)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Julia Flanders</td>\r\n<td>.......</td>\r\n<td>Director, Women Writers Project; Associate Director for Textbase Development, Center for Digital Scholarship (Brown University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Amanda French</td>\r\n<td>.......</td>\r\n<td>THATCamp Coordinator, Center for History and New Media (George Mason University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Chuck Henry</td>\r\n<td>.......</td>\r\n<td>President, Council on Library and Information Resources (CLIR)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Patricia Hswe</td>\r\n<td>.......</td>\r\n<td>Digital Collections Curator (Penn State University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Tara McPherson</td>\r\n<td>.......</td>\r\n<td>Associate Professor of Critical Studies, School of Cinematic Arts (University of Southern California)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Kenneth M. Price</td>\r\n<td>.......</td>\r\n<td>University Professor and Hillegass Chair of American Literature; Co-Director, Center for Digital Research in the Humanities (University of Nebraska-Lincoln)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Elliott Shore</td>\r\n<td>.......</td>\r\n<td>CIO, Director of Libraries, and Professor of History (Bryn Mawr College)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Richard Szary</td>\r\n<td>.......</td>\r\n<td>Director, Louis Round Wilson Library; Associate University Librarian for Special Collections (UNC-Chapel Hill)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Ed Whitley</td>\r\n<td>.......</td>\r\n<td>Associate Professor of English (Lehigh University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">John Willinsky</td>\r\n<td>.......</td>\r\n<td>Khosla Family Professor of Education (Stanford University)</td>\r\n</tr>\r\n</thead>\r\n</table>\r\n<strong><a name=\"submissions\"></a>Submissions</strong>\r\n\r\nPlease review our <a href=\"http://archivejournal.net/journal/home/submit-to-archive-journal/\">submit page</a>, if you are interested in submitting to the journal, or have any suggestions for or comments about the journal.\r\n<h2><a name=\"review\"></a>Peer Review</h2>\r\nAll materials in <em>Archive Journal</em> are peer-reviewed.\r\n\r\nPeer review is central to scholarly communication by providing feedback for improvement, ensuring the quality of published materials, and validating the scholarly merit and proper credentialing of published materials. <em>Archive Journal</em>’s peer review policy is designed to achieve these goals, while also using emerging forms of peer review. Because <em>Archive Journal</em> focuses on the use and theory of archives and special collections in higher education, offering a way to forge connections among diverse projects and the communities producing them, the review process is structured to support building connections while retaining the scholarly rigor inherent in peer review.\r\n\r\nOur review process consists of editorial and open review in the following stages:\r\n<ul>\r\n	<li>Every submission is read by the Editorial Team to determine suitability for publication. The Editorial Team declines materials that are not appropriate at this stage; gives detailed feedback and the opportunity to resubmit for appropriate materials that need substantial revision; and gives feedback and facilitates the process towards publication for appropriate materials that need minor or no revisions. Because <em>Archive Journal</em> is an interdisciplinary space to forge connections and because the online format continues to evolve, this stage may include a series of back and forth feedback from the Editorial Team in order to ensure scholarly rigor, communicability across scholarly fields, and appropriateness of online display.</li>\r\n	<li>If deemed necessary by the Editorial Team, submissions within specialized subject areas that the Editorial Team cannot assess will be sent to reviewers with the appropriate expertise. Reviewers are encouraged to provide guidance to the Editorial Team and constructive feedback for the authors.</li>\r\n	<li>Revised submissions are reviewed after revision for final approval by the Editorial Team before publication. <em>Archive Journal</em> reserves the right to reject revised materials that are deemed not suitable for publication.</li>\r\n	<li>Following peer review and before publication, all accepted materials are copyedited for style and consistency.</li>\r\n	<li>All submissions will be subject to open review via reader comments. After an appropriate open review period has passed, the author(s) will have the opportunity to revise the submission. The final version will be posted and marked as such, with a clear link to the original version and associated open review comments.</li>\r\n</ul>\r\n<h2><a name=\"copyright\"></a>Copyright &amp; Licenses</h2>\r\nAuthors published in <em>Archive Journal</em> retain permanent ownership of their work via an open-access license. In order to facilitate access and preservation, <em>Archive Journal</em> retains a perpetual, non-exclusive right to publish accepted work and to include it in other aggregations and indexes. Authors are free to deposit a pre-publication version in an institutional repository, individual webpage, or similar site, as well as to reprint, reuse, or republish their work in any venue after one year.\r\n\r\nThe <em>Archive Journal</em> site is made available under the terms of a <a href=\"http://creativecommons.org/licenses/by-nc-sa/3.0/us/\">Creative Commons Attribution-Noncommercial-Share Alike 3.0 United States License</a>. The license grants permission for non-commercial, attributed re-use of content that is produced by <em>Archive Journal</em>.\r\n\r\n<em>Archive</em> has made every effort to ensure that third-party materials used in this journal and on this site follows all copyright and other restrictions. If you have any more information about an item you\'ve seen on our website or if you are the copyright owner and believe our website has not properly attributed your work to you or has used it without permission, we want to hear from you. Please email us at <a href=\"mailto:contact@archivejournal.net\">contact@archivejournal.net</a> with your contact information and a link to the relevant content.\r\n<h2><a name=\"publication\"></a>Publication</h2>\r\nPermanent access and preservation for citation and reproducible research are core components of scholarly communication. <em>Archive Journal</em> provides permanent open, online access for all journal issues.\r\n<h2><a name=\"design\"></a>Web Design</h2>\r\n<a href=\"http://lamppostcreative.com/\">Lamppost Creative</a> serves as the current developer and designer.\r\n\r\n<a href=\"http://infernalcontraption.com/\">Infernal Contraption</a> provided the original design and layout.\r\n<h2><a name=\"support\"></a>Support</h2>\r\nThe project has been generously supported with grant funds from the Andrew W. Mellon Foundation.','About','','inherit','open','open','','2-revision-19','','','2012-10-02 00:09:30','2012-10-02 00:09:30','',2,'http://www.archivejournal.net/issue/2/uncategorized/2-revision-19/',0,'revision','',0),(2583,10,'2012-10-02 00:13:15','2012-10-02 00:13:15','<a href=\"#welcome\">Welcome</a> | <a href=\"#mission\">Mission</a> | <a href=\"#content\">Journal Content</a> | <a href=\"#editors\">Editorial Team &amp; Editorial Board</a> | <a href=\"#submissions\">Submissions</a>\r\n<a href=\"#review\">Peer Review</a> | <a href=\"#copyright\">Copyright &amp; Licenses</a> | <a href=\"#publication\">Publication</a> | <a href=\"#design\">Web Design</a> | <a href=\"#support\"> Support</a>\r\n\r\n&nbsp;\r\n<h3><a name=\"welcome\"></a>Welcome</h3>\r\n<p class=\"textblock\">What you see on this site is the pilot issue, published April 2011. Work is underway (as of October 1, 2011) on Issue 2, which will focus on undergraduate work in the archive. We are also accepting proposals for Issue 3, a special issue focused on data curation.</p>\r\n\r\n<h3><a name=\"mission\"></a>Mission</h3>\r\n<em>Archive</em> focuses on the use and theory of archives and special collections in higher education.\r\n<p class=\"textblock\">The academic community has invested deeply in the preservation, use, and digitization of materials in special collections, and <em>Archive</em> provides the space to reflect on this investment. The objects and texts in special collections and archives are the focus of this journal, just as they are the focus of the many projects from and in archives that have been executed and continue with great success. Digitization efforts large and small have freed archives from the bounds of brick and mortar by bringing a wealth of texts and objects into virtual circulation. Teachers and librarians have increasingly emphasized work with original materials for students at all levels as a way to enrich student experience and position students as researchers. The use of materials in special collections as the objects of scholarly study continues to be a key methodology of humanities disciplines even as new technologies, from data mining to visualizations, open up possibilities for what scholars learn from these objects. Recent archival projects have involved multiple institutions (universities and colleges, independent libraries and archives, and non-profit organizations) and multiple constituencies (including librarians, archivists, undergraduate and graduate students, faculty, university press directors, and information technologists). In this moment when archival projects, both virtual and real, have become the norm rather than the exception, <em>Archive</em> offers a way to forge connections among the projects and the communities producing them.</p>\r\n\r\n<h3><a name=\"content\"></a>Journal Content</h3>\r\n<p class=\"textblock\">The journal consists of three content areas:</p>\r\n\r\n<ul>\r\n	<li><em>360°: Analysis and Discussion in the Round</em> features an asynchronous “discussion” among contributors from various backgrounds — in the form of several individual, linked essays — on a single archive or archival topic.</li>\r\n	<li><em>Archives, Remixed: Critical Perspectives and Pathways</em> invites analytical and creative pieces that reflect on meaning-making in and through archives. The format is open to both traditional research or theoretical essays, as well as multi-modal, alternate, or experimental formats. Contributions that analyze, use, theorize, create, find ways through, or reconstitute particular archives, objects or exhibits are invited. Only original work that has not been published elsewhere will be accepted for publication.</li>\r\n	<li><em>Life in the Archive</em> serves as a community space for people to share best practices, archival finds, reports from the field, and thoughts on current work in the field.</li>\r\n</ul>\r\n\r\n&nbsp;\r\n<h3><a name=\"editors\"></a>Editorial Team</h3>\r\n<table>\r\n<thead>\r\n<tr>\r\n<td></td>\r\n<td></td>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h2>Editor</h2>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Lauren Coats</td>\r\n<td>.......</td>\r\n<td>Assistant Professor of English (LSU)</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h2>Managing Editor</h2>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Gabrielle Dean</td>\r\n<td>.......</td>\r\n<td>Curator of Modern Literary Rare Books and Manuscripts, Librarian for English and the Writing Seminars (Johns Hopkins University)</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\"><h2>Technical Editor</h2></td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Daniel Chamberlain</td>\r\n<td>.......</td>\r\n<td>Director, Center for Digital Learning and Research (Occidental College)</td>\r\n</tr>\r\n<tr>\r\n<th><em>Contributing Editors</em></th>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Cecily Marcus</td>\r\n<td>.......</td>\r\n<td>Curator in Archives and Special Collections (University of Minnesota)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Laurie N. Taylor</td>\r\n<td>.......</td>\r\n<td>Digital Humanities Librarian, Digital Library Center (University of Florida)</td>\r\n</tr>\r\n<tr>\r\n<th><em>Editorial Board</em></th>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Wendy Hui Kyong Chun</td>\r\n<td>.......</td>\r\n<td>Professor of Modern Culture and Media (Brown University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Dan Cohen</td>\r\n<td>.......</td>\r\n<td>Associate Professor, Department of History and Art History; Director, Center for History and New Media (George Mason University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Sharon Farb</td>\r\n<td>.......</td>\r\n<td>Associate University Librarian (UCLA)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Kathleen Fitzpatrick</td>\r\n<td>.......</td>\r\n<td>Director of Scholarly Communications (MLA) and Professor of Media Studies (Pomona College)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Julia Flanders</td>\r\n<td>.......</td>\r\n<td>Director, Women Writers Project; Associate Director for Textbase Development, Center for Digital Scholarship (Brown University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Amanda French</td>\r\n<td>.......</td>\r\n<td>THATCamp Coordinator, Center for History and New Media (George Mason University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Chuck Henry</td>\r\n<td>.......</td>\r\n<td>President, Council on Library and Information Resources (CLIR)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Patricia Hswe</td>\r\n<td>.......</td>\r\n<td>Digital Collections Curator (Penn State University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Tara McPherson</td>\r\n<td>.......</td>\r\n<td>Associate Professor of Critical Studies, School of Cinematic Arts (University of Southern California)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Kenneth M. Price</td>\r\n<td>.......</td>\r\n<td>University Professor and Hillegass Chair of American Literature; Co-Director, Center for Digital Research in the Humanities (University of Nebraska-Lincoln)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Elliott Shore</td>\r\n<td>.......</td>\r\n<td>CIO, Director of Libraries, and Professor of History (Bryn Mawr College)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Richard Szary</td>\r\n<td>.......</td>\r\n<td>Director, Louis Round Wilson Library; Associate University Librarian for Special Collections (UNC-Chapel Hill)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Ed Whitley</td>\r\n<td>.......</td>\r\n<td>Associate Professor of English (Lehigh University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">John Willinsky</td>\r\n<td>.......</td>\r\n<td>Khosla Family Professor of Education (Stanford University)</td>\r\n</tr>\r\n</thead>\r\n</table>\r\n<strong><a name=\"submissions\"></a>Submissions</strong>\r\n\r\nPlease review our <a href=\"http://archivejournal.net/journal/home/submit-to-archive-journal/\">submit page</a>, if you are interested in submitting to the journal, or have any suggestions for or comments about the journal.\r\n<h2><a name=\"review\"></a>Peer Review</h2>\r\nAll materials in <em>Archive Journal</em> are peer-reviewed.\r\n\r\nPeer review is central to scholarly communication by providing feedback for improvement, ensuring the quality of published materials, and validating the scholarly merit and proper credentialing of published materials. <em>Archive Journal</em>’s peer review policy is designed to achieve these goals, while also using emerging forms of peer review. Because <em>Archive Journal</em> focuses on the use and theory of archives and special collections in higher education, offering a way to forge connections among diverse projects and the communities producing them, the review process is structured to support building connections while retaining the scholarly rigor inherent in peer review.\r\n\r\nOur review process consists of editorial and open review in the following stages:\r\n<ul>\r\n	<li>Every submission is read by the Editorial Team to determine suitability for publication. The Editorial Team declines materials that are not appropriate at this stage; gives detailed feedback and the opportunity to resubmit for appropriate materials that need substantial revision; and gives feedback and facilitates the process towards publication for appropriate materials that need minor or no revisions. Because <em>Archive Journal</em> is an interdisciplinary space to forge connections and because the online format continues to evolve, this stage may include a series of back and forth feedback from the Editorial Team in order to ensure scholarly rigor, communicability across scholarly fields, and appropriateness of online display.</li>\r\n	<li>If deemed necessary by the Editorial Team, submissions within specialized subject areas that the Editorial Team cannot assess will be sent to reviewers with the appropriate expertise. Reviewers are encouraged to provide guidance to the Editorial Team and constructive feedback for the authors.</li>\r\n	<li>Revised submissions are reviewed after revision for final approval by the Editorial Team before publication. <em>Archive Journal</em> reserves the right to reject revised materials that are deemed not suitable for publication.</li>\r\n	<li>Following peer review and before publication, all accepted materials are copyedited for style and consistency.</li>\r\n	<li>All submissions will be subject to open review via reader comments. After an appropriate open review period has passed, the author(s) will have the opportunity to revise the submission. The final version will be posted and marked as such, with a clear link to the original version and associated open review comments.</li>\r\n</ul>\r\n<h2><a name=\"copyright\"></a>Copyright &amp; Licenses</h2>\r\nAuthors published in <em>Archive Journal</em> retain permanent ownership of their work via an open-access license. In order to facilitate access and preservation, <em>Archive Journal</em> retains a perpetual, non-exclusive right to publish accepted work and to include it in other aggregations and indexes. Authors are free to deposit a pre-publication version in an institutional repository, individual webpage, or similar site, as well as to reprint, reuse, or republish their work in any venue after one year.\r\n\r\nThe <em>Archive Journal</em> site is made available under the terms of a <a href=\"http://creativecommons.org/licenses/by-nc-sa/3.0/us/\">Creative Commons Attribution-Noncommercial-Share Alike 3.0 United States License</a>. The license grants permission for non-commercial, attributed re-use of content that is produced by <em>Archive Journal</em>.\r\n\r\n<em>Archive</em> has made every effort to ensure that third-party materials used in this journal and on this site follows all copyright and other restrictions. If you have any more information about an item you\'ve seen on our website or if you are the copyright owner and believe our website has not properly attributed your work to you or has used it without permission, we want to hear from you. Please email us at <a href=\"mailto:contact@archivejournal.net\">contact@archivejournal.net</a> with your contact information and a link to the relevant content.\r\n<h2><a name=\"publication\"></a>Publication</h2>\r\nPermanent access and preservation for citation and reproducible research are core components of scholarly communication. <em>Archive Journal</em> provides permanent open, online access for all journal issues.\r\n<h2><a name=\"design\"></a>Web Design</h2>\r\n<a href=\"http://lamppostcreative.com/\">Lamppost Creative</a> serves as the current developer and designer.\r\n\r\n<a href=\"http://infernalcontraption.com/\">Infernal Contraption</a> provided the original design and layout.\r\n<h2><a name=\"support\"></a>Support</h2>\r\nThe project has been generously supported with grant funds from the Andrew W. Mellon Foundation.','About','','inherit','open','open','','2-revision-20','','','2012-10-02 00:13:15','2012-10-02 00:13:15','',2,'http://www.archivejournal.net/issue/2/uncategorized/2-revision-20/',0,'revision','',0),(2584,10,'2012-10-02 00:23:48','2012-10-02 00:23:48','<a href=\"#welcome\">Welcome</a> | <a href=\"#mission\">Mission</a> | <a href=\"#content\">Journal Content</a> | <a href=\"#editors\">Editorial Team &amp; Editorial Board</a> | <a href=\"#submissions\">Submissions</a>\r\n<a href=\"#review\">Peer Review</a> | <a href=\"#copyright\">Copyright &amp; Licenses</a> | <a href=\"#publication\">Publication</a> | <a href=\"#design\">Web Design</a> | <a href=\"#support\"> Support</a>\r\n\r\n&nbsp;\r\n<h3><a name=\"welcome\"></a>Welcome</h3>\r\n<p class=\"textblock\">What you see on this site is the pilot issue, published April 2011. Work is underway (as of October 1, 2011) on Issue 2, which will focus on undergraduate work in the archive. We are also accepting proposals for Issue 3, a special issue focused on data curation.</p>\r\n\r\n<h3><a name=\"mission\"></a>Mission</h3>\r\n<em>Archive</em> focuses on the use and theory of archives and special collections in higher education.\r\n<p class=\"textblock\">The academic community has invested deeply in the preservation, use, and digitization of materials in special collections, and <em>Archive</em> provides the space to reflect on this investment. The objects and texts in special collections and archives are the focus of this journal, just as they are the focus of the many projects from and in archives that have been executed and continue with great success. Digitization efforts large and small have freed archives from the bounds of brick and mortar by bringing a wealth of texts and objects into virtual circulation. Teachers and librarians have increasingly emphasized work with original materials for students at all levels as a way to enrich student experience and position students as researchers. The use of materials in special collections as the objects of scholarly study continues to be a key methodology of humanities disciplines even as new technologies, from data mining to visualizations, open up possibilities for what scholars learn from these objects. Recent archival projects have involved multiple institutions (universities and colleges, independent libraries and archives, and non-profit organizations) and multiple constituencies (including librarians, archivists, undergraduate and graduate students, faculty, university press directors, and information technologists). In this moment when archival projects, both virtual and real, have become the norm rather than the exception, <em>Archive</em> offers a way to forge connections among the projects and the communities producing them.</p>\r\n\r\n<h3><a name=\"content\"></a>Journal Content</h3>\r\n<p class=\"textblock\">The journal consists of three content areas:</p>\r\n\r\n<ul>\r\n	<li><em>360°: Analysis and Discussion in the Round</em> features an asynchronous “discussion” among contributors from various backgrounds — in the form of several individual, linked essays — on a single archive or archival topic.</li>\r\n	<li><em>Archives, Remixed: Critical Perspectives and Pathways</em> invites analytical and creative pieces that reflect on meaning-making in and through archives. The format is open to both traditional research or theoretical essays, as well as multi-modal, alternate, or experimental formats. Contributions that analyze, use, theorize, create, find ways through, or reconstitute particular archives, objects or exhibits are invited. Only original work that has not been published elsewhere will be accepted for publication.</li>\r\n	<li><em>Life in the Archive</em> serves as a community space for people to share best practices, archival finds, reports from the field, and thoughts on current work in the field.</li>\r\n</ul>\r\n&nbsp;\r\n<h3><a name=\"editors\"></a>Editorial Team</h3>\r\n<table>\r\n<thead>\r\n<tr>\r\n<td width=\"100px\"></td>\r\n<td></td>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h2>Editor</h2>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Lauren Coats</td>\r\n<td>.......</td>\r\n<td>Assistant Professor of English (LSU)</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h2>Managing Editor</h2>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Gabrielle Dean</td>\r\n<td>.......</td>\r\n<td>Curator of Modern Literary Rare Books and Manuscripts, Librarian for English and the Writing Seminars (Johns Hopkins University)</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h2>Technical Editor</h2>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Daniel Chamberlain</td>\r\n<td>.......</td>\r\n<td>Director, Center for Digital Learning and Research (Occidental College)</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\"><h2>Contributing Editors</h2></td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Cecily Marcus</td>\r\n<td>.......</td>\r\n<td>Curator in Archives and Special Collections (University of Minnesota)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Laurie N. Taylor</td>\r\n<td>.......</td>\r\n<td>Digital Humanities Librarian, Digital Library Center (University of Florida)</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\"><h2>Editorial Board</h2></td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Wendy Hui Kyong Chun</td>\r\n<td>.......</td>\r\n<td>Professor of Modern Culture and Media (Brown University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Dan Cohen</td>\r\n<td>.......</td>\r\n<td>Associate Professor, Department of History and Art History; Director, Center for History and New Media (George Mason University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Sharon Farb</td>\r\n<td>.......</td>\r\n<td>Associate University Librarian (UCLA)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Kathleen Fitzpatrick</td>\r\n<td>.......</td>\r\n<td>Director of Scholarly Communications (MLA) and Professor of Media Studies (Pomona College)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Julia Flanders</td>\r\n<td>.......</td>\r\n<td>Director, Women Writers Project; Associate Director for Textbase Development, Center for Digital Scholarship (Brown University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Amanda French</td>\r\n<td>.......</td>\r\n<td>THATCamp Coordinator, Center for History and New Media (George Mason University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Chuck Henry</td>\r\n<td>.......</td>\r\n<td>President, Council on Library and Information Resources (CLIR)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Patricia Hswe</td>\r\n<td>.......</td>\r\n<td>Digital Collections Curator (Penn State University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Tara McPherson</td>\r\n<td>.......</td>\r\n<td>Associate Professor of Critical Studies, School of Cinematic Arts (University of Southern California)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Kenneth M. Price</td>\r\n<td>.......</td>\r\n<td>University Professor and Hillegass Chair of American Literature; Co-Director, Center for Digital Research in the Humanities (University of Nebraska-Lincoln)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Elliott Shore</td>\r\n<td>.......</td>\r\n<td>CIO, Director of Libraries, and Professor of History (Bryn Mawr College)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Richard Szary</td>\r\n<td>.......</td>\r\n<td>Director, Louis Round Wilson Library; Associate University Librarian for Special Collections (UNC-Chapel Hill)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Ed Whitley</td>\r\n<td>.......</td>\r\n<td>Associate Professor of English (Lehigh University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">John Willinsky</td>\r\n<td>.......</td>\r\n<td>Khosla Family Professor of Education (Stanford University)</td>\r\n</tr>\r\n</table>\r\n\r\n&nbsp;\r\n<h3><a name=\"submissions\"></a>Submissions</h3>\r\n\r\nPlease review our <a href=\"http://archivejournal.net/journal/home/submit-to-archive-journal/\">submit page</a>, if you are interested in submitting to the journal, or have any suggestions for or comments about the journal.\r\n<h2><a name=\"review\"></a>Peer Review</h2>\r\nAll materials in <em>Archive Journal</em> are peer-reviewed.\r\n\r\nPeer review is central to scholarly communication by providing feedback for improvement, ensuring the quality of published materials, and validating the scholarly merit and proper credentialing of published materials. <em>Archive Journal</em>’s peer review policy is designed to achieve these goals, while also using emerging forms of peer review. Because <em>Archive Journal</em> focuses on the use and theory of archives and special collections in higher education, offering a way to forge connections among diverse projects and the communities producing them, the review process is structured to support building connections while retaining the scholarly rigor inherent in peer review.\r\n\r\nOur review process consists of editorial and open review in the following stages:\r\n<ul>\r\n	<li>Every submission is read by the Editorial Team to determine suitability for publication. The Editorial Team declines materials that are not appropriate at this stage; gives detailed feedback and the opportunity to resubmit for appropriate materials that need substantial revision; and gives feedback and facilitates the process towards publication for appropriate materials that need minor or no revisions. Because <em>Archive Journal</em> is an interdisciplinary space to forge connections and because the online format continues to evolve, this stage may include a series of back and forth feedback from the Editorial Team in order to ensure scholarly rigor, communicability across scholarly fields, and appropriateness of online display.</li>\r\n	<li>If deemed necessary by the Editorial Team, submissions within specialized subject areas that the Editorial Team cannot assess will be sent to reviewers with the appropriate expertise. Reviewers are encouraged to provide guidance to the Editorial Team and constructive feedback for the authors.</li>\r\n	<li>Revised submissions are reviewed after revision for final approval by the Editorial Team before publication. <em>Archive Journal</em> reserves the right to reject revised materials that are deemed not suitable for publication.</li>\r\n	<li>Following peer review and before publication, all accepted materials are copyedited for style and consistency.</li>\r\n	<li>All submissions will be subject to open review via reader comments. After an appropriate open review period has passed, the author(s) will have the opportunity to revise the submission. The final version will be posted and marked as such, with a clear link to the original version and associated open review comments.</li>\r\n</ul>\r\n<h2><a name=\"copyright\"></a>Copyright &amp; Licenses</h2>\r\nAuthors published in <em>Archive Journal</em> retain permanent ownership of their work via an open-access license. In order to facilitate access and preservation, <em>Archive Journal</em> retains a perpetual, non-exclusive right to publish accepted work and to include it in other aggregations and indexes. Authors are free to deposit a pre-publication version in an institutional repository, individual webpage, or similar site, as well as to reprint, reuse, or republish their work in any venue after one year.\r\n\r\nThe <em>Archive Journal</em> site is made available under the terms of a <a href=\"http://creativecommons.org/licenses/by-nc-sa/3.0/us/\">Creative Commons Attribution-Noncommercial-Share Alike 3.0 United States License</a>. The license grants permission for non-commercial, attributed re-use of content that is produced by <em>Archive Journal</em>.\r\n\r\n<em>Archive</em> has made every effort to ensure that third-party materials used in this journal and on this site follows all copyright and other restrictions. If you have any more information about an item you\'ve seen on our website or if you are the copyright owner and believe our website has not properly attributed your work to you or has used it without permission, we want to hear from you. Please email us at <a href=\"mailto:contact@archivejournal.net\">contact@archivejournal.net</a> with your contact information and a link to the relevant content.\r\n<h2><a name=\"publication\"></a>Publication</h2>\r\nPermanent access and preservation for citation and reproducible research are core components of scholarly communication. <em>Archive Journal</em> provides permanent open, online access for all journal issues.\r\n<h2><a name=\"design\"></a>Web Design</h2>\r\n<a href=\"http://lamppostcreative.com/\">Lamppost Creative</a> serves as the current developer and designer.\r\n\r\n<a href=\"http://infernalcontraption.com/\">Infernal Contraption</a> provided the original design and layout.\r\n<h2><a name=\"support\"></a>Support</h2>\r\nThe project has been generously supported with grant funds from the Andrew W. Mellon Foundation.','About','','inherit','open','open','','2-revision-21','','','2012-10-02 00:23:48','2012-10-02 00:23:48','',2,'http://www.archivejournal.net/issue/2/uncategorized/2-revision-21/',0,'revision','',0),(2585,10,'2012-10-02 00:49:05','2012-10-02 00:49:05','<a href=\"#welcome\">Welcome</a> | <a href=\"#mission\">Mission</a> | <a href=\"#content\">Journal Content</a> | <a href=\"#editors\">Editorial Team &amp; Editorial Board</a> | <a href=\"#submissions\">Submissions</a>\r\n<a href=\"#review\">Peer Review</a> | <a href=\"#copyright\">Copyright &amp; Licenses</a> | <a href=\"#publication\">Publication</a> | <a href=\"#design\">Web Design</a> | <a href=\"#support\"> Support</a>\r\n\r\n&nbsp;\r\n<h3><a name=\"welcome\"></a>Welcome</h3>\r\n<p class=\"textblock\">What you see on this site is the pilot issue, published April 2011. Work is underway (as of October 1, 2011) on Issue 2, which will focus on undergraduate work in the archive. We are also accepting proposals for Issue 3, a special issue focused on data curation.</p>\r\n\r\n<h3><a name=\"mission\"></a>Mission</h3>\r\n<em>Archive</em> focuses on the use and theory of archives and special collections in higher education.\r\n<p class=\"textblock\">The academic community has invested deeply in the preservation, use, and digitization of materials in special collections, and <em>Archive</em> provides the space to reflect on this investment. The objects and texts in special collections and archives are the focus of this journal, just as they are the focus of the many projects from and in archives that have been executed and continue with great success. Digitization efforts large and small have freed archives from the bounds of brick and mortar by bringing a wealth of texts and objects into virtual circulation. Teachers and librarians have increasingly emphasized work with original materials for students at all levels as a way to enrich student experience and position students as researchers. The use of materials in special collections as the objects of scholarly study continues to be a key methodology of humanities disciplines even as new technologies, from data mining to visualizations, open up possibilities for what scholars learn from these objects. Recent archival projects have involved multiple institutions (universities and colleges, independent libraries and archives, and non-profit organizations) and multiple constituencies (including librarians, archivists, undergraduate and graduate students, faculty, university press directors, and information technologists). In this moment when archival projects, both virtual and real, have become the norm rather than the exception, <em>Archive</em> offers a way to forge connections among the projects and the communities producing them.</p>\r\n\r\n<h3><a name=\"content\"></a>Journal Content</h3>\r\n<p class=\"textblock\">The journal consists of three content areas:</p>\r\n\r\n<ul>\r\n	<li><em>360°: Analysis and Discussion in the Round</em> features an asynchronous “discussion” among contributors from various backgrounds — in the form of several individual, linked essays — on a single archive or archival topic.</li>\r\n	<li><em>Archives, Remixed: Critical Perspectives and Pathways</em> invites analytical and creative pieces that reflect on meaning-making in and through archives. The format is open to both traditional research or theoretical essays, as well as multi-modal, alternate, or experimental formats. Contributions that analyze, use, theorize, create, find ways through, or reconstitute particular archives, objects or exhibits are invited. Only original work that has not been published elsewhere will be accepted for publication.</li>\r\n	<li><em>Life in the Archive</em> serves as a community space for people to share best practices, archival finds, reports from the field, and thoughts on current work in the field.</li>\r\n</ul>\r\n&nbsp;\r\n<h3><a name=\"editors\"></a>Editorial Team</h3>\r\n<table>\r\n<thead>\r\n<tr>\r\n<td width=\"100px\"></td>\r\n<td></td>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h2>Editor</h2>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Lauren Coats</td>\r\n<td>.......</td>\r\n<td>Assistant Professor of English (LSU)</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h2>Managing Editor</h2>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Gabrielle Dean</td>\r\n<td>.......</td>\r\n<td>Curator of Modern Literary Rare Books and Manuscripts, Librarian for English and the Writing Seminars (Johns Hopkins University)</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h2>Technical Editor</h2>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Daniel Chamberlain</td>\r\n<td>.......</td>\r\n<td>Director, Center for Digital Learning and Research (Occidental College)</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\"><h2>Contributing Editors</h2></td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Cecily Marcus</td>\r\n<td>.......</td>\r\n<td>Curator in Archives and Special Collections (University of Minnesota)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Laurie N. Taylor</td>\r\n<td>.......