(2310,19,'2012-09-21 23:36:13','2012-09-21 23:36:13','The primal scene of archival research takes place in a dreary reading room. A researcher sits at her table, inert. An archivist enters, pushing a cart that bears a dozen dusty gray boxes. (Can we get a close-up of a box, please, to show the label with the long call number? [note type=\'figure\' number=\'1\']\r\n&lt;iframe width=\"333\" height=\"250\" src=\"http://www.youtube.com/embed/5ykY6moIaDE?rel=0\" frameborder=\"0\" allowfullscreen&gt;&lt;/iframe&gt;\r\nA staged archival encounter.[/note]) The archivist unhinges a box, removes a numbered file folder and, placing it at the researcher’s elbow, steps back. The researcher stirs, then sits upright with a mechanical jolt. She turns sharply in the direction of the folder, flips it open and cocks her head towards the flimsy leaves inside; now she is reading. (Zoom in on the eyes as they click into focus.) Now she is reading, and now she truly comes alive; she bends towards the papers, taps her forehead in thought. A sheaf of blank paper and a pencil appear on her table, and she begins taking notes. Her fingers fly—and soon, so do the pages she is writing upon. Caught up in eddies of excitement, they swoop to the ceiling and around the room and down to the floor, where they fall together into perfect piles. Bindings sprout from the outer strata; the pages sew themselves into bright, tight, hard-cover books. These the archivist gathers up and places on the shelves that line the room, next to other books and gray boxes.\r\n\r\nI may have it backwards: in other versions of the fantasy, it is the archive that is first animated by the presence of the researcher, a Dr. Coppelius who waves a pencil and sets the dusty boxes to dancing. But either way, the archival imaginary posits a symbiotic relationship between researcher and source, a photogenic pas de deux that leads to a finished scholarly product. This work, in turn, enters the archive for the next generation of researchers; it might even be taken apart again so that its secret ingredients (notes, drafts, letters) can themselves be served up in a series of boxes. Such a strangely private form of publication it creates, the coupling of researcher and source.\r\n\r\nWhat Freudian trauma results from witnessing this sight? Only the harm that myth inflicts. This primal scene is a fiction, a dream of perfect union between researcher and source that ignores, first of all, the full cast of characters. What about the archivist, who is rendered invisible? What about all those within and without the archive, upon whose labor—acquiring, preserving, organizing, reading, cataloging, describing, interpreting, analyzing, debating, teaching, writing, editing, digitizing, referencing and publishing—the current project depends? More a barn dance than a pas de deux: an archival encounter is an enactment of social authorship long before the researcher enters the room. [note number=\'1\']See Jerome McGann, A Critique of Modern Textual Criticism (Chicago: University of Chicago Press, 1983) on the idea of social authorship, which could be described as “the dialectic between the historically located individual author and the historically developed institutions of literary production” that help create a work, eg, printers, publishers, editors and readers (81).[/note]\r\n\r\nBut even a barn dance is much too mannered a metaphor. The sketch above misleads us more generally about the experience on the ground. Doing time in an archive is often tedious, uncomfortable and bewildering. For librarians, there is the struggle to promote and simultaneously protect what you have; the difficulty of fitting unruly materials into arrangements and workflows; and worries about space and time—where to put it all, how to address your backlog. For researchers, there is the struggle to locate the archives you need and what matters to you inside them; the uncertainty created by unruly data; and worries about time and space— how to access what you need during your research trip, how to record and organize the information you gather. At both ends, the archival encounter is counter-cinematic and erratic, days of monotonous sifting and dead-ends punctuated by one or two, or maybe zero, hidden moments of vivid, peculiar joy.\r\n\r\nSo archival research does not fulfill its ideal outline. So what? Who cares? Why dredge up the fantasy? Because the fantasy continues to structure our archival encounters—what we expect and undertake in the reading room, what we allow it to mean. Twenty years ago, Alice Kaplan observed that “conventional academic discourse requires that when you write up the results of your archival work, you tell a story about what you found, but not about how you found it. The less the seams of your findings show, the better your discoveries lend themselves to use by others… tell[ing] these stories breaks their spell and violates the spirit of the archives.” [note number=\'2\']Alice Yaeger Kaplan, “Working in the Archives,” Yale French Studies 77 (1990): 103-116; 103, 107.[/note] With a few word changes, the same could be said about what counts as professional archivist discourse: the impersonal, neutral genre of the finding aid, for example, should say what is in a collection, but should not discuss what is confusing or missing in it, or the problems it posed in processing. [note number=\'3\']See, for example, James M. O’Toole and Richard J. Cox, Understanding Archives and Manuscripts (Chicago: Society of American Archivists, 2006).[/note] Despite the growing recognition that this sequestration is never completely possible—that the material conditions and social relations of the archive shape the work we do in it—that work continues to be represented in professional and scholarly publications as if it is. Despite the recent call to move to the fore “the backstage of the archives—how they are constructed, policed, experienced, and manipulated” in order to support historiography “not merely [as] a project of fact-retrieval” but as “a set of complex processes of selection, interpretation, and even creative invention,” the “backstage” stays in the background. [note number=\'4\']Antoinette Burton, “Introduction: Archive Fever, Archive Stories,” Archive Stories: Facts, Fictions, and the Writing of History, ed. Burton (Durham: Duke University Press, 2005), 7-8.[/note] Antoinette Burton may be correct that “many if not most historians operate under the assumption that history is a highly interpretive act,” but this belief is not yet reflected in the archival encounter: the ways that researchers (not just historians) and librarians report their experiences with primary sources; the ways that librarians and researchers work together; the ways librarians and researchers regard the involvement of “non specialists.” [note number=\'5\']Burton, 8. Burton notes that “whether historians concede or fully countenance the impact of such contingencies on their work is another question. They rarely speak of them, and even more rarely do they do so in print” (8). Her books recuperates some of those archive stories but this effort, I’ll suggest below, is hampered by other kinds of obligations.[/note] While the advent of digitization and electronic resource sharing has revolutionized the research landscape, making primary sources public in unprecedented ways, there remains in the archive a habitus of secret knowledge—the “spell” that Kaplan is loathe to break. This is not necessarily intentional. It is rather the effect of layering recent shifts in technology, theory and professional definition onto older foundations: petrified conditions, relations, expectations and systems that continue to operate in part through the enduring power of fantasies about research. What we have in the archive is a stratified groundwork that still governs our archival encounters.\r\n\r\nBut, you will object, the archive has already changed. Now we have the “archival turn”—the scholarly interest in the archive not just as a source of evidence but as an epistemological mode. Surely, this attention to the constructedness of the archive has led to a revealing reconsideration of what actually goes on inside an archive; surely, as a result, those archaic fantasies have diminished. Have they? In what follows, I begin by unearthing one stratum of the archival turn, the decade of the 1990s, as represented by three texts: Kaplan’s essay mentioned above, “Working in the Archives” (1990) [note type=\'figure\' number=\'2\']<a href=\"http://archivejournal.net/journal/wp-content/uploads/2011/04/fig-2-kaplan.jpg\"><img class=\"alignnone size-medium wp-image-369\" title=\"fig 2 kaplan\" src=\"http://archivejournal.net/journal/wp-content/uploads/2011/04/fig-2-kaplan-300x224.jpg\" alt=\"\" width=\"333\" height=\"250\" /></a>Photocopy of Alice Yaeger Kaplan’s “Working in the Archives.”[/note]; Derrida’s Archive Fever: A Freudian Impression (1994/95) [note type=\'figure\' number=\'3\']<a href=\"http://archivejournal.net/journal/wp-content/uploads/2011/04/fig-3-Derrida.jpg\"><img class=\"alignnone size-medium wp-image-372\" title=\"fig 3 Derrida\" src=\"http://archivejournal.net/journal/wp-content/uploads/2011/04/fig-3-Derrida-300x224.jpg\" alt=\"\" width=\"333\" height=\"250\" /></a>Print out of Jacque Derrida’s “Archive Fever” from Diacritics.[/note]; and Carolyn Steedman’s Dust: The Archive and Cultural History (2001). [note type=\'figure\' number=\'4\']<a href=\"http://archivejournal.net/journal/wp-content/uploads/2011/04/fig-4-steedman.jpg\"><img class=\"alignnone size-medium wp-image-373\" title=\"fig 4 steedman\" src=\"http://archivejournal.net/journal/wp-content/uploads/2011/04/fig-4-steedman-300x224.jpg\" alt=\"\" width=\"333\" height=\"250\" /></a>Library copy of Carolyn Steedman’s Dust.[/note] [note number=\'6\']Jacques Derrida, “Archive Fever: A Freudian Impression,” Diacritics 25.2 (Summer 1995): 9-63. Web. 1 Dec. 2010. Carolyn Steedman, Dust: The Archive and Cultural History (New Brunswick: Rutgers University Press, 2001).[/note] A cross-examination of these three texts reveals a pattern of interests, a set of efforts to defy customary practices—but only, it turns out, “in theory.” While certain practices are challenged in these texts, they leave mostly intact the older strata of archival research fantasies and conventions. Kaplan, Derrida and Steedman do not dislodge the forces that organize the actual archival encounter.\r\n\r\nHow does this happen? Why is practice so stubborn? We need another take on archival practice: not practice in theory, but practice in action; not the 1990s, but now; not in terms of textual patterns, but in terms that suit the subject: the terms of the archival encounter itself, and the eccentric, anachronistic and even monotonous experience it generates. My second look at practice will take the form of a series of vignettes about a real-life archive, the George Peabody Library in Baltimore. While this narrative structure may seem to recreate the division of labor between theory and practice, my hope is that—by giving practice the last word—we’ll be in a better position to synthesize the two.\r\n\r\n<!--nextpage-->\r\n\r\n<strong>I. “The library doubles as a detective’s office.” [note number=\'7\']Kaplan, 114.[/note]</strong>\r\n\r\nThe archival turn could be dated to the founding of “scientific” history in the mid-nineteenth century, or to the development a century later of the quantitative methods of the Annales School, or to other evidence-based movements in the history of history, but what is generally meant by this phrase corresponds with the formation of cultural studies and the use of the archive as a conceptual category. That is, the archival turn has to do with the notion of the “figuration” of the archive, a parallel decline in its empirical authority and a related expansion of its relevance within domains that are not exclusively historiographic, like art, literary criticism, textual studies, media studies and information studies. [note number=\'8\']See the use of the term in, for example, Carolyn Hamilton et al, eds., Refiguring the Archive (Boston: Kluwer Academic Publishers, 2002), Cheryl Simon, ed., Following the Archival Turn: Photography, the Museum, and the Archive, special issue of Visual Resources: A Journal of Documentation 18.2 (June 2002), and Ann Laura Stoler, Along the Archival Grain: Epistemic Anxieties and Colonial Common Sense (Princeton: Princeton University Press, 2009). This turn is partially construed as a “move from archive-as-source to archive-as-subject,” but also by the earlier metaphorical interest in “the archive” that goes back to the 1980s (Stoler, 44-45) and by Foucauldian descriptions of archives as “‘monuments to particular configurations of power” (Hamilton, qtd. in Burton, 6).[/note] But it is not irrelevant that a devotion to archival methods precedes by many decades contemporary theories of the archive; if the archival turn lacks a precise origin, this (we will see) is completely in keeping with its own preoccupations.\r\n\r\nKaplan therefore represents in some ways an arbitrary beginning for this cross-examination—clearly the archive as a conceptual category predates 1990—but her article does initiate something new: the recognition that there is something called an “archive story” that must remain hidden in order for the official “results” to function authoritatively. In admitting this bit of professional legerdemain, and in telling her own archive story in a prestigious scholarly journal, Kaplan not only commits the violation she prohibits but also contradicts it. Through its publication, Kaplan’s own archive story is elevated to the status of “results”—a kind of research that shadows conventional academic discourse. Indeed, Kaplan notes, such “fables” of research “can be analyzed like a text,” a “mixed up genre” that combines the “redemptive detective fiction” with the epic and the dime novel. [note number=\'9\']Kaplan, 106, 107.[/note]\r\n\r\nKaplan’s archive story thus marks a distinctive moment in the archival turn—one which gained its most prominent authorization in 1994, with a paper that Jacques Derrida delivered (in English) to a conference sponsored by the Freud Museum, the Courtauld Institute and the Société International d’Histoire de la Psychiatrie et de la Psychoanalyse. Called initially “The Concept of the Archive: A Freudian Impression,” the lecture was revised and published in 1995 as Mal d’archive: une impression freudienne in French; the published English version echoed the French publication with its 1995 title Archive Fever. As Carolyn Steedman points out in Dust: The Archive and Cultural History, however, this work that has been assigned a seminal status in archival studies “for the main part… is not about archives at all, but is rather a sustained contemplation of a work of history, of Yosef Hayim Yerushalmi’s Freud’s Moses: Judaism Terminable and Interminable (1991),” itself a sustained contemplation of Moses and Monotheism—which (according to Steedman) Yerushalmi examines through Freud’s description of the work as a “‘historical novel,’ or a kind of historical story,” undertaken “in order to understand the period of baroque anti-semitism through which he was living.” [note number=\'10\']Steedman, 3.[/note]\r\n\r\nDizzy yet? Let’s undertake a more careful reading of this splatter pattern of intra-references—or, to stick with the archaeological metaphor, let’s call them groups of potsherds buried in the 1990s layer of the “archival turn.” Digging down to reassemble them reveals a set of interests with special implications for archival practice.\r\n\r\nThe most prominent group of sherds to note are the fragments of disciplinarity: the inter-, multi- or perhaps simply anti-disciplinarity of the texts, authors and audiences caught up in these three archival addresses. Kaplan, an American scholar of French literature, calls the post-theory exchange between literature and history a “cross-pollination of desire between historians and literary critics” undertaken “with the curiosity and energetic passion of collectors.” [note number=\'11\']Kaplan, 107-108.[/note] Steedman, a British historian, performs this cross-pollinating process without comment: her epigraph to Dust is from Virginia Woolf’s To the Lighthouse, one chapter treats George Eliot’s Middlemarch in depth… in fact, almost every chapter depends on a literary text. [note number=\'12\']Another chapter invokes Elizabeth Gaskell’s 1848 novel Mary Barton, a third is anchored by W. H. Auden’s poem “Homage to Clio,” and a fourth finds its most eloquent examples in Charles Dickens’ Our Mutual Friend.[/note] Derrida, a French philosopher, produced a work that has been exceptionally mobile across disciplines, forms, languages and professional domains. He gave his initial talk to an audience drawing on three different kinds of institutions; Mal d’Archive was published in book form in both French and English, but also made an intermediate appearance as an essay in the journal diacritics. All of these texts, it seems, respond to the provocations of the archive—to the materials and circumstances of discovery—rather than to the disciplinary distinctions that arguably divide the archive from itself.\r\n\r\nArchive Fever has become a founding document even though, as Steedman notes in the very beginning of her book, many in Derrida’s audience “knew the ‘archival turn’ to be [already] well underway” at the time of his talk. [note number=\'13\']Steedman, 2.