</td>\r\n<td>Digital Humanities Librarian, Digital Library Center (University of Florida)</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\"><h2>Editorial Board</h2></td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Wendy Hui Kyong Chun</td>\r\n<td>.......</td>\r\n<td>Professor of Modern Culture and Media (Brown University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Dan Cohen</td>\r\n<td>.......</td>\r\n<td>Associate Professor, Department of History and Art History; Director, Center for History and New Media (George Mason University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Sharon Farb</td>\r\n<td>.......</td>\r\n<td>Associate University Librarian (UCLA)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Kathleen Fitzpatrick</td>\r\n<td>.......</td>\r\n<td>Director of Scholarly Communications (MLA) and Professor of Media Studies (Pomona College)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Julia Flanders</td>\r\n<td>.......</td>\r\n<td>Director, Women Writers Project; Associate Director for Textbase Development, Center for Digital Scholarship (Brown University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Amanda French</td>\r\n<td>.......</td>\r\n<td>THATCamp Coordinator, Center for History and New Media (George Mason University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Chuck Henry</td>\r\n<td>.......</td>\r\n<td>President, Council on Library and Information Resources (CLIR)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Patricia Hswe</td>\r\n<td>.......</td>\r\n<td>Digital Collections Curator (Penn State University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Tara McPherson</td>\r\n<td>.......</td>\r\n<td>Associate Professor of Critical Studies, School of Cinematic Arts (University of Southern California)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Kenneth M. Price</td>\r\n<td>.......</td>\r\n<td>University Professor and Hillegass Chair of American Literature; Co-Director, Center for Digital Research in the Humanities (University of Nebraska-Lincoln)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Elliott Shore</td>\r\n<td>.......</td>\r\n<td>CIO, Director of Libraries, and Professor of History (Bryn Mawr College)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Richard Szary</td>\r\n<td>.......</td>\r\n<td>Director, Louis Round Wilson Library; Associate University Librarian for Special Collections (UNC-Chapel Hill)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Ed Whitley</td>\r\n<td>.......</td>\r\n<td>Associate Professor of English (Lehigh University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">John Willinsky</td>\r\n<td>.......</td>\r\n<td>Khosla Family Professor of Education (Stanford University)</td>\r\n</tr>\r\n</table>\r\n\r\n&nbsp;\r\n<h3><a name=\"submissions\"></a>Submissions</h3>\r\n\r\nPlease review our <a href=\"http://archivejournal.net/journal/home/submit-to-archive-journal/\">submit page</a>, if you are interested in submitting to the journal, or have any suggestions for or comments about the journal.\r\n\r\n<h3><a name=\"review\"></a>Peer Review</h3>\r\nAll materials in <em>Archive Journal</em> are peer-reviewed.\r\n\r\nPeer review is central to scholarly communication by providing feedback for improvement, ensuring the quality of published materials, and validating the scholarly merit and proper credentialing of published materials. <em>Archive Journal</em>’s peer review policy is designed to achieve these goals, while also using emerging forms of peer review. Because <em>Archive Journal</em> focuses on the use and theory of archives and special collections in higher education, offering a way to forge connections among diverse projects and the communities producing them, the review process is structured to support building connections while retaining the scholarly rigor inherent in peer review.\r\n\r\nOur review process consists of editorial and open review in the following stages:\r\n<ul>\r\n	<li>Every submission is read by the Editorial Team to determine suitability for publication. The Editorial Team declines materials that are not appropriate at this stage; gives detailed feedback and the opportunity to resubmit for appropriate materials that need substantial revision; and gives feedback and facilitates the process towards publication for appropriate materials that need minor or no revisions. Because <em>Archive Journal</em> is an interdisciplinary space to forge connections and because the online format continues to evolve, this stage may include a series of back and forth feedback from the Editorial Team in order to ensure scholarly rigor, communicability across scholarly fields, and appropriateness of online display.</li>\r\n	<li>If deemed necessary by the Editorial Team, submissions within specialized subject areas that the Editorial Team cannot assess will be sent to reviewers with the appropriate expertise. Reviewers are encouraged to provide guidance to the Editorial Team and constructive feedback for the authors.</li>\r\n	<li>Revised submissions are reviewed after revision for final approval by the Editorial Team before publication. <em>Archive Journal</em> reserves the right to reject revised materials that are deemed not suitable for publication.</li>\r\n	<li>Following peer review and before publication, all accepted materials are copyedited for style and consistency.</li>\r\n	<li>All submissions will be subject to open review via reader comments. After an appropriate open review period has passed, the author(s) will have the opportunity to revise the submission. The final version will be posted and marked as such, with a clear link to the original version and associated open review comments.</li>\r\n</ul>\r\n<h3><a name=\"copyright\"></a>Copyright &amp; Licenses</h3>\r\nAuthors published in <em>Archive Journal</em> retain permanent ownership of their work via an open-access license. In order to facilitate access and preservation, <em>Archive Journal</em> retains a perpetual, non-exclusive right to publish accepted work and to include it in other aggregations and indexes. Authors are free to deposit a pre-publication version in an institutional repository, individual webpage, or similar site, as well as to reprint, reuse, or republish their work in any venue after one year.\r\n\r\nThe <em>Archive Journal</em> site is made available under the terms of a <a href=\"http://creativecommons.org/licenses/by-nc-sa/3.0/us/\">Creative Commons Attribution-Noncommercial-Share Alike 3.0 United States License</a>. The license grants permission for non-commercial, attributed re-use of content that is produced by <em>Archive Journal</em>.\r\n\r\n<em>Archive</em> has made every effort to ensure that third-party materials used in this journal and on this site follows all copyright and other restrictions. If you have any more information about an item you\'ve seen on our website or if you are the copyright owner and believe our website has not properly attributed your work to you or has used it without permission, we want to hear from you. Please email us at <a href=\"mailto:contact@archivejournal.net\">contact@archivejournal.net</a> with your contact information and a link to the relevant content.\r\n<h3><a name=\"publication\"></a>Publication</h3>\r\nPermanent access and preservation for citation and reproducible research are core components of scholarly communication. <em>Archive Journal</em> provides permanent open, online access for all journal issues.\r\n<h3><a name=\"design\"></a>Web Design</h3>\r\n<a href=\"http://lamppostcreative.com/\">Lamppost Creative</a> serves as the current developer and designer.\r\n\r\n<a href=\"http://infernalcontraption.com/\">Infernal Contraption</a> provided the original design and layout.\r\n<h3><a name=\"support\"></a>Support</h3>\r\nThe project has been generously supported with grant funds from the Andrew W. Mellon Foundation.','About','','inherit','open','open','','2-revision-22','','','2012-10-02 00:49:05','2012-10-02 00:49:05','',2,'http://www.archivejournal.net/issue/2/uncategorized/2-revision-22/',0,'revision','',0),(3590,2,'2012-10-17 01:13:39','2012-10-17 01:13:39','<a href=\"#welcome\">Welcome</a> | <a href=\"#mission\">Mission</a> | <a href=\"#content\">Journal Content</a> | <a href=\"#editors\">Editorial Team &amp; Editorial Board</a> | <a href=\"#submissions\">Submissions</a>\r\n<a href=\"#review\">Peer Review</a> | <a href=\"#copyright\">Copyright &amp; Licenses</a> | <a href=\"#publication\">Publication</a> | <a href=\"#design\">Web Design</a> | <a href=\"#support\"> Support</a>\r\n\r\n&nbsp;\r\n<h3><a name=\"welcome\"></a>Welcome</h3>\r\n<p class=\"textblock\">What you see on this site is the pilot issue, published April 2011. Work is underway (as of October 1, 2011) on Issue 2, which will focus on undergraduate work in the archive. We are also accepting proposals for Issue 3, a special issue focused on data curation.</p>\r\n\r\n<h3><a name=\"mission\"></a>Mission</h3>\r\n<em>Archive</em> focuses on the use and theory of archives and special collections in higher education.\r\n<p class=\"textblock\">The academic community has invested deeply in the preservation, use, and digitization of materials in special collections, and <em>Archive</em> provides the space to reflect on this investment. The objects and texts in special collections and archives are the focus of this journal, just as they are the focus of the many projects from and in archives that have been executed and continue with great success. Digitization efforts large and small have freed archives from the bounds of brick and mortar by bringing a wealth of texts and objects into virtual circulation. Teachers and librarians have increasingly emphasized work with original materials for students at all levels as a way to enrich student experience and position students as researchers. The use of materials in special collections as the objects of scholarly study continues to be a key methodology of humanities disciplines even as new technologies, from data mining to visualizations, open up possibilities for what scholars learn from these objects. Recent archival projects have involved multiple institutions (universities and colleges, independent libraries and archives, and non-profit organizations) and multiple constituencies (including librarians, archivists, undergraduate and graduate students, faculty, university press directors, and information technologists). In this moment when archival projects, both virtual and real, have become the norm rather than the exception, <em>Archive</em> offers a way to forge connections among the projects and the communities producing them.</p>\r\n\r\n<h3><a name=\"content\"></a>Journal Content</h3>\r\n<p class=\"textblock\">The journal consists of three content areas:</p>\r\n\r\n<ul>\r\n	<li><em>360°: Analysis and Discussion in the Round</em> features an asynchronous “discussion” among contributors from various backgrounds — in the form of several individual, linked essays — on a single archive or archival topic.</li>\r\n	<li><em>Archives, Remixed: Critical Perspectives and Pathways</em> invites analytical and creative pieces that reflect on meaning-making in and through archives. The format is open to both traditional research or theoretical essays, as well as multi-modal, alternate, or experimental formats. Contributions that analyze, use, theorize, create, find ways through, or reconstitute particular archives, objects or exhibits are invited. Only original work that has not been published elsewhere will be accepted for publication.</li>\r\n	<li><em>Life in the Archive</em> serves as a community space for people to share best practices, archival finds, reports from the field, and thoughts on current work in the field.</li>\r\n</ul>\r\n&nbsp;\r\n<h3><a name=\"editors\"></a>Editorial Team</h3>\r\n<table>\r\n<thead>\r\n<tr>\r\n<td width=\"100px\"></td>\r\n<td></td>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h2>Editor</h2>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Lauren Coats</td>\r\n<td>.......</td>\r\n<td>Assistant Professor of English (LSU)</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h2>Managing Editor</h2>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Gabrielle Dean</td>\r\n<td>.......</td>\r\n<td>Curator of Modern Literary Rare Books and Manuscripts, Librarian for English and the Writing Seminars (Johns Hopkins University)</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h2>Technical Editor</h2>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Daniel Chamberlain</td>\r\n<td>.......</td>\r\n<td>Director, Center for Digital Learning and Research (Occidental College)</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h2>Contributing Editors</h2>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Cecily Marcus</td>\r\n<td>.......</td>\r\n<td>Curator in Archives and Special Collections (University of Minnesota)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Laurie N. Taylor</td>\r\n<td>.......</td>\r\n<td>Digital Humanities Librarian, Digital Library Center (University of Florida)</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h2>Editorial Board</h2>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Wendy Hui Kyong Chun</td>\r\n<td>.......</td>\r\n<td>Professor of Modern Culture and Media (Brown University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Dan Cohen</td>\r\n<td>.......</td>\r\n<td>Associate Professor, Department of History and Art History; Director, Center for History and New Media (George Mason University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Sharon Farb</td>\r\n<td>.......</td>\r\n<td>Associate University Librarian (UCLA)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Kathleen Fitzpatrick</td>\r\n<td>.......</td>\r\n<td>Director of Scholarly Communications (MLA) and Professor of Media Studies (Pomona College)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Julia Flanders</td>\r\n<td>.......</td>\r\n<td>Director, Women Writers Project; Associate Director for Textbase Development, Center for Digital Scholarship (Brown University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Amanda French</td>\r\n<td>.......</td>\r\n<td>THATCamp Coordinator, Center for History and New Media (George Mason University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Chuck Henry</td>\r\n<td>.......</td>\r\n<td>President, Council on Library and Information Resources (CLIR)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Patricia Hswe</td>\r\n<td>.......</td>\r\n<td>Digital Collections Curator (Penn State University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Tara McPherson</td>\r\n<td>.......</td>\r\n<td>Associate Professor of Critical Studies, School of Cinematic Arts (University of Southern California)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Kenneth M. Price</td>\r\n<td>.......</td>\r\n<td>University Professor and Hillegass Chair of American Literature; Co-Director, Center for Digital Research in the Humanities (University of Nebraska-Lincoln)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Elliott Shore</td>\r\n<td>.......</td>\r\n<td>CIO, Director of Libraries, and Professor of History (Bryn Mawr College)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Richard Szary</td>\r\n<td>.......</td>\r\n<td>Director, Louis Round Wilson Library; Associate University Librarian for Special Collections (UNC-Chapel Hill)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Ed Whitley</td>\r\n<td>.......</td>\r\n<td>Associate Professor of English (Lehigh University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">John Willinsky</td>\r\n<td>.......</td>\r\n<td>Khosla Family Professor of Education (Stanford University)</td>\r\n</tr>\r\n</thead>\r\n</table>\r\n&nbsp;\r\n<h3><a name=\"submissions\"></a>Submissions</h3>\r\nPlease review our <a href=\"http://archivejournal.net/journal/home/submit-to-archive-journal/\">submit page</a>, if you are interested in submitting to the journal, or have any suggestions for or comments about the journal.\r\n\r\n&nbsp;\r\n<h3><a name=\"review\"></a>Peer Review</h3>\r\nAll materials in <em>Archive Journal</em> are peer-reviewed.\r\n\r\nPeer review is central to scholarly communication by providing feedback for improvement, ensuring the quality of published materials, and validating the scholarly merit and proper credentialing of published materials. <em>Archive Journal</em>’s peer review policy is designed to achieve these goals, while also using emerging forms of peer review. Because <em>Archive Journal</em> focuses on the use and theory of archives and special collections in higher education, offering a way to forge connections among diverse projects and the communities producing them, the review process is structured to support building connections while retaining the scholarly rigor inherent in peer review.\r\n\r\nOur review process consists of editorial and open review in the following stages:\r\n<ul>\r\n	<li>Every submission is read by the Editorial Team to determine suitability for publication. The Editorial Team declines materials that are not appropriate at this stage; gives detailed feedback and the opportunity to resubmit for appropriate materials that need substantial revision; and gives feedback and facilitates the process towards publication for appropriate materials that need minor or no revisions. Because <em>Archive Journal</em> is an interdisciplinary space to forge connections and because the online format continues to evolve, this stage may include a series of back and forth feedback from the Editorial Team in order to ensure scholarly rigor, communicability across scholarly fields, and appropriateness of online display.</li>\r\n	<li>If deemed necessary by the Editorial Team, submissions within specialized subject areas that the Editorial Team cannot assess will be sent to reviewers with the appropriate expertise. Reviewers are encouraged to provide guidance to the Editorial Team and constructive feedback for the authors.</li>\r\n	<li>Revised submissions are reviewed after revision for final approval by the Editorial Team before publication. <em>Archive Journal</em> reserves the right to reject revised materials that are deemed not suitable for publication.</li>\r\n	<li>Following peer review and before publication, all accepted materials are copyedited for style and consistency.</li>\r\n	<li>All submissions will be subject to open review via reader comments. After an appropriate open review period has passed, the author(s) will have the opportunity to revise the submission. The final version will be posted and marked as such, with a clear link to the original version and associated open review comments.</li>\r\n</ul>\r\n&nbsp;\r\n<h3><a name=\"copyright\"></a>Copyright &amp; Licenses</h3>\r\nAuthors published in <em>Archive Journal</em> retain permanent ownership of their work via an open-access license. In order to facilitate access and preservation, <em>Archive Journal</em> retains a perpetual, non-exclusive right to publish accepted work and to include it in other aggregations and indexes. Authors are free to deposit a pre-publication version in an institutional repository, individual webpage, or similar site, as well as to reprint, reuse, or republish their work in any venue after one year.\r\n\r\nThe <em>Archive Journal</em> site is made available under the terms of a <a href=\"http://creativecommons.org/licenses/by-nc-sa/3.0/us/\">Creative Commons Attribution-Noncommercial-Share Alike 3.0 United States License</a>. The license grants permission for non-commercial, attributed re-use of content that is produced by <em>Archive Journal</em>.\r\n<a href=\"http://creativecommons.org/licenses/by-nc-sa/3.0/us/\" rel=\"license\"><img style=\"border-width: 0;\" src=\"http://i.creativecommons.org/l/by-nc-sa/3.0/us/88x31.png\" alt=\"Creative Commons License\" /></a>\r\n<em>Archive</em> has made every effort to ensure that third-party materials used in this journal and on this site follows all copyright and other restrictions. If you have any more information about an item you\'ve seen on our website or if you are the copyright owner and believe our website has not properly attributed your work to you or has used it without permission, we want to hear from you. Please email us at <a href=\"mailto:contact@archivejournal.net\">contact@archivejournal.net</a> with your contact information and a link to the relevant content.\r\n\r\n&nbsp;\r\n<h3><a name=\"publication\"></a>Publication</h3>\r\nPermanent access and preservation for citation and reproducible research are core components of scholarly communication. <em>Archive Journal</em> provides permanent open, online access for all journal issues.\r\n\r\n&nbsp;\r\n<h3><a name=\"design\"></a>Web Design</h3>\r\n<a href=\"http://lamppostcreative.com/\">Lamppost Creative</a> serves as the current developer and designer.\r\n<a href=\"http://infernalcontraption.com/\">Infernal Contraption</a> provided the original design and layout.\r\n\r\n&nbsp;\r\n<h3><a name=\"support\"></a>Support</h3>\r\nThe project has been generously supported with grant funds from the Andrew W. Mellon Foundation.','About','','inherit','open','open','','2-revision-29','','','2012-10-17 01:13:39','2012-10-17 01:13:39','',2,'http://www.archivejournal.net/issue/2/uncategorized/2-revision-29/',0,'revision','',0),(2588,10,'2012-10-02 00:55:28','2012-10-02 00:55:28','<a href=\"#welcome\">Welcome</a> | <a href=\"#mission\">Mission</a> | <a href=\"#content\">Journal Content</a> | <a href=\"#editors\">Editorial Team &amp; Editorial Board</a> | <a href=\"#submissions\">Submissions</a>\r\n<a href=\"#review\">Peer Review</a> | <a href=\"#copyright\">Copyright &amp; Licenses</a> | <a href=\"#publication\">Publication</a> | <a href=\"#design\">Web Design</a> | <a href=\"#support\"> Support</a>\r\n\r\n&nbsp;\r\n<h3><a name=\"welcome\"></a>Welcome</h3>\r\n<p class=\"textblock\">What you see on this site is the pilot issue, published April 2011. Work is underway (as of October 1, 2011) on Issue 2, which will focus on undergraduate work in the archive. We are also accepting proposals for Issue 3, a special issue focused on data curation.</p>\r\n\r\n<h3><a name=\"mission\"></a>Mission</h3>\r\n<em>Archive</em> focuses on the use and theory of archives and special collections in higher education.\r\n<p class=\"textblock\">The academic community has invested deeply in the preservation, use, and digitization of materials in special collections, and <em>Archive</em> provides the space to reflect on this investment. The objects and texts in special collections and archives are the focus of this journal, just as they are the focus of the many projects from and in archives that have been executed and continue with great success. Digitization efforts large and small have freed archives from the bounds of brick and mortar by bringing a wealth of texts and objects into virtual circulation. Teachers and librarians have increasingly emphasized work with original materials for students at all levels as a way to enrich student experience and position students as researchers. The use of materials in special collections as the objects of scholarly study continues to be a key methodology of humanities disciplines even as new technologies, from data mining to visualizations, open up possibilities for what scholars learn from these objects. Recent archival projects have involved multiple institutions (universities and colleges, independent libraries and archives, and non-profit organizations) and multiple constituencies (including librarians, archivists, undergraduate and graduate students, faculty, university press directors, and information technologists). In this moment when archival projects, both virtual and real, have become the norm rather than the exception, <em>Archive</em> offers a way to forge connections among the projects and the communities producing them.</p>\r\n\r\n<h3><a name=\"content\"></a>Journal Content</h3>\r\n<p class=\"textblock\">The journal consists of three content areas:</p>\r\n\r\n<ul>\r\n	<li><em>360°: Analysis and Discussion in the Round</em> features an asynchronous “discussion” among contributors from various backgrounds — in the form of several individual, linked essays — on a single archive or archival topic.</li>\r\n	<li><em>Archives, Remixed: Critical Perspectives and Pathways</em> invites analytical and creative pieces that reflect on meaning-making in and through archives. The format is open to both traditional research or theoretical essays, as well as multi-modal, alternate, or experimental formats. Contributions that analyze, use, theorize, create, find ways through, or reconstitute particular archives, objects or exhibits are invited. Only original work that has not been published elsewhere will be accepted for publication.</li>\r\n	<li><em>Life in the Archive</em> serves as a community space for people to share best practices, archival finds, reports from the field, and thoughts on current work in the field.</li>\r\n</ul>\r\n&nbsp;\r\n<h3><a name=\"editors\"></a>Editorial Team</h3>\r\n<table>\r\n<thead>\r\n<tr>\r\n<td width=\"100px\"></td>\r\n<td></td>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h2>Editor</h2>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Lauren Coats</td>\r\n<td>.......</td>\r\n<td>Assistant Professor of English (LSU)</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h2>Managing Editor</h2>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Gabrielle Dean</td>\r\n<td>.......</td>\r\n<td>Curator of Modern Literary Rare Books and Manuscripts, Librarian for English and the Writing Seminars (Johns Hopkins University)</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h2>Technical Editor</h2>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Daniel Chamberlain</td>\r\n<td>.......</td>\r\n<td>Director, Center for Digital Learning and Research (Occidental College)</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h2>Contributing Editors</h2>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Cecily Marcus</td>\r\n<td>.......</td>\r\n<td>Curator in Archives and Special Collections (University of Minnesota)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Laurie N. Taylor</td>\r\n<td>.......</td>\r\n<td>Digital Humanities Librarian, Digital Library Center (University of Florida)</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h2>Editorial Board</h2>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Wendy Hui Kyong Chun</td>\r\n<td>.......</td>\r\n<td>Professor of Modern Culture and Media (Brown University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Dan Cohen</td>\r\n<td>.......</td>\r\n<td>Associate Professor, Department of History and Art History; Director, Center for History and New Media (George Mason University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Sharon Farb</td>\r\n<td>.......</td>\r\n<td>Associate University Librarian (UCLA)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Kathleen Fitzpatrick</td>\r\n<td>.......</td>\r\n<td>Director of Scholarly Communications (MLA) and Professor of Media Studies (Pomona College)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Julia Flanders</td>\r\n<td>.......</td>\r\n<td>Director, Women Writers Project; Associate Director for Textbase Development, Center for Digital Scholarship (Brown University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Amanda French</td>\r\n<td>.......</td>\r\n<td>THATCamp Coordinator, Center for History and New Media (George Mason University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Chuck Henry</td>\r\n<td>.......</td>\r\n<td>President, Council on Library and Information Resources (CLIR)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Patricia Hswe</td>\r\n<td>.......</td>\r\n<td>Digital Collections Curator (Penn State University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Tara McPherson</td>\r\n<td>.......</td>\r\n<td>Associate Professor of Critical Studies, School of Cinematic Arts (University of Southern California)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Kenneth M. Price</td>\r\n<td>.......</td>\r\n<td>University Professor and Hillegass Chair of American Literature; Co-Director, Center for Digital Research in the Humanities (University of Nebraska-Lincoln)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Elliott Shore</td>\r\n<td>.......</td>\r\n<td>CIO, Director of Libraries, and Professor of History (Bryn Mawr College)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Richard Szary</td>\r\n<td>.......</td>\r\n<td>Director, Louis Round Wilson Library; Associate University Librarian for Special Collections (UNC-Chapel Hill)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Ed Whitley</td>\r\n<td>.......</td>\r\n<td>Associate Professor of English (Lehigh University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">John Willinsky</td>\r\n<td>.......</td>\r\n<td>Khosla Family Professor of Education (Stanford University)</td>\r\n</tr>\r\n</thead>\r\n</table>\r\n&nbsp;\r\n<h3><a name=\"submissions\"></a>Submissions</h3>\r\nPlease review our <a href=\"http://archivejournal.net/journal/home/submit-to-archive-journal/\">submit page</a>, if you are interested in submitting to the journal, or have any suggestions for or comments about the journal.\r\n\r\n&nbsp;\r\n<h3><a name=\"review\"></a>Peer Review</h3>\r\nAll materials in <em>Archive Journal</em> are peer-reviewed.\r\n\r\nPeer review is central to scholarly communication by providing feedback for improvement, ensuring the quality of published materials, and validating the scholarly merit and proper credentialing of published materials. <em>Archive Journal</em>’s peer review policy is designed to achieve these goals, while also using emerging forms of peer review. Because <em>Archive Journal</em> focuses on the use and theory of archives and special collections in higher education, offering a way to forge connections among diverse projects and the communities producing them, the review process is structured to support building connections while retaining the scholarly rigor inherent in peer review.\r\n\r\nOur review process consists of editorial and open review in the following stages:\r\n<ul>\r\n	<li>Every submission is read by the Editorial Team to determine suitability for publication. The Editorial Team declines materials that are not appropriate at this stage; gives detailed feedback and the opportunity to resubmit for appropriate materials that need substantial revision; and gives feedback and facilitates the process towards publication for appropriate materials that need minor or no revisions. Because <em>Archive Journal</em> is an interdisciplinary space to forge connections and because the online format continues to evolve, this stage may include a series of back and forth feedback from the Editorial Team in order to ensure scholarly rigor, communicability across scholarly fields, and appropriateness of online display.</li>\r\n	<li>If deemed necessary by the Editorial Team, submissions within specialized subject areas that the Editorial Team cannot assess will be sent to reviewers with the appropriate expertise. Reviewers are encouraged to provide guidance to the Editorial Team and constructive feedback for the authors.</li>\r\n	<li>Revised submissions are reviewed after revision for final approval by the Editorial Team before publication. <em>Archive Journal</em> reserves the right to reject revised materials that are deemed not suitable for publication.</li>\r\n	<li>Following peer review and before publication, all accepted materials are copyedited for style and consistency.</li>\r\n	<li>All submissions will be subject to open review via reader comments. After an appropriate open review period has passed, the author(s) will have the opportunity to revise the submission. The final version will be posted and marked as such, with a clear link to the original version and associated open review comments.</li>\r\n</ul>\r\n&nbsp;\r\n<h3><a name=\"copyright\"></a>Copyright &amp; Licenses</h3>\r\nAuthors published in <em>Archive Journal</em> retain permanent ownership of their work via an open-access license. In order to facilitate access and preservation, <em>Archive Journal</em> retains a perpetual, non-exclusive right to publish accepted work and to include it in other aggregations and indexes. Authors are free to deposit a pre-publication version in an institutional repository, individual webpage, or similar site, as well as to reprint, reuse, or republish their work in any venue after one year.\r\n\r\nThe <em>Archive Journal</em> site is made available under the terms of a <a href=\"http://creativecommons.org/licenses/by-nc-sa/3.0/us/\">Creative Commons Attribution-Noncommercial-Share Alike 3.0 United States License</a>.\r\n<a href=\"http://creativecommons.org/licenses/by-nc-sa/3.0/us/\" rel=\"license\"><img style=\"border-width: 0;\" src=\"http://i.creativecommons.org/l/by-nc-sa/3.0/us/88x31.png\" alt=\"Creative Commons License\" /></a>\r\nThe license grants permission for non-commercial, attributed re-use of content that is produced by <em>Archive Journal</em>.\r\n\r\n<em>Archive</em> has made every effort to ensure that third-party materials used in this journal and on this site follows all copyright and other restrictions. If you have any more information about an item you\'ve seen on our website or if you are the copyright owner and believe our website has not properly attributed your work to you or has used it without permission, we want to hear from you. Please email us at <a href=\"mailto:contact@archivejournal.net\">contact@archivejournal.net</a> with your contact information and a link to the relevant content.\r\n\r\n&nbsp;\r\n<h3><a name=\"publication\"></a>Publication</h3>\r\nPermanent access and preservation for citation and reproducible research are core components of scholarly communication. <em>Archive Journal</em> provides permanent open, online access for all journal issues.\r\n\r\n&nbsp;\r\n<h3><a name=\"design\"></a>Web Design</h3>\r\n<a href=\"http://lamppostcreative.com/\">Lamppost Creative</a> serves as the current developer and designer.\r\n\r\n<a href=\"http://infernalcontraption.com/\">Infernal Contraption</a> provided the original design and layout.\r\n\r\n&nbsp;\r\n<h3><a name=\"support\"></a>Support</h3>\r\nThe project has been generously supported with grant funds from the Andrew W. Mellon Foundation.','About','','inherit','open','open','','2-revision-25','','','2012-10-02 00:55:28','2012-10-02 00:55:28','',2,'http://www.archivejournal.net/issue/2/uncategorized/2-revision-25/',0,'revision','',0),(2586,10,'2012-10-02 00:52:10','2012-10-02 00:52:10','<a href=\"#welcome\">Welcome</a> | <a href=\"#mission\">Mission</a> | <a href=\"#content\">Journal Content</a> | <a href=\"#editors\">Editorial Team &amp; Editorial Board</a> | <a href=\"#submissions\">Submissions</a>\r\n<a href=\"#review\">Peer Review</a> | <a href=\"#copyright\">Copyright &amp; Licenses</a> | <a href=\"#publication\">Publication</a> | <a href=\"#design\">Web Design</a> | <a href=\"#support\"> Support</a>\r\n\r\n&nbsp;\r\n<h3><a name=\"welcome\"></a>Welcome</h3>\r\n<p class=\"textblock\">What you see on this site is the pilot issue, published April 2011. Work is underway (as of October 1, 2011) on Issue 2, which will focus on undergraduate work in the archive. We are also accepting proposals for Issue 3, a special issue focused on data curation.</p>\r\n\r\n<h3><a name=\"mission\"></a>Mission</h3>\r\n<em>Archive</em> focuses on the use and theory of archives and special collections in higher education.\r\n<p class=\"textblock\">The academic community has invested deeply in the preservation, use, and digitization of materials in special collections, and <em>Archive</em> provides the space to reflect on this investment. The objects and texts in special collections and archives are the focus of this journal, just as they are the focus of the many projects from and in archives that have been executed and continue with great success. Digitization efforts large and small have freed archives from the bounds of brick and mortar by bringing a wealth of texts and objects into virtual circulation. Teachers and librarians have increasingly emphasized work with original materials for students at all levels as a way to enrich student experience and position students as researchers. The use of materials in special collections as the objects of scholarly study continues to be a key methodology of humanities disciplines even as new technologies, from data mining to visualizations, open up possibilities for what scholars learn from these objects. Recent archival projects have involved multiple institutions (universities and colleges, independent libraries and archives, and non-profit organizations) and multiple constituencies (including librarians, archivists, undergraduate and graduate students, faculty, university press directors, and information technologists). In this moment when archival projects, both virtual and real, have become the norm rather than the exception, <em>Archive</em> offers a way to forge connections among the projects and the communities producing them.</p>\r\n\r\n<h3><a name=\"content\"></a>Journal Content</h3>\r\n<p class=\"textblock\">The journal consists of three content areas:</p>\r\n\r\n<ul>\r\n	<li><em>360°: Analysis and Discussion in the Round</em> features an asynchronous “discussion” among contributors from various backgrounds — in the form of several individual, linked essays — on a single archive or archival topic.</li>\r\n	<li><em>Archives, Remixed: Critical Perspectives and Pathways</em> invites analytical and creative pieces that reflect on meaning-making in and through archives. The format is open to both traditional research or theoretical essays, as well as multi-modal, alternate, or experimental formats. Contributions that analyze, use, theorize, create, find ways through, or reconstitute particular archives, objects or exhibits are invited. Only original work that has not been published elsewhere will be accepted for publication.