[/note] As it happens—and this is the second group of sherds I see—these three essays have in common an investment in or a problem with origins, especially with the failure of origins. Derrida, for example, defines archive fever as a kind of Freudian death drive—a drive to fix and preserve which at the same time “works to destroy the archive: on the condition of effacing but also with a view to effacing its own ‘proper’ traces… [it] is above all anarchivic, one could say, or archiviolithic… the archive always works, and a priori, against itself.” [note number=\'14\']Derrida, 14. [/note] If the archival impulse is driven to destroy its own work, then the question of origins ultimately point to the larger question of disorder. [note number=\'15\']The disorder of origins makes frequent appearances in the essay but one example will make the point—in the “Preamble” where he recounts how he titled the talk that he had not yet written and was to give at the Freud Museum. The “Preamble” starts with his reflections on the word “impression,” which has several simultaneous registers of meaning for him. One of these is the “scriptural or typographic” register: that of the graphic impression that marks a substrate. In English, “impression” is phonetically related to “repression” and “suppression,” key words in the Freudian vocabulary, translated respectively from the German Verdrängung and Unterdrückung. English, that is, retains the rhyming relationship of the two German terms, and “impression” in this company comes to have a vaguely Freudian meaning as well. But in French, Verdrängung is “refoulement,” which means something more like expulsion, a driving away. The Freudian sense of the French word “répression” has been reserved for Unterdrückung. So English “repression” defines a phenomenon that must be distinguished from the French “répression.” These translational shifts “directly concern the structures of archivization,” Derrida says, “because they touch on the topic differences and thus on the location of the substrates of traces\" (Derrida, 23). In other words, how do you classify concepts whose meanings shift across languages? Where do you store them in a disciplinary grammar—or in an archive? How do these asymmetrical linguistic structures shape the establishment and extension of a new science? For Derrida, the difference between “repression” and “répression” is “enough to disrupt the tranquil landscape of all historical knowledge, of all historiography, and even of all self-consistent ‘scholarship’” (Derrida, 23).[/note]\r\n\r\nOrigin failure appears both as deliberate performance and as unintentional oversight in these essays. Derrida stages his own inability to get past “go”; with an introductory section, and subsequent sections sub-titled “Exergue,” “Preamble,” “Foreword,” his essay functions, Steedman notes, like a “primer offering instruction in the principle of deferral.” [note number=\'16\']A short notice called “Priere d’inserer,” published only in the French book version, carried the bulk of an argument for which there was no room in the lecture. Steedman, 7.[/note] For all her insight into Derrida’s titling adventures, however, Steedman’s title is marked by its own origin aporia. While her first chapter is devoted to Archive Fever—a “let’s begin at the beginning” homage to the seminal text—her book’s title, Dust, seems more indebted to the last sentence of Kaplan’s essay, published five years before Derrida’s: “Usually there is no mother lode, no original manuscript to be retrieved—the gold is all in the dust.” [note number=\'17\']Kaplan, 116.[/note] Kaplan, however, is never mentioned. [note number=\'18\']Kaplan also begins her essay with a brief consideration of the “arche,” the Greek and Latin term for the public records office, which is a major starting point for Derrida. Is he borrowing from her, or is she borrowing from him, given that this sort of etymological investigation was an established signature of Deconstruction?[/note]\r\n\r\nKaplan, for her part, unravels her own archive story. She gives us a kind of “whodunit”—her search for the ephemeral sources of Louis-Ferdinand Céline’s anti-semitic pamphlet Bagatelles pour un massacre (1937). She uses this account to exemplify her effort to “move through the archival process and recover some of the stories that get deleted in the final scholarly form.” [note number=\'19\']Kaplan, 104. For this reason, perhaps, Kaplan never reveals what she ultimately discovers in her successful search for Celine’s sources. In fact, it’s not entirely clear whether her pre-emptive and truncated treatment of her archive story is deliberate or not. Is this treatment meant to indirectly support her official claim about “results”? Or does the presence of the archive story suggest that telling it is an impulse she can’t quite control? Thanks, Lauren Coats, for helping tease this problem out.[/note] These beginnings are preemptively struck out, however, by what seems to be her main claim: “the passion of the archives must finally be used to eradicate all personal stories in the interests of the dry archival report, fit for a public.” [note number=\'20\']Kaplan, 103.[/note] Only in the “para-text”—a preface, for example—can the archive story appear without “interrupt[ing] or complicat[ing] the narrative so much that no results could ever be understood or perceived.” [note number=\'21\']Kaplan, 104.[/note] Despite this unequivocal assertion, the personal “whodunit” prevails in her essay, especially in the final section set in the Centre du documentation juive contemporain (CDJC). [note type=\'figure\' number=\'5\']<a href=\"http://archivejournal.net/journal/2011/04/archeology-of-archival-practice/fig-5-cdjc-2/\" rel=\"attachment wp-att-423\"><img class=\"alignnone size-medium wp-image-423\" title=\"fig 5 cdjc\" src=\"http://archivejournal.net/journal/wp-content/uploads/2011/04/fig-5-cdjc1-333x250.jpg\" alt=\"\" width=\"333\" height=\"250\" /></a>Website for the Centre de documentation juive contemporain.[/note] It is this library, where Kaplan solves the mystery of Céline’s sources, that “doubles as a detective’s office.”\r\n\r\nWhile Kaplan’s research mystery resolves neatly, the truth about archives is that they are full of gaps, mistakes and excesses: in the words of one of the CDJC librarians, “‘ici on trouve tout’—there’s some of everything here”—but not, one could add, all of anything. [note number=\'22\']Kaplan, 115.[/note] Kaplan’s essay ends by nullifying both her detective story success and her “dry archival report,” by recognizing the disorder on which both of these narratives are unsteadily perched: “The archive is constituted by these errors, these pieces out of place, which are then reintegrated into a story of some kind.” [note number=\'23\']Kaplan, 115.[/note] “A story of some kind”? So much for “results.”\r\n\r\nKaplan sets us up to perceive one final potsherd pattern common to these three essays. If origin-less disorder is the order of the archive, it is a disorder that is generated out of human loss—a disorder that joins the body and the material world. The archive is always predicated on historical violence of some sort, whatever is censored, erased, excluded, trumped up, used up, misplaced, conquered, killed. Moreover, the archival categories that mark both the visible victories and hidden defeats do not stay within their walls; the archive is both a repository of existing schemas and a means of perpetuating them in the world beyond. While we might usually think of this disciplinary activity as a pact between the archive and its political authors, Steedman makes it clear that the dilemmas of order shape the archival body in many ways. For example, she takes literally the provocation of Derrida’s title Archive Fever to investigate the illness that researchers contract on the penultimate day of their trip to the archive: prompted by the anxiety of the task that remains unfinished, they end their research with night-sweats and head-aches. But what seems like a strangely specific malady is transformed by Steedman into a far-reaching social symptom: by relating the researcher’s “archive fever” to the terrible diseases suffered by tanners, skinners and other workers in the trades associated with paper and leather, Steedman expands our sense of who is in the archive—the bodies whose specialized labors populate our libraries with books, the many kinds of expertise the archive consumes.\r\n\r\nFor Derrida, the relation between the material archive and its human architects focuses on one kind of “graphic mark,” a particular “private inscription”: circumcision as the archival signature that is also the signature of patrimoine, with Freud’s relationship to his father as his main example. [note number=\'24\']Derrida, 19.[/note] It is perhaps not a coincidence that the body in question in both Kaplan’s and Derrida’s archive is Jewish, for that is a body that has come to symbolize the destructive power of classificatory regimes. Despite her contention that the private passions motivating research must be kept secret, Kaplan is fascinated by the “missing person stories” at the CDJC: by the “quantity of people who are there for personal reasons,” the survivors of occupation or deportation or camps, or their descendants, quietly looking up their lost ones or noisily dropping off their memoirs. [note number=\'25\']Kaplan, 113.[/note] This disorganized crowd of dead and living bodies tries to meet up with an equally disorganized crowd of materials—individual letters, trial transcripts, pamphlets, newspapers, first-person accounts, books, photographs, lists. The monumental task of match-making, the librarians’ work, is never complete. More papers are always generated or declassified or discovered, different human questions and needs emerge. The tidy choreography of the research fantasy, where the detective always finds her man, is not so much in evidence; what we have instead is corpora in excess of existing categories.\r\n\r\n<!--nextpage-->\r\n\r\nKaplan, Derrida and Steedman open up the archival body. They show us how paper meets the press of flesh; they make us feel just how intimate it is. [note number=\'26\']This interest in the corporeal dimensions and effects of order, its human and non-human components, has in common with their other gestures—an experimental attitude towards conventional disciplinarity and attention to the priority of disorder—the circumstances of the academic humanities in the 1990s. Since the archival turn came out of the ascent of cultural studies and allied intrigues in the 1970s and ‘80s, the circles in the Venn diagram of these ventures will necessarily overlap. We could also say that the archive took off when it did precisely because it made a clever new container for these preoccupations, thick in the humanities atmosphere at the time, where they were distilled and united. [/note] But for all their revelations about the limits of discipline and the multiplicities of disorder in the archive, these texts do not disclose the specific methods of engagement that led to their existence. While Kaplan offers up her own archival victory and outlines several other such stories, she still insists on their marginalization. [note number=\'27\']“Were the story of how you got the story really to be told inside the book, it would interrupt or complicate the narrative so much that no results could be understood or even perceived. Every story of success in the archives is emotionally charged, for only the most extreme emotions can drive people to the drudgery, to the discomfort, of sitting and sifting through dog-eared documents, manuscripts, microfilms. To reveal those emotions would not only gum up the narrative, it would threaten its credibility, by showing on what thin strands of coincidence, accident, or on what unfair forms of friendship, ownership, geographical proximity, the discoveries were based” (Kaplan, 104).[/note] If these texts are not concerned with actual practices in the archive or changes in its methodologies, what do they tell us?\r\n\r\nFirst, they suggest one reason for the perpetuation of myths about the archive. While Kaplan, Derrida and Steedman are eager to show how archival materials do not conform to disciplinary distinctions—an enthusiasm related to other disruptive tendencies in late twentieth-century humanist scholarship –they seem less cognizant of a related phenomenon: the archive does not obey strict professional divisions, either. In Kaplan’s library-as-detective’s-office metaphor, the scholar is the detective, but does the “Eureka” moment belong only to the scholar who pieces together a narrative? What about the people who prepared those pieces? The archivist is still missing in action. Likewise, these essays do not dwell on missing boxes, illegible papers, neglected citations. There are no descriptions of archival slogging, no admissions that some materials failed to be relevant. And of course, there are no prescriptions for a different order. It is not the main aim of Kaplan, Derrida and Steedman to effect an evolution of practice; archival turnistas are not interested in disorder in order to re-order. But it is worth remembering that it is not in their professional interest as scholars to make their practices more transparent.\r\n\r\nSecondly, along the same lines, these texts inform us of the duplicity of speculative practices that reveal but cannot live out the instability of their archival mandates. Kaplan, Derrida and Steedman are put into the position of saying, “Yes, the archive is biased, idiosyncratic and treacherous—but the observations I draw from it are flawless.” [note number=\'28\']Derrida, unlike Kaplan and Steedman, makes no claims to work inside an actual archive, unless we consider Yerushalmi’s book as a kind of archive. But the fact that the essay was written self-consciously for presentation at the Freud Museum suggests that it was made out of an archive indirectly—in its construction, if not in its contents. [/note]\r\n\r\nFinally, these texts suggest why archival studies that attempt to be explicit about the messy nature of the archive have become instead “archive studies.” In more recent works like Refiguring the Archive (2002), Archive Stories: Facts, Fictions and the Writing of History (2005) and Along the Archival Grain: Epistemic Anxieties and Colonial Common Sense (2009), the archive appears as a subject in its own right. Although the archival scenarios that are put into play in each of these books incorporate different disciplines—art, history, anthropology, literature, post-colonial studies—they have essentially created a new discipline. “Archive studies” is something we might, in the taxonomy of disciplines, see as the love-child of cultural studies, history and archival methodology. Moreover, this new discipline has in common with other humanities disciplines a complete blindness about its professional investments; it does not register much awareness of the professional investments of librarians, archivists, curators and “non-specialists,” or invite insights from those perspectives. Perhaps this is inevitably what happens when academics must give legitimacy to something new, which in turn reflects the pressures of scholarly communication: a topic must be delineated in conventional terms in order to merit publication. [note number=\'29\']Perhaps this is also the moment to ask why we—I—have been using the term “archive” all along, with its statist resonances, rather than the term “collection,” which has institutional but also personal resonances. Does “archive” bring us closer to recognizably “serious scholarship”?[/note] But it is also true that in these more recent books, which openly investigate the archive’s power-politics, the disorderly drift of the archive and its hybrid corporeality have mostly been bent towards a particular narrative about the archive as an agent of history rather than as a set of ongoing practices. It is as if the historical archive has been assembled in ways that reflect and reiterate power relations, but the contemporary archive has not; it is as if the researcher’s own research travails remain a transparent layer over the body of work that it constructs. [note number=\'30\']Of course, this is precisely what Derrida meant about the “death drive” of the archival impulse. Archive Stories is something of an exception; researchers speak openly here about themselves as researchers. It is interesting, however, that this book—like Steedman’s—doesn’t cite Kaplan’s essay as a precursor text despite the clear titular link.[/note]\r\n\r\nPerhaps it would also be fair to note that, if archival studies are now being formulated as an interdisciplinary discipline called “archive studies,” this might be just another stage in the turn. It might be that what comes next reconfigures the premise of disciplinarity and the promise of disorder, with a different approach to the human/non-human interactions that the archive documents and realizes: a more diffuse and multi-vocal set of practices in place of a new field. One way to imagine this approach would be to fully embrace Kaplan’s idea of the archive story as an account of what one hoped for, looked for and found, what one did and did not do, in the archive—an account loosed from the quarantine she advocates. Some very basic genre precedents for the archive story do exist; the bibliographic essay and the methodology statement, for example, have played an important role in many disciplines in the past and still do in some. Instead of a para-textual nod towards that archive story (in Kaplan’s sense), why not create a parallel text written collaboratively by the researcher(s) and the librarian(s), or by one person acting in both professional capacities, that runs alongside the official “results”? Or in a set of expanded notes that address not just the “what” and “where” but the “how” and “why” of sources, which are lifted from their small-type, bottom-of-page basement up into the light? Or—to add yet another layer—parallel texts that also offer room for exchange with other researchers, archivists and even interested “non specialists,” like collectors, bibliophiles and fans?