</li>\r\n	<li><em>Life in the Archive</em> serves as a community space for people to share best practices, archival finds, reports from the field, and thoughts on current work in the field.</li>\r\n</ul>\r\n&nbsp;\r\n<h3><a name=\"editors\"></a>Editorial Team</h3>\r\n<table>\r\n<thead>\r\n<tr>\r\n<td width=\"100px\"></td>\r\n<td></td>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h2>Editor</h2>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Lauren Coats</td>\r\n<td>.......</td>\r\n<td>Assistant Professor of English (LSU)</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h2>Managing Editor</h2>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Gabrielle Dean</td>\r\n<td>.......</td>\r\n<td>Curator of Modern Literary Rare Books and Manuscripts, Librarian for English and the Writing Seminars (Johns Hopkins University)</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h2>Technical Editor</h2>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Daniel Chamberlain</td>\r\n<td>.......</td>\r\n<td>Director, Center for Digital Learning and Research (Occidental College)</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h2>Contributing Editors</h2>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Cecily Marcus</td>\r\n<td>.......</td>\r\n<td>Curator in Archives and Special Collections (University of Minnesota)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Laurie N. Taylor</td>\r\n<td>.......</td>\r\n<td>Digital Humanities Librarian, Digital Library Center (University of Florida)</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h2>Editorial Board</h2>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Wendy Hui Kyong Chun</td>\r\n<td>.......</td>\r\n<td>Professor of Modern Culture and Media (Brown University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Dan Cohen</td>\r\n<td>.......</td>\r\n<td>Associate Professor, Department of History and Art History; Director, Center for History and New Media (George Mason University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Sharon Farb</td>\r\n<td>.......</td>\r\n<td>Associate University Librarian (UCLA)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Kathleen Fitzpatrick</td>\r\n<td>.......</td>\r\n<td>Director of Scholarly Communications (MLA) and Professor of Media Studies (Pomona College)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Julia Flanders</td>\r\n<td>.......</td>\r\n<td>Director, Women Writers Project; Associate Director for Textbase Development, Center for Digital Scholarship (Brown University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Amanda French</td>\r\n<td>.......</td>\r\n<td>THATCamp Coordinator, Center for History and New Media (George Mason University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Chuck Henry</td>\r\n<td>.......</td>\r\n<td>President, Council on Library and Information Resources (CLIR)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Patricia Hswe</td>\r\n<td>.......</td>\r\n<td>Digital Collections Curator (Penn State University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Tara McPherson</td>\r\n<td>.......</td>\r\n<td>Associate Professor of Critical Studies, School of Cinematic Arts (University of Southern California)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Kenneth M. Price</td>\r\n<td>.......</td>\r\n<td>University Professor and Hillegass Chair of American Literature; Co-Director, Center for Digital Research in the Humanities (University of Nebraska-Lincoln)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Elliott Shore</td>\r\n<td>.......</td>\r\n<td>CIO, Director of Libraries, and Professor of History (Bryn Mawr College)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Richard Szary</td>\r\n<td>.......</td>\r\n<td>Director, Louis Round Wilson Library; Associate University Librarian for Special Collections (UNC-Chapel Hill)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Ed Whitley</td>\r\n<td>.......</td>\r\n<td>Associate Professor of English (Lehigh University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">John Willinsky</td>\r\n<td>.......</td>\r\n<td>Khosla Family Professor of Education (Stanford University)</td>\r\n</tr>\r\n</thead>\r\n</table>\r\n\r\n&nbsp;\r\n<h3><a name=\"submissions\"></a>Submissions</h3>\r\nPlease review our <a href=\"http://archivejournal.net/journal/home/submit-to-archive-journal/\">submit page</a>, if you are interested in submitting to the journal, or have any suggestions for or comments about the journal.\r\n\r\n&nbsp;\r\n<h3><a name=\"review\"></a>Peer Review</h3>\r\nAll materials in <em>Archive Journal</em> are peer-reviewed.\r\n\r\nPeer review is central to scholarly communication by providing feedback for improvement, ensuring the quality of published materials, and validating the scholarly merit and proper credentialing of published materials. <em>Archive Journal</em>’s peer review policy is designed to achieve these goals, while also using emerging forms of peer review. Because <em>Archive Journal</em> focuses on the use and theory of archives and special collections in higher education, offering a way to forge connections among diverse projects and the communities producing them, the review process is structured to support building connections while retaining the scholarly rigor inherent in peer review.\r\n\r\nOur review process consists of editorial and open review in the following stages:\r\n<ul>\r\n	<li>Every submission is read by the Editorial Team to determine suitability for publication. The Editorial Team declines materials that are not appropriate at this stage; gives detailed feedback and the opportunity to resubmit for appropriate materials that need substantial revision; and gives feedback and facilitates the process towards publication for appropriate materials that need minor or no revisions. Because <em>Archive Journal</em> is an interdisciplinary space to forge connections and because the online format continues to evolve, this stage may include a series of back and forth feedback from the Editorial Team in order to ensure scholarly rigor, communicability across scholarly fields, and appropriateness of online display.</li>\r\n	<li>If deemed necessary by the Editorial Team, submissions within specialized subject areas that the Editorial Team cannot assess will be sent to reviewers with the appropriate expertise. Reviewers are encouraged to provide guidance to the Editorial Team and constructive feedback for the authors.</li>\r\n	<li>Revised submissions are reviewed after revision for final approval by the Editorial Team before publication. <em>Archive Journal</em> reserves the right to reject revised materials that are deemed not suitable for publication.</li>\r\n	<li>Following peer review and before publication, all accepted materials are copyedited for style and consistency.</li>\r\n	<li>All submissions will be subject to open review via reader comments. After an appropriate open review period has passed, the author(s) will have the opportunity to revise the submission. The final version will be posted and marked as such, with a clear link to the original version and associated open review comments.</li>\r\n</ul>\r\n\r\n&nbsp;\r\n<h3><a name=\"copyright\"></a>Copyright &amp; Licenses</h3>\r\nAuthors published in <em>Archive Journal</em> retain permanent ownership of their work via an open-access license. In order to facilitate access and preservation, <em>Archive Journal</em> retains a perpetual, non-exclusive right to publish accepted work and to include it in other aggregations and indexes. Authors are free to deposit a pre-publication version in an institutional repository, individual webpage, or similar site, as well as to reprint, reuse, or republish their work in any venue after one year.\r\n\r\nThe <em>Archive Journal</em> site is made available under the terms of a <a href=\"http://creativecommons.org/licenses/by-nc-sa/3.0/us/\">Creative Commons Attribution-Noncommercial-Share Alike 3.0 United States License</a>. The license grants permission for non-commercial, attributed re-use of content that is produced by <em>Archive Journal</em>.\r\n\r\n<em>Archive</em> has made every effort to ensure that third-party materials used in this journal and on this site follows all copyright and other restrictions. If you have any more information about an item you\'ve seen on our website or if you are the copyright owner and believe our website has not properly attributed your work to you or has used it without permission, we want to hear from you. Please email us at <a href=\"mailto:contact@archivejournal.net\">contact@archivejournal.net</a> with your contact information and a link to the relevant content.\r\n\r\n&nbsp;\r\n<h3><a name=\"publication\"></a>Publication</h3>\r\nPermanent access and preservation for citation and reproducible research are core components of scholarly communication. <em>Archive Journal</em> provides permanent open, online access for all journal issues.\r\n\r\n&nbsp;\r\n<h3><a name=\"design\"></a>Web Design</h3>\r\n<a href=\"http://lamppostcreative.com/\">Lamppost Creative</a> serves as the current developer and designer.\r\n\r\n<a href=\"http://infernalcontraption.com/\">Infernal Contraption</a> provided the original design and layout.\r\n\r\n&nbsp;\r\n<h3><a name=\"support\"></a>Support</h3>\r\nThe project has been generously supported with grant funds from the Andrew W. Mellon Foundation.','About','','inherit','open','open','','2-revision-23','','','2012-10-02 00:52:10','2012-10-02 00:52:10','',2,'http://www.archivejournal.net/issue/2/uncategorized/2-revision-23/',0,'revision','',0),(3591,2,'2012-11-17 22:44:40','2012-11-17 22:44:40','<a href=\"#welcome\">Welcome</a> | <a href=\"#mission\">Mission</a> | <a href=\"#content\">Journal Content</a> | <a href=\"#editors\">Editorial Team &amp; Editorial Board</a> | <a href=\"#submissions\">Submissions</a>\r\n<a href=\"#review\">Peer Review</a> | <a href=\"#copyright\">Copyright &amp; Licenses</a> | <a href=\"#publication\">Publication</a> | <a href=\"#design\">Web Design</a> | <a href=\"#support\"> Support</a>\r\n\r\n&nbsp;\r\n<h3><a name=\"welcome\"></a>Welcome</h3>\r\n<p class=\"textblock\">What you see on this site is Issue 2 (Fall 2012).  Work is underway on Issue 3,  which will focus on data curation.</p>\r\n\r\n<h3><a name=\"mission\"></a>Mission</h3>\r\n<em>Archive</em> focuses on the use and theory of archives and special collections in higher education.\r\n<p class=\"textblock\">The academic community has invested deeply in the preservation, use, and digitization of materials in special collections, and <em>Archive</em> provides the space to reflect on this investment. The objects and texts in special collections and archives are the focus of this journal, just as they are the focus of the many projects from and in archives that have been executed and continue with great success. Digitization efforts large and small have freed archives from the bounds of brick and mortar by bringing a wealth of texts and objects into virtual circulation. Teachers and librarians have increasingly emphasized work with original materials for students at all levels as a way to enrich student experience and position students as researchers. The use of materials in special collections as the objects of scholarly study continues to be a key methodology of humanities disciplines even as new technologies, from data mining to visualizations, open up possibilities for what scholars learn from these objects. Recent archival projects have involved multiple institutions (universities and colleges, independent libraries and archives, and non-profit organizations) and multiple constituencies (including librarians, archivists, undergraduate and graduate students, faculty, university press directors, and information technologists). In this moment when archival projects, both virtual and real, have become the norm rather than the exception, <em>Archive</em> offers a way to forge connections among the projects and the communities producing them.</p>\r\n\r\n<h3><a name=\"content\"></a>Journal Content</h3>\r\n<p class=\"textblock\">The journal consists of three content areas:</p>\r\n\r\n<ul>\r\n	<li><em>360°: Analysis and Discussion in the Round</em> features an asynchronous “discussion” among contributors from various backgrounds — in the form of several individual, linked essays — on a single archive or archival topic.</li>\r\n	<li><em>Archives, Remixed: Critical Perspectives and Pathways</em> invites analytical and creative pieces that reflect on meaning-making in and through archives. The format is open to both traditional research or theoretical essays, as well as multi-modal, alternate, or experimental formats. Contributions that analyze, use, theorize, create, find ways through, or reconstitute particular archives, objects or exhibits are invited. Only original work that has not been published elsewhere will be accepted for publication.</li>\r\n	<li>Notes + Queriesserves as a community space for people to share best practices, archival finds, reports from the field, and thoughts on current work in the field.</li>\r\n</ul>\r\n&nbsp;\r\n<h3><a name=\"editors\"></a>Editorial Team</h3>\r\n<table>\r\n<thead>\r\n<tr>\r\n<td width=\"100px\"></td>\r\n<td></td>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h2>Editor</h2>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Lauren Coats</td>\r\n<td>.......</td>\r\n<td>Assistant Professor of English (LSU)</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h2>Managing Editor</h2>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Gabrielle Dean</td>\r\n<td>.......</td>\r\n<td>Curator of Modern Literary Rare Books and Manuscripts, Librarian for English and the Writing Seminars (Johns Hopkins University)</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h2>Technical Editor</h2>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Daniel Chamberlain</td>\r\n<td>.......</td>\r\n<td>Director, Center for Digital Learning and Research (Occidental College)</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h2>Contributing Editors</h2>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Cecily Marcus</td>\r\n<td>.......</td>\r\n<td>Curator in Archives and Special Collections (University of Minnesota)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Laurie N. Taylor</td>\r\n<td>.......</td>\r\n<td>Digital Humanities Librarian, Digital Library Center (University of Florida)</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h2>Editorial Board</h2>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Wendy Hui Kyong Chun</td>\r\n<td>.......</td>\r\n<td>Professor of Modern Culture and Media (Brown University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Dan Cohen</td>\r\n<td>.......</td>\r\n<td>Associate Professor, Department of History and Art History; Director, Center for History and New Media (George Mason University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Sharon Farb</td>\r\n<td>.......</td>\r\n<td>Associate University Librarian (UCLA)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Kathleen Fitzpatrick</td>\r\n<td>.......</td>\r\n<td>Director of Scholarly Communications (MLA) and Professor of Media Studies (Pomona College)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Julia Flanders</td>\r\n<td>.......</td>\r\n<td>Director, Women Writers Project; Associate Director for Textbase Development, Center for Digital Scholarship (Brown University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Amanda French</td>\r\n<td>.......</td>\r\n<td>THATCamp Coordinator, Center for History and New Media (George Mason University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Chuck Henry</td>\r\n<td>.......</td>\r\n<td>President, Council on Library and Information Resources (CLIR)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Patricia Hswe</td>\r\n<td>.......</td>\r\n<td>Digital Collections Curator (Penn State University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Tara McPherson</td>\r\n<td>.......</td>\r\n<td>Associate Professor of Critical Studies, School of Cinematic Arts (University of Southern California)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Kenneth M. Price</td>\r\n<td>.......</td>\r\n<td>University Professor and Hillegass Chair of American Literature; Co-Director, Center for Digital Research in the Humanities (University of Nebraska-Lincoln)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Elliott Shore</td>\r\n<td>.......</td>\r\n<td>CIO, Director of Libraries, and Professor of History (Bryn Mawr College)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Richard Szary</td>\r\n<td>.......</td>\r\n<td>Director, Louis Round Wilson Library; Associate University Librarian for Special Collections (UNC-Chapel Hill)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Ed Whitley</td>\r\n<td>.......</td>\r\n<td>Associate Professor of English (Lehigh University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">John Willinsky</td>\r\n<td>.......</td>\r\n<td>Khosla Family Professor of Education (Stanford University)</td>\r\n</tr>\r\n</thead>\r\n</table>\r\n&nbsp;\r\n<h3><a name=\"submissions\"></a>Submissions</h3>\r\nPlease review our <a href=\"http://archivejournal.net/journal/home/submit-to-archive-journal/\">submit page</a>, if you are interested in submitting to the journal, or have any suggestions for or comments about the journal.\r\n\r\n&nbsp;\r\n<h3><a name=\"review\"></a>Peer Review</h3>\r\nAll materials in <em>Archive Journal</em> are peer-reviewed.\r\n\r\nPeer review is central to scholarly communication by providing feedback for improvement, ensuring the quality of published materials, and validating the scholarly merit and proper credentialing of published materials. <em>Archive Journal</em>’s peer review policy is designed to achieve these goals, while also using emerging forms of peer review. Because <em>Archive Journal</em> focuses on the use and theory of archives and special collections in higher education, offering a way to forge connections among diverse projects and the communities producing them, the review process is structured to support building connections while retaining the scholarly rigor inherent in peer review.\r\n\r\nOur review process consists of editorial and open review in the following stages:\r\n<ul>\r\n	<li>Every submission is read by the Editorial Team to determine suitability for publication. The Editorial Team declines materials that are not appropriate at this stage; gives detailed feedback and the opportunity to resubmit for appropriate materials that need substantial revision; and gives feedback and facilitates the process towards publication for appropriate materials that need minor or no revisions. Because <em>Archive Journal</em> is an interdisciplinary space to forge connections and because the online format continues to evolve, this stage may include a series of back and forth feedback from the Editorial Team in order to ensure scholarly rigor, communicability across scholarly fields, and appropriateness of online display.</li>\r\n	<li>If deemed necessary by the Editorial Team, submissions within specialized subject areas that the Editorial Team cannot assess will be sent to reviewers with the appropriate expertise. Reviewers are encouraged to provide guidance to the Editorial Team and constructive feedback for the authors.</li>\r\n	<li>Revised submissions are reviewed after revision for final approval by the Editorial Team before publication. <em>Archive Journal</em> reserves the right to reject revised materials that are deemed not suitable for publication.</li>\r\n	<li>Following peer review and before publication, all accepted materials are copyedited for style and consistency.</li>\r\n	<li>All submissions will be subject to open review via reader comments. After an appropriate open review period has passed, the author(s) will have the opportunity to revise the submission. The final version will be posted and marked as such, with a clear link to the original version and associated open review comments.</li>\r\n</ul>\r\n&nbsp;\r\n<h3><a name=\"copyright\"></a>Copyright &amp; Licenses</h3>\r\nAuthors published in <em>Archive Journal</em> retain permanent ownership of their work via an open-access license. In order to facilitate access and preservation, <em>Archive Journal</em> retains a perpetual, non-exclusive right to publish accepted work and to include it in other aggregations and indexes. Authors are free to deposit a pre-publication version in an institutional repository, individual webpage, or similar site, as well as to reprint, reuse, or republish their work in any venue after one year.\r\n\r\nThe <em>Archive Journal</em> site is made available under the terms of a <a href=\"http://creativecommons.org/licenses/by-nc-sa/3.0/us/\">Creative Commons Attribution-Noncommercial-Share Alike 3.0 United States License</a>. The license grants permission for non-commercial, attributed re-use of content that is produced by <em>Archive Journal</em>.\r\n<a href=\"http://creativecommons.org/licenses/by-nc-sa/3.0/us/\" rel=\"license\"><img style=\"border-width: 0;\" src=\"http://i.creativecommons.org/l/by-nc-sa/3.0/us/88x31.png\" alt=\"Creative Commons License\" /></a>\r\n<em>Archive</em> has made every effort to ensure that third-party materials used in this journal and on this site follows all copyright and other restrictions. If you have any more information about an item you\'ve seen on our website or if you are the copyright owner and believe our website has not properly attributed your work to you or has used it without permission, we want to hear from you. Please email us at <a href=\"mailto:contact@archivejournal.net\">contact@archivejournal.net</a> with your contact information and a link to the relevant content.\r\n\r\n&nbsp;\r\n<h3><a name=\"publication\"></a>Publication</h3>\r\nPermanent access and preservation for citation and reproducible research are core components of scholarly communication. <em>Archive Journal</em> provides permanent open, online access for all journal issues.\r\n\r\n&nbsp;\r\n<h3><a name=\"design\"></a>Web Design</h3>\r\n<a href=\"http://lamppostcreative.com/\">Lamppost Creative</a> serves as the current developer and designer.\r\n<a href=\"http://infernalcontraption.com/\">Infernal Contraption</a> provided the original design and layout.\r\n\r\n&nbsp;\r\n<h3><a name=\"support\"></a>Support</h3>\r\nThe project has been generously supported with grant funds from the Andrew W. Mellon Foundation.','About','','inherit','open','open','','2-revision-30','','','2012-11-17 22:44:40','2012-11-17 22:44:40','',2,'http://www.archivejournal.net/issue/2/uncategorized/2-revision-30/',0,'revision','',0),(2587,10,'2012-10-02 00:54:45','2012-10-02 00:54:45','<a href=\"#welcome\">Welcome</a> | <a href=\"#mission\">Mission</a> | <a href=\"#content\">Journal Content</a> | <a href=\"#editors\">Editorial Team &amp; Editorial Board</a> | <a href=\"#submissions\">Submissions</a>\r\n<a href=\"#review\">Peer Review</a> | <a href=\"#copyright\">Copyright &amp; Licenses</a> | <a href=\"#publication\">Publication</a> | <a href=\"#design\">Web Design</a> | <a href=\"#support\"> Support</a>\r\n\r\n&nbsp;\r\n<h3><a name=\"welcome\"></a>Welcome</h3>\r\n<p class=\"textblock\">What you see on this site is the pilot issue, published April 2011. Work is underway (as of October 1, 2011) on Issue 2, which will focus on undergraduate work in the archive. We are also accepting proposals for Issue 3, a special issue focused on data curation.</p>\r\n\r\n<h3><a name=\"mission\"></a>Mission</h3>\r\n<em>Archive</em> focuses on the use and theory of archives and special collections in higher education.\r\n<p class=\"textblock\">The academic community has invested deeply in the preservation, use, and digitization of materials in special collections, and <em>Archive</em> provides the space to reflect on this investment. The objects and texts in special collections and archives are the focus of this journal, just as they are the focus of the many projects from and in archives that have been executed and continue with great success. Digitization efforts large and small have freed archives from the bounds of brick and mortar by bringing a wealth of texts and objects into virtual circulation. Teachers and librarians have increasingly emphasized work with original materials for students at all levels as a way to enrich student experience and position students as researchers. The use of materials in special collections as the objects of scholarly study continues to be a key methodology of humanities disciplines even as new technologies, from data mining to visualizations, open up possibilities for what scholars learn from these objects. Recent archival projects have involved multiple institutions (universities and colleges, independent libraries and archives, and non-profit organizations) and multiple constituencies (including librarians, archivists, undergraduate and graduate students, faculty, university press directors, and information technologists). In this moment when archival projects, both virtual and real, have become the norm rather than the exception, <em>Archive</em> offers a way to forge connections among the projects and the communities producing them.</p>\r\n\r\n<h3><a name=\"content\"></a>Journal Content</h3>\r\n<p class=\"textblock\">The journal consists of three content areas:</p>\r\n\r\n<ul>\r\n	<li><em>360°: Analysis and Discussion in the Round</em> features an asynchronous “discussion” among contributors from various backgrounds — in the form of several individual, linked essays — on a single archive or archival topic.</li>\r\n	<li><em>Archives, Remixed: Critical Perspectives and Pathways</em> invites analytical and creative pieces that reflect on meaning-making in and through archives. The format is open to both traditional research or theoretical essays, as well as multi-modal, alternate, or experimental formats. Contributions that analyze, use, theorize, create, find ways through, or reconstitute particular archives, objects or exhibits are invited. Only original work that has not been published elsewhere will be accepted for publication.</li>\r\n	<li><em>Life in the Archive</em> serves as a community space for people to share best practices, archival finds, reports from the field, and thoughts on current work in the field.</li>\r\n</ul>\r\n&nbsp;\r\n<h3><a name=\"editors\"></a>Editorial Team</h3>\r\n<table>\r\n<thead>\r\n<tr>\r\n<td width=\"100px\"></td>\r\n<td></td>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h2>Editor</h2>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Lauren Coats</td>\r\n<td>.......</td>\r\n<td>Assistant Professor of English (LSU)</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h2>Managing Editor</h2>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Gabrielle Dean</td>\r\n<td>.......</td>\r\n<td>Curator of Modern Literary Rare Books and Manuscripts, Librarian for English and the Writing Seminars (Johns Hopkins University)</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h2>Technical Editor</h2>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Daniel Chamberlain</td>\r\n<td>.......</td>\r\n<td>Director, Center for Digital Learning and Research (Occidental College)</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h2>Contributing Editors</h2>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Cecily Marcus</td>\r\n<td>.......</td>\r\n<td>Curator in Archives and Special Collections (University of Minnesota)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Laurie N. Taylor</td>\r\n<td>.......</td>\r\n<td>Digital Humanities Librarian, Digital Library Center (University of Florida)</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h2>Editorial Board</h2>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Wendy Hui Kyong Chun</td>\r\n<td>.......</td>\r\n<td>Professor of Modern Culture and Media (Brown University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Dan Cohen</td>\r\n<td>.......</td>\r\n<td>Associate Professor, Department of History and Art History; Director, Center for History and New Media (George Mason University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Sharon Farb</td>\r\n<td>.......</td>\r\n<td>Associate University Librarian (UCLA)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Kathleen Fitzpatrick</td>\r\n<td>.......</td>\r\n<td>Director of Scholarly Communications (MLA) and Professor of Media Studies (Pomona College)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Julia Flanders</td>\r\n<td>.......</td>\r\n<td>Director, Women Writers Project; Associate Director for Textbase Development, Center for Digital Scholarship (Brown University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Amanda French</td>\r\n<td>.......</td>\r\n<td>THATCamp Coordinator, Center for History and New Media (George Mason University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Chuck Henry</td>\r\n<td>.......</td>\r\n<td>President, Council on Library and Information Resources (CLIR)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Patricia Hswe</td>\r\n<td>.......</td>\r\n<td>Digital Collections Curator (Penn State University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Tara McPherson</td>\r\n<td>.......</td>\r\n<td>Associate Professor of Critical Studies, School of Cinematic Arts (University of Southern California)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Kenneth M. Price</td>\r\n<td>.......</td>\r\n<td>University Professor and Hillegass Chair of American Literature; Co-Director, Center for Digital Research in the Humanities (University of Nebraska-Lincoln)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Elliott Shore</td>\r\n<td>.......</td>\r\n<td>CIO, Director of Libraries, and Professor of History (Bryn Mawr College)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Richard Szary</td>\r\n<td>.......</td>\r\n<td>Director, Louis Round Wilson Library; Associate University Librarian for Special Collections (UNC-Chapel Hill)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Ed Whitley</td>\r\n<td>.......</td>\r\n<td>Associate Professor of English (Lehigh University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">John Willinsky</td>\r\n<td>.......</td>\r\n<td>Khosla Family Professor of Education (Stanford University)</td>\r\n</tr>\r\n</thead>\r\n</table>\r\n\r\n&nbsp;\r\n<h3><a name=\"submissions\"></a>Submissions</h3>\r\nPlease review our <a href=\"http://archivejournal.net/journal/home/submit-to-archive-journal/\">submit page</a>, if you are interested in submitting to the journal, or have any suggestions for or comments about the journal.\r\n\r\n&nbsp;\r\n<h3><a name=\"review\"></a>Peer Review</h3>\r\nAll materials in <em>Archive Journal</em> are peer-reviewed.\r\n\r\nPeer review is central to scholarly communication by providing feedback for improvement, ensuring the quality of published materials, and validating the scholarly merit and proper credentialing of published materials. <em>Archive Journal</em>’s peer review policy is designed to achieve these goals, while also using emerging forms of peer review. Because <em>Archive Journal</em> focuses on the use and theory of archives and special collections in higher education, offering a way to forge connections among diverse projects and the communities producing them, the review process is structured to support building connections while retaining the scholarly rigor inherent in peer review.\r\n\r\nOur review process consists of editorial and open review in the following stages:\r\n<ul>\r\n	<li>Every submission is read by the Editorial Team to determine suitability for publication. The Editorial Team declines materials that are not appropriate at this stage; gives detailed feedback and the opportunity to resubmit for appropriate materials that need substantial revision; and gives feedback and facilitates the process towards publication for appropriate materials that need minor or no revisions. Because <em>Archive Journal</em> is an interdisciplinary space to forge connections and because the online format continues to evolve, this stage may include a series of back and forth feedback from the Editorial Team in order to ensure scholarly rigor, communicability across scholarly fields, and appropriateness of online display.</li>\r\n	<li>If deemed necessary by the Editorial Team, submissions within specialized subject areas that the Editorial Team cannot assess will be sent to reviewers with the appropriate expertise. Reviewers are encouraged to provide guidance to the Editorial Team and constructive feedback for the authors.</li>\r\n	<li>Revised submissions are reviewed after revision for final approval by the Editorial Team before publication. <em>Archive Journal</em> reserves the right to reject revised materials that are deemed not suitable for publication.</li>\r\n	<li>Following peer review and before publication, all accepted materials are copyedited for style and consistency.</li>\r\n	<li>All submissions will be subject to open review via reader comments. After an appropriate open review period has passed, the author(s) will have the opportunity to revise the submission. The final version will be posted and marked as such, with a clear link to the original version and associated open review comments.</li>\r\n</ul>\r\n\r\n&nbsp;\r\n<h3><a name=\"copyright\"></a>Copyright &amp; Licenses</h3>\r\nAuthors published in <em>Archive Journal</em> retain permanent ownership of their work via an open-access license. In order to facilitate access and preservation, <em>Archive Journal</em> retains a perpetual, non-exclusive right to publish accepted work and to include it in other aggregations and indexes. Authors are free to deposit a pre-publication version in an institutional repository, individual webpage, or similar site, as well as to reprint, reuse, or republish their work in any venue after one year.\r\n\r\nThe <em>Archive Journal</em> site is made available under the terms of a <a href=\"http://creativecommons.org/licenses/by-nc-sa/3.0/us/\">Creative Commons Attribution-Noncommercial-Share Alike 3.0 United States License</a>. \r\n<a rel=\"license\" href=\"http://creativecommons.org/licenses/by-nc-sa/3.0/us/\"><img alt=\"Creative Commons License\" style=\"border-width:0\" src=\"http://i.creativecommons.org/l/by-nc-sa/3.0/us/88x31.png\" /></a><br />The license grants permission for non-commercial, attributed re-use of content that is produced by <em>Archive Journal</em>.\r\n</a>.\r\n\r\n<em>Archive</em> has made every effort to ensure that third-party materials used in this journal and on this site follows all copyright and other restrictions. If you have any more information about an item you\'ve seen on our website or if you are the copyright owner and believe our website has not properly attributed your work to you or has used it without permission, we want to hear from you. Please email us at <a href=\"mailto:contact@archivejournal.net\">contact@archivejournal.net</a> with your contact information and a link to the relevant content.\r\n\r\n&nbsp;\r\n<h3><a name=\"publication\"></a>Publication</h3>\r\nPermanent access and preservation for citation and reproducible research are core components of scholarly communication. <em>Archive Journal</em> provides permanent open, online access for all journal issues.\r\n\r\n&nbsp;\r\n<h3><a name=\"design\"></a>Web Design</h3>\r\n<a href=\"http://lamppostcreative.com/\">Lamppost Creative</a> serves as the current developer and designer.\r\n\r\n<a href=\"http://infernalcontraption.com/\">Infernal Contraption</a> provided the original design and layout.\r\n\r\n&nbsp;\r\n<h3><a name=\"support\"></a>Support</h3>\r\nThe project has been generously supported with grant funds from the Andrew W. Mellon Foundation.','About','','inherit','open','open','','2-revision-24','','','2012-10-02 00:54:45','2012-10-02 00:54:45','',2,'http://www.archivejournal.net/issue/2/uncategorized/2-revision-24/',0,'revision','',0),(2589,10,'2012-10-02 00:57:13','2012-10-02 00:57:13','<a href=\"#welcome\">Welcome</a> | <a href=\"#mission\">Mission</a> | <a href=\"#content\">Journal Content</a> | <a href=\"#editors\">Editorial Team &amp; Editorial Board</a> | <a href=\"#submissions\">Submissions</a>\r\n<a href=\"#review\">Peer Review</a> | <a href=\"#copyright\">Copyright &amp; Licenses</a> | <a href=\"#publication\">Publication</a> | <a href=\"#design\">Web Design</a> | <a href=\"#support\"> Support</a>\r\n\r\n&nbsp;\r\n<h3><a name=\"welcome\"></a>Welcome</h3>\r\n<p class=\"textblock\">What you see on this site is the pilot issue, published April 2011. Work is underway (as of October 1, 2011) on Issue 2, which will focus on undergraduate work in the archive. We are also accepting proposals for Issue 3, a special issue focused on data curation.</p>\r\n\r\n<h3><a name=\"mission\"></a>Mission</h3>\r\n<em>Archive</em> focuses on the use and theory of archives and special collections in higher education.\r\n<p class=\"textblock\">The academic community has invested deeply in the preservation, use, and digitization of materials in special collections, and <em>Archive</em> provides the space to reflect on this investment. The objects and texts in special collections and archives are the focus of this journal, just as they are the focus of the many projects from and in archives that have been executed and continue with great success. Digitization efforts large and small have freed archives from the bounds of brick and mortar by bringing a wealth of texts and objects into virtual circulation. Teachers and librarians have increasingly emphasized work with original materials for students at all levels as a way to enrich student experience and position students as researchers. The use of materials in special collections as the objects of scholarly study continues to be a key methodology of humanities disciplines even as new technologies, from data mining to visualizations, open up possibilities for what scholars learn from these objects. Recent archival projects have involved multiple institutions (universities and colleges, independent libraries and archives, and non-profit organizations) and multiple constituencies (including librarians, archivists, undergraduate and graduate students, faculty, university press directors, and information technologists). In this moment when archival projects, both virtual and real, have become the norm rather than the exception, <em>Archive</em> offers a way to forge connections among the projects and the communities producing them.