\r\n\r\nIf it is hasn’t been clear already that I have scrupulously avoided so far the other kind of archive, the digital archive, it will be now. What I am imagining would be far too complicated to produce or consult in print, but would not be at all difficult to organize as a digital object—as an archive in its own right. By avoiding the digital archive up to this point, I have also finessed the fact that our current archival research methods are completely reliant on the digital archive, along with the development of online research tools and electronic instruments of data discovery and organization. Those conditions probably bear the most responsibility for making the archive visible as something that warranted a “turn” in the first place. Even Derrida refers in each version of Archive Fever to the computer on which he is currently composing, predicting that email will not only totally transform the archive as he knows it, but will make his own essay obsolete.\r\n\r\nIn short, we already have in place both the theory and the media that will make it possible to enact a radical new archival practice. We have in place what we need to integrate the archive story into the archive itself, while making it visible as a new form of “results.”\r\n\r\n<!--nextpage-->\r\n\r\n<strong>II. The library doubles as a librarian’s office.</strong>\r\n\r\nI could end here, with a triumphant firing of the starter pistol and a rousing cheer. But that would be a bit disingenuous, given that the starter pistol for both the archival turn and the academic use of the internet actually went off decades ago. So the question remains, what stands in the way of the practical enactment of the archival turn’s speculative insights? I’d like to engage this question by following Kaplan’s example (but not her main claim): through some archive story-telling about the George Peabody Library. These three vignettes, identified as “typical” through conversations with my colleague Paul Espinosa, illustrate the intractable formations that present-day archival encounters come up against.\r\n\r\n<strong>1. The Perils of Description.</strong>\r\n<blockquote>A group of Russian speakers visits the Peabody Library. The dozen men and women sit down around the screen that Paul has set up. He narrates a brief slide-show about the Peabody’s history, then leads them to a table where a dozen books from the collection have been laid out in cradles. He tells them about each book: what it is, why it is interesting. Each phrase of his presentation is painstakingly translated by the group’s leader into Russian.</blockquote>\r\nWhen academic and community groups visit the Peabody, my colleagues and I draw upon a standard tour-guide’s repertoire to describe it. We explain that George Peabody was a tradesman cum financier cum philanthropist who decided in 1857 that Baltimore needed a cultural institution to support the arts and learning. We talk about the evolution of the Peabody Institute, the four-part athenaeum that resulted, with its art gallery, lecture series, conservatory and free, public, non-circulating library. We discuss the model of philanthropy that George Peabody initiated and its wide-ranging influence. We point out the signal features of the awe-inspiring architecture of the current library, built to accommodate a rapidly growing collection in 1878. But when it comes to the library itself, as a collection, it is hard to know what to say. How to accurately translate the library’s holdings into a succinct and memorable statement that conveys an appropriate level of detail to different audiences? While it poses specific challenges, the Peabody also exemplifies more general problems of collection description.\r\n\r\nWe do not lack evidence for the evolving contents of the Peabody. We have the two-volume printed list of “desiderata” drawn up by the Peabody’s first librarian, John G. Morris. [note number=\'31\']Alphabetical Catalogue of Books to be Purchased for the Library of the Peabody Institute, Baltimore, Vols. 1 and 2 (Baltimore: John D. Toy, 1861, 1863).[/note] [note type=\'figure\' number=\'6\']<a href=\"http://archivejournal.net/journal/2011/04/archeology-of-archival-practice/fig-6-alpha-index-2/\" rel=\"attachment wp-att-395\"><img class=\"alignnone size-medium wp-image-395\" title=\"fig 6 alpha index\" src=\"http://archivejournal.net/journal/wp-content/uploads/2011/04/fig-6-alpha-index1-336x484.jpg\" alt=\"\" width=\"333\" height=\"484\" /></a>Alphabetical index from Alphabetical Catalouge (“desiderata”).[/note] We have the collections register for several decades’-worth of acquisitions, recording bibliographic information and accession numbers that can still be found on the inside front end papers of many of the books in the collection. We have the librarians’ annual reports to the library trustees. [note number=\'32\']The Peabody Institute of the City of Baltimore: The Founder’s Letters and the Papers Relating to its Dedication and History, Up to the 1st January, 1868 (Baltimore: William K. Boyle, 1868); and subsequent Annual Reports, 1869, etc.[/note] We have the library’s first printed catalogue, an unsurpassed achievement when first published in 1883, which listed 100,000 volumes by author and title. [note number=\'33\']Catalogue of the Library of the Peabody Institute of the City of Baltimore, Vols. 1-5 (Baltimore: Isaac Friedenwald, 1883; reprinted Boston: G. K. Hall, [1961?]; also on googlebooks), and Second Catalogue of the Library of the Peabody Institute of the City of Baltimore, Including the Additions Made Since 1882, Vols. 1-8 (Baltimore: Deutsch Lithographic and Printing, 1896; reprinted Boston: G. K. Hall, 1961).[/note] [note type=\'figure\' number=\'7\']<a href=\"http://archivejournal.net/journal/2011/04/archeology-of-archival-practice/fig-7-print-cat/\" rel=\"attachment wp-att-396\"><img class=\"alignnone size-medium wp-image-396\" title=\"fig 7 print cat\" src=\"http://archivejournal.net/journal/wp-content/uploads/2011/04/fig-7-print-cat-336x252.jpg\" alt=\"\" width=\"333\" height=\"250\" /></a>Reprinted volumes of the Catalogue of the Library of the Peabody Institute (1883).[/note] We have the cards from the Dewey decimal system card catalogue, which replaced the printed catalogue in the 1910s. [note type=\'figure\' number=\'8\']<a href=\"http://archivejournal.net/journal/2011/04/archeology-of-archival-practice/fig-8-card-cat/\" rel=\"attachment wp-att-397\"><img class=\"alignnone size-full wp-image-397\" title=\"fig 8 card cat\" src=\"http://archivejournal.net/journal/wp-content/uploads/2011/04/fig-8-card-cat.jpg\" alt=\"\" width=\"333\" height=\"448\" /></a>One of two card catalogues in the Peabody.[/note] Now, of course, the library’s collections are represented in an online catalogue that integrates them with other collections in the Hopkins library system.\r\n\r\nThese markers of the collection, however, fail to satisfy some contemporary research queries for reasons that are both practical and philosophical. The transfer of the printed index, organized by author, to the Dewey decimal system, organized by topic, represented a major epistemological shift that facilitated browsing by subject category. But of course, those categories are embedded in historically-bound notions about the subjects and structures of knowledge: Dewey was invented in the 1870s, and the 22 revisions it has undergone since then cannot overcome its essential organizational distortions. For example, the literature range—the 800s—offers only 10% of its categorical space to literatures in languages other than English, Germanic and Romance languages, Greek and Latin.\r\n\r\nIn the case of the Peabody, the Dewey arrangements overlay even older systems of knowledge hierarchy. Should we continue to offer, for example, a description of the Peabody’s “voyages and travels” books? This category represents a Renaissance schematic that was still in service in the mid-nineteenth century; while actual “voyages and travels” were extended by colonial ventures, the category was eventually disbanded. Dewey combined it with geography to make a sub-category of “history.” In keeping active the old-fashioned phrase “voyages and travels,” we are participating in a centuries-long project of euphemism about the material aims and actual activities of colonialism; we are privileging an early phase of the Peabody’s evolution over later phases; we may even be confusing modern researchers. And yet, as one of the topics in Morris’s “desiderata,” a considerable portion of the Peabody’s collection was acquired with the aim of fleshing out that descriptor. [note type=\'figure\' number=\'9\']<a href=\"http://archivejournal.net/journal/2011/04/archeology-of-archival-practice/fig-9-index-detail/\" rel=\"attachment wp-att-398\"><img class=\"alignnone size-medium wp-image-398\" title=\"fig 9 index detail\" src=\"http://archivejournal.net/journal/wp-content/uploads/2011/04/fig-9-index-detail-336x274.jpg\" alt=\"\" width=\"333\" height=\"274\" /></a>Detail of subject index from Alphabetical Catalouge No. 2 (“desiderata”).