</p>\r\n\r\n<h3><a name=\"content\"></a>Journal Content</h3>\r\n<p class=\"textblock\">The journal consists of three content areas:</p>\r\n\r\n<ul>\r\n	<li><em>360°: Analysis and Discussion in the Round</em> features an asynchronous “discussion” among contributors from various backgrounds — in the form of several individual, linked essays — on a single archive or archival topic.</li>\r\n	<li><em>Archives, Remixed: Critical Perspectives and Pathways</em> invites analytical and creative pieces that reflect on meaning-making in and through archives. The format is open to both traditional research or theoretical essays, as well as multi-modal, alternate, or experimental formats. Contributions that analyze, use, theorize, create, find ways through, or reconstitute particular archives, objects or exhibits are invited. Only original work that has not been published elsewhere will be accepted for publication.</li>\r\n	<li><em>Life in the Archive</em> serves as a community space for people to share best practices, archival finds, reports from the field, and thoughts on current work in the field.</li>\r\n</ul>\r\n&nbsp;\r\n<h3><a name=\"editors\"></a>Editorial Team</h3>\r\n<table>\r\n<thead>\r\n<tr>\r\n<td width=\"100px\"></td>\r\n<td></td>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h2>Editor</h2>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Lauren Coats</td>\r\n<td>.......</td>\r\n<td>Assistant Professor of English (LSU)</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h2>Managing Editor</h2>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Gabrielle Dean</td>\r\n<td>.......</td>\r\n<td>Curator of Modern Literary Rare Books and Manuscripts, Librarian for English and the Writing Seminars (Johns Hopkins University)</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h2>Technical Editor</h2>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Daniel Chamberlain</td>\r\n<td>.......</td>\r\n<td>Director, Center for Digital Learning and Research (Occidental College)</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h2>Contributing Editors</h2>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Cecily Marcus</td>\r\n<td>.......</td>\r\n<td>Curator in Archives and Special Collections (University of Minnesota)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Laurie N. Taylor</td>\r\n<td>.......</td>\r\n<td>Digital Humanities Librarian, Digital Library Center (University of Florida)</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h2>Editorial Board</h2>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Wendy Hui Kyong Chun</td>\r\n<td>.......</td>\r\n<td>Professor of Modern Culture and Media (Brown University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Dan Cohen</td>\r\n<td>.......</td>\r\n<td>Associate Professor, Department of History and Art History; Director, Center for History and New Media (George Mason University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Sharon Farb</td>\r\n<td>.......</td>\r\n<td>Associate University Librarian (UCLA)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Kathleen Fitzpatrick</td>\r\n<td>.......</td>\r\n<td>Director of Scholarly Communications (MLA) and Professor of Media Studies (Pomona College)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Julia Flanders</td>\r\n<td>.......</td>\r\n<td>Director, Women Writers Project; Associate Director for Textbase Development, Center for Digital Scholarship (Brown University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Amanda French</td>\r\n<td>.......</td>\r\n<td>THATCamp Coordinator, Center for History and New Media (George Mason University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Chuck Henry</td>\r\n<td>.......</td>\r\n<td>President, Council on Library and Information Resources (CLIR)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Patricia Hswe</td>\r\n<td>.......</td>\r\n<td>Digital Collections Curator (Penn State University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Tara McPherson</td>\r\n<td>.......</td>\r\n<td>Associate Professor of Critical Studies, School of Cinematic Arts (University of Southern California)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Kenneth M. Price</td>\r\n<td>.......</td>\r\n<td>University Professor and Hillegass Chair of American Literature; Co-Director, Center for Digital Research in the Humanities (University of Nebraska-Lincoln)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Elliott Shore</td>\r\n<td>.......</td>\r\n<td>CIO, Director of Libraries, and Professor of History (Bryn Mawr College)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Richard Szary</td>\r\n<td>.......</td>\r\n<td>Director, Louis Round Wilson Library; Associate University Librarian for Special Collections (UNC-Chapel Hill)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Ed Whitley</td>\r\n<td>.......</td>\r\n<td>Associate Professor of English (Lehigh University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">John Willinsky</td>\r\n<td>.......</td>\r\n<td>Khosla Family Professor of Education (Stanford University)</td>\r\n</tr>\r\n</thead>\r\n</table>\r\n&nbsp;\r\n<h3><a name=\"submissions\"></a>Submissions</h3>\r\nPlease review our <a href=\"http://archivejournal.net/journal/home/submit-to-archive-journal/\">submit page</a>, if you are interested in submitting to the journal, or have any suggestions for or comments about the journal.\r\n\r\n&nbsp;\r\n<h3><a name=\"review\"></a>Peer Review</h3>\r\nAll materials in <em>Archive Journal</em> are peer-reviewed.\r\n\r\nPeer review is central to scholarly communication by providing feedback for improvement, ensuring the quality of published materials, and validating the scholarly merit and proper credentialing of published materials. <em>Archive Journal</em>’s peer review policy is designed to achieve these goals, while also using emerging forms of peer review. Because <em>Archive Journal</em> focuses on the use and theory of archives and special collections in higher education, offering a way to forge connections among diverse projects and the communities producing them, the review process is structured to support building connections while retaining the scholarly rigor inherent in peer review.\r\n\r\nOur review process consists of editorial and open review in the following stages:\r\n<ul>\r\n	<li>Every submission is read by the Editorial Team to determine suitability for publication. The Editorial Team declines materials that are not appropriate at this stage; gives detailed feedback and the opportunity to resubmit for appropriate materials that need substantial revision; and gives feedback and facilitates the process towards publication for appropriate materials that need minor or no revisions. Because <em>Archive Journal</em> is an interdisciplinary space to forge connections and because the online format continues to evolve, this stage may include a series of back and forth feedback from the Editorial Team in order to ensure scholarly rigor, communicability across scholarly fields, and appropriateness of online display.</li>\r\n	<li>If deemed necessary by the Editorial Team, submissions within specialized subject areas that the Editorial Team cannot assess will be sent to reviewers with the appropriate expertise. Reviewers are encouraged to provide guidance to the Editorial Team and constructive feedback for the authors.</li>\r\n	<li>Revised submissions are reviewed after revision for final approval by the Editorial Team before publication. <em>Archive Journal</em> reserves the right to reject revised materials that are deemed not suitable for publication.</li>\r\n	<li>Following peer review and before publication, all accepted materials are copyedited for style and consistency.</li>\r\n	<li>All submissions will be subject to open review via reader comments. After an appropriate open review period has passed, the author(s) will have the opportunity to revise the submission. The final version will be posted and marked as such, with a clear link to the original version and associated open review comments.</li>\r\n</ul>\r\n&nbsp;\r\n<h3><a name=\"copyright\"></a>Copyright &amp; Licenses</h3>\r\nAuthors published in <em>Archive Journal</em> retain permanent ownership of their work via an open-access license. In order to facilitate access and preservation, <em>Archive Journal</em> retains a perpetual, non-exclusive right to publish accepted work and to include it in other aggregations and indexes. Authors are free to deposit a pre-publication version in an institutional repository, individual webpage, or similar site, as well as to reprint, reuse, or republish their work in any venue after one year.\r\n\r\nThe <em>Archive Journal</em> site is made available under the terms of a <a href=\"http://creativecommons.org/licenses/by-nc-sa/3.0/us/\">Creative Commons Attribution-Noncommercial-Share Alike 3.0 United States License</a>. The license grants permission for non-commercial, attributed re-use of content that is produced by <em>Archive Journal</em>.\r\n<a href=\"http://creativecommons.org/licenses/by-nc-sa/3.0/us/\" rel=\"license\"><img style=\"border-width: 0;\" src=\"http://i.creativecommons.org/l/by-nc-sa/3.0/us/88x31.png\" alt=\"Creative Commons License\" /></a>\r\n\r\n\r\n<em>Archive</em> has made every effort to ensure that third-party materials used in this journal and on this site follows all copyright and other restrictions. If you have any more information about an item you\'ve seen on our website or if you are the copyright owner and believe our website has not properly attributed your work to you or has used it without permission, we want to hear from you. Please email us at <a href=\"mailto:contact@archivejournal.net\">contact@archivejournal.net</a> with your contact information and a link to the relevant content.\r\n\r\n&nbsp;\r\n<h3><a name=\"publication\"></a>Publication</h3>\r\nPermanent access and preservation for citation and reproducible research are core components of scholarly communication. <em>Archive Journal</em> provides permanent open, online access for all journal issues.\r\n\r\n&nbsp;\r\n<h3><a name=\"design\"></a>Web Design</h3>\r\n<a href=\"http://lamppostcreative.com/\">Lamppost Creative</a> serves as the current developer and designer.\r\n\r\n<a href=\"http://infernalcontraption.com/\">Infernal Contraption</a> provided the original design and layout.\r\n\r\n&nbsp;\r\n<h3><a name=\"support\"></a>Support</h3>\r\nThe project has been generously supported with grant funds from the Andrew W. Mellon Foundation.','About','','inherit','open','open','','2-revision-26','','','2012-10-02 00:57:13','2012-10-02 00:57:13','',2,'http://www.archivejournal.net/issue/2/uncategorized/2-revision-26/',0,'revision','',0),(2590,10,'2012-09-28 08:24:12','2012-09-28 08:24:12','The images above are a small fraction of the materials made available through the project and Jimmy\'s work. The full range can be seen in the <a href=\"http://ufdc.ufl.edu/caha/all\" target=\"_blank\">Carrère &amp; Hastings Digital Collection</a>, part of the University of Florida Digital Collections. You can read more at the project blog: <a href=\"http://flaglerdrawings.wordpress.com/\" target=\"_blank\">flaglerdrawings.wordpress.com</a>.\r\n\r\n&nbsp;\r\n\r\n<div id=\"attachment_957\" class=\"alignright\" style=\"width:638px\"><img class=\"size-large wp-image-957\" title=\"uf_student  action photo_barnett 3\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/uf_student-action-photo_barnett-3-1024x682.jpg\" alt=\"\" style=\"width:638\" />  <span class=\"wp-caption-text\">James (Jimmy) Barnett using a Betterlight Super 8k-HS camera back and custom mount configuration to digitize John Carrère and Thomas Hastings&rsquo; &ldquo;Ground Plan, Presbyterian Church, St. Augustine, Fla.&rdquo; c. 1889-1890. <em>Photo credit:</em> Joe Kaleita, University of Florida Libraries.</span></div>\r\n\r\n\r\n<div id=\"attachment_959\" class=\"alignright\" style=\"width:638px; margin-top:20px;\"><a href=\"http://ufdc.ufl.edu/UF00082657/00001\" target=\"_blank\"><img class=\"size-full wp-image-959\" title=\"Ground Plan, Presbyterian Church\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/uf_student-work_image-1.jpg\" alt=\"\" style=\"width:638\" /></a>  <span class=\"wp-caption-text\" style=\"margin-bottom:30px;\">An example of the results of Barnett&rsquo;s work digitizing and preserving a large-scale architectural drawing. John Carrère and Thomas Hastings. &ldquo;<a href=\"http://ufdc.ufl.edu/UF00082657/00001\">Ground Plan, Presbyterian Church, St. Augustine, Fla</a>.&rdquo; c. 1889-1890.</span></div>\r\n\r\n\r\n<div id=\"attachment_958\" class=\"alignright\" style=\"width:638px\"><a href=\"http://ufdc.ufl.edu/UF00089836/00001\" target=\"_blank\"><img class=\"size-full wp-image-958\" title=\"Part Plan of Fourth Floor\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/uf_student-work_image-2.jpg\" alt=\"\" style=\"width:638\" /></a> <span class=\"wp-caption-text\">John Carrère and Thomas Hastings.Another example of Barnett’s work digitizing and preserving a large-scale architectural drawing. John Carrère and Thomas Hastings. <a href=\"http://www.google.com/url?q=http%3A%2F%2Fufdc.ufl.edu%2FUF00089836%2F00001&sa=D&sntz=1&usg=AFQjCNG7YpjRA9b6TXJdNqbZiRzCSCBqfw\" title=\"Part Plan of Fourth Floor. Architectural drawings of the Hotel Ponce de Leon, St. Augustine, Florida\">Part Plan of Fourth Floor. Architectural drawings of the Hotel Ponce de Leon, St. Augustine, Florida.</a>\" 96\"x40\".</span></div>\r\n\r\n','Digitizing Large-Format Architectural Plans','This case study showcases an undergraduate’s work as the lead digital scanner of architectural drawings for the Carrère & Hastings Digital Collection, a collaborative project between the University of Florida (UF) and Flagler College to conserve and digitally preserve the large and fragile drawings. For years the drawings were stored in a basement boiler room and suffered from exposure to high Florida temperatures, humidity, insects, and rodents. The collection is now under the care of a team of faculty, staff, and students from the UF’s Special Collections, Conservation Unit, and Digital Library Center.','inherit','open','open','','946-revision-47','','','2012-09-28 08:24:12','2012-09-28 08:24:12','',946,'http://www.archivejournal.net/issue/2/uncategorized/946-revision-47/',0,'revision','',0),(2592,19,'2012-10-01 23:17:35','2012-10-01 23:17:35','Summary of this 360 issue goes here. Summary of this 360 issue goes here. Summary of this 360 issue goes here. Summary of this 360 issue goes here. Summary of this 360 issue goes here.','Undergraduates in the Archives','','inherit','open','open','','1500-revision-47','','','2012-10-01 23:17:35','2012-10-01 23:17:35','',1500,'http://www.archivejournal.net/issue/2/uncategorized/1500-revision-47/',0,'revision','',0),(2593,19,'2012-09-25 01:29:33','2012-09-25 01:29:33','<img class=\"alignleft size-full wp-image-1374\" title=\"lehigh_instructor head shot_kramp\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/lehigh_instructor-head-shot_kramp.jpg\" alt=\"\" width=\"120\" height=\"160\" />\r\n\r\nMy fall 2011 English and Women’s Studies upper-level undergraduate class, Theories of Masculinity, was designed to coordinate with the fortieth anniversary of admitting undergraduate women to Lehigh University. A major component of this course was a student-produced documentary film that considers the effects of coeducation on men and masculinity at Lehigh. This film project provided my students with an opportunity to examine critically Lehigh’s institutional history, focusing on the late 1960s and early 1970s. While it was not my initial intention, I was extremely pleased by the students’ abilities to research and study their own school’s history. They made extensive use of Lehigh’s Archives and Special Collections to collect numerous articles, documents, and perhaps most importantly, photographs, and they incorporated these materials into the different sections of the film (see Figures 1-6). Students discovered several cultural texts from the 1960s and 1970s that portrayed Lehigh as a haven for privileged masculinity, a sphere in which men appeared largely ignorant of the volatile civil rights movement and the emergent mid-century women’s movement. And yet, my students’ research also revealed that the Lehigh community of this era was also clearly cognizant of impending social changes. As my students tracked this tension between the ossification of male hegemony and the certainty of coming shifts, they developed a newfound appreciation for the importance of institutional history to the present operations of a university.\r\n\r\nThe prominence of Greek life is certainly one such feature of this legacy. Two of the four segments of the film address the role of fraternities and Greek social life, including the final section, which focuses on men and masculinity in Lehigh’s contemporary culture. The students who explored Lehigh’s mid-century Greek culture found ample textual evidence of its importance, including photographs, yearbook coverage, and film footage. When students interviewed alumni from the 1960s and 1970s, the men reported that Greek life had waned significantly in the years following coeducation. But when other students spoke with current male and female students, these individuals emphasized the enduring importance of fraternities and sororities to the culture of Lehigh. In addition, the group of filmmakers who focused on the period prior to coeducation highlighted the ways in which women were brought to campus for Saturday evening social events such as dances. My students interviewed several alumni who commented on the awkwardness of such activities, for both the men and the women. They even include a telling newspaper story in which Cedar Crest College, a small women’s college in nearby Allentown, is referenced as the bordello of Lehigh Valley (see Figure 1). The student filmmakers who covered the years immediately following coeducation also treated the clumsiness of men’s interactions with women; they point to challenges in managing facilities and planning building construction, developing female athletics, and integrating women into extra-curricular clubs and organizations, such as the marching band. The filmmakers who treated contemporary conceptions of masculinity within the Lehigh community explicitly referenced the enduring legacy of sexual inequality and the perceived intellectual inferiority of women. They cited recent newspaper accounts on persistent gender inequities on campus and conducted numerous interviews on the topic. While it may very well have been unintentional, these students never interviewed a male and female subject together; instead, they consistently showed pairs of male students, suggesting the extant homosocial culture of Lehigh.\r\n\r\nI wanted my students to engage the history and culture of Lehigh through film technology because it would provide them with an opportunity to artistically synthesize a variety of different kinds of texts (photos, newspaper articles, found film footage, interviews, etc.). The film medium also allowed my students to share their work in public forums, respond to questions and concerns, and discuss their own research and artistic strategies. In effect, the film project allowed my students to contribute to the very institutional history of Lehigh University that they were researching. The archival work my students completed for this film has effectively introduced them to both the depths of information housed in Lehigh’s Special Collections and the profound relevance of institutional history to their own educational experiences. As I reflect upon the experience, there is no doubt in my mind that the most important single component of this process was done long before this class started; the cataloguing and digitization of the university newspaper and annual yearbooks made such a classroom project possible. The film has allowed students, faculty, and alumni to look back into Lehigh’s past, and, while this project has undoubtedly opened some uncomfortable topics and discussions, it has also reminded current and former members of the Lehigh community of their shared history.','Michael Kramp - Commentary','My Fall 2011 English and Women’s Studies upper-level undergraduate class, “Theories of Masculinity” was designed to coordinate with the 40th anniversary of undergraduate women at Lehigh University. A major component of this course was a student-produced documentary film that considers the effects of co-education on men and masculinity at Lehigh. This film project provided my students with an opportunity to examine critically Lehigh’s institutional history, focusing on the late 1960s and early 1970s.','inherit','open','open','','1110-revision-11','','','2012-09-25 01:29:33','2012-09-25 01:29:33','',1110,'http://www.archivejournal.net/issue/2/uncategorized/1110-revision-11/',0,'revision','',0),(2594,19,'2012-09-25 01:29:33','2012-09-25 01:29:33','<img class=\"alignleft size-full wp-image-1380\" title=\"lehigh_support head shot_maserjian\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/lehigh_support-head-shot_maserjian.jpg\" alt=\"\" width=\"120\" height=\"160\" />\r\n\r\nI’d like to tell you a story, one about a series of experiences that changed the way I work with students and faculty at Lehigh. In fact, the story is about stories—digital storytelling, to be exact. Digital storytelling uses computer-based still and moving images, text, audio, and music to document experiences, ideas, and research.\r\n\r\nIn the fall of 2005 I had the pleasure of working with English professor Ed Gallagher in an experimental, first-year writing course, “Digital Songs, Stories, and Histories,” that offered students new ways to communicate through a variety of multi-media assignments. For one assignment the students were asked to create a video based on a research question they developed from materials they found in Lehigh’s Digital Library project, <a href=\"http://digital.lib.lehigh.edu/remain/con/digwriting.html\">I Remain: A Digital Archive of Letters, Manuscripts, and Ephemera</a>. The site contains hundreds of items from the university’s Special Collections and Archives that represent five centuries of writers, explorers, scientists, philosophers, and politicians.\r\n\r\nThe students were asked to select a document from the site that piqued their curiosity, transcribe that document, formulate a historical question, develop a thesis, select materials that would support that thesis, and produce a video based on those efforts. The vast majority of the students embraced the archival and technological challenge. The results appear on the <em>I Remain</em> site.\r\n\r\nIn order to understand the content development and technological challenges our students faced, I delved into my family archives and produced a short personal video story about my father. I was amazed at the ability of this process to challenge and change my perspective on the past. Cathartic is the only way I can describe my experience. Clearly smitten with this medium, the following year I taught a course for the History Department, Digital History and Video. This class had a mix of undergraduate and graduate students who were also asked to explore the archival materials on the <em>I Remain</em> site. They had to perform many of the same assignments as the previous class did, but, as the course level dictated, they had to be even more rigorous in their research. The students wrote a footnoted essay about their document(s), and then converted their research essay into a script to include narration and accompanying visuals.\r\n\r\nOne of the Digital History students, a senior with a double major in history and education, discovered a treasure trove of primary sources when she came upon a scrapbook of memorabilia related to the assassination of Abraham Lincoln. The scrapbook was compiled by American boundary commissioner, Rhode Island Secretary of State, historian, and author John R. Bartlett. Using many of the images in the scrapbook, she constructed a <a href=\"http://player.vimeo.com/video/40877170\">seven-minute video about the assassination of President Lincoln</a> and the effect his death had on the country. Rather than address a scholarly audience in her production, she chose to produce a documentary with a general audience in mind. The storytelling choices she made in her narration and accompanying voice-over collaborations with faculty and fellow classmates are clearly directed toward that general audience. Though initially intimidated by the use of new technology, this student was pleased that she was able to face the challenge and learn a new skill that would help her in her career in elementary education.\r\n\r\nSince these initial forays into student-produced documentary, I am pleased to say that this form of communication is alive and well at Lehigh University. As the number of requests for video projects grew, Library and Technology Services formed the Documentary Resource Team. The Team is comprised of librarians, instructional technologists, and media specialists who help faculty and students navigate the opportunities and challenges of video production. In many of these classes, students use physical and virtual archives extensively in their research and image selection. With the opportunities of archival discovery also come the challenges of representing findings.\r\n\r\nThe materials we uncover in archives and the way we choose to use them has provoked an ongoing series of questions about copyright, research methodology, and documentary ethics. Regardless of the event (long ago or yesterday) or the individual (living or dead), the lessons our students learn about their obligations in representing the lives of others are important ones. What is at stake when, as digital storytellers, we document the experience of others? What happens when those experiences move beyond the confines of the classroom and become part of a larger audience at public screenings or on the web? The questions of authority, privacy, responsibility, and moral obligations are good ones with no easy answers. Luckily, as educators, we are not in the business of easy answers.','Julia Maserjian - Commentary','I’d like to tell you a story, one about a series of experiences that changed the way I work with students and faculty at Lehigh. In fact, the story is about stories—digital storytelling, to be exact. Digital storytelling uses computer-based still and moving images, text, audio, and music to document experiences, ideas, and research.','inherit','open','open','','1116-revision-9','','','2012-09-25 01:29:33','2012-09-25 01:29:33','',1116,'http://www.archivejournal.net/issue/2/uncategorized/1116-revision-9/',0,'revision','',0),(2595,19,'2012-10-01 23:46:38','2012-10-01 23:46:38','<h3>Students as Archivists</h3>\r\nBehind the scenes in special collections libraries and archives across the country, undergraduate students are being hired as part-time, temporary employees to assist with processing cultural-heritage materials. A recent survey of recipients of Cataloging Hidden Collections Special Collections and Archives grant projects<sup><a title=\"footnote\" href=\"#_ftn1\">[1]</a></sup> found that 97% of respondents employ student workers, and 73% reported that their student workers included undergraduate students. Students are assisting with civil rights collections atEmoryUniversity, modernist architectural drawings and plans atNorth CarolinaStateUniversity, Jewish cultural-heritage materials at theCollege ofCharleston, and Moravian historical documents atLehighUniversity, to name just a few examples. Employing students in special collections libraries and archives is not a new practice; indeed, many of today\'s career librarians and archivists were once student workers themselves. Generally this is a budget-driven practice: students are in need of work and their labor is relatively inexpensive. The educational impact on students, however, is not widely understood or even acknowledged. How does working in archives impact students themselves? What skills do they acquire? Is their library employment connected to their studies? Does this work experience influence their career path? How does engagement with cultural-heritage materials affect their learning in the digital age?\r\n\r\n&nbsp;\r\n<h3>Archivists as Educators</h3>\r\nStudent workers require management:  recruitment, training, oversight, and mentorship. In fact, when viewed strictly as employees, student workers—a transitory population with jam-packed, fluctuating schedules—do not represent the ideal work force. At the same time, we know that employment in the archives gives students an exceptional opportunity for applied learning under the guidance of professional archivists who can provide for the growth of intellectual and practical skills. These skills include exposure to primary sources combined with hands-on training in cataloging, processing, preserving, and digitizing such materials. Working with primary sources involves precisely the kind of active, integrative, experiential learning that is vital to inspiring undergraduate research.<sup><a title=\"footnote\" href=\"#_ftn2\">[2]</a></sup> So, how can we better reconcile the challenges of employing student workers with the potential educational benefits of such labor? We believe that by recognizing and empowering archivists in their roles as teachers, the informal or “hidden” learning that student workers gain can become more visible.\r\n\r\n&nbsp;\r\n<h3>Linking Archival Work to the Educational Missions of Universities and Colleges</h3>\r\nBased on anecdotal evidence, we know that student workers\' exposure to primary sources and the skills and technologies necessary to preserve, manage, and study them is resulting in student learning, informing choices of major, and altering career paths. Yet, the informal or \"hidden learning” that is occurring behind the scenes in libraries and archives is treated largely as a side effect, a fortunate but contingent byproduct of labor, rather than as an integral part of the educational mission. We hope this situation changes with closer attention to the educational experiences of students working in the archives. To that end, we are currently engaged in a study that investigates the impact of working in libraries and archives on students involved in civil rights-related hidden collections projects. These civil rights collections—records of organizations such as the Mexican American Legal Defense and Education Fund, Alianza Hispano-Americana, the Southern Christian Leadership Conference, and the Voter Education Project—are often directly connected to local communities and relevant to contemporary issues and curricula. Most importantly, students are often able to recognize themselves and their communities in the collections, thus increasing the potential for transformative educational experiences. We believe that such work should be acknowledged as precisely the kind of applied learning that most higher education institutions are now actively pursuing in the form of internships, field work, and community service. Our study raises the following questions:\r\n<ul>\r\n	<li>What if “student workers” were perceived as “student archivists,” “young researchers,” or “apprentice scholars”?</li>\r\n	<li>What if student participation in the work of libraries and archives was foregrounded and celebrated, instead of remaining largely anonymous?</li>\r\n	<li>What if training students was seen as central to the business of library and archival practice in educational institutions?</li>\r\n	<li>What if the work students were being hired to do was considered essential to their educational experience and the mission of their universities?</li>\r\n	<li>What if professional archivists emphasized their role as teachers within institutions of higher education?</li>\r\n</ul>\r\n&nbsp;\r\n<h3>Archival Work, the Digital Humanities, and the Library Commons</h3>\r\nConnecting informal learning to university education requires that librarians, archivists, and technologists view themselves as educators working alongside faculty to help students become researchers in a hybrid analog-digital world. Twenty-first-century models for collaborative learning and teaching are emerging, especially in the digital humanities, where students study primary sources in digital formats and apply new technologies to pose and answer research questions. In the digital humanities, students are being guided by faculty to identify and study research questions using new technologies in partnership with their peers. At many institutions, such classes and activities are being supported in Library Commons\' spaces—multi-service research and learning hubs that are technology-enabled and staffed by professional librarians and technologists. How might the hidden learning that students are experiencing behind the scenes in special collections libraries and archives be connected to the digital humanities and the Library Commons?\r\n<h3>Teaching the Whole Student: Faculty, Librarian, Archivist, and Technologist as a Team</h3>\r\nCreating an integrated learning experience demands a symbiotic mindset—a team approach—with archivists, librarians, technologists, and faculty working together to support student learning through engagement with primary sources and new technologies. At the very least, expanding access to primary sources, both physical and digital, in the undergraduate curriculum will require intensifying and scaling coordination and collaboration between the faculty member teaching disciplinary content, the librarian teaching research strategies, the technologist teaching digital tools, and the archivist teaching primary sources. The aim of such coordination would be to provide an environment in which students were more likely to develop skills necessary for success in the knowledge-driven economy of the twenty-first century. Today\'s students must learn not only to find and analyze reliable information, but also to communicate effectively, solve problems, work in teams, use advanced digital tools to create new knowledge, and engage in multicultural communities. The phenomenon of student employment on archival projects is happening largely undetected at the margins of higher education, but it could inspire a new approach to undergraduate learning that foregrounds the role of cultural heritage in the digital age.\r\n<div class=\"footnote\"><sup title=\"footnote\">[1]</sup> The <a href=\"http://www.clir.org/hiddencollections/index.html\">Cataloging Hidden Special Collections and Archives</a> grant program, funded by The Mellon Foundation and administered by the Council on Library and Information Resources, addresses the problem of “hidden collections”: millions of cultural heritage materials held by libraries and archives that have not been adequately described and remain unavailable to researchers.</div>\r\n<div class=\"footnote\"><sup title=\"footnote\">[2]</sup> See, the definition of “high-impact educational practices” articulated by the Association of American Colleges and Universities LEAP (Liberal Education andAmerica’s Promise) Program: http://www.aacu.org/leap/.</div>','Hidden Learning: Undergraduates at Work in the Archives','Student workers require management:  recruitment, training, oversight, and mentorship. In fact, when viewed strictly as employees, student workers—a transitory population with jam-packed, fluctuating schedules—do not represent the ideal work force. At the same time, we know that employment in the archives gives students an exceptional opportunity for applied learning under the guidance of professional archivists who can provide for the growth of intellectual and practical skills. ','inherit','open','open','','1899-revision-15','','','2012-10-01 23:46:38','2012-10-01 23:46:38','',1899,'http://www.archivejournal.net/issue/2/uncategorized/1899-revision-15/',0,'revision','',0),(2596,19,'2012-09-25 01:29:33','2012-09-25 01:29:33','[gallery order=\"desc\" columns=\"4\" link=\"file\" slideshow=\"true\" fb_title_show=\"false\"]','Lehigh - Archival Materials','','inherit','open','open','','1387-revision-44','','','2012-09-25 01:29:33','2012-09-25 01:29:33','',1387,'http://www.archivejournal.net/issue/2/uncategorized/1387-revision-44/',0,'revision','',0),(2600,19,'2012-10-04 04:11:33','2012-10-04 04:11:33','[gallery order=\"desc\" columns=\"4\" link=\"file\" slideshow=\"true\" fb_title_show=\"false\"]','Lehigh - Archival Materials','','inherit','open','open','','1387-revision-48','','','2012-10-04 04:11:33','2012-10-04 04:11:33','',1387,'http://www.archivejournal.net/issue/2/uncategorized/1387-revision-48/',0,'revision','',0),(2597,19,'2012-10-04 04:09:03','2012-10-04 04:09:03','[caption id=\"attachment_1388\" align=\"alignleft\" width=\"150\"]<a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/lehigh_student-work_image1.jpg\"><img class=\"size-thumbnail wp-image-1388 \" title=\"lehigh_student work_image1\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/lehigh_student-work_image1-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" /></a> The Trade with Cedar Crest. From Lehigh’s student newspaper, The Brown &amp; White (September 17, 1971). Image courtesy of Lehigh University Digital Library.[/caption]','Lehigh - Archival Materials','','inherit','open','open','','1387-revision-45','','','2012-10-04 04:09:03','2012-10-04 04:09:03','',1387,'http://www.archivejournal.net/issue/2/uncategorized/1387-revision-45/',0,'revision','',0),(2599,19,'2012-10-04 04:11:23','2012-10-04 04:11:23','[gallery order=\"desc\" columns=\"4\" link=\"file\" slideshow=\"true\" fb_title_show=\"false\"]','Lehigh - Archival Materials','','inherit','open','open','','1387-revision-47','','','2012-10-04 04:11:23','2012-10-04 04:11:23','',1387,'http://www.archivejournal.net/issue/2/uncategorized/1387-revision-47/',0,'revision','',0),(3545,19,'2012-11-14 04:40:15','2012-11-14 04:40:15','','lehigh_student-work_img3','Lehigh student dances with his date at a mixer (<em>Epitome</em> 1970, p.252).  Reproduced by permission from Special Collections, Lehigh University Libraries. ','inherit','open','open','','lehigh_student-work_img3','','','2012-11-14 04:40:15','2012-11-14 04:40:15','',1387,'http://www.archivejournal.net/wp-content/uploads/2012/11/lehigh_student-work_img3.jpg',3,'attachment','image/jpeg',0),(2598,19,'2012-10-04 04:09:42','2012-10-04 04:09:42','[caption id=\"attachment_1388\" align=\"alignleft\" width=\"150\"]<a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/lehigh_student-work_image1.jpg\"><img class=\"size-thumbnail wp-image-1388 \" title=\"lehigh_student work_image1\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/lehigh_student-work_image1-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" /></a> The Trade with Cedar Crest. From Lehigh’s student newspaper, The Brown &amp; White (September 17, 1971). Image courtesy of Lehigh University Digital Library.[/caption]\r\n[caption id=\"attachment_1410\" align=\"alignnone\" width=\"150\"]<a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/lehigh_student-work_image2.jpg\"><img src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/lehigh_student-work_image2-150x150.jpg\" alt=\"Lehigh Student Work\" title=\"lehigh_student work_image2\" width=\"150\" height=\"150\" class=\"size-thumbnail wp-image-1410\" /></a> Alpha Lambda Omega fraternity member list from Epitome, Lehigh’s yearbook (1970, p. 233). Reproduced by permission from Special Collections, Lehigh University Libraries.[/caption]','Lehigh - Archival Materials','','inherit','open','open','','1387-revision-46','','','2012-10-04 04:09:42','2012-10-04 04:09:42','',1387,'http://www.archivejournal.net/issue/2/uncategorized/1387-revision-46/',0,'revision','',0),(2602,19,'2012-10-04 04:39:48','2012-10-04 04:39:48','[gallery order=\"desc\" columns=\"4\" link=\"file\" slideshow=\"true\" fb_title_show=\"false\"]','Lehigh - Archival Materials','','inherit','open','open','','1387-revision-50','','','2012-10-04 04:39:48','2012-10-04 04:39:48','',1387,'http://www.archivejournal.net/issue/2/uncategorized/1387-revision-50/',0,'revision','',0),(3543,19,'2012-11-14 04:40:13','2012-11-14 04:40:13','','lehigh_student-work_img1','The Trade with Cedar Crest.  From Lehigh’s student newspaper, <em>The Brown & White</em> (September 17, 1971).  Image courtesy of Lehigh University Digital Library.','inherit','open','open','','lehigh_student-work_img1','','','2012-11-14 04:40:13','2012-11-14 04:40:13','',1387,'http://www.archivejournal.net/wp-content/uploads/2012/11/lehigh_student-work_img1.jpg',1,'attachment','image/jpeg',0),(2601,19,'2012-10-04 04:12:57','2012-10-04 04:12:57','[gallery order=\"desc\" columns=\"4\" link=\"file\" slideshow=\"true\" fb_title_show=\"false\"]\r\n\r\n[caption id=\"attachment_1388\" align=\"alignnone\" width=\"150\"]<a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/lehigh_student-work_image1.jpg\" class=\"cboxElement\"><img class=\"size-thumbnail wp-image-1388\" title=\"lehigh_student work_image1\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/lehigh_student-work_image1-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" /></a> The Trade with Cedar Crest. From Lehigh’s student newspaper, The Brown &amp; White (September 17, 1971). Image courtesy of Lehigh University Digital Library.[/caption]','Lehigh - Archival Materials','','inherit','open','open','','1387-revision-49','','','2012-10-04 04:12:57','2012-10-04 04:12:57','',1387,'http://www.archivejournal.net/issue/2/uncategorized/1387-revision-49/',0,'revision','',0),(3546,19,'2012-11-14 04:40:17','2012-11-14 04:40:17','','lehigh_student-work_img4','Photograph of the Class of 1948’s 15th reunion (1963).  Reproduced by permission from Special Collections, Lehigh University Libraries.','inherit','open','open','','lehigh_student-work_img4','','','2012-11-14 04:40:17','2012-11-14 04:40:17','',1387,'http://www.archivejournal.net/wp-content/uploads/2012/11/lehigh_student-work_img4.jpg',4,'attachment','image/jpeg',0),(3542,19,'2012-11-14 04:17:22','2012-11-14 04:17:22','[gallery order=\"desc\" columns=\"4\" link=\"file\" slideshow=\"true\" fb_title_show=\"false\"]','Lehigh - Archival Materials','','inherit','open','open','','1387-revision-53','','','2012-11-14 04:17:22','2012-11-14 04:17:22','',1387,'http://www.archivejournal.net/issue/2/uncategorized/1387-revision-53/',0,'revision','',0),(2603,19,'2012-10-04 04:03:10','2012-10-04 04:03:10','<img class=\"alignleft size-full wp-image-1374\" title=\"lehigh_instructor head shot_kramp\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/lehigh_instructor-head-shot_kramp.jpg\" alt=\"\" width=\"120\" height=\"160\" />My fall 2011 English and Women’s Studies upper-level undergraduate class, Theories of Masculinity, was designed to coordinate with the fortieth anniversary of admitting undergraduate women to Lehigh University. A major component of this course was a student-produced documentary film that considers the effects of coeducation on men and masculinity at Lehigh. This film project provided my students with an opportunity to examine critically Lehigh’s institutional history, focusing on the late 1960s and early 1970s. While it was not my initial intention, I was extremely pleased by the students’ abilities to research and study their own school’s history. They made extensive use of Lehigh’s Archives and Special Collections to collect numerous articles, documents, and perhaps most importantly, photographs, and they incorporated these materials into the different sections of the film (see Figures 1-6). Students discovered several cultural texts from the 1960s and 1970s that portrayed Lehigh as a haven for privileged masculinity, a sphere in which men appeared largely ignorant of the volatile civil rights movement and the emergent mid-century women’s movement. And yet, my students’ research also revealed that the Lehigh community of this era was also clearly cognizant of impending social changes. As my students tracked this tension between the ossification of male hegemony and the certainty of coming shifts, they developed a newfound appreciation for the importance of institutional history to the present operations of a university.\r\n\r\nThe prominence of Greek life is certainly one such feature of this legacy. Two of the four segments of the film address the role of fraternities and Greek social life, including the final section, which focuses on men and masculinity in Lehigh’s contemporary culture. The students who explored Lehigh’s mid-century Greek culture found ample textual evidence of its importance, including photographs, yearbook coverage, and film footage. When students interviewed alumni from the 1960s and 1970s, the men reported that Greek life had waned significantly in the years following coeducation. But when other students spoke with current male and female students, these individuals emphasized the enduring importance of fraternities and sororities to the culture of Lehigh. In addition, the group of filmmakers who focused on the period prior to coeducation highlighted the ways in which women were brought to campus for Saturday evening social events such as dances. My students interviewed several alumni who commented on the awkwardness of such activities, for both the men and the women. They even include a telling newspaper story in which Cedar Crest College, a small women’s college in nearby Allentown, is referenced as the bordello of Lehigh Valley (see Figure 1). The student filmmakers who covered the years immediately following coeducation also treated the clumsiness of men’s interactions with women; they point to challenges in managing facilities and planning building construction, developing female athletics, and integrating women into extra-curricular clubs and organizations, such as the marching band. The filmmakers who treated contemporary conceptions of masculinity within the Lehigh community explicitly referenced the enduring legacy of sexual inequality and the perceived intellectual inferiority of women. They cited recent newspaper accounts on persistent gender inequities on campus and conducted numerous interviews on the topic. While it may very well have been unintentional, these students never interviewed a male and female subject together; instead, they consistently showed pairs of male students, suggesting the extant homosocial culture of Lehigh.\r\n\r\nI wanted my students to engage the history and culture of Lehigh through film technology because it would provide them with an opportunity to artistically synthesize a variety of different kinds of texts (photos, newspaper articles, found film footage, interviews, etc.). The film medium also allowed my students to share their work in public forums, respond to questions and concerns, and discuss their own research and artistic strategies. In effect, the film project allowed my students to contribute to the very institutional history of Lehigh University that they were researching. The archival work my students completed for this film has effectively introduced them to both the depths of information housed in Lehigh’s Special Collections and the profound relevance of institutional history to their own educational experiences. As I reflect upon the experience, there is no doubt in my mind that the most important single component of this process was done long before this class started; the cataloguing and digitization of the university newspaper and annual yearbooks made such a classroom project possible. The film has allowed students, faculty, and alumni to look back into Lehigh’s past, and, while this project has undoubtedly opened some uncomfortable topics and discussions, it has also reminded current and former members of the Lehigh community of their shared history.','Michael Kramp - Commentary','My Fall 2011 English and Women’s Studies upper-level undergraduate class, “Theories of Masculinity” was designed to coordinate with the 40th anniversary of undergraduate women at Lehigh University. A major component of this course was a student-produced documentary film that considers the effects of co-education on men and masculinity at Lehigh. This film project provided my students with an opportunity to examine critically Lehigh’s institutional history, focusing on the late 1960s and early 1970s.','inherit','open','open','','1110-revision-12','','','2012-10-04 04:03:10','2012-10-04 04:03:10','',1110,'http://www.archivejournal.net/issue/2/uncategorized/1110-revision-12/',0,'revision','',0),(2604,19,'2012-10-04 05:03:41','2012-10-04 05:03:41','<img class=\"alignleft size-full wp-image-1374\" title=\"lehigh_instructor head shot_kramp\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/lehigh_instructor-head-shot_kramp.jpg\" alt=\"\" width=\"120\" height=\"160\" />My fall 2011 English and Women’s Studies upper-level undergraduate class, Theories of Masculinity, was designed to coordinate with the fortieth anniversary of admitting undergraduate women to Lehigh University. A major component of this course was a student-produced documentary film that considers the effects of coeducation on men and masculinity at Lehigh. This film project provided my students with an opportunity to examine critically Lehigh’s institutional history, focusing on the late 1960s and early 1970s. While it was not my initial intention, I was extremely pleased by the students’ abilities to research and study their own school’s history. They made extensive use of Lehigh’s Archives and Special Collections to collect numerous articles, documents, and perhaps most importantly, photographs, and they incorporated these materials into the different sections of the film (see Figures 1-6). Students discovered several cultural texts from the 1960s and 1970s that portrayed Lehigh as a haven for privileged masculinity, a sphere in which men appeared largely ignorant of the volatile civil rights movement and the emergent mid-century women’s movement. And yet, my students’ research also revealed that the Lehigh community of this era was also clearly cognizant of impending social changes. As my students tracked this tension between the ossification of male hegemony and the certainty of coming shifts, they developed a newfound appreciation for the importance of institutional history to the present operations of a university.\r\n\r\nThe prominence of Greek life is certainly one such feature of this legacy. Two of the four segments of the film address the role of fraternities and Greek social life, including the final section, which focuses on men and masculinity in Lehigh’s contemporary culture. The students who explored Lehigh’s mid-century Greek culture found ample textual evidence of its importance, including photographs, yearbook coverage, and film footage. When students interviewed alumni from the 1960s and 1970s, the men reported that Greek life had waned significantly in the years following coeducation. But when other students spoke with current male and female students, these individuals emphasized the enduring importance of fraternities and sororities to the culture of Lehigh. In addition, the group of filmmakers who focused on the period prior to coeducation highlighted the ways in which women were brought to campus for Saturday evening social events such as dances. My students interviewed several alumni who commented on the awkwardness of such activities, for both the men and the women. They even include a telling newspaper story in which Cedar Crest College, a small women’s college in nearby Allentown, is referenced as the bordello of Lehigh Valley (see <a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/lehigh_student-work_image1.jpg\">Figure 1</a>). The student filmmakers who covered the years immediately following coeducation also treated the clumsiness of men’s interactions with women; they point to challenges in managing facilities and planning building construction, developing female athletics, and integrating women into extra-curricular clubs and organizations, such as the marching band. The filmmakers who treated contemporary conceptions of masculinity within the Lehigh community explicitly referenced the enduring legacy of sexual inequality and the perceived intellectual inferiority of women. They cited recent newspaper accounts on persistent gender inequities on campus and conducted numerous interviews on the topic. While it may very well have been unintentional, these students never interviewed a male and female subject together; instead, they consistently showed pairs of male students, suggesting the extant homosocial culture of Lehigh.\r\n\r\nI wanted my students to engage the history and culture of Lehigh through film technology because it would provide them with an opportunity to artistically synthesize a variety of different kinds of texts (photos, newspaper articles, found film footage, interviews, etc.). The film medium also allowed my students to share their work in public forums, respond to questions and concerns, and discuss their own research and artistic strategies. In effect, the film project allowed my students to contribute to the very institutional history of Lehigh University that they were researching. The archival work my students completed for this film has effectively introduced them to both the depths of information housed in Lehigh’s Special Collections and the profound relevance of institutional history to their own educational experiences. As I reflect upon the experience, there is no doubt in my mind that the most important single component of this process was done long before this class started; the cataloguing and digitization of the university newspaper and annual yearbooks made such a classroom project possible. The film has allowed students, faculty, and alumni to look back into Lehigh’s past, and, while this project has undoubtedly opened some uncomfortable topics and discussions, it has also reminded current and former members of the Lehigh community of their shared history.','Michael Kramp - Commentary','My Fall 2011 English and Women’s Studies upper-level undergraduate class, “Theories of Masculinity” was designed to coordinate with the 40th anniversary of undergraduate women at Lehigh University. A major component of this course was a student-produced documentary film that considers the effects of co-education on men and masculinity at Lehigh. This film project provided my students with an opportunity to examine critically Lehigh’s institutional history, focusing on the late 1960s and early 1970s.','inherit','open','open','','1110-revision-13','','','2012-10-04 05:03:41','2012-10-04 05:03:41','',1110,'http://www.archivejournal.net/issue/2/uncategorized/1110-revision-13/',0,'revision','',0),(3782,24,'2013-02-20 18:26:34','2013-02-20 18:26:34','This is your title page. Edit it to suit your needs. It has been automatically set as your homepage but if you want another page as your homepage, set it in <em>Wordpress</em> ? <em>Settings</em> ? <em>Reading</em>.','Title Page','','inherit','open','open','','2115-autosave','','','2013-02-20 18:26:34','2013-02-20 18:26:34','',2115,'http://www.archivejournal.net/issue/2/uncategorized/2115-autosave/',0,'revision','',0),(2606,2,'2012-10-02 02:34:27','2012-10-02 02:34:27','“So, how do we bring students to our table?” That was the question a special collections librarian asked in 1999. <sup><a id=\"ref1\" href=\"#fn1\">[1]</a></sup> Now, in 2012, the question is no longer how: “Teaching with primary source materials is unquestionably ‘hot’ in higher education [as] authentic rare books, manuscripts, or archival documents\" appear in many undergraduate classrooms. <sup><a id=\"ref2\" href=\"#fn2\">[2]</a></sup>\r\n\r\nThe table is full; the effort to bring undergraduates into special collections and archives has been enormously successful. What matters now is how to turn these encounters to account. What happens in the archival laboratory, a place where students are actively involved in research, stewardship, publication, and exhibits? How do librarians, curators, archivists, instructors, and technology specialists collaborate to get such projects off the ground? How do we make use of these encounters to develop research and interpretive skills, showcase students’ findings, and learn from their discoveries? What do students report that they have gained through their archival experiences?\r\n\r\nIn this issue of “Archives, Remixed,” we present six case studies illustrating inventive solutions to these dilemmas of success. The parameters and formats of these projects demonstrate the diversity of ways to teach with primary source materials: not all of the projects take place in a classroom context (although some do); not all the student work is authored singly (although some is). Some projects involve one institution, while others involve partnerships with local organizations or other universities or colleges; some projects are more analog, others more digital; and some end when the student’s work is complete, while others continue. The projects all have historical claims, but the array of objects under consideration—architectural drawings, photographs, ancient statuary, newspaper clippings, rare books, personal mementos—speaks to many disciplines. The academic institutions where these projects originate, from a community college to liberal arts colleges to a research university, vary as much as the projects themselves.\r\n\r\nEach case study focuses the work students produce in these archival encounters. On each case-study page, you will find a sample of student work accompanied by a project description; commentary on the project by the student(s); commentary from the teachers, librarians, and/or technologists who structured the projects and guided students through them; as well as links to related or additional resources.\r\n\r\nWe invite you to explore, to comment, and to use these case studies as fodder for your own research and teaching projects.\r\n<div class=\"footnote\"><sup id=\"fn1\">[1]</sup>Allen, Susan M. “Rare Books and the College Library: Current Practices in Marrying Undergraduates to Special Collections.” Rare Books &amp; Manuscripts Librarianship 13.2 (Spring 1999): 110-19.</div>\r\n<div class=\"footnote\"><sup id=\"fn1\">[2]</sup> Bahde, Anne. “Taking the Show on the Road: Special Collections Instruction in the Campus Classroom.” RBM: A Journal of Rare Books, Manuscripts, &amp; Cultural Heritage 12.2 (Fall 2011): 75.</div>','Student Project Case Studies','A venue featuring new work that analyzes, uses, theorizes, creates, navigates, or reconstitutes archival practice and theory or particular archives, objects, and exhibits&mdash;in traditional essays or multi-modal or experimental formats.','inherit','open','open','','1711-revision-35','','','2012-10-02 02:34:27','2012-10-02 02:34:27','',1711,'http://www.archivejournal.net/issue/2/uncategorized/1711-revision-35/',0,'revision','',0),(2607,2,'2012-09-21 16:00:44','2012-09-21 16:00:44','<p>Since I came to Wesleyan nearly fifteen years ago, a key focus of my job has been outreach to the faculty, and thus the undergraduates, through the curriculum.  To this end, I teach thirty-five to fifty class sessions each academic year in Special Collections &amp; Archives (SC&amp;A).  Disciplines range from Astronomy to Writing, and just about everything in between.</p>\r\n<p>Though all class sessions have the common goal of raising undergraduate awareness of and interest in the holdings of SC&amp;A, each class presentation is different, based on both the subject of the course and the pedagogical purpose for which the materials will be used.  Some sessions take a classic “dog and pony show” approach, in which I—or sometimes the professor and I—present a group of interesting materials from our collections and talk briefly about each item, how it connects to the course, and/or how it might be used in the students’ research.  In other sessions, students take a more active role by doing an in-class assignment.  One such assignment we often use is the “mystery book exercise” that a history of science faculty member and I developed together.  “Mystery book” is a fun, fast-paced exercise that trains students to evaluate an unfamiliar source quickly and teaches information literacy skills using books or documents connected to the subject of the course.  After spending a few minutes looking at a book they haven’t seen before, students answer ten questions, which range from the (usually) easy identification of the author to more complex considerations of how the mystery book might inform their research.  Still other classes use the visit to SC&amp;A as preparation for an in-depth paper or project that requires, or at least strongly encourages, the use of materials in Special Collections &amp; Archives.  These longer assignments are as varied as the classes, and they include traditional term papers, documentary editing projects, artists’ books, and creative writing based on primary sources, among others.  For the full list of mystery book questions, other assignments, and comments from Wesleyan professors who use Special Collections &amp; Archives in teaching, see the online exhibition, <em><a href=\"http://oldbooks.site.wesleyan.edu/\">Old Books, New Pedagogy: Special Collections and Archives in the Curriculum</a></em>.</p>\r\n<p>Of course, not all the work I do with undergraduates is teaching them about archives and special collections in class settings.  Often class visits spark students’ use of SC&amp;A for other courses, senior theses or essays, co-curricular activities, or just simple personal interest.  In many of these cases, I work one-on-one with the students to help them identify relevant materials, focus topics, find related books or documents, understand the context – all typical functions of reference and instruction librarians.</p>\r\n<p>Much of my recent professional activity has focused on teaching undergraduates using archives and special collections.  I’ve just completed co-editing a volume of case studies on this topic, entitled <em>Past or Portal? Enhancing Undergraduate Learning through Special Collections and Archives</em>.  The book, which is forthcoming from the Association of College and Research Libraries, contains nearly fifty real-life examples of undergraduate curricular use of archives and special collections in a wide variety of institutions.</p>\r\n','Undergraduates in the Archives - Taraba 1','','inherit','open','open','','1558-revision-7','','','2012-09-21 16:00:44','2012-09-21 16:00:44','',1558,'http://www.archivejournal.net/issue/2/uncategorized/1558-revision-7/',0,'revision','',0),(2608,2,'2012-10-07 17:22:35','2012-10-07 17:22:35','Since I came to Wesleyan nearly fifteen years ago, a key focus of my job has been outreach to the faculty, and thus the undergraduates, through the curriculum.  To this end, I teach thirty-five to fifty class sessions each academic year in Special Collections &amp; Archives (SC&amp;A).  Disciplines range from Astronomy to Writing, and just about everything in between.\r\n\r\nThough all class sessions have the common goal of raising undergraduate awareness of and interest in the holdings of SC&amp;A, each class presentation is different, based on both the subject of the course and the pedagogical purpose for which the materials will be used.  Some sessions take a classic “dog and pony show” approach, in which I—or sometimes the professor and I—present a group of interesting materials from our collections and talk briefly about each item, how it connects to the course, and/or how it might be used in the students’ research.  In other sessions, students take a more active role by doing an in-class assignment.  One such assignment we often use is the “mystery book exercise” that a history of science faculty member and I developed together.  “Mystery book” is a fun, fast-paced exercise that trains students to evaluate an unfamiliar source quickly and teaches information literacy skills using books or documents connected to the subject of the course.  After spending a few minutes looking at a book they haven’t seen before, students answer ten questions, which range from the (usually) easy identification of the author to more complex considerations of how the mystery book might inform their research.  Still other classes use the visit to SC&amp;A as preparation for an in-depth paper or project that requires, or at least strongly encourages, the use of materials in Special Collections &amp; Archives.  These longer assignments are as varied as the classes, and they include traditional term papers, documentary editing projects, artists’ books, and creative writing based on primary sources, among others.  For the full list of mystery book questions, other assignments, and comments from Wesleyan professors who use Special Collections &amp; Archives in teaching, see the online exhibition, <em><a href=\"http://oldbooks.site.wesleyan.edu/\">Old Books, New Pedagogy: Special Collections and Archives in the Curriculum</a></em>.\r\n\r\nOf course, not all the work I do with undergraduates is teaching them about archives and special collections in class settings.  Often class visits spark students’ use of SC&amp;A for other courses, senior theses or essays, co-curricular activities, or just simple personal interest.  In many of these cases, I work one-on-one with the students to help them identify relevant materials, focus topics, find related books or documents, understand the context – all typical functions of reference and instruction librarians.\r\n\r\nMuch of my recent professional activity has focused on teaching undergraduates using archives and special collections.  I’ve just completed co-editing a volume of case studies on this topic, entitled <em>Past or Portal? Enhancing Undergraduate Learning through Special Collections and Archives</em>.  The book, recently published by the the Association of College and Research Libraries, contains nearly fifty real-life examples of undergraduate curricular use of archives and special collections in a wide variety of institutions.','Undergraduates in the Archives - Taraba 1','','inherit','open','open','','1558-revision-8','','','2012-10-07 17:22:35','2012-10-07 17:22:35','',1558,'http://www.archivejournal.net/issue/2/uncategorized/1558-revision-8/',0,'revision','',0),(3636,10,'2012-10-24 02:53:44','2012-10-24 02:53:44','There have been many exciting outcomes from the students’ interactions with archival materials. In the spring of 2010, the class project was to design a digital exhibit that would bring together Penn anthropologist A. Irving Hallowell’s Ojibwe photographs from the American Philosophical Society and Ojibwe artifacts from the Penn Museum, all of which were collected in the 1930s. (See Figure 1) <span id=\"attachment_2610\" class=\"alignright wp-caption\" style=\"width: 335px;\"><a title=\"Bandolier Bag\" href=\"http://stage.archivejournal.net/wp-content/uploads/2012/10/powell_1.jpg\"><img class=\"size-medium wp-image-2625\" title=\"Ojibwe Bandolier Bag\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/10/powell_1-333x147.jpg\" alt=\"\'Ojibwe Bandolier Bag,\' Penn Museum, photograph by David McDonald, DMcD Productions.\" width=\"333\" height=\"147\" /></a><span class=\"wp-caption-text\"><em>Figure 1</em>: \"Ojibwe Bandolier Bag,\" Penn Museum, photograph by David McDonald, DMcD Productions.</span></span> Not long before the semester started, I had been contacted by Gord Jones, the project manager of Pimachiowin Aki Corporation, who is working on submitting a UNESCO World Heritage Site grant application to preserve 40,000 square kilometers of boreal forest and the cultural landscape of five Ojibwe First Nations. One challenge of the grant is to define a “cultural landscape.” A number of scholars associated with the Pimachiowin Aki project had come to the APS and digitized material from the Hallowell collection. Hallowell had worked in Ojibwe First Nation communities in northern Manitoba and Ontario for ten years, so there was a large amount of material related to this very small, remote place. The students photographed and documented the objects from the Hallowell collection at the Penn Museum and presented them to Ojibwe representatives of the Pimachiowin Aki project at a conference held at the APS shortly after the semester ended. The students’ material is now part of a historic project, the first UNESCO World Heritage Site application ever submitted by the Canadian government on behalf of First Nations.','Undergraduates in the Archives - Powell 3','There have been many exciting outcomes from the students’ interactions with archival materials.  In the spring of 2010, the class project was to integrate the photography and artifact collections of noted Penn anthropologist A. Irving Hallowell, whose photographs are housed at the APS, and whose artifacts are stored at the Penn Museum.  ','inherit','open','open','','1583-revision-41','','','2012-10-24 02:53:44','2012-10-24 02:53:44','',1583,'http://www.archivejournal.net/issue/2/uncategorized/1583-revision-41/',0,'revision','',0),(2609,19,'2012-10-08 21:01:52','2012-10-08 21:01:52','','Powell 2, Cherokee Stickball','Cherokee Stickball, American Philosophical Society, Frank Speck collection.','inherit','open','open','','powell_2','','','2012-10-08 21:01:52','2012-10-08 21:01:52','',1583,'http://www.archivejournal.net/wp-content/uploads/2012/02/powell_2.jpg',0,'attachment','image/jpeg',0),(2625,19,'2012-10-08 21:42:37','2012-10-08 21:42:37','','Powell 1, Bandolier Bag','Bandolier Bag','inherit','open','open','','powell_1','','','2012-10-08 21:42:37','2012-10-08 21:42:37','',1583,'http://www.archivejournal.net/wp-content/uploads/2012/10/powell_1.jpg',0,'attachment','image/jpeg',0),(2626,19,'2012-10-08 21:37:12','2012-10-08 21:37:12','There have been many exciting outcomes from the students’ interactions with archival materials. In the spring of 2010, the class project was to design a digital exhibit that would bring together Penn anthropologist A. Irving Hallowell’s Ojibwe photographs from the American Philosophical Society and Ojibwe artifacts from the Penn Museum, all of which were collected in the 1930s. (See Figure 1) <div id=\"attachment_2610\" class=\"alignright wp-caption\" style=\"width:333px\"><a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/powell_1.jpg\" title=\"Bandolier Bag\"><img src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/powell_1-333x147.jpg\" alt=\"bandolier bag 76-4-1\" title=\"Powell, Figure 1\" width=\"333\" height=\"147\" class=\"alignright size-medium wp-image-2610\" /></a><span class=\"wp-caption-text\"><em>Figure 1</em>: bandolier bag 76-4-1</span></div> \r\nNot long before the semester started, I had been contacted by Gord Jones, the project manager of Pimachiowin Aki Corporation, who is working on submitting a UNESCO World Heritage Site grant application to preserve 40,000 square kilometers of boreal forest and the cultural landscape of five Ojibwe First Nations. One challenge of the grant is to define a “cultural landscape.” A number of scholars associated with the Pimachiowin Aki project had come to the APS and digitized material from the Hallowell collection. Hallowell had worked in Ojibwe First Nation communities in northern Manitoba and Ontario for ten years, so there was a large amount of material related to this very small, remote place. The students photographed and documented the objects from the Hallowell collection at the Penn Museum and presented them to Ojibwe representatives of the Pimachiowin Aki project at a conference held at the APS shortly after the semester ended. The students’ material is now part of a historic project, the first UNESCO World Heritage Site application ever submitted by the Canadian government on behalf of First Nations.\r\n\r\n\r\nLast semester my students worked in groups to curate an exhibit entitled <em>Cherokee Stickball</em>, based on the research of Frank Speck, a highly distinguished anthropologist. Speck taught at Penn for half a century, collecting more than forty stickball sticks for the Penn Museum and depositing photographs of Cherokee stickball games at the APS. (See Figure 2.) In the 1930s, Speck worked with a Cherokee Medicine Man named Will West Long, who provided Speck with a rich ethnographic description of the spiritual dimensions of the game. Will West’s grand nephew, T.J. Holland, came to the APS conference in the spring of 2010, and I had the opportunity to interview him along with another very knowledgeable elder, Tom Belt. The students created Quick Time videos that combined Speck’s photographs taken in the 1930s with the contemporary oral histories. They also photographed all of the sticks in the Penn Museum’s collection and created a database of descriptive materials. One of the students won a Mellon grant through Penn to take the digital materials to the Eastern Band of the Cherokee in North Carolina. Today, Cherokee craftsman are recreating the older sticks based on the students’ photographs, and the videos will be used in a museum exhibit that will be displayed at the tribally owned Junaluska Museum, located in Robbinsville, North Carolina.','Undergraduates in the Archives - Powell 3','There have been many exciting outcomes from the students’ interactions with archival materials.  In the spring of 2010, the class project was to integrate the photography and artifact collections of noted Penn anthropologist A. Irving Hallowell, whose photographs are housed at the APS, and whose artifacts are stored at the Penn Museum.  ','inherit','open','open','','1583-revision-21','','','2012-10-08 21:37:12','2012-10-08 21:37:12','',1583,'http://www.archivejournal.net/issue/2/uncategorized/1583-revision-21/',0,'revision','',0),(2612,19,'2012-10-08 21:04:45','2012-10-08 21:04:45','[caption id=\"attachment_2610\" align=\"alignright\" width=\"333\"]<a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/powell_1.jpg\"><img class=\"size-medium wp-image-2610\" title=\"Powell, Figure 1\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/powell_1-333x147.jpg\" alt=\"White Earth visit to Penn Museum, bandolier bag 76-4-1\" width=\"333\" height=\"147\" /></a> <em>Figure 1</em>: bandolier bag 76-4-1[/caption]\r\n\r\nThere have been many exciting outcomes from the students’ interactions with archival materials. In the spring of 2010, the class project was to design a digital exhibit that would bring together Penn anthropologist A. Irving Hallowell’s Ojibwe photographs from the American Philosophical Society and Ojibwe artifacts from the Penn Museum, all of which were collected in the 1930s. (See <a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/powell_1.jpg\">Figure 1</a>) Not long before the semester started, I had been contacted by Gord Jones, the project manager of Pimachiowin Aki Corporation, who is working on submitting a UNESCO World Heritage Site grant application to preserve 40,000 square kilometers of boreal forest and the cultural landscape of five Ojibwe First Nations. One challenge of the grant is to define a “cultural landscape.” A number of scholars associated with the Pimachiowin Aki project had come to the APS and digitized material from the Hallowell collection. Hallowell had worked in Ojibwe First Nation communities in northern Manitoba and Ontario for ten years, so there was a large amount of material related to this very small, remote place. The students photographed and documented the objects from the Hallowell collection at the Penn Museum and presented them to Ojibwe representatives of the Pimachiowin Aki project at a conference held at the APS shortly after the semester ended. The students’ material is now part of a historic project, the first UNESCO World Heritage Site application ever submitted by the Canadian government on behalf of First Nations.\r\n\r\n&nbsp;\r\n\r\nLast semester my students worked in groups to curate an exhibit entitled <em>Cherokee Stickball</em>, based on the research of Frank Speck, a highly distinguished anthropologist. Speck taught at Penn for half a century, collecting more than forty stickball sticks for the Penn Museum and depositing photographs of Cherokee stickball games at the APS. (See Figure 2.) In the 1930s, Speck worked with a Cherokee Medicine Man named Will West Long, who provided Speck with a rich ethnographic description of the spiritual dimensions of the game. Will West’s grand nephew, T.J. Holland, came to the APS conference in the spring of 2010, and I had the opportunity to interview him along with another very knowledgeable elder, Tom Belt. The students created Quick Time videos that combined Speck’s photographs taken in the 1930s with the contemporary oral histories. They also photographed all of the sticks in the Penn Museum’s collection and created a database of descriptive materials. One of the students won a Mellon grant through Penn to take the digital materials to the Eastern Band of the Cherokee in North Carolina. Today, Cherokee craftsman are recreating the older sticks based on the students’ photographs, and the videos will be used in a museum exhibit that will be displayed at the tribally owned Junaluska Museum, located in Robbinsville, North Carolina.','Undergraduates in the Archives - Powell 3','There have been many exciting outcomes from the students’ interactions with archival materials.  In the spring of 2010, the class project was to integrate the photography and artifact collections of noted Penn anthropologist A. Irving Hallowell, whose photographs are housed at the APS, and whose artifacts are stored at the Penn Museum.  ','inherit','open','open','','1583-revision-8','','','2012-10-08 21:04:45','2012-10-08 21:04:45','',1583,'http://www.archivejournal.net/issue/2/uncategorized/1583-revision-8/',0,'revision','',0),(2611,19,'2012-09-24 16:42:37','2012-09-24 16:42:37','There have been many exciting outcomes from the students’ interactions with archival materials.  In the spring of 2010, the class project was to integrate the photography and artifact collections of noted Penn anthropologist A. Irving Hallowell, whose photographs are housed at the APS, and whose artifacts are stored at the Penn Museum.  Not long before the semester started, I had been contacted by Gord Jones, the project manager of Pimachiowin Aki corporation, who is working on submitting a UNESCO World Heritage Site to preserve 40,000 square kilometers of boreal forest and the cultural landscape of five Ojibwe First Nations.  One chllange of the grant is to define a “cultural landscape.”  A number of scholars associated with the Pimachiowin Aki project had come to the APS and digitized material from the Hallowell collection.  Hallowell had worked in Ojibwe First Nation communities in northern Manitoba and Ontario for ten years, so there was a large amount of material related to this very small, remote place.  The students photographed and documented the objects from the Hallowell collection at the Penn Museum and presented them to Ojibwe representatives of the Pimachiowin Aki project at a conference held at the APS shortly after the semester ended.  The students’ material is now part of the grant application.\r\n\r\nLast semester, my students worked in groups to curate an exhibit entitled “Cherokee Stickball,” based on the research of the noted anthropologist Frank Speck.  Speck taught at Penn for half a century, collecting more than 40 stickball sticks for the Penn Museum and depositing photographs of Cherokee stickball games at the APS.  In the 1930s, Speck worked with a Cherokee Medicine Man named Will West Long who provided him with rich ethnographic description of the spiritual dimensions of the game.  At the APS conference in the spring of 2010, Will West’s grandson came to the conference and I was able to interview him along with another very knowledgeable elder.  The students created Quick Time videos, combining Speck’s photographs taken in the 1930s with the contemporary oral histories.  They also photographed all of the sticks in the Penn Museum’s collection and created a database of descriptive materials.  One of the students won a Mellon grant through Penn.  She took the materials to the Eastern Band of the Cherokee in North Carolina.  Today, Cherokee craftsman are recreating the older sticks, based on the students photographs, and the videos will be used in a museum exhibit that will be displayed at the tribally owned Junaluska Museum, located in Robbinsville, North Carolina.','Undergraduates in the Archives - Powell 3','There have been many exciting outcomes from the students’ interactions with archival materials.  In the spring of 2010, the class project was to integrate the photography and artifact collections of noted Penn anthropologist A. Irving Hallowell, whose photographs are housed at the APS, and whose artifacts are stored at the Penn Museum.  ','inherit','open','open','','1583-revision-7','','','2012-09-24 16:42:37','2012-09-24 16:42:37','',1583,'http://www.archivejournal.net/issue/2/uncategorized/1583-revision-7/',0,'revision','',0),(2614,19,'2012-10-08 21:09:31','2012-10-08 21:09:31','There have been many exciting outcomes from the students’ interactions with archival materials. In the spring of 2010, the class project was to design a digital exhibit that would bring together Penn anthropologist A. Irving Hallowell’s Ojibwe photographs from the American Philosophical Society and Ojibwe artifacts from the Penn Museum, all of which were collected in the 1930s. (See <a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/powell_1.jpg\">Figure 1</a>)\r\n\r\n<a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/powell_1.jpg\"><img class=\"size-medium wp-image-2610 \" title=\"Powell, Figure 1\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/powell_1-333x147.jpg\" alt=\"White Earth visit to Penn Museum, bandolier bag 76-4-1\" width=\"333\" height=\"147\" /></a>\r\n\r\nNot long before the semester started, I had been contacted by Gord Jones, the project manager of Pimachiowin Aki Corporation, who is working on submitting a UNESCO World Heritage Site grant application to preserve 40,000 square kilometers of boreal forest and the cultural landscape of five Ojibwe First Nations. One challenge of the grant is to define a “cultural landscape.” A number of scholars associated with the Pimachiowin Aki project had come to the APS and digitized material from the Hallowell collection. Hallowell had worked in Ojibwe First Nation communities in northern Manitoba and Ontario for ten years, so there was a large amount of material related to this very small, remote place. The students photographed and documented the objects from the Hallowell collection at the Penn Museum and presented them to Ojibwe representatives of the Pimachiowin Aki project at a conference held at the APS shortly after the semester ended. The students’ material is now part of a historic project, the first UNESCO World Heritage Site application ever submitted by the Canadian government on behalf of First Nations.\r\n\r\n&nbsp;\r\n\r\nLast semester my students worked in groups to curate an exhibit entitled <em>Cherokee Stickball</em>, based on the research of Frank Speck, a highly distinguished anthropologist. Speck taught at Penn for half a century, collecting more than forty stickball sticks for the Penn Museum and depositing photographs of Cherokee stickball games at the APS. (See Figure 2.) In the 1930s, Speck worked with a Cherokee Medicine Man named Will West Long, who provided Speck with a rich ethnographic description of the spiritual dimensions of the game. Will West’s grand nephew, T.J. Holland, came to the APS conference in the spring of 2010, and I had the opportunity to interview him along with another very knowledgeable elder, Tom Belt. The students created Quick Time videos that combined Speck’s photographs taken in the 1930s with the contemporary oral histories. They also photographed all of the sticks in the Penn Museum’s collection and created a database of descriptive materials. One of the students won a Mellon grant through Penn to take the digital materials to the Eastern Band of the Cherokee in North Carolina. Today, Cherokee craftsman are recreating the older sticks based on the students’ photographs, and the videos will be used in a museum exhibit that will be displayed at the tribally owned Junaluska Museum, located in Robbinsville, North Carolina.','Undergraduates in the Archives - Powell 3','There have been many exciting outcomes from the students’ interactions with archival materials.  In the spring of 2010, the class project was to integrate the photography and artifact collections of noted Penn anthropologist A. Irving Hallowell, whose photographs are housed at the APS, and whose artifacts are stored at the Penn Museum.  ','inherit','open','open','','1583-revision-10','','','2012-10-08 21:09:31','2012-10-08 21:09:31','',1583,'http://www.archivejournal.net/issue/2/uncategorized/1583-revision-10/',0,'revision','',0),(2613,19,'2012-10-08 21:06:48','2012-10-08 21:06:48','\r\n\r\nThere have been many exciting outcomes from the students’ interactions with archival materials. In the spring of 2010, the class project was to design a digital exhibit that would bring together Penn anthropologist A. Irving Hallowell’s Ojibwe photographs from the American Philosophical Society and Ojibwe artifacts from the Penn Museum, all of which were collected in the 1930s. (See <a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/powell_1.jpg\">Figure 1</a>) <div id=\"attachment_2610\" class=\"alignright\" style=\"width:333px\"><a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/powell_1.jpg\"><img class=\"size-medium wp-image-2610 \" title=\"Powell, Figure 1\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/powell_1-333x147.jpg\" alt=\"White Earth visit to Penn Museum, bandolier bag 76-4-1\" width=\"333\" height=\"147\" /></a><span class=\"wp-caption-text\"><em>Figure 1</em>: bandolier bag 76-4-1</span></div>Not long before the semester started, I had been contacted by Gord Jones, the project manager of Pimachiowin Aki Corporation, who is working on submitting a UNESCO World Heritage Site grant application to preserve 40,000 square kilometers of boreal forest and the cultural landscape of five Ojibwe First Nations. One challenge of the grant is to define a “cultural landscape.” A number of scholars associated with the Pimachiowin Aki project had come to the APS and digitized material from the Hallowell collection. Hallowell had worked in Ojibwe First Nation communities in northern Manitoba and Ontario for ten years, so there was a large amount of material related to this very small, remote place. The students photographed and documented the objects from the Hallowell collection at the Penn Museum and presented them to Ojibwe representatives of the Pimachiowin Aki project at a conference held at the APS shortly after the semester ended. The students’ material is now part of a historic project, the first UNESCO World Heritage Site application ever submitted by the Canadian government on behalf of First Nations.\r\n\r\n&nbsp;\r\n\r\nLast semester my students worked in groups to curate an exhibit entitled <em>Cherokee Stickball</em>, based on the research of Frank Speck, a highly distinguished anthropologist. Speck taught at Penn for half a century, collecting more than forty stickball sticks for the Penn Museum and depositing photographs of Cherokee stickball games at the APS. (See Figure 2.) In the 1930s, Speck worked with a Cherokee Medicine Man named Will West Long, who provided Speck with a rich ethnographic description of the spiritual dimensions of the game. Will West’s grand nephew, T.J. Holland, came to the APS conference in the spring of 2010, and I had the opportunity to interview him along with another very knowledgeable elder, Tom Belt. The students created Quick Time videos that combined Speck’s photographs taken in the 1930s with the contemporary oral histories. They also photographed all of the sticks in the Penn Museum’s collection and created a database of descriptive materials. One of the students won a Mellon grant through Penn to take the digital materials to the Eastern Band of the Cherokee in North Carolina. Today, Cherokee craftsman are recreating the older sticks based on the students’ photographs, and the videos will be used in a museum exhibit that will be displayed at the tribally owned Junaluska Museum, located in Robbinsville, North Carolina.','Undergraduates in the Archives - Powell 3','There have been many exciting outcomes from the students’ interactions with archival materials.  In the spring of 2010, the class project was to integrate the photography and artifact collections of noted Penn anthropologist A. Irving Hallowell, whose photographs are housed at the APS, and whose artifacts are stored at the Penn Museum.  ','inherit','open','open','','1583-revision-9','','','2012-10-08 21:06:48','2012-10-08 21:06:48','',1583,'http://www.archivejournal.net/issue/2/uncategorized/1583-revision-9/',0,'revision','',0),(2618,19,'2012-10-08 21:15:16','2012-10-08 21:15:16','There have been many exciting outcomes from the students’ interactions with archival materials. In the spring of 2010, the class project was to design a digital exhibit that would bring together Penn anthropologist A. Irving Hallowell’s Ojibwe photographs from the American Philosophical Society and Ojibwe artifacts from the Penn Museum, all of which were collected in the 1930s. (See Figure 1) <p id=\"attachment_2610\" class=\"alignright wp-caption\" style=\"width:333px\"><a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/powell_1.jpg\"><img class=\"size-medium wp-image-2610\" title=\"Powell, Figure 1\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/powell_1-333x147.jpg\" alt=\"Powell, Figure 1: bandolier bag 76-4-1\" width=\"333\" height=\"147\" /></a><span class=\"wp-caption-text\"><em>Figure 1</em>: bandolier bag 76-4-1</span></p> Not long before the semester started, I had been contacted by Gord Jones, the project manager of Pimachiowin Aki Corporation, who is working on submitting a UNESCO World Heritage Site grant application to preserve 40,000 square kilometers of boreal forest and the cultural landscape of five Ojibwe First Nations. One challenge of the grant is to define a “cultural landscape.” A number of scholars associated with the Pimachiowin Aki project had come to the APS and digitized material from the Hallowell collection. Hallowell had worked in Ojibwe First Nation communities in northern Manitoba and Ontario for ten years, so there was a large amount of material related to this very small, remote place. The students photographed and documented the objects from the Hallowell collection at the Penn Museum and presented them to Ojibwe representatives of the Pimachiowin Aki project at a conference held at the APS shortly after the semester ended. The students’ material is now part of a historic project, the first UNESCO World Heritage Site application ever submitted by the Canadian government on behalf of First Nations.\r\n\r\n\r\nLast semester my students worked in groups to curate an exhibit entitled <em>Cherokee Stickball</em>, based on the research of Frank Speck, a highly distinguished anthropologist. Speck taught at Penn for half a century, collecting more than forty stickball sticks for the Penn Museum and depositing photographs of Cherokee stickball games at the APS. (See Figure 2.) In the 1930s, Speck worked with a Cherokee Medicine Man named Will West Long, who provided Speck with a rich ethnographic description of the spiritual dimensions of the game. Will West’s grand nephew, T.J. Holland, came to the APS conference in the spring of 2010, and I had the opportunity to interview him along with another very knowledgeable elder, Tom Belt. The students created Quick Time videos that combined Speck’s photographs taken in the 1930s with the contemporary oral histories. They also photographed all of the sticks in the Penn Museum’s collection and created a database of descriptive materials. One of the students won a Mellon grant through Penn to take the digital materials to the Eastern Band of the Cherokee in North Carolina. Today, Cherokee craftsman are recreating the older sticks based on the students’ photographs, and the videos will be used in a museum exhibit that will be displayed at the tribally owned Junaluska Museum, located in Robbinsville, North Carolina.','Undergraduates in the Archives - Powell 3','There have been many exciting outcomes from the students’ interactions with archival materials.  In the spring of 2010, the class project was to integrate the photography and artifact collections of noted Penn anthropologist A. Irving Hallowell, whose photographs are housed at the APS, and whose artifacts are stored at the Penn Museum.  ','inherit','open','open','','1583-revision-14','','','2012-10-08 21:15:16','2012-10-08 21:15:16','',1583,'http://www.archivejournal.net/issue/2/uncategorized/1583-revision-14/',0,'revision','',0),(2616,19,'2012-10-08 21:10:43','2012-10-08 21:10:43','There have been many exciting outcomes from the students’ interactions with archival materials. In the spring of 2010, the class project was to design a digital exhibit that would bring together Penn anthropologist A. Irving Hallowell’s Ojibwe photographs from the American Philosophical Society and Ojibwe artifacts from the Penn Museum, all of which were collected in the 1930s. (See <a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/powell_1.jpg\">Figure 1</a>) <div id=\"attachment_2610\" class=\"alignright\" style=\"width:333px\"><a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/powell_1.jpg\"><img class=\"size-medium wp-image-2610 \" title=\"Powell, Figure 1\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/powell_1-333x147.jpg\" alt=\"White Earth visit to Penn Museum, bandolier bag 76-4-1\" width=\"333\" height=\"147\" /></a><span class=\"wp-caption-text\"><em>Figure 1</em>: bandolier bag 76-4-1</span></div> Not long before the semester started, I had been contacted by Gord Jones, the project manager of Pimachiowin Aki Corporation, who is working on submitting a UNESCO World Heritage Site grant application to preserve 40,000 square kilometers of boreal forest and the cultural landscape of five Ojibwe First Nations. One challenge of the grant is to define a “cultural landscape.” A number of scholars associated with the Pimachiowin Aki project had come to the APS and digitized material from the Hallowell collection. Hallowell had worked in Ojibwe First Nation communities in northern Manitoba and Ontario for ten years, so there was a large amount of material related to this very small, remote place. The students photographed and documented the objects from the Hallowell collection at the Penn Museum and presented them to Ojibwe representatives of the Pimachiowin Aki project at a conference held at the APS shortly after the semester ended. The students’ material is now part of a historic project, the first UNESCO World Heritage Site application ever submitted by the Canadian government on behalf of First Nations.\r\n\r\n\r\nLast semester my students worked in groups to curate an exhibit entitled <em>Cherokee Stickball</em>, based on the research of Frank Speck, a highly distinguished anthropologist. Speck taught at Penn for half a century, collecting more than forty stickball sticks for the Penn Museum and depositing photographs of Cherokee stickball games at the APS. (See Figure 2.) In the 1930s, Speck worked with a Cherokee Medicine Man named Will West Long, who provided Speck with a rich ethnographic description of the spiritual dimensions of the game. Will West’s grand nephew, T.J. Holland, came to the APS conference in the spring of 2010, and I had the opportunity to interview him along with another very knowledgeable elder, Tom Belt. The students created Quick Time videos that combined Speck’s photographs taken in the 1930s with the contemporary oral histories. They also photographed all of the sticks in the Penn Museum’s collection and created a database of descriptive materials. One of the students won a Mellon grant through Penn to take the digital materials to the Eastern Band of the Cherokee in North Carolina. Today, Cherokee craftsman are recreating the older sticks based on the students’ photographs, and the videos will be used in a museum exhibit that will be displayed at the tribally owned Junaluska Museum, located in Robbinsville, North Carolina.','Undergraduates in the Archives - Powell 3','There have been many exciting outcomes from the students’ interactions with archival materials.  In the spring of 2010, the class project was to integrate the photography and artifact collections of noted Penn anthropologist A. Irving Hallowell, whose photographs are housed at the APS, and whose artifacts are stored at the Penn Museum.  ','inherit','open','open','','1583-revision-12','','','2012-10-08 21:10:43','2012-10-08 21:10:43','',1583,'http://www.archivejournal.net/issue/2/uncategorized/1583-revision-12/',0,'revision','',0),(2615,19,'2012-10-08 21:10:10','2012-10-08 21:10:10','There have been many exciting outcomes from the students’ interactions with archival materials. In the spring of 2010, the class project was to design a digital exhibit that would bring together Penn anthropologist A. Irving Hallowell’s Ojibwe photographs from the American Philosophical Society and Ojibwe artifacts from the Penn Museum, all of which were collected in the 1930s. (See <a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/powell_1.jpg\">Figure 1</a>)\r\n\r\n<a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/powell_1.jpg\"><img class=\"size-medium wp-image-2610 \" title=\"Powell, Figure 1\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/powell_1-333x147.jpg\" alt=\"White Earth visit to Penn Museum, bandolier bag 76-4-1\" width=\"333\" height=\"147\" /></a>\r\nThere have been many exciting outcomes from the students’ interactions with archival materials. In the spring of 2010, the class project was to design a digital exhibit that would bring together Penn anthropologist A. Irving Hallowell’s Ojibwe photographs from the American Philosophical Society and Ojibwe artifacts from the Penn Museum, all of which were collected in the 1930s. (See <a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/powell_1.jpg\">Figure 1</a>) <div id=\"attachment_2610\" class=\"alignright\" style=\"width:333px\"><a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/powell_1.jpg\"><img class=\"size-medium wp-image-2610 \" title=\"Powell, Figure 1\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/powell_1-333x147.jpg\" alt=\"White Earth visit to Penn Museum, bandolier bag 76-4-1\" width=\"333\" height=\"147\" /></a><span class=\"wp-caption-text\"><em>Figure 1</em>: bandolier bag 76-4-1</span></div> Not long before the semester started, I had been contacted by Gord Jones, the project manager of Pimachiowin Aki Corporation, who is working on submitting a UNESCO World Heritage Site grant application to preserve 40,000 square kilometers of boreal forest and the cultural landscape of five Ojibwe First Nations. One challenge of the grant is to define a “cultural landscape.” A number of scholars associated with the Pimachiowin Aki project had come to the APS and digitized material from the Hallowell collection. Hallowell had worked in Ojibwe First Nation communities in northern Manitoba and Ontario for ten years, so there was a large amount of material related to this very small, remote place. The students photographed and documented the objects from the Hallowell collection at the Penn Museum and presented them to Ojibwe representatives of the Pimachiowin Aki project at a conference held at the APS shortly after the semester ended. The students’ material is now part of a historic project, the first UNESCO World Heritage Site application ever submitted by the Canadian government on behalf of First Nations.\r\n\r\n\r\nLast semester my students worked in groups to curate an exhibit entitled <em>Cherokee Stickball</em>, based on the research of Frank Speck, a highly distinguished anthropologist. Speck taught at Penn for half a century, collecting more than forty stickball sticks for the Penn Museum and depositing photographs of Cherokee stickball games at the APS. (See Figure 2.) In the 1930s, Speck worked with a Cherokee Medicine Man named Will West Long, who provided Speck with a rich ethnographic description of the spiritual dimensions of the game. Will West’s grand nephew, T.J. Holland, came to the APS conference in the spring of 2010, and I had the opportunity to interview him along with another very knowledgeable elder, Tom Belt. The students created Quick Time videos that combined Speck’s photographs taken in the 1930s with the contemporary oral histories. They also photographed all of the sticks in the Penn Museum’s collection and created a database of descriptive materials. One of the students won a Mellon grant through Penn to take the digital materials to the Eastern Band of the Cherokee in North Carolina. Today, Cherokee craftsman are recreating the older sticks based on the students’ photographs, and the videos will be used in a museum exhibit that will be displayed at the tribally owned Junaluska Museum, located in Robbinsville, North Carolina.','Undergraduates in the Archives - Powell 3','There have been many exciting outcomes from the students’ interactions with archival materials.  In the spring of 2010, the class project was to integrate the photography and artifact collections of noted Penn anthropologist A. Irving Hallowell, whose photographs are housed at the APS, and whose artifacts are stored at the Penn Museum.  ','inherit','open','open','','1583-revision-11','','','2012-10-08 21:10:10','2012-10-08 21:10:10','',1583,'http://www.archivejournal.net/issue/2/uncategorized/1583-revision-11/',0,'revision','',0),(2617,19,'2012-10-08 21:11:15','2012-10-08 21:11:15','There have been many exciting outcomes from the students’ interactions with archival materials. In the spring of 2010, the class project was to design a digital exhibit that would bring together Penn anthropologist A. Irving Hallowell’s Ojibwe photographs from the American Philosophical Society and Ojibwe artifacts from the Penn Museum, all of which were collected in the 1930s. (See <a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/powell_1.jpg\">Figure 1</a>) <p id=\"attachment_2610\" class=\"alignright\" style=\"width:333px\"><a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/powell_1.jpg\"><img class=\"size-medium wp-image-2610 \" title=\"Powell, Figure 1\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/powell_1-333x147.jpg\" alt=\"White Earth visit to Penn Museum, bandolier bag 76-4-1\" width=\"333\" height=\"147\" /></a><span class=\"wp-caption-text\"><em>Figure 1</em>: bandolier bag 76-4-1</span></p> Not long before the semester started, I had been contacted by Gord Jones, the project manager of Pimachiowin Aki Corporation, who is working on submitting a UNESCO World Heritage Site grant application to preserve 40,000 square kilometers of boreal forest and the cultural landscape of five Ojibwe First Nations. One challenge of the grant is to define a “cultural landscape.” A number of scholars associated with the Pimachiowin Aki project had come to the APS and digitized material from the Hallowell collection. Hallowell had worked in Ojibwe First Nation communities in northern Manitoba and Ontario for ten years, so there was a large amount of material related to this very small, remote place. The students photographed and documented the objects from the Hallowell collection at the Penn Museum and presented them to Ojibwe representatives of the Pimachiowin Aki project at a conference held at the APS shortly after the semester ended. The students’ material is now part of a historic project, the first UNESCO World Heritage Site application ever submitted by the Canadian government on behalf of First Nations.\r\n\r\n\r\nLast semester my students worked in groups to curate an exhibit entitled <em>Cherokee Stickball</em>, based on the research of Frank Speck, a highly distinguished anthropologist. Speck taught at Penn for half a century, collecting more than forty stickball sticks for the Penn Museum and depositing photographs of Cherokee stickball games at the APS. (See Figure 2.) In the 1930s, Speck worked with a Cherokee Medicine Man named Will West Long, who provided Speck with a rich ethnographic description of the spiritual dimensions of the game. Will West’s grand nephew, T.J. Holland, came to the APS conference in the spring of 2010, and I had the opportunity to interview him along with another very knowledgeable elder, Tom Belt. The students created Quick Time videos that combined Speck’s photographs taken in the 1930s with the contemporary oral histories. They also photographed all of the sticks in the Penn Museum’s collection and created a database of descriptive materials. One of the students won a Mellon grant through Penn to take the digital materials to the Eastern Band of the Cherokee in North Carolina. Today, Cherokee craftsman are recreating the older sticks based on the students’ photographs, and the videos will be used in a museum exhibit that will be displayed at the tribally owned Junaluska Museum, located in Robbinsville, North Carolina.','Undergraduates in the Archives - Powell 3','There have been many exciting outcomes from the students’ interactions with archival materials.  In the spring of 2010, the class project was to integrate the photography and artifact collections of noted Penn anthropologist A. Irving Hallowell, whose photographs are housed at the APS, and whose artifacts are stored at the Penn Museum.  ','inherit','open','open','','1583-revision-13','','','2012-10-08 21:11:15','2012-10-08 21:11:15','',1583,'http://www.archivejournal.net/issue/2/uncategorized/1583-revision-13/',0,'revision','',0),(2619,19,'2012-10-08 21:15:39','2012-10-08 21:15:39','There have been many exciting outcomes from the students’ interactions with archival materials. In the spring of 2010, the class project was to design a digital exhibit that would bring together Penn anthropologist A. Irving Hallowell’s Ojibwe photographs from the American Philosophical Society and Ojibwe artifacts from the Penn Museum, all of which were collected in the 1930s. (See Figure 1)\r\n<p id=\"attachment_2610\" class=\"alignright wp-caption\" style=\"width: 333px;\"><a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/powell_1.jpg\"><img class=\"size-medium wp-image-2610\" title=\"Powell, Figure 1\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/powell_1-333x147.jpg\" alt=\"Powell, Figure 1: bandolier bag 76-4-1\" width=\"333\" height=\"147\" /></a><span class=\"wp-caption-text\"><em>Figure 1</em>: bandolier bag 76-4-1</span></p>\r\nNot long before the semester started, I had been contacted by Gord Jones, the project manager of Pimachiowin Aki Corporation, who is working on submitting a UNESCO World Heritage Site grant application to preserve 40,000 square kilometers of boreal forest and the cultural landscape of five Ojibwe First Nations. One challenge of the grant is to define a “cultural landscape.” A number of scholars associated with the Pimachiowin Aki project had come to the APS and digitized material from the Hallowell collection. Hallowell had worked in Ojibwe First Nation communities in northern Manitoba and Ontario for ten years, so there was a large amount of material related to this very small, remote place. The students photographed and documented the objects from the Hallowell collection at the Penn Museum and presented them to Ojibwe representatives of the Pimachiowin Aki project at a conference held at the APS shortly after the semester ended. The students’ material is now part of a historic project, the first UNESCO World Heritage Site application ever submitted by the Canadian government on behalf of First Nations.\r\n\r\nLast semester my students worked in groups to curate an exhibit entitled <em>Cherokee Stickball</em>, based on the research of Frank Speck, a highly distinguished anthropologist. Speck taught at Penn for half a century, collecting more than forty stickball sticks for the Penn Museum and depositing photographs of Cherokee stickball games at the APS. (See Figure 2.) In the 1930s, Speck worked with a Cherokee Medicine Man named Will West Long, who provided Speck with a rich ethnographic description of the spiritual dimensions of the game. Will West’s grand nephew, T.J. Holland, came to the APS conference in the spring of 2010, and I had the opportunity to interview him along with another very knowledgeable elder, Tom Belt. The students created Quick Time videos that combined Speck’s photographs taken in the 1930s with the contemporary oral histories. They also photographed all of the sticks in the Penn Museum’s collection and created a database of descriptive materials. One of the students won a Mellon grant through Penn to take the digital materials to the Eastern Band of the Cherokee in North Carolina. Today, Cherokee craftsman are recreating the older sticks based on the students’ photographs, and the videos will be used in a museum exhibit that will be displayed at the tribally owned Junaluska Museum, located in Robbinsville, North Carolina.','Undergraduates in the Archives - Powell 3','There have been many exciting outcomes from the students’ interactions with archival materials.  In the spring of 2010, the class project was to integrate the photography and artifact collections of noted Penn anthropologist A. Irving Hallowell, whose photographs are housed at the APS, and whose artifacts are stored at the Penn Museum.  ','inherit','open','open','','1583-revision-15','','','2012-10-08 21:15:39','2012-10-08 21:15:39','',1583,'http://www.archivejournal.net/issue/2/uncategorized/1583-revision-15/',0,'revision','',0),(2620,19,'2012-10-08 21:31:56','2012-10-08 21:31:56','There have been many exciting outcomes from the students’ interactions with archival materials. In the spring of 2010, the class project was to design a digital exhibit that would bring together Penn anthropologist A. Irving Hallowell’s Ojibwe photographs from the American Philosophical Society and Ojibwe artifacts from the Penn Museum, all of which were collected in the 1930s. (See Figure 1)\r\n<div id=\"attachment_2610\" class=\"alignright wp-caption\" style=\"width: 333px;\"><a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/powell_1.jpg\"><img class=\"size-medium wp-image-2610\" title=\"Powell, Figure 1\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/powell_1-333x147.jpg\" alt=\"Powell, Figure 1: bandolier bag 76-4-1\" width=\"333\" height=\"147\" /></a><span class=\"wp-caption-text\"><em>Figure 1</em>: bandolier bag 76-4-1</span></div>\r\nNot long before the semester started, I had been contacted by Gord Jones, the project manager of Pimachiowin Aki Corporation, who is working on submitting a UNESCO World Heritage Site grant application to preserve 40,000 square kilometers of boreal forest and the cultural landscape of five Ojibwe First Nations. One challenge of the grant is to define a “cultural landscape.” A number of scholars associated with the Pimachiowin Aki project had come to the APS and digitized material from the Hallowell collection. Hallowell had worked in Ojibwe First Nation communities in northern Manitoba and Ontario for ten years, so there was a large amount of material related to this very small, remote place. The students photographed and documented the objects from the Hallowell collection at the Penn Museum and presented them to Ojibwe representatives of the Pimachiowin Aki project at a conference held at the APS shortly after the semester ended. The students’ material is now part of a historic project, the first UNESCO World Heritage Site application ever submitted by the Canadian government on behalf of First Nations.\r\n\r\nLast semester my students worked in groups to curate an exhibit entitled <em>Cherokee Stickball</em>, based on the research of Frank Speck, a highly distinguished anthropologist. Speck taught at Penn for half a century, collecting more than forty stickball sticks for the Penn Museum and depositing photographs of Cherokee stickball games at the APS. (See Figure 2.) In the 1930s, Speck worked with a Cherokee Medicine Man named Will West Long, who provided Speck with a rich ethnographic description of the spiritual dimensions of the game. Will West’s grand nephew, T.J. Holland, came to the APS conference in the spring of 2010, and I had the opportunity to interview him along with another very knowledgeable elder, Tom Belt. The students created Quick Time videos that combined Speck’s photographs taken in the 1930s with the contemporary oral histories. They also photographed all of the sticks in the Penn Museum’s collection and created a database of descriptive materials. One of the students won a Mellon grant through Penn to take the digital materials to the Eastern Band of the Cherokee in North Carolina. Today, Cherokee craftsman are recreating the older sticks based on the students’ photographs, and the videos will be used in a museum exhibit that will be displayed at the tribally owned Junaluska Museum, located in Robbinsville, North Carolina.','Undergraduates in the Archives - Powell 3','There have been many exciting outcomes from the students’ interactions with archival materials.  In the spring of 2010, the class project was to integrate the photography and artifact collections of noted Penn anthropologist A. Irving Hallowell, whose photographs are housed at the APS, and whose artifacts are stored at the Penn Museum.  ','inherit','open','open','','1583-revision-16','','','2012-10-08 21:31:56','2012-10-08 21:31:56','',1583,'http://www.archivejournal.net/issue/2/uncategorized/1583-revision-16/',0,'revision','',0),(2621,19,'2012-10-08 21:32:28','2012-10-08 21:32:28','There have been many exciting outcomes from the students’ interactions with archival materials. In the spring of 2010, the class project was to design a digital exhibit that would bring together Penn anthropologist A. Irving Hallowell’s Ojibwe photographs from the American Philosophical Society and Ojibwe artifacts from the Penn Museum, all of which were collected in the 1930s. (See Figure 1) <div id=\"attachment_2610\" class=\"alignright wp-caption\" style=\"width:333px\"><a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/powell_1.jpg\"><img class=\"size-medium wp-image-2610\" title=\"Powell, Figure 1\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/powell_1-333x147.jpg\" alt=\"Powell, Figure 1: bandolier bag 76-4-1\" width=\"333\" height=\"147\" /></a><span class=\"wp-caption-text\"><em>Figure 1</em>: bandolier bag 76-4-1</span></div> Not long before the semester started, I had been contacted by Gord Jones, the project manager of Pimachiowin Aki Corporation, who is working on submitting a UNESCO World Heritage Site grant application to preserve 40,000 square kilometers of boreal forest and the cultural landscape of five Ojibwe First Nations. One challenge of the grant is to define a “cultural landscape.” A number of scholars associated with the Pimachiowin Aki project had come to the APS and digitized material from the Hallowell collection. Hallowell had worked in Ojibwe First Nation communities in northern Manitoba and Ontario for ten years, so there was a large amount of material related to this very small, remote place. The students photographed and documented the objects from the Hallowell collection at the Penn Museum and presented them to Ojibwe representatives of the Pimachiowin Aki project at a conference held at the APS shortly after the semester ended. The students’ material is now part of a historic project, the first UNESCO World Heritage Site application ever submitted by the Canadian government on behalf of First Nations.\r\n\r\nLast semester my students worked in groups to curate an exhibit entitled <em>Cherokee Stickball</em>, based on the research of Frank Speck, a highly distinguished anthropologist. Speck taught at Penn for half a century, collecting more than forty stickball sticks for the Penn Museum and depositing photographs of Cherokee stickball games at the APS. (See Figure 2.) In the 1930s, Speck worked with a Cherokee Medicine Man named Will West Long, who provided Speck with a rich ethnographic description of the spiritual dimensions of the game. Will West’s grand nephew, T.J. Holland, came to the APS conference in the spring of 2010, and I had the opportunity to interview him along with another very knowledgeable elder, Tom Belt. The students created Quick Time videos that combined Speck’s photographs taken in the 1930s with the contemporary oral histories. They also photographed all of the sticks in the Penn Museum’s collection and created a database of descriptive materials. One of the students won a Mellon grant through Penn to take the digital materials to the Eastern Band of the Cherokee in North Carolina. Today, Cherokee craftsman are recreating the older sticks based on the students’ photographs, and the videos will be used in a museum exhibit that will be displayed at the tribally owned Junaluska Museum, located in Robbinsville, North Carolina.','Undergraduates in the Archives - Powell 3','There have been many exciting outcomes from the students’ interactions with archival materials.  In the spring of 2010, the class project was to integrate the photography and artifact collections of noted Penn anthropologist A. Irving Hallowell, whose photographs are housed at the APS, and whose artifacts are stored at the Penn Museum.  ','inherit','open','open','','1583-revision-17','','','2012-10-08 21:32:28','2012-10-08 21:32:28','',1583,'http://www.archivejournal.net/issue/2/uncategorized/1583-revision-17/',0,'revision','',0),(2622,19,'2012-10-08 21:35:53','2012-10-08 21:35:53','There have been many exciting outcomes from the students’ interactions with archival materials. In the spring of 2010, the class project was to design a digital exhibit that would bring together Penn anthropologist A. Irving Hallowell’s Ojibwe photographs from the American Philosophical Society and Ojibwe artifacts from the Penn Museum, all of which were collected in the 1930s. (See Figure 1) <div id=\"attachment_2610\" class=\"alignright wp-caption\" style=\"width:333px\"><a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/powell_1.jpg\"><img src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/powell_1-333x147.jpg\" alt=\"bandolier bag 76-4-1\" title=\"Powell, Figure 1\" width=\"333\" height=\"147\" class=\"alignright size-medium wp-image-2610\" /></a><span class=\"wp-caption-text\"><em>Figure 1</em>: bandolier bag 76-4-1</span></div> \r\nNot long before the semester started, I had been contacted by Gord Jones, the project manager of Pimachiowin Aki Corporation, who is working on submitting a UNESCO World Heritage Site grant application to preserve 40,000 square kilometers of boreal forest and the cultural landscape of five Ojibwe First Nations. One challenge of the grant is to define a “cultural landscape.” A number of scholars associated with the Pimachiowin Aki project had come to the APS and digitized material from the Hallowell collection. Hallowell had worked in Ojibwe First Nation communities in northern Manitoba and Ontario for ten years, so there was a large amount of material related to this very small, remote place. The students photographed and documented the objects from the Hallowell collection at the Penn Museum and presented them to Ojibwe representatives of the Pimachiowin Aki project at a conference held at the APS shortly after the semester ended. The students’ material is now part of a historic project, the first UNESCO World Heritage Site application ever submitted by the Canadian government on behalf of First Nations.\r\n\r\n\r\nLast semester my students worked in groups to curate an exhibit entitled <em>Cherokee Stickball</em>, based on the research of Frank Speck, a highly distinguished anthropologist. Speck taught at Penn for half a century, collecting more than forty stickball sticks for the Penn Museum and depositing photographs of Cherokee stickball games at the APS. (See Figure 2.) In the 1930s, Speck worked with a Cherokee Medicine Man named Will West Long, who provided Speck with a rich ethnographic description of the spiritual dimensions of the game. Will West’s grand nephew, T.J. Holland, came to the APS conference in the spring of 2010, and I had the opportunity to interview him along with another very knowledgeable elder, Tom Belt. The students created Quick Time videos that combined Speck’s photographs taken in the 1930s with the contemporary oral histories. They also photographed all of the sticks in the Penn Museum’s collection and created a database of descriptive materials. One of the students won a Mellon grant through Penn to take the digital materials to the Eastern Band of the Cherokee in North Carolina. Today, Cherokee craftsman are recreating the older sticks based on the students’ photographs, and the videos will be used in a museum exhibit that will be displayed at the tribally owned Junaluska Museum, located in Robbinsville, North Carolina.','Undergraduates in the Archives - Powell 3','There have been many exciting outcomes from the students’ interactions with archival materials.  In the spring of 2010, the class project was to integrate the photography and artifact collections of noted Penn anthropologist A. Irving Hallowell, whose photographs are housed at the APS, and whose artifacts are stored at the Penn Museum.  ','inherit','open','open','','1583-revision-18','','','2012-10-08 21:35:53','2012-10-08 21:35:53','',1583,'http://www.archivejournal.net/issue/2/uncategorized/1583-revision-18/',0,'revision','',0),(2623,19,'2012-10-08 21:36:00','2012-10-08 21:36:00','There have been many exciting outcomes from the students’ interactions with archival materials. In the spring of 2010, the class project was to design a digital exhibit that would bring together Penn anthropologist A. Irving Hallowell’s Ojibwe photographs from the American Philosophical Society and Ojibwe artifacts from the Penn Museum, all of which were collected in the 1930s. (See Figure 1) <div id=\"attachment_2610\" class=\"alignright wp-caption\" style=\"width:333px\"><a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/powell_1.jpg\"><img src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/powell_1-333x147.jpg\" alt=\"bandolier bag 76-4-1\" title=\"Powell, Figure 1\" width=\"333\" height=\"147\" class=\"alignright size-medium wp-image-2610\" /></a><span class=\"wp-caption-text\"><em>Figure 1</em>: bandolier bag 76-4-1</span></div> \r\nNot long before the semester started, I had been contacted by Gord Jones, the project manager of Pimachiowin Aki Corporation, who is working on submitting a UNESCO World Heritage Site grant application to preserve 40,000 square kilometers of boreal forest and the cultural landscape of five Ojibwe First Nations. One challenge of the grant is to define a “cultural landscape.” A number of scholars associated with the Pimachiowin Aki project had come to the APS and digitized material from the Hallowell collection. Hallowell had worked in Ojibwe First Nation communities in northern Manitoba and Ontario for ten years, so there was a large amount of material related to this very small, remote place. The students photographed and documented the objects from the Hallowell collection at the Penn Museum and presented them to Ojibwe representatives of the Pimachiowin Aki project at a conference held at the APS shortly after the semester ended. The students’ material is now part of a historic project, the first UNESCO World Heritage Site application ever submitted by the Canadian government on behalf of First Nations.\r\n\r\n\r\nLast semester my students worked in groups to curate an exhibit entitled <em>Cherokee Stickball</em>, based on the research of Frank Speck, a highly distinguished anthropologist. Speck taught at Penn for half a century, collecting more than forty stickball sticks for the Penn Museum and depositing photographs of Cherokee stickball games at the APS. (See Figure 2.) In the 1930s, Speck worked with a Cherokee Medicine Man named Will West Long, who provided Speck with a rich ethnographic description of the spiritual dimensions of the game. Will West’s grand nephew, T.J. Holland, came to the APS conference in the spring of 2010, and I had the opportunity to interview him along with another very knowledgeable elder, Tom Belt. The students created Quick Time videos that combined Speck’s photographs taken in the 1930s with the contemporary oral histories. They also photographed all of the sticks in the Penn Museum’s collection and created a database of descriptive materials. One of the students won a Mellon grant through Penn to take the digital materials to the Eastern Band of the Cherokee in North Carolina. Today, Cherokee craftsman are recreating the older sticks based on the students’ photographs, and the videos will be used in a museum exhibit that will be displayed at the tribally owned Junaluska Museum, located in Robbinsville, North Carolina.','Undergraduates in the Archives - Powell 3','There have been many exciting outcomes from the students’ interactions with archival materials.  In the spring of 2010, the class project was to integrate the photography and artifact collections of noted Penn anthropologist A. Irving Hallowell, whose photographs are housed at the APS, and whose artifacts are stored at the Penn Museum.  ','inherit','open','open','','1583-revision-19','','','2012-10-08 21:36:00','2012-10-08 21:36:00','',1583,'http://www.archivejournal.net/issue/2/uncategorized/1583-revision-19/',0,'revision','',0),(2624,19,'2012-10-08 21:36:58','2012-10-08 21:36:58','There have been many exciting outcomes from the students’ interactions with archival materials. In the spring of 2010, the class project was to design a digital exhibit that would bring together Penn anthropologist A. Irving Hallowell’s Ojibwe photographs from the American Philosophical Society and Ojibwe artifacts from the Penn Museum, all of which were collected in the 1930s. (See Figure 1) <div id=\"attachment_2610\" class=\"alignright wp-caption\" style=\"width:333px\"><a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/powell_1.jpg\"><img src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/powell_1-333x147.jpg\" title=\"Bandolier Bag\" alt=\"bandolier bag 76-4-1\" title=\"Powell, Figure 1\" width=\"333\" height=\"147\" class=\"alignright size-medium wp-image-2610\" /></a><span class=\"wp-caption-text\"><em>Figure 1</em>: bandolier bag 76-4-1</span></div> \r\nNot long before the semester started, I had been contacted by Gord Jones, the project manager of Pimachiowin Aki Corporation, who is working on submitting a UNESCO World Heritage Site grant application to preserve 40,000 square kilometers of boreal forest and the cultural landscape of five Ojibwe First Nations. One challenge of the grant is to define a “cultural landscape.” A number of scholars associated with the Pimachiowin Aki project had come to the APS and digitized material from the Hallowell collection. Hallowell had worked in Ojibwe First Nation communities in northern Manitoba and Ontario for ten years, so there was a large amount of material related to this very small, remote place. The students photographed and documented the objects from the Hallowell collection at the Penn Museum and presented them to Ojibwe representatives of the Pimachiowin Aki project at a conference held at the APS shortly after the semester ended. The students’ material is now part of a historic project, the first UNESCO World Heritage Site application ever submitted by the Canadian government on behalf of First Nations.\r\n\r\n\r\nLast semester my students worked in groups to curate an exhibit entitled <em>Cherokee Stickball</em>, based on the research of Frank Speck, a highly distinguished anthropologist. Speck taught at Penn for half a century, collecting more than forty stickball sticks for the Penn Museum and depositing photographs of Cherokee stickball games at the APS. (See Figure 2.) In the 1930s, Speck worked with a Cherokee Medicine Man named Will West Long, who provided Speck with a rich ethnographic description of the spiritual dimensions of the game. Will West’s grand nephew, T.J. Holland, came to the APS conference in the spring of 2010, and I had the opportunity to interview him along with another very knowledgeable elder, Tom Belt. The students created Quick Time videos that combined Speck’s photographs taken in the 1930s with the contemporary oral histories. They also photographed all of the sticks in the Penn Museum’s collection and created a database of descriptive materials. One of the students won a Mellon grant through Penn to take the digital materials to the Eastern Band of the Cherokee in North Carolina. Today, Cherokee craftsman are recreating the older sticks based on the students’ photographs, and the videos will be used in a museum exhibit that will be displayed at the tribally owned Junaluska Museum, located in Robbinsville, North Carolina.','Undergraduates in the Archives - Powell 3','There have been many exciting outcomes from the students’ interactions with archival materials.  In the spring of 2010, the class project was to integrate the photography and artifact collections of noted Penn anthropologist A. Irving Hallowell, whose photographs are housed at the APS, and whose artifacts are stored at the Penn Museum.  ','inherit','open','open','','1583-revision-20','','','2012-10-08 21:36:58','2012-10-08 21:36:58','',1583,'http://www.archivejournal.net/issue/2/uncategorized/1583-revision-20/',0,'revision','',0),(2627,19,'2012-10-08 21:44:40','2012-10-08 21:44:40','There have been many exciting outcomes from the students’ interactions with archival materials. In the spring of 2010, the class project was to design a digital exhibit that would bring together Penn anthropologist A. Irving Hallowell’s Ojibwe photographs from the American Philosophical Society and Ojibwe artifacts from the Penn Museum, all of which were collected in the 1930s. (See Figure 1) <div id=\"attachment_2610\" class=\"alignright wp-caption\" style=\"width:333px\"><a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/powell_1.jpg\" title=\"Bandolier Bag\"><img src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/powell_1-333x147.jpg\" alt=\"bandolier bag 76-4-1\" title=\"Powell, Figure 1\" width=\"333\" height=\"147\" class=\"alignright size-medium wp-image-2625\" /></a><span class=\"wp-caption-text\"><em>Figure 1</em>: bandolier bag 76-4-1</span></div> Not long before the semester started, I had been contacted by Gord Jones, the project manager of Pimachiowin Aki Corporation, who is working on submitting a UNESCO World Heritage Site grant application to preserve 40,000 square kilometers of boreal forest and the cultural landscape of five Ojibwe First Nations. One challenge of the grant is to define a “cultural landscape.” A number of scholars associated with the Pimachiowin Aki project had come to the APS and digitized material from the Hallowell collection. Hallowell had worked in Ojibwe First Nation communities in northern Manitoba and Ontario for ten years, so there was a large amount of material related to this very small, remote place. The students photographed and documented the objects from the Hallowell collection at the Penn Museum and presented them to Ojibwe representatives of the Pimachiowin Aki project at a conference held at the APS shortly after the semester ended. The students’ material is now part of a historic project, the first UNESCO World Heritage Site application ever submitted by the Canadian government on behalf of First Nations.\r\n\r\n\r\nLast semester my students worked in groups to curate an exhibit entitled <em>Cherokee Stickball</em>, based on the research of Frank Speck, a highly distinguished anthropologist. Speck taught at Penn for half a century, collecting more than forty stickball sticks for the Penn Museum and depositing photographs of Cherokee stickball games at the APS. (See Figure 2.) In the 1930s, Speck worked with a Cherokee Medicine Man named Will West Long, who provided Speck with a rich ethnographic description of the spiritual dimensions of the game. Will West’s grand nephew, T.J. Holland, came to the APS conference in the spring of 2010, and I had the opportunity to interview him along with another very knowledgeable elder, Tom Belt. The students created Quick Time videos that combined Speck’s photographs taken in the 1930s with the contemporary oral histories. They also photographed all of the sticks in the Penn Museum’s collection and created a database of descriptive materials. One of the students won a Mellon grant through Penn to take the digital materials to the Eastern Band of the Cherokee in North Carolina. Today, Cherokee craftsman are recreating the older sticks based on the students’ photographs, and the videos will be used in a museum exhibit that will be displayed at the tribally owned Junaluska Museum, located in Robbinsville, North Carolina.','Undergraduates in the Archives - Powell 3','There have been many exciting outcomes from the students’ interactions with archival materials.  In the spring of 2010, the class project was to integrate the photography and artifact collections of noted Penn anthropologist A. Irving Hallowell, whose photographs are housed at the APS, and whose artifacts are stored at the Penn Museum.  ','inherit','open','open','','1583-revision-22','','','2012-10-08 21:44:40','2012-10-08 21:44:40','',1583,'http://www.archivejournal.net/issue/2/uncategorized/1583-revision-22/',0,'revision','',0),(2628,19,'2012-10-08 21:45:28','2012-10-08 21:45:28','There have been many exciting outcomes from the students’ interactions with archival materials. In the spring of 2010, the class project was to design a digital exhibit that would bring together Penn anthropologist A. Irving Hallowell’s Ojibwe photographs from the American Philosophical Society and Ojibwe artifacts from the Penn Museum, all of which were collected in the 1930s. (See Figure 1) <div id=\"attachment_2610\" class=\"alignright wp-caption\" style=\"width:333px\"><a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/10/powell_1.jpg\" title=\"Bandolier Bag\"><img src=\"http://stage.archivejournal.net/wp-content/uploads/2012/10/powell_1-333x147.jpg\" alt=\"bandolier bag 76-4-1\" title=\"Powell, Figure 1\" width=\"333\" height=\"147\" class=\"alignright size-medium wp-image-2625\" /></a><span class=\"wp-caption-text\"><em>Figure 1</em>: bandolier bag 76-4-1</span></div> Not long before the semester started, I had been contacted by Gord Jones, the project manager of Pimachiowin Aki Corporation, who is working on submitting a UNESCO World Heritage Site grant application to preserve 40,000 square kilometers of boreal forest and the cultural landscape of five Ojibwe First Nations. One challenge of the grant is to define a “cultural landscape.” A number of scholars associated with the Pimachiowin Aki project had come to the APS and digitized material from the Hallowell collection. Hallowell had worked in Ojibwe First Nation communities in northern Manitoba and Ontario for ten years, so there was a large amount of material related to this very small, remote place. The students photographed and documented the objects from the Hallowell collection at the Penn Museum and presented them to Ojibwe representatives of the Pimachiowin Aki project at a conference held at the APS shortly after the semester ended. The students’ material is now part of a historic project, the first UNESCO World Heritage Site application ever submitted by the Canadian government on behalf of First Nations.\r\n\r\n\r\nLast semester my students worked in groups to curate an exhibit entitled <em>Cherokee Stickball</em>, based on the research of Frank Speck, a highly distinguished anthropologist. Speck taught at Penn for half a century, collecting more than forty stickball sticks for the Penn Museum and depositing photographs of Cherokee stickball games at the APS. (See Figure 2.) In the 1930s, Speck worked with a Cherokee Medicine Man named Will West Long, who provided Speck with a rich ethnographic description of the spiritual dimensions of the game. Will West’s grand nephew, T.J. Holland, came to the APS conference in the spring of 2010, and I had the opportunity to interview him along with another very knowledgeable elder, Tom Belt. The students created Quick Time videos that combined Speck’s photographs taken in the 1930s with the contemporary oral histories. They also photographed all of the sticks in the Penn Museum’s collection and created a database of descriptive materials. One of the students won a Mellon grant through Penn to take the digital materials to the Eastern Band of the Cherokee in North Carolina. Today, Cherokee craftsman are recreating the older sticks based on the students’ photographs, and the videos will be used in a museum exhibit that will be displayed at the tribally owned Junaluska Museum, located in Robbinsville, North Carolina.','Undergraduates in the Archives - Powell 3','There have been many exciting outcomes from the students’ interactions with archival materials.  In the spring of 2010, the class project was to integrate the photography and artifact collections of noted Penn anthropologist A. Irving Hallowell, whose photographs are housed at the APS, and whose artifacts are stored at the Penn Museum.  ','inherit','open','open','','1583-revision-23','','','2012-10-08 21:45:28','2012-10-08 21:45:28','',1583,'http://www.archivejournal.net/issue/2/uncategorized/1583-revision-23/',0,'revision','',0),(2632,19,'2012-10-08 21:51:46','2012-10-08 21:51:46','There have been many exciting outcomes from the students’ interactions with archival materials. In the spring of 2010, the class project was to design a digital exhibit that would bring together Penn anthropologist A. Irving Hallowell’s Ojibwe photographs from the American Philosophical Society and Ojibwe artifacts from the Penn Museum, all of which were collected in the 1930s. (See Figure 1) <div id=\"attachment_2610\" class=\"alignright wp-caption\" style=\"width:335px\"><a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/10/powell_1.jpg\" title=\"Bandolier Bag\"><img src=\"http://stage.archivejournal.net/wp-content/uploads/2012/10/powell_1-333x147.jpg\" alt=\"\'Ojibwe Bandolier Bag,\' Penn Museum, photograph by David McDonald, DMcD Productions.\" title=\"Ojibwe Bandolier Bag\" width=\"333\" height=\"147\" class=\"size-medium wp-image-2625\" /></a><span class=\"wp-caption-text\"><em>Figure 1</em>: \"Ojibwe Bandolier Bag,\" Penn Museum, photograph by David McDonald, DMcD Productions.</span></div> Not long before the semester started, I had been contacted by Gord Jones, the project manager of Pimachiowin Aki Corporation, who is working on submitting a UNESCO World Heritage Site grant application to preserve 40,000 square kilometers of boreal forest and the cultural landscape of five Ojibwe First Nations. One challenge of the grant is to define a “cultural landscape.” A number of scholars associated with the Pimachiowin Aki project had come to the APS and digitized material from the Hallowell collection. Hallowell had worked in Ojibwe First Nation communities in northern Manitoba and Ontario for ten years, so there was a large amount of material related to this very small, remote place. The students photographed and documented the objects from the Hallowell collection at the Penn Museum and presented them to Ojibwe representatives of the Pimachiowin Aki project at a conference held at the APS shortly after the semester ended. The students’ material is now part of a historic project, the first UNESCO World Heritage Site application ever submitted by the Canadian government on behalf of First Nations.\r\n\r\n\r\nLast semester my students worked in groups to curate an exhibit entitled <em>Cherokee Stickball</em>, based on the research of Frank Speck, a highly distinguished anthropologist. Speck taught at Penn for half a century, collecting more than forty stickball sticks for the Penn Museum and depositing photographs of Cherokee stickball games at the APS. (See Figure 2.)  In the 1930s, Speck worked with a Cherokee Medicine Man named Will West Long, who provided Speck with a rich ethnographic description of the spiritual dimensions of the game. Will West’s grand nephew, T.J. Holland, came to the APS conference in the spring of 2010, and I had the opportunity to interview him along with another very knowledgeable elder, Tom Belt. <div id=\"attachment_2609\" class=\"alignright wp-cation\" style=\"width:219px;\"><a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/powell_2.jpg\"><img src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/powell_2-217x250.jpg\" alt=\"\'Cherokee Stickball\', American Philosophical Society, Frank Speck collection.\" title=\"Powell 2, Cherokee Stickball\" width=\"217\" height=\"250\" class=\"size-medium wp-image-2609\" /></a> <span class=\"wp-caption-text\"><em>Figure 2:</em> \"Cherokee Stickball,\" American Philosophical Society, Frank Speck collection.</span></div> The students created Quick Time videos that combined Speck’s photographs taken in the 1930s with the contemporary oral histories. They also photographed all of the sticks in the Penn Museum’s collection and created a database of descriptive materials. One of the students won a Mellon grant through Penn to take the digital materials to the Eastern Band of the Cherokee in North Carolina. Today, Cherokee craftsman are recreating the older sticks based on the students’ photographs, and the videos will be used in a museum exhibit that will be displayed at the tribally owned Junaluska Museum, located in Robbinsville, North Carolina.','Undergraduates in the Archives - Powell 3','There have been many exciting outcomes from the students’ interactions with archival materials.  In the spring of 2010, the class project was to integrate the photography and artifact collections of noted Penn anthropologist A. Irving Hallowell, whose photographs are housed at the APS, and whose artifacts are stored at the Penn Museum.  ','inherit','open','open','','1583-revision-27','','','2012-10-08 21:51:46','2012-10-08 21:51:46','',1583,'http://www.archivejournal.net/issue/2/uncategorized/1583-revision-27/',0,'revision','',0),(2629,19,'2012-10-08 21:46:00','2012-10-08 21:46:00','There have been many exciting outcomes from the students’ interactions with archival materials. In the spring of 2010, the class project was to design a digital exhibit that would bring together Penn anthropologist A. Irving Hallowell’s Ojibwe photographs from the American Philosophical Society and Ojibwe artifacts from the Penn Museum, all of which were collected in the 1930s. (See Figure 1) <div id=\"attachment_2610\" class=\"alignright wp-caption\" style=\"width:333px\"><a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/10/powell_1.jpg\" title=\"Bandolier Bag\"><img src=\"http://stage.archivejournal.net/wp-content/uploads/2012/10/powell_1-333x147.jpg\" alt=\"bandolier bag 76-4-1\" title=\"Powell, Figure 1\" width=\"333\" height=\"147\" class=\"size-medium wp-image-2625\" /></a><span class=\"wp-caption-text\"><em>Figure 1</em>: bandolier bag 76-4-1</span></div> Not long before the semester started, I had been contacted by Gord Jones, the project manager of Pimachiowin Aki Corporation, who is working on submitting a UNESCO World Heritage Site grant application to preserve 40,000 square kilometers of boreal forest and the cultural landscape of five Ojibwe First Nations. One challenge of the grant is to define a “cultural landscape.” A number of scholars associated with the Pimachiowin Aki project had come to the APS and digitized material from the Hallowell collection. Hallowell had worked in Ojibwe First Nation communities in northern Manitoba and Ontario for ten years, so there was a large amount of material related to this very small, remote place. The students photographed and documented the objects from the Hallowell collection at the Penn Museum and presented them to Ojibwe representatives of the Pimachiowin Aki project at a conference held at the APS shortly after the semester ended. The students’ material is now part of a historic project, the first UNESCO World Heritage Site application ever submitted by the Canadian government on behalf of First Nations.\r\n\r\n\r\nLast semester my students worked in groups to curate an exhibit entitled <em>Cherokee Stickball</em>, based on the research of Frank Speck, a highly distinguished anthropologist. Speck taught at Penn for half a century, collecting more than forty stickball sticks for the Penn Museum and depositing photographs of Cherokee stickball games at the APS. (See Figure 2.) In the 1930s, Speck worked with a Cherokee Medicine Man named Will West Long, who provided Speck with a rich ethnographic description of the spiritual dimensions of the game. Will West’s grand nephew, T.J. Holland, came to the APS conference in the spring of 2010, and I had the opportunity to interview him along with another very knowledgeable elder, Tom Belt. The students created Quick Time videos that combined Speck’s photographs taken in the 1930s with the contemporary oral histories. They also photographed all of the sticks in the Penn Museum’s collection and created a database of descriptive materials. One of the students won a Mellon grant through Penn to take the digital materials to the Eastern Band of the Cherokee in North Carolina. Today, Cherokee craftsman are recreating the older sticks based on the students’ photographs, and the videos will be used in a museum exhibit that will be displayed at the tribally owned Junaluska Museum, located in Robbinsville, North Carolina.','Undergraduates in the Archives - Powell 3','There have been many exciting outcomes from the students’ interactions with archival materials.  In the spring of 2010, the class project was to integrate the photography and artifact collections of noted Penn anthropologist A. Irving Hallowell, whose photographs are housed at the APS, and whose artifacts are stored at the Penn Museum.  ','inherit','open','open','','1583-revision-24','','','2012-10-08 21:46:00','2012-10-08 21:46:00','',1583,'http://www.archivejournal.net/issue/2/uncategorized/1583-revision-24/',0,'revision','',0),(3268,19,'2012-10-15 23:12:49','2012-10-15 23:12:49','The most obvious benefit to Penn students is an opportunity to work on a project designed to be used by Native American community members and to hear the voices of elders. Penn, unfortunately, has no Native American faculty working in the field of American Indian studies, and the state of Pennsylvania has no Indian reservations. As a result, students generally have no contact with the people they are studying. Because many have never met a Native American, they are prone to thinking of Indians as being extinct. By getting students to look at archival materials from an indigenous perspective, they learn to think about such basic terms as “American,” “history,” “literature,” “intelligence,” and “writing” in new ways. Even if the students do not major in American Indian studies, the intellectual experience of understanding a very different cultural epistemology and ontology is inherently valuable.\r\n\r\nFrom a pedagogical perspective, the students learn research skills in archives that will serve them well no matter what their chose careers. In my experience, most undergraduates do not have the opportunity to work with archival or museum collections. Many students seem to enjoy the courses more once they have been to the American Philosophical Society and seen Thomas Jefferson’s hand written draft of the Declaration of Independence or held a drum owned by Sitting Bull in their hands. It makes history and culture come alive in a way that textbooks rarely achieve. I find that it requires a lot of preliminary work—selecting and skimming documents, scanning photographs, etc.—to prepare a class for doing research in the archives. This semester my students will be going through hundreds of pages of oral history transcripts about an Ojibwe Medicine Man to try to match them to historical documents and photographs in order to make them more useful to the community where the recordings were originally made more than 75 years ago. I find that the students’ work is more thoughtful and more inspired when they realize that their work will be shared with community members, rather than writing a paper that will be read by one person. Me.','Undergraduates in the Archives - Powell 2','The most obvious benefit to Penn students is an opportunity to work on a project designed to be used by Native American community members and to hear the voices of elders. Penn, unfortunately, has no Native American faculty working in the field of American Indian studies, and the state of Pennsylvania has no Indian reservations. ','inherit','open','open','','1580-revision-17','','','2012-10-15 23:12:49','2012-10-15 23:12:49','',1580,'http://www.archivejournal.net/issue/2/uncategorized/1580-revision-17/',0,'revision','',0),(2714,19,'2012-10-15 16:03:04','2012-10-15 16:03:04','The most obvious benefit to Penn students is an opportunity to work on a project designed to be used by Native American community members and to hear the voices of elders. Penn, unfortunately, has no Native American faculty working in the field of American Indian studies, and the state of Pennsylvania has no Indian reservations. As a result, students generally have no contact with the people they are studying. Because many have never met a Native American, they are prone to thinking of Indians as being extinct. By getting students to look at archival materials from an indigenous perspective, they learn to think about such basic terms as “American,” “history,” “literature,” “intelligence,” and “writing” in new ways. Even if the students do not major in American Indian studies, the intellectual experience of understanding a very different cultural epistemology and ontology is inherently valuable.\r\n\r\nFrom a pedagogical perspective, the students learn research skills in archives that will serve them well no matter what their chose careers. In my experience, most undergraduates do not have the opportunity to work with archival or museum collections. Many students seem to enjoy the courses more once they have been to the American Philosophical Society and seen Thomas Jefferson’s hand written draft of the Declaration of Independence or held a drum owned by Sitting Bull in their hands. It makes history and culture come alive in a way that textbooks rarely achieve. I find that it requires a lot of preliminary work—selecting and skimming documents, scanning photographs, etc.—to prepare a class for doing research in the archives. This semester my students will be going through hundreds of pages of oral history transcripts about an Ojibwe Medicine Man to try to match them to historical documents and photographs in order to make them more useful to the community where the recordings were originally made more than 75 years ago. I find that the students’ work is more thoughtful and more inspired when they realize that their work will be shared with community members, rather than writing a paper that will be read by one person. Me.','Undergraduates in the Archives - Powell 2','The most obvious benefit to Penn students is an opportunity to work on a project designed to be used by Native American community members and to hear the voices of elders. Penn, unfortunately, has no Native American faculty working in the field of American Indian studies, and the state of Pennsylvania has no Indian reservations. ','inherit','open','open','','1580-revision-10','','','2012-10-15 16:03:04','2012-10-15 16:03:04','',1580,'http://www.archivejournal.net/issue/2/uncategorized/1580-revision-10/',0,'revision','',0),(2630,19,'2012-10-08 21:50:01','2012-10-08 21:50:01','There have been many exciting outcomes from the students’ interactions with archival materials. In the spring of 2010, the class project was to design a digital exhibit that would bring together Penn anthropologist A. Irving Hallowell’s Ojibwe photographs from the American Philosophical Society and Ojibwe artifacts from the Penn Museum, all of which were collected in the 1930s. (See Figure 1) <div id=\"attachment_2610\" class=\"alignright wp-caption\" style=\"width:333px\"><a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/10/powell_1.jpg\" title=\"Bandolier Bag\"><img src=\"http://stage.archivejournal.net/wp-content/uploads/2012/10/powell_1-333x147.jpg\" alt=\"\'Ojibwe Bandolier Bag,\' Penn Museum, photograph by David McDonald, DMcD Productions.\" title=\"Ojibwe Bandolier Bag\" width=\"333\" height=\"147\" class=\"size-medium wp-image-2625\" /></a><span class=\"wp-caption-text\"><em>Figure 1</em>: \"Ojibwe Bandolier Bag,\" Penn Museum, photograph by David McDonald, DMcD Productions.</span></div> Not long before the semester started, I had been contacted by Gord Jones, the project manager of Pimachiowin Aki Corporation, who is working on submitting a UNESCO World Heritage Site grant application to preserve 40,000 square kilometers of boreal forest and the cultural landscape of five Ojibwe First Nations. One challenge of the grant is to define a “cultural landscape.” A number of scholars associated with the Pimachiowin Aki project had come to the APS and digitized material from the Hallowell collection. Hallowell had worked in Ojibwe First Nation communities in northern Manitoba and Ontario for ten years, so there was a large amount of material related to this very small, remote place. The students photographed and documented the objects from the Hallowell collection at the Penn Museum and presented them to Ojibwe representatives of the Pimachiowin Aki project at a conference held at the APS shortly after the semester ended. The students’ material is now part of a historic project, the first UNESCO World Heritage Site application ever submitted by the Canadian government on behalf of First Nations.\r\n\r\n\r\nLast semester my students worked in groups to curate an exhibit entitled <em>Cherokee Stickball</em>, based on the research of Frank Speck, a highly distinguished anthropologist. Speck taught at Penn for half a century, collecting more than forty stickball sticks for the Penn Museum and depositing photographs of Cherokee stickball games at the APS. (See Figure 2.) <div id=\"attachment_2609\" class=\"alignright wp-cation\" style=\"width:217px;\"><a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/powell_2.jpg\"><img src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/powell_2-217x250.jpg\" alt=\"\'Cherokee Stickball\', American Philosophical Society, Frank Speck collection.\" title=\"Powell 2, Cherokee Stickball\" width=\"217\" height=\"250\" class=\"size-medium wp-image-2609\" /></a> <span class=\"wp-caption-text\"><em>Figure 2:</em> \"Cherokee Stickball,\" American Philosophical Society, Frank Speck collection.</span></div> In the 1930s, Speck worked with a Cherokee Medicine Man named Will West Long, who provided Speck with a rich ethnographic description of the spiritual dimensions of the game. Will West’s grand nephew, T.J. Holland, came to the APS conference in the spring of 2010, and I had the opportunity to interview him along with another very knowledgeable elder, Tom Belt. The students created Quick Time videos that combined Speck’s photographs taken in the 1930s with the contemporary oral histories. They also photographed all of the sticks in the Penn Museum’s collection and created a database of descriptive materials. One of the students won a Mellon grant through Penn to take the digital materials to the Eastern Band of the Cherokee in North Carolina. Today, Cherokee craftsman are recreating the older sticks based on the students’ photographs, and the videos will be used in a museum exhibit that will be displayed at the tribally owned Junaluska Museum, located in Robbinsville, North Carolina.','Undergraduates in the Archives - Powell 3','There have been many exciting outcomes from the students’ interactions with archival materials.  In the spring of 2010, the class project was to integrate the photography and artifact collections of noted Penn anthropologist A. Irving Hallowell, whose photographs are housed at the APS, and whose artifacts are stored at the Penn Museum.  ','inherit','open','open','','1583-revision-25','','','2012-10-08 21:50:01','2012-10-08 21:50:01','',1583,'http://www.archivejournal.net/issue/2/uncategorized/1583-revision-25/',0,'revision','',0),(2631,19,'2012-10-08 21:50:48','2012-10-08 21:50:48','There have been many exciting outcomes from the students’ interactions with archival materials. In the spring of 2010, the class project was to design a digital exhibit that would bring together Penn anthropologist A. Irving Hallowell’s Ojibwe photographs from the American Philosophical Society and Ojibwe artifacts from the Penn Museum, all of which were collected in the 1930s. (See Figure 1) <div id=\"attachment_2610\" class=\"alignright wp-caption\" style=\"width:335px\"><a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/10/powell_1.jpg\" title=\"Bandolier Bag\"><img src=\"http://stage.archivejournal.net/wp-content/uploads/2012/10/powell_1-333x147.jpg\" alt=\"\'Ojibwe Bandolier Bag,\' Penn Museum, photograph by David McDonald, DMcD Productions.\" title=\"Ojibwe Bandolier Bag\" width=\"333\" height=\"147\" class=\"size-medium wp-image-2625\" /></a><span class=\"wp-caption-text\"><em>Figure 1</em>: \"Ojibwe Bandolier Bag,\" Penn Museum, photograph by David McDonald, DMcD Productions.</span></div> Not long before the semester started, I had been contacted by Gord Jones, the project manager of Pimachiowin Aki Corporation, who is working on submitting a UNESCO World Heritage Site grant application to preserve 40,000 square kilometers of boreal forest and the cultural landscape of five Ojibwe First Nations. One challenge of the grant is to define a “cultural landscape.” A number of scholars associated with the Pimachiowin Aki project had come to the APS and digitized material from the Hallowell collection. Hallowell had worked in Ojibwe First Nation communities in northern Manitoba and Ontario for ten years, so there was a large amount of material related to this very small, remote place. The students photographed and documented the objects from the Hallowell collection at the Penn Museum and presented them to Ojibwe representatives of the Pimachiowin Aki project at a conference held at the APS shortly after the semester ended. The students’ material is now part of a historic project, the first UNESCO World Heritage Site application ever submitted by the Canadian government on behalf of First Nations.\r\n\r\n\r\nLast semester my students worked in groups to curate an exhibit entitled <em>Cherokee Stickball</em>, based on the research of Frank Speck, a highly distinguished anthropologist. Speck taught at Penn for half a century, collecting more than forty stickball sticks for the Penn Museum and depositing photographs of Cherokee stickball games at the APS. (See Figure 2.) <div id=\"attachment_2609\" class=\"alignright wp-cation\" style=\"width:219px;\"><a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/powell_2.jpg\"><img src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/powell_2-217x250.jpg\" alt=\"\'Cherokee Stickball\', American Philosophical Society, Frank Speck collection.\" title=\"Powell 2, Cherokee Stickball\" width=\"217\" height=\"250\" class=\"size-medium wp-image-2609\" /></a> <span class=\"wp-caption-text\"><em>Figure 2:</em> \"Cherokee Stickball,\" American Philosophical Society, Frank Speck collection.</span></div> In the 1930s, Speck worked with a Cherokee Medicine Man named Will West Long, who provided Speck with a rich ethnographic description of the spiritual dimensions of the game. Will West’s grand nephew, T.J. Holland, came to the APS conference in the spring of 2010, and I had the opportunity to interview him along with another very knowledgeable elder, Tom Belt. The students created Quick Time videos that combined Speck’s photographs taken in the 1930s with the contemporary oral histories. They also photographed all of the sticks in the Penn Museum’s collection and created a database of descriptive materials. One of the students won a Mellon grant through Penn to take the digital materials to the Eastern Band of the Cherokee in North Carolina. Today, Cherokee craftsman are recreating the older sticks based on the students’ photographs, and the videos will be used in a museum exhibit that will be displayed at the tribally owned Junaluska Museum, located in Robbinsville, North Carolina.','Undergraduates in the Archives - Powell 3','There have been many exciting outcomes from the students’ interactions with archival materials.  In the spring of 2010, the class project was to integrate the photography and artifact collections of noted Penn anthropologist A. Irving Hallowell, whose photographs are housed at the APS, and whose artifacts are stored at the Penn Museum.  ','inherit','open','open','','1583-revision-26','','','2012-10-08 21:50:48','2012-10-08 21:50:48','',1583,'http://www.archivejournal.net/issue/2/uncategorized/1583-revision-26/',0,'revision','',0),(2633,19,'2012-10-08 21:52:55','2012-10-08 21:52:55','There have been many exciting outcomes from the students’ interactions with archival materials. In the spring of 2010, the class project was to design a digital exhibit that would bring together Penn anthropologist A. Irving Hallowell’s Ojibwe photographs from the American Philosophical Society and Ojibwe artifacts from the Penn Museum, all of which were collected in the 1930s. (See Figure 1) <div id=\"attachment_2610\" class=\"alignright wp-caption\" style=\"width:335px\"><a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/10/powell_1.jpg\" title=\"Bandolier Bag\"><img src=\"http://stage.archivejournal.net/wp-content/uploads/2012/10/powell_1-333x147.jpg\" alt=\"\'Ojibwe Bandolier Bag,\' Penn Museum, photograph by David McDonald, DMcD Productions.\" title=\"Ojibwe Bandolier Bag\" width=\"333\" height=\"147\" class=\"size-medium wp-image-2625\" /></a><span class=\"wp-caption-text\"><em>Figure 1</em>: \"Ojibwe Bandolier Bag,\" Penn Museum, photograph by David McDonald, DMcD Productions.</span></div> Not long before the semester started, I had been contacted by Gord Jones, the project manager of Pimachiowin Aki Corporation, who is working on submitting a UNESCO World Heritage Site grant application to preserve 40,000 square kilometers of boreal forest and the cultural landscape of five Ojibwe First Nations. One challenge of the grant is to define a “cultural landscape.” A number of scholars associated with the Pimachiowin Aki project had come to the APS and digitized material from the Hallowell collection. Hallowell had worked in Ojibwe First Nation communities in northern Manitoba and Ontario for ten years, so there was a large amount of material related to this very small, remote place. The students photographed and documented the objects from the Hallowell collection at the Penn Museum and presented them to Ojibwe representatives of the Pimachiowin Aki project at a conference held at the APS shortly after the semester ended. The students’ material is now part of a historic project, the first UNESCO World Heritage Site application ever submitted by the Canadian government on behalf of First Nations.\r\n\r\n\r\nLast semester my students worked in groups to curate an exhibit entitled <em>Cherokee Stickball</em>, based on the research of Frank Speck, a highly distinguished anthropologist. Speck taught at Penn for half a century, collecting more than forty stickball sticks for the Penn Museum and depositing photographs of Cherokee stickball games at the APS. (See Figure 2.) <div id=\"attachment_2609\" class=\"alignright wp-caption\" style=\"width:219px;\"><a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/powell_2.jpg\"><img src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/powell_2-217x250.jpg\" alt=\"\'Cherokee Stickball\', American Philosophical Society, Frank Speck collection.\" title=\"Powell 2, Cherokee Stickball\" width=\"217\" height=\"250\" class=\"size-medium wp-image-2609\" /></a> <span class=\"wp-caption-text\"><em>Figure 2:</em> \"Cherokee Stickball,\" American Philosophical Society, Frank Speck collection.</span></div> In the 1930s, Speck worked with a Cherokee Medicine Man named Will West Long, who provided Speck with a rich ethnographic description of the spiritual dimensions of the game. Will West’s grand nephew, T.J. Holland, came to the APS conference in the spring of 2010, and I had the opportunity to interview him along with another very knowledgeable elder, Tom Belt. The students created Quick Time videos that combined Speck’s photographs taken in the 1930s with the contemporary oral histories. They also photographed all of the sticks in the Penn Museum’s collection and created a database of descriptive materials. One of the students won a Mellon grant through Penn to take the digital materials to the Eastern Band of the Cherokee in North Carolina. Today, Cherokee craftsman are recreating the older sticks based on the students’ photographs, and the videos will be used in a museum exhibit that will be displayed at the tribally owned Junaluska Museum, located in Robbinsville, North Carolina.','Undergraduates in the Archives - Powell 3','There have been many exciting outcomes from the students’ interactions with archival materials.  In the spring of 2010, the class project was to integrate the photography and artifact collections of noted Penn anthropologist A. Irving Hallowell, whose photographs are housed at the APS, and whose artifacts are stored at the Penn Museum.  ','inherit','open','open','','1583-revision-28','','','2012-10-08 21:52:55','2012-10-08 21:52:55','',1583,'http://www.archivejournal.net/issue/2/uncategorized/1583-revision-28/',0,'revision','',0),(2635,19,'2012-10-01 23:49:21','2012-10-01 23:49:21','Archival research is an important source for coursework and teaching, as professors and instructors are increasingly incorporating work with primary documents into undergraduate courses. Because access to primary resources is often restricted by research room hours, and can be further limited because of preservation concerns if materials are extremely fragile or if collections are not fully inventoried, this kind of research takes time. Despite this, many student researchers leave archives with a great deal more information than they will be able to explore in their written scholarship. Students’ research goals also inform their actual practice, although, due to the many pleasures and challenges of working with primary documents, even the best intentions often change dramatically when working through a collection of materials. Whatever the situation, undergraduates working with primary documents need to be aware of a number of general recommendations, in addition to any particular archive’s specific rules.\r\n\r\nThough the individual archive or library is the best first source of information for working with specific collections, the following resources provide general information about working effectively with archival materials that may be of use to students and/or their teachers.\r\n<h1>Resources for Working with Primary Source Documents</h1>\r\n<h3>Comprehensive</h3>\r\nSchmidt, Laura. \"Using Archives: A Guide to Effective Research.\" <em>Society of American Archivists</em>. 2011. <a href=\"http://www2.archivists.org/usingarchives\">http://www2.archivists.org/usingarchives</a>. An excellent primer for using archives, with considerations such as: \"What Are Archives and How do They Differ from Libraries?\"; \"Requesting Materials Remotely\"; \"Planning to Visit an Archive\"; and \"Notes on Copyright, Restrictions, and Unprocessed Collections.\"\r\n<h3>Handling Documents</h3>\r\nNational Archives (UK). \"Handling Documents.\" <em>The National Archives.</em> 2011. <a href=\"http://www.nationalarchives.gov.uk/visit/document-handling.htm\">http://www.nationalarchives.gov.uk/visit/document-handling.htm</a>. A basic overview for handling documents, including best practices and an explanation of common types of documents and handling needs.\r\n\r\nNational Park Service. \"Handling Archival Documents and Manuscripts.\" <em>Conserve O Gram </em>19, no. 17 (Sept. 1996). <a href=\"http://www.nps.gov/museum/publications/conserveogram/19-17.pdf\">http://www.nps.gov/museum/publications/conserveogram/19-17.pdf</a>. A brief guide focused on handling archival documents and manuscripts organized into a series of do’s and don’ts, including setting up the research area, moving materials, and dealing with problems (brittle, damaged, attached, and contaminated materials).\r\n<h3>Working in Archives</h3>\r\nArchives of American Art. \"Frequently Asked Questions.\" <em>Archives of American Art: Ask Us.</em> 2011. <a href=\"http://www.aaa.si.edu/askus/faq\">http://www.aaa.si.edu/askus/faq</a>: A general FAQ addressing basic questions and providing policy information, such as the need for researchers to schedule appointments, a useful reminder no matter which archive you plan to use.\r\n\r\nNew York University Libraries. \"Using Archives and Manuscripts.\" <em>New York</em><em> University</em><em> Libraries: Research Guides.</em> 2011. <a href=\"http://nyu.libguides.com/content.php?pid=38517\">http://nyu.libguides.com/content.php?pid=38517</a>. Intended for researchers using NYU collections, this guide also provides general relevant information, including definitions, recommendations on handling materials, and best practices for archival research.\r\n<h3>Teaching</h3>\r\nThe National Archives Experience (US). \"Tool Box.\"<em> The National Archives Experience: Educators and Students. </em>2011. <a href=\"http://www.archives.gov/nae/education/tool-box.html\">http://www.archives.gov/nae/education/tool-box.html</a>. The \"Tool Box\" includes many basic documents explaining the benefits of teaching with primary sources, basics for teaching with primary documents, and links to teaching workshops and collaborative opportunities (<a href=\"http://www.archives.gov/nae/education/collaboration.html\">http://www.archives.gov/nae/education/collaboration.html</a>).\r\n\r\nNational Archives of Australia. <em>Vrroom: Virtual Reading Room</em>. 2011. <a href=\"http://vrroom.naa.gov.au/\">http://vrroom.naa.gov.au/</a>. With a tagline of \"easy access to archival records for teachers and students,\" <em>Vrroom</em> is designed as a full virtual reading room, allowing users to search and browse archival collections, as well as providing support for teaching and research.\r\n<h3>Working with Technology in Archives</h3>\r\nBateman, Kirklin, Sheila Brennan, Douglas Mudd, and Paula Petrik. \"Taking a Byte Out of the Archives: Making Technology Work for You.\" <em>Perspectives Online </em>43, no. 1: (Jan. 2005)\r\n<a href=\"http://www.historians.org/perspectives/issues/2005/0501/0501arc1.cfm\">http://www.historians.org/perspectives/issues/2005/0501/0501arc1.cfm</a>. A useful overview of working with technology in archives, as well as maintaining electronic documents and notes from archival research. Published in 2005, the guide is somewhat dated (it does not include Zotero, for example, which rolled out in 2006).','How to Work with Primary Source Documents','','inherit','open','open','','2045-revision-16','','','2012-10-01 23:49:21','2012-10-01 23:49:21','',2045,'http://www.archivejournal.net/issue/2/uncategorized/2045-revision-16/',0,'revision','',0),(3267,19,'2012-10-15 23:12:37','2012-10-15 23:12:37','There have been many exciting outcomes from the students’ interactions with archival materials. In the spring of 2010, the class project was to design a digital exhibit that would bring together Penn anthropologist A. Irving Hallowell’s Ojibwe photographs from the American Philosophical Society and Ojibwe artifacts from the Penn Museum, all of which were collected in the 1930s. (See Figure 1)\r\n\r\n<a title=\"Bandolier Bag\" href=\"http://stage.archivejournal.net/wp-content/uploads/2012/10/powell_1.jpg\"><img class=\"size-medium wp-image-2625\" title=\"Ojibwe Bandolier Bag\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/10/powell_1-333x147.jpg\" alt=\"\'Ojibwe Bandolier Bag,\' Penn Museum, photograph by David McDonald, DMcD Productions.\" width=\"333\" height=\"147\" /></a>\r\n\r\nNot long before the semester started, I had been contacted by Gord Jones, the project manager of Pimachiowin Aki Corporation, who is working on submitting a UNESCO World Heritage Site grant application to preserve 40,000 square kilometers of boreal forest and the cultural landscape of five Ojibwe First Nations. One challenge of the grant is to define a “cultural landscape.” A number of scholars associated with the Pimachiowin Aki project had come to the APS and digitized material from the Hallowell collection. Hallowell had worked in Ojibwe First Nation communities in northern Manitoba and Ontario for ten years, so there was a large amount of material related to this very small, remote place. The students photographed and documented the objects from the Hallowell collection at the Penn Museum and presented them to Ojibwe representatives of the Pimachiowin Aki project at a conference held at the APS shortly after the semester ended. The students’ material is now part of a historic project, the first UNESCO World Heritage Site application ever submitted by the Canadian government on behalf of First Nations.\r\n\r\nLast semester my students worked in groups to curate an exhibit entitled <em>Cherokee Stickball</em>, based on the research of Frank Speck, a highly distinguished anthropologist. Speck taught at Penn for half a century, collecting more than forty stickball sticks for the Penn Museum and depositing photographs of Cherokee stickball games at the APS. (See Figure 2.)\r\n\r\n<a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/powell_2.jpg\"><img class=\"size-medium wp-image-2609\" title=\"Powell 2, Cherokee Stickball\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/powell_2-217x250.jpg\" alt=\"\'Cherokee Stickball\', American Philosophical Society, Frank Speck collection.\" width=\"217\" height=\"250\" /></a>\r\n\r\nIn the 1930s, Speck worked with a Cherokee Medicine Man named Will West Long, who provided Speck with a rich ethnographic description of the spiritual dimensions of the game. Will West’s grand nephew, T.J. Holland, came to the APS conference in the spring of 2010, and I had the opportunity to interview him along with another very knowledgeable elder, Tom Belt. The students created Quick Time videos that combined Speck’s photographs taken in the 1930s with the contemporary oral histories. They also photographed all of the sticks in the Penn Museum’s collection and created a database of descriptive materials. One of the students won a Mellon grant through Penn to take the digital materials to the Eastern Band of the Cherokee in North Carolina. Today, Cherokee craftsman are recreating the older sticks based on the students’ photographs, and the videos will be used in a museum exhibit that will be displayed at the tribally owned Junaluska Museum, located in Robbinsville, North Carolina.','Undergraduates in the Archives - Powell 3','There have been many exciting outcomes from the students’ interactions with archival materials.  In the spring of 2010, the class project was to integrate the photography and artifact collections of noted Penn anthropologist A. Irving Hallowell, whose photographs are housed at the APS, and whose artifacts are stored at the Penn Museum.  ','inherit','open','open','','1583-revision-39','','','2012-10-15 23:12:37','2012-10-15 23:12:37','',1583,'http://www.archivejournal.net/issue/2/uncategorized/1583-revision-39/',0,'revision','',0),(2634,19,'2012-10-08 21:54:34','2012-10-08 21:54:34','There have been many exciting outcomes from the students’ interactions with archival materials. In the spring of 2010, the class project was to design a digital exhibit that would bring together Penn anthropologist A. Irving Hallowell’s Ojibwe photographs from the American Philosophical Society and Ojibwe artifacts from the Penn Museum, all of which were collected in the 1930s. (See Figure 1) <span id=\"attachment_2610\" class=\"alignright wp-caption\" style=\"width:335px\"><a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/10/powell_1.jpg\" title=\"Bandolier Bag\"><img src=\"http://stage.archivejournal.net/wp-content/uploads/2012/10/powell_1-333x147.jpg\" alt=\"\'Ojibwe Bandolier Bag,\' Penn Museum, photograph by David McDonald, DMcD Productions.\" title=\"Ojibwe Bandolier Bag\" width=\"333\" height=\"147\" class=\"size-medium wp-image-2625\" /></a><span class=\"wp-caption-text\"><em>Figure 1</em>: \"Ojibwe Bandolier Bag,\" Penn Museum, photograph by David McDonald, DMcD Productions.</span></span> Not long before the semester started, I had been contacted by Gord Jones, the project manager of Pimachiowin Aki Corporation, who is working on submitting a UNESCO World Heritage Site grant application to preserve 40,000 square kilometers of boreal forest and the cultural landscape of five Ojibwe First Nations. One challenge of the grant is to define a “cultural landscape.” A number of scholars associated with the Pimachiowin Aki project had come to the APS and digitized material from the Hallowell collection. Hallowell had worked in Ojibwe First Nation communities in northern Manitoba and Ontario for ten years, so there was a large amount of material related to this very small, remote place. The students photographed and documented the objects from the Hallowell collection at the Penn Museum and presented them to Ojibwe representatives of the Pimachiowin Aki project at a conference held at the APS shortly after the semester ended. The students’ material is now part of a historic project, the first UNESCO World Heritage Site application ever submitted by the Canadian government on behalf of First Nations.\r\n\r\n\r\nLast semester my students worked in groups to curate an exhibit entitled <em>Cherokee Stickball</em>, based on the research of Frank Speck, a highly distinguished anthropologist. Speck taught at Penn for half a century, collecting more than forty stickball sticks for the Penn Museum and depositing photographs of Cherokee stickball games at the APS. (See Figure 2.) <div id=\"attachment_2609\" class=\"alignright wp-caption\" style=\"width:219px;\"><a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/powell_2.jpg\"><img src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/powell_2-217x250.jpg\" alt=\"\'Cherokee Stickball\', American Philosophical Society, Frank Speck collection.\" title=\"Powell 2, Cherokee Stickball\" width=\"217\" height=\"250\" class=\"size-medium wp-image-2609\" /></a> <span class=\"wp-caption-text\"><em>Figure 2:</em> \"Cherokee Stickball,\" American Philosophical Society, Frank Speck collection.</span></div> In the 1930s, Speck worked with a Cherokee Medicine Man named Will West Long, who provided Speck with a rich ethnographic description of the spiritual dimensions of the game. Will West’s grand nephew, T.J. Holland, came to the APS conference in the spring of 2010, and I had the opportunity to interview him along with another very knowledgeable elder, Tom Belt. The students created Quick Time videos that combined Speck’s photographs taken in the 1930s with the contemporary oral histories. They also photographed all of the sticks in the Penn Museum’s collection and created a database of descriptive materials. One of the students won a Mellon grant through Penn to take the digital materials to the Eastern Band of the Cherokee in North Carolina. Today, Cherokee craftsman are recreating the older sticks based on the students’ photographs, and the videos will be used in a museum exhibit that will be displayed at the tribally owned Junaluska Museum, located in Robbinsville, North Carolina.','Undergraduates in the Archives - Powell 3','There have been many exciting outcomes from the students’ interactions with archival materials.  In the spring of 2010, the class project was to integrate the photography and artifact collections of noted Penn anthropologist A. Irving Hallowell, whose photographs are housed at the APS, and whose artifacts are stored at the Penn Museum.  ','inherit','open','open','','1583-revision-29','','','2012-10-08 21:54:34','2012-10-08 21:54:34','',1583,'http://www.archivejournal.net/issue/2/uncategorized/1583-revision-29/',0,'revision','',0),(2636,19,'2012-10-04 03:36:59','2012-10-04 03:36:59','In this issue, five contributors address how hands-on work with archives has been incorporated into undergraduate education.  They each answer a series of five questions to report on what they have done, what worked or not, and what value bringing archives into the classroom, or the classroom into the archive, has.  We invite you to read through the responses by author or by question.','Undergraduates in the Archives','','inherit','open','open','','1500-revision-48','','','2012-10-04 03:36:59','2012-10-04 03:36:59','',1500,'http://www.archivejournal.net/issue/2/uncategorized/1500-revision-48/',0,'revision','',0),(2637,10,'2012-11-28 22:42:11','2012-11-28 22:42:11','Oh my, this is a hard one to answer. Without intending to sound unbearably sappy, there are nearly too many moments of success for me to count! My favorite moments are those that come outside the seminar: when a student makes a connection between what we have been discussing and what another class of hers is doing; when a professor tells me that a former student has been teaching them all to pay attention to the textual history of a poem they are reading; or when a former student sends me an e-mail to point out a newspaper article about books he found interesting. All those moments mean that the lessons they have learned in our seminar are living on for them in other contexts.\n\nOther favorite moments have been when students have found something out about a book that is news to the Library’s catalogers. Given how tremendous the Folger catalogers are, that is hard to do! But, for instance, one student was working on <em>The essayes of a prentise</em>, a book that had been written by King James in 1594, when he was James VI of Scotland and not yet James I of England. The student’s interpretation of the book was that it was deeply embedded in James’s perspective as a Scottish monarch and aspirant to the English throne, especially since the book was bound as a presentation copy for Lord Burghley. But the catalog record for the book, following standard name authority rules, listed the author as James I. Given the student’s research, however, the book’s record now includes a note clarifying the nature of James’s title when it was written. (You can see a blog post I wrote about the book and this issue <a href=\"http://sarahwerner.net/blog/index.php/2009/09/essayes-of-a-prentise/\">here</a>; you can find the catalog record for it <a href=\"http://shakespeare.folger.edu/cgi-bin/Pwebrecon.cgi?BBID=163210\">here</a>.)\n\nAnother student was working on James Smith’s <em>The generall historie of Virginia</em> (1624) and was struck by its odd binding, in which one armorial device was stamped on top of another. The Folger’s catalog identified one of them as James I’s, but it took some joint sleuthing for her and I to work out that the stamp on top of James’s was that of George Villiers, the Duke of Buckingham. As far as I can work out, no one else has noticed that, not the previous owners or booksellers nor the Library’s catalogers. (That record still doesn’t include the additional information about the binding because I haven’t yet brought it to their attention. But you can read about the book and see some pictures of the binding <a href=\"http://sarahwerner.net/blog/index.php/2011/04/an-armorial-binding-mystery/\">here</a>; the catalog record is <a href=\"http://shakespeare.folger.edu/cgi-bin/Pwebrecon.cgi?BBID=164134\">here</a>.)','Undergraduates in the Archives - Werner 3','','inherit','open','open','','1547-autosave','','','2012-11-28 22:42:11','2012-11-28 22:42:11','',1547,'http://www.archivejournal.net/issue/2/uncategorized/1547-autosave/',0,'revision','',0),(2638,19,'2012-10-15 14:12:01','2012-10-15 14:12:01','','Past Issues','','inherit','open','open','','2529-autosave','','','2012-10-15 14:12:01','2012-10-15 14:12:01','',2529,'http://www.archivejournal.net/issue/2/uncategorized/2529-autosave/',0,'revision','',0),(2639,19,'2012-09-25 05:49:33','2012-09-25 05:49:33','[show past issues here]','Past Issues','','inherit','open','open','','2529-revision-3','','','2012-09-25 05:49:33','2012-09-25 05:49:33','',2529,'http://www.archivejournal.net/issue/2/uncategorized/2529-revision-3/',0,'revision','',0),(2641,19,'2012-10-15 15:05:30','2012-10-15 15:05:30','','Past Issues','','inherit','open','open','','2529-revision-5','','','2012-10-15 15:05:30','2012-10-15 15:05:30','',2529,'http://www.archivejournal.net/issue/2/uncategorized/2529-revision-5/',0,'revision','',0),(2642,19,'2012-10-15 15:07:59','2012-10-15 15:07:59','','Past Issues','','inherit','open','open','','2529-revision-6','','','2012-10-15 15:07:59','2012-10-15 15:07:59','',2529,'http://www.archivejournal.net/issue/2/uncategorized/2529-revision-6/',0,'revision','',0),(2643,19,'2012-10-15 15:09:24','2012-10-15 15:09:24','','Past Issues','','inherit','open','open','','2529-revision-7','','','2012-10-15 15:09:24','2012-10-15 15:09:24','',2529,'http://www.archivejournal.net/issue/2/uncategorized/2529-revision-7/',0,'revision','',0),(2644,19,'2012-10-15 15:10:03','2012-10-15 15:10:03','','Past Issues','','inherit','open','open','','2529-revision-8','','','2012-10-15 15:10:03','2012-10-15 15:10:03','',2529,'http://www.archivejournal.net/issue/2/uncategorized/2529-revision-8/',0,'revision','',0),(2645,19,'2012-10-15 15:12:28','2012-10-15 15:12:28','','Past Issues','','inherit','open','open','','2529-revision-9','','','2012-10-15 15:12:28','2012-10-15 15:12:28','',2529,'http://www.archivejournal.net/issue/2/uncategorized/2529-revision-9/',0,'revision','',0),(2646,19,'2012-09-25 04:27:43','2012-09-25 04:27:43','<a href=\"http://thewalters.org/earth/beaupre/\" rel=\"attachment wp-att-1977\"><img class=\"aligncenter size-full wp-image-1977\" title=\"beaupre\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/07/beaupre.png\" alt=\"Beaupre\" width=\"600\" height=\"400\" /></a>','Walters - Beaupre Devos','','inherit','open','open','','1975-revision-6','','','2012-09-25 04:27:43','2012-09-25 04:27:43','',1975,'http://www.archivejournal.net/issue/2/uncategorized/1975-revision-6/',0,'revision','',0),(2647,19,'2012-09-25 04:27:54','2012-09-25 04:27:54','<a href=\"http://thewalters.org/earth/casket/\" rel=\"attachment wp-att-1970\"><img src=\"http://stage.archivejournal.net/wp-content/uploads/2012/07/casket1.png\" alt=\"Romances Casket\" title=\"casket\" width=\"600\" height=\"400\" class=\"aligncenter size-full wp-image-1970\" /></a>','Walters - Romances Casket Tkacs','','inherit','open','open','','1967-revision-5','','','2012-09-25 04:27:54','2012-09-25 04:27:54','',1967,'http://www.archivejournal.net/issue/2/uncategorized/1967-revision-5/',0,'revision','',0),(2648,19,'2012-09-25 04:27:28','2012-09-25 04:27:28','<a href=\"http://thewalters.org/earth/amazon/\" rel=\"attachment wp-att-1973\"><img src=\"http://stage.archivejournal.net/wp-content/uploads/2012/07/amazon1.png\" alt=\"Amazon Dowdle\" title=\"amazon\" width=\"600\" height=\"400\" class=\"aligncenter size-full wp-image-1973\" /></a>','Walters - Amazon Dowdle','','inherit','open','open','','1957-revision-11','','','2012-09-25 04:27:28','2012-09-25 04:27:28','',1957,'http://www.archivejournal.net/issue/2/uncategorized/1957-revision-11/',0,'revision','',0),(2649,19,'2012-09-25 04:27:24','2012-09-25 04:27:24','<div id=\"map3d_dowdle\"></div>\r\n<div class=\"small light\">Installed Plugin Version: <span id=\"installed-plugin-version\" style=\"font-weight: bold;\">Loading...</span></div>','Walters - Amazon Dowdle Live','','inherit','open','open','','1209-revision-18','','','2012-09-25 04:27:24','2012-09-25 04:27:24','',1209,'http://www.archivejournal.net/issue/2/uncategorized/1209-revision-18/',0,'revision','',0),(2650,19,'2012-09-25 04:27:50','2012-09-25 04:27:50','<div id=\"map3d_tkacs\"></div>\r\n<div class=\"small light\">Installed Plugin Version: <span id=\"installed-plugin-version\" style=\"font-weight: bold;\">Loading...</span></div>','Walters - Romances Casket Tkacs Live','','inherit','open','open','','1205-revision-20','','','2012-09-25 04:27:50','2012-09-25 04:27:50','',1205,'http://www.archivejournal.net/issue/2/uncategorized/1205-revision-20/',0,'revision','',0),(2651,19,'2012-09-25 04:28:23','2012-09-25 04:28:23','<div id=\"map3d_devos\"></div>\r\n<div class=\"small light\">Installed Plugin Version: <span id=\"installed-plugin-version\" style=\"font-weight: bold;\">Loading...</span></div>','Walters - Beaupre Devos Live','','inherit','open','open','','1200-revision-21','','','2012-09-25 04:28:23','2012-09-25 04:28:23','',1200,'http://www.archivejournal.net/issue/2/uncategorized/1200-revision-21/',0,'revision','',0),