[/note]\r\n\r\nYet another classificatory dilemma is expressed by George Peabody’s original statement of the library’s purpose: that it “be furnished in every department of knowledge, with the most approved literature… It should consist on the best works on every subject… to satisfy the researches of students who may be engaged in the pursuit of knowledge not ordinarily attainable in the private libraries of the country.” [note number=\'34\']“Letters from George Peabody, Esq.: Baltimore, February 12th, 1857,” in Founder’s Letters, 7.[/note] The Peabody was founded as a cultural institution for the people of Baltimore, but from the first, this democratic ambition was in conflict with the intellectual aspirations of the first librarians and their desire to facilitate civic “self-improvement.” Morris (a doctor of divinity), his successor Nathaniel Holmes Morison (a schoolmaster and poet), and Morison’s assistant and successor Philip Uhler (who had trained as an entomologist) were all devoted to the nineteenth-century idea of the scholar-librarian. Morison wrote in one annual report that “Education always proceeds from the above downward, from the best to the common minds, from the leaders of the people to the people themselves. Furnish... the foundations of intelligence and thought, and they will... stimulate and improve the whole community.\" [note number=\'35\']Qtd. in Franklin Parker and Betty J. Parker, “PIB Ref. Library. 8-Morison\'s Philosophy of Excellence,” in George Peabody (1795-1869): A-Z Handbook of the Massachusetts-Born Merchant in the South, London-Based Banker, and Philanthropist\'s Life, Influence, and Related People, Places, Events, and Institutions. . 11 Mar. 2011.[/note] When the Johns Hopkins University was founded in 1876 in close proximity to the Peabody—in large part to take advantage of the library—the tendency of the librarians to address scholarly needs and “approved literature” over popular desires was given additional momentum. In keeping with these ideas, the Peabody’s librarians kept careful track of their readers’ choices, noting with special caution the numbers of novels that were requested. [note type=\'figure\' number=\'10\']<a href=\"http://archivejournal.net/journal/2011/04/archeology-of-archival-practice/fig-10-annual-report-detail/\" rel=\"attachment wp-att-399\"><img class=\"alignnone size-medium wp-image-399\" title=\"fig 10 annual report detail\" src=\"http://archivejournal.net/journal/wp-content/uploads/2011/04/fig-10-annual-report-detail-336x452.jpg\" alt=\"\" width=\"333\" height=\"452\" /></a>Detail from First Annual Report showing chart of books read, with special mention of fiction.[/note] This schism at the heart of the library’s collecting paradigm was not unique to the Peabody; the question of reading matter—should it offer leisure for the masses or the means of social uplift?—was central to the public library movement of the second half of the nineteenth century. [note number=\'36\']See, for example, Alexis McCrossen, “’One Cathedral More’ or ‘Mere Lounging Places for Bummers’? The Cultural Politics of Leisure and the Public Library in Gilded Age America,” Libraries &amp; Culture 41.2 (2006): 169-188; Paul Sturges, “The Public Library and Reading by the Masses: Historical Perspectives on the USA and Britain 1850-1900,” ; Trustees of the Public Library of the City of Boston, Upon the Objects to be Attained by the Establishment of a Public Library, 12 Dec. 2010.[/note]\r\n\r\nFinally, the Peabody’s “desiderata” acquisitions and librarians’ selections were supplemented by book donations from local elites—bibliophiles with extensive private collections that included incunabula, classical authors in Renaissance editions, expensive illustrated atlases. At the same time, book donations came in from more plebian sources. The Peabody’s growth overlapped with the decline of the local social libraries, and it eventually absorbed some of the books from the Library Company of Baltimore, Robinson’s Circulating Library and several small professional and mechanics’ libraries. And I haven’t even touched on the Peabody’s twentieth-century fate.\r\n\r\nThe variety of philanthropic impulses, resource streams and classification philosophies that have fed the Peabody over the 150 years of its existence has led to a collection that does not so much map the nineteenth-century mind as signal its odd amalgam of popular and scholarly investments. The Peabody’s collection effectively evades succinct description—at least, any kind of description that pretends to be coherent, that is not perforated by its stakes in local history, library history, book history. But more importantly, it suggests the degree to which accident and opportunity and prejudice and wealth and the changing winds of cataloguing rules shape any archive. Description, which should be the most fundamental tool of communication between librarians and researchers, turns out to be utterly elusive. Yet we do not know what to replace them with, these inadequate descriptions, these exercises in stilted and partial translation.\r\n\r\n<!--nextpage-->\r\n\r\n<strong>2. The Researcher’s Progress.</strong>\r\n<blockquote>I am preparing for my class about women and nineteenth-century print culture, which meets in the Peabody; we have reached the part of the syllabus where we look at gift books and annuals. I want students to examine several examples of these literary miscellanies, offering some illustration of their variety, and I have a list of such items that I have used in the past. But since I also want to show the students new acquisitions, I need to refresh my list. I will start with “gift book” as a keyword in the online catalogue.</blockquote>\r\nIn place of perfect and commensurate description—not possible—what we have are cataloguing systems that indexically represent collections through data and metadata that are, as I have already suggested, historically marked and inevitably inconsistent. In the case of the Peabody, these records are further compromised: Dewey cards developed from a nineteenth-century print index do not offer Library of Congress subject terms or detailed tables of contents; they also frequently lack other kinds of information. [note number=\'37\']Many of the electronic records for Peabody books have been copy-cataloged, that is, developed from records for identical books in other libraries. But these records might also be incomplete or inconsistent, given that many are quite old. The expense of original cataloging prevents our staff from creating full, new records for every item in the Peabody’s collection of over 300,000 titles.[/note] [note type=\'figure\' number=\'11\']<a href=\"http://archivejournal.net/journal/2011/04/archeology-of-archival-practice/fig-11-ddc-cards/\" rel=\"attachment wp-att-400\"><img class=\"alignnone size-medium wp-image-400\" title=\"fig 11 ddc cards\" src=\"http://archivejournal.net/journal/wp-content/uploads/2011/04/fig-11-ddc-cards-336x252.jpg\" alt=\"\" width=\"333\" height=\"250\" /></a>Dewey cards for “gift books.”[/note] My search for “gift book” will turn up bequests—the term “gift book” is often attached to these donations—and it will miss many of the nineteenth-century gift books and annuals in our collection whose records lack subject classifications, or whose subject classifications reference the book’s contents, not its format. For example, the 1848 Rough and Ready Annual: or, Military Souvenir published by Appleton’s has been assigned the subject “Mexican War, 1846-1848—Anecdotes.” [note number=\'38\']Rough and Ready Annual (New York: D. Appleton; Philadelphia: G.S. Appleton, 1848).[/note]\r\n\r\nThe problem of finding is perhaps only a sub-set of the problem of description, but I want to give it special attention because it introduces another variable: the physical space of the object. My search for gift books in the Peabody also entails the privilege of retrieving the books from the stacks. There are two search processes, the intellectual and the physical, that I must navigate. The intellectual search in this case requires a variety of keyword/date range combinations, and ultimately, recourse to my prepared bibliography—a holdover from pre-catalogue research methods. Now the second search begins.\r\n\r\nThe Rough and Ready Annual is at 973.62 A5121, in the “general history of North America; United States” category. [note type=\'figure\' number=\'12\']<a href=\"http://archivejournal.net/journal/2011/04/archeology-of-archival-practice/fig-12-rr/\" rel=\"attachment wp-att-401\"><img class=\"alignnone size-medium wp-image-401\" title=\"fig 12 r&amp;r\" src=\"http://archivejournal.net/journal/wp-content/uploads/2011/04/fig-12-rr-336x252.jpg\" alt=\"\" width=\"333\" height=\"250\" /></a>The Rough and Ready Annual in the stacks.[/note] This call number range is on the second floor, west side. Other items on my list are in very different parts of the library. Orange Blossoms: A Gift Book for All Who Have Worn, Are Wearing, Or are Likely to Wear Them, edited by the temperance writer T. S. Arthur and published in London, has been given the call number 813 A7910 duodecimo—fourth floor east, in the “American literature in English, fiction” section. [note number=\'39\']Orange Blossoms: A Gift Book for All Who Have Worn, Are Wearing, Or are Likely to Wear Them (London: Knight &amp; Co., [1857]). This title does not appear in at least one Arthur bibliography; see Donald A Koch, \"Timothy Shay Arthur,\" Antebellum Writers in New York and the South, ed. Joel Myerson (Detroit: Gale Research, 1979), from Literature Resource Center. Web. 19 Feb. 2011. To check on this, I need Mitchell Sharpe Jr.’s A Bibliography of the Published Books of Timothy Shay Arthur (Atlanta: Emory University, 1954), a typewritten quarto at 012 A791S, but it seems to be missing.[/note] [note type=\'figure\' number=\'13\']<a href=\"http://archivejournal.net/journal/2011/04/archeology-of-archival-practice/fig-13-orange/\" rel=\"attachment wp-att-402\"><img class=\"alignnone size-medium wp-image-402\" title=\"fig 13 orange\" src=\"http://archivejournal.net/journal/wp-content/uploads/2011/04/fig-13-orange-336x252.jpg\" alt=\"\" width=\"333\" height=\"250\" /></a>Orange Blossoms in the stacks.[/note] Arthur shows up again as co-editor of The Baltimore Book: A Christmas and New-Year\'s Present, which has received more extensive description as it contains the first printing of Edgar Allan Poe’s short story “Siope.” [note number=\'40\']The Baltimore Book: A Christmas and New-Year\'s Present (Baltimore: Bayly and Burns, [1838]).[/note] We have two copies of this very genteel little gift book, one at 808.83 B2175 (rhetoric &amp; collections of literature), and one at 810.8 C297 (American literature in English). The New Casket: A Gift Book for All Seasons is in the rare book room at the south end of the third floor. [note number=\'41\']The New Casket: A Gift Book for All Seasons (London: The Religious Tract Society, ca. 1850).[/note] [note type=\'figure\' number=\'14\']<a href=\"http://archivejournal.net/journal/2011/04/archeology-of-archival-practice/fig-14-rbr/\" rel=\"attachment wp-att-403\"><img class=\"alignnone size-medium wp-image-403\" title=\"fig 14 rbr\" src=\"http://archivejournal.net/journal/wp-content/uploads/2011/04/fig-14-rbr-336x252.jpg\" alt=\"\" width=\"333\" height=\"250\" /></a>The rare book room.[/note] In this case, the book’s rarity has to do with a lovely fore-edge painting. It has been assigned to 820.8 N42017 (general books about literature). On the other end of the “rare” continuum is The Family Circle and Parlor Annual, volume 5 in a series, which is shelved up on the sixth floor with the periodicals at 051 F198 (serials in American English). [note number=\'42\']The Family Circle and Parlor Annual (New York: Comstock, 1847).[/note] [note type=\'figure\' number=\'15\']<a href=\"http://archivejournal.net/journal/2011/04/archeology-of-archival-practice/fig-15-parlor/\" rel=\"attachment wp-att-404\"><img class=\"alignnone size-medium wp-image-404\" title=\"fig 15 parlor\" src=\"http://archivejournal.net/journal/wp-content/uploads/2011/04/fig-15-parlor-336x252.jpg\" alt=\"\" width=\"333\" height=\"250\" /></a>The Parlor Annual in the stacks.[/note]\r\n\r\nI’ll fill out call slips for each book, stick the slips into red flags, and put the flags in an order that will help me chart a logical course through the stacks. [note type=\'figure\' number=\'16\']<a href=\"http://archivejournal.net/journal/2011/04/archeology-of-archival-practice/fig-16-slips/\" rel=\"attachment wp-att-405\"><img class=\"alignnone size-medium wp-image-405\" title=\"fig 16 slips\" src=\"http://archivejournal.net/journal/wp-content/uploads/2011/04/fig-16-slips-336x252.jpg\" alt=\"\" width=\"333\" height=\"250\" /></a>Call slips and flags.[/note] It’s easiest to start on the sixth floor and work one’s way down, picking up books along the way. Usually I find other interesting items as I go, so I carry a batch of blank call slips and extra flags. (On this occasion, for example, I find The New American Reader: Containing Choice Pieces, in Prose and Verse; published in 1813 and inscribed by its owner in 1817, it pre-dates by several years the official beginning of the gift book phenomenon. It might be more of a “literary almanac.” [note number=\'43\']The New American Reader: Containing Choice Pieces, in Prose and Verse (Philadelphia: David Hogan, 1813).[/note] [note type=\'figure\' number=\'17\']<a href=\"http://archivejournal.net/journal/2011/04/archeology-of-archival-practice/fig-17-new-reader/\" rel=\"attachment wp-att-406\"><img class=\"alignnone size-medium wp-image-406\" title=\"fig 17 new reader\" src=\"http://archivejournal.net/journal/wp-content/uploads/2011/04/fig-17-new-reader-336x252.jpg\" alt=\"\" width=\"333\" height=\"250\" /></a>Inscription in The New American Reader.[/note]) Usually I am also unable to locate at least one of the books I have set out to find. Most likely the book has been misshelved, so I’ll check the quartos and folios, which are shelved separately; then I’ll check the rare book room’s octavo, duodecimo and quarto shelving areas. It used to astonish me that books were still shelved by format in the Peabody, but it does save space. At the same time, this shelving system—along with the multiple distinct areas within the library where books may reside, eg the rare book room, the reference section, the genealogy books, the Limited Editions Club, and several discrete named collections—means that retrieving a few books can take quite a long time, as I traipse up and down the six floors of the library, thread through stacks, open secured doors with multiple keys, turn lights on and off, and maneuver a book truck in and out of a tiny service elevator built in the 1920s. By the end of the journey, the library and I will have exchanged dust; I’ll take on a few streaks of red rot, and the library will have taken in particles from my body as well.\r\n\r\nWhile the Peabody is unique, these conditions are not in the end very unusual. In terms of the intellectual search, the absence of “gift book” from many of the catalogue records is no less egregious than the absence of other information—the names of all the contributors; the subjects of the illustrations. The metadata is potentially infinite. The “gift book” only exists as a category because of scholars who teased out this cultural phenomenon; it would be very difficult to define its absolute borders. In terms of the physical search, the Peabody might be messier than, say, a rare book library that has assigned current LC call numbers to all its contents and houses them in compact shelving, but it exemplifies the general on-the-ground situation. As I wind my way through the Peabody stacks, I remember how much more difficult it is to gather research materials from several different institutions.\r\n\r\nThe fact is, for scholars who rely on archives, research is something you do only after you have already undertaken a rigorous search. It is the search that provides you with the foundational sense of your subject. But the search is rarely acknowledged or accredited; even the foot-soldier craft of bibliography, the link between “librarianship” and “scholarship,” has largely lost its scholarly status.\r\n\r\n<!--nextpage-->\r\n\r\n<strong>3. An Architecture of Disctinction.</strong>\r\n<blockquote>A non-affiliate researcher contacts the Peabody about our H. L. Mencken collections. Since she will bring a couple of graduate students with her, I set up a group work space in one of the library alcoves where the three of them can share materials and talk without disturbing other readers. I pull the requested volumes with the help of some students and set the cart up within easy reach of the alcove. When the researchers arrive, I show them the Mencken collections on the ground floor. Then I lead them to their group work space and leave them, returning to the glassed-in office behind the reading room, the vantage point that allows me to monitor the otherwise empty reading room.</blockquote>\r\nIn “The Silence of the Library: Environment, Situational Norm, and Social Behavior,” a team of Dutch sociologists investigates the library as a space that is strongly marked by situational norms—“knowledge-based beliefs about how to behave in particular situations that are shaped by social influence.” [note number=\'44\']Henk Aarts and Ap Dijksterhuis, “The Silence of the Library: Environment, Situational Norm, and Social Behavior,” Journal of Personality and Social Psychology 84.1 (2003), 19.[/note] Their research leads them to argue, however, that such norms do not require direct social influences to be triggered; in fact, “the situation can activate mental representations of normative behaviors automatically. And once activated, these representations provide the knowledge necessary for guiding one’s own situationally appropriate behavior.” [note number=\'45\']Aarts and Dijksterhuis, 19.[/note] Physical environments do not necessarily prompt these behaviors; rather, the behavior “depend[s] on whether the environment is of immediate behavioral relevance.” [note number=\'46\']Aarts and Dijksterhuis, 20.[/note] Talking in a quiet voice in the library, a normative behavior, is only activated for those who plan to visit the library.\r\n\r\nTen years ago, when the research for this article was conducted, the “silence of the library” was still a widespread norm. While the situation is now often reversed—in our main campus library, we must designate specific quiet areas because otherwise a sociable undergraduate din would take over—the norm of silence does continue to preside at the Peabody. Because it is off campus, the Peabody is often attractively under-populated compared to the crowded main library; it is mostly used by advanced researchers and those who seek a quiet place to study. The large central open area catches and amplifies even the smallest noises. The shelf-lined alcoves on either side of this central area offer the appearance of privacy, but in fact are little echo chambers. Visitors immediately detect these acoustics, and—except for the periodic tour groups—most spend their time in the Peabody in silence. But it is not just the physics of sound that shape behaviors here, as the Dutch researchers show; the social expectations of the space prefigure those behaviors.\r\n\r\nIn setting up a group work space for the Mencken researchers, I have quite deliberately contravened the usual norm of silence. Clearly, I am not inviting them to shout, and by putting them in an alcove in back, I have taken measures to protect any quiet-seeking visitors who might arrive. But in accordance with new ideas about the use of library space, my colleagues and I have decided that we must accommodate group study even if it might occasionally disrupt the silence desired by others. As it happens, the Mencken researchers’ conversation is eventually interrupted by a tour group, and the two activities play out side by side.\r\n\r\nI must admit that at moments I have mixed feelings about the tour groups and even the study cohorts. While my pedagogical instincts tend towards cheerful hub-bub, there is a part of me that is still in awe of the sanctuary-like atmosphere of the Peabody. John Morris called the library a “cathedral of books,” and clearly that’s what architect Edmund G. Lind had in mind. The central area with its grand skylight and the alcoves on its sides is like a nave bordered with chapels. Lind didn’t need a psychological study of environment-based situational norms to tell him that he might activate different behaviors within his building. The great central space inspires reverence—your eye is drawn to the skylight the way it would be drawn to the rose windows of Chartres, and on its way up catches row upon solemn row of books stowed behind gilded railings, a testament to the accumulated wisdom of the ages. [note type=\'figure\' number=\'18\']<a href=\"http://archivejournal.net/journal/2011/04/archeology-of-archival-practice/fig-18-skylight/\" rel=\"attachment wp-att-407\"><img class=\"alignnone size-full wp-image-407\" title=\"fig 18 skylight\" src=\"http://archivejournal.net/journal/wp-content/uploads/2011/04/fig-18-skylight.jpg\" alt=\"\" width=\"333\" height=\"448\" /></a>The skylight in the George Peabody Library.[/note] But step into an alcove, especially on the ground floor where each is filled with an immense wooden table, and you instantly feel something else, something no less grand but more human. The alcoves are study-sized, and once you sit down at one of those dark, gleaming, broad tables, it is like you are the master of your own private library. [note type=\'figure\' number=\'19\']<a href=\"http://archivejournal.net/journal/2011/04/archeology-of-archival-practice/fig-19-alcove/\" rel=\"attachment wp-att-408\"><img class=\"alignnone size-medium wp-image-408\" title=\"fig 19 alcove\" src=\"http://archivejournal.net/journal/wp-content/uploads/2011/04/fig-19-alcove-336x252.jpg\" alt=\"\" width=\"333\" height=\"250\" /></a>Alcove in the George Peabody Library.[/note]\r\n\r\nIronically, the Peabody’s architecture was out-dated by the time it was completed. With the professionalization of librarianship and the evolution of library science in the late nineteenth century, librarians like William Frederick Poole advocated for a functional rather than decorative design of interior library space. [note number=\'47\']See William Frederick Poole, Remarks on Library Construction (Chicago: Jansen, McClurg, 1884).[/note] Moreover, the actual use of space in the Peabody in the late nineteenth century was at odds with its symbolic appeal. The main library was known as the “stack room”; readers were seated in a comparatively plain reading room on the other side of the main doors. In this arrangement, the librarians reigned inside the gorgeous “cathedral of books,” but the building’s potential to civilize the masses was lost.\r\n\r\nNow, of course, we do not send readers outside. Inside the “stack room,” we explicitly call visitors’ attention to its beauty to explain the connections between the library’s architecture and its collections—how both speak eloquently of Victorian values. At the same time, we who staff the library have relegated ourselves to its periphery. We work in the glassed-in room at one end that serves as a monitoring point and occasional classroom; the official “librarian’s office” in one corner—its luxurious proportions suggesting something like a sacristy and something like a robber baron’s lair—is now shared work-space stuffed with several desks and laden book trucks. There is another monitoring station near the main doors. I often do my work at the photography station, in the back of one of the alcoves [note type=\'figure\' number=\'20\']<a href=\"http://archivejournal.net/journal/2011/04/archeology-of-archival-practice/fig-20-station/\" rel=\"attachment wp-att-409\"><img class=\"alignnone size-medium wp-image-409\" title=\"fig 20 station\" src=\"http://archivejournal.net/journal/wp-content/uploads/2011/04/fig-20-station-336x252.jpg\" alt=\"\" width=\"333\" height=\"250\" /></a>Photography station in the George Peabody Library.[/note]. It offers some privacy but is close enough to the central reading tables to be accessible to readers.\r\n\r\nThe space of the Peabody initiates other situational behaviors besides the norm of silence, and our work-station arrangements testify to this. The spatial re-centralizing of readers and marginalization of staff is not merely practical; it is a reflection of the modern office of librarianship. We are there to be of service, in a para-textual position. Consequently, our work should be out of sight; it should be separate from and secondary to the work that readers do. Our locations call upon us, in other words, to support the scholar’s effort to hide the “seams of [her] findings” by hiding the ways we contribute to that work—by the ways we sometimes do that work.\r\n\r\nI think about these complications as I escort the Mencken researchers to their table and walk back to the glassed-in office, where there is nothing pressing for me to do. I’d rather spend more time talking with them. I’d like to learn about their research and introduce them to some underappreciated parts of the collection. I’d like to share with them what I learned curating an exhibition of Mencken-related magazines and writing about one of those magazines. But I don’t want to get in their way; it’s likely that they are ready to get on with work that they don’t see as connected to mine. The professional norms of the archive are strong, and although I know how to talk about my research in many contexts—in presentations, interviews, hotel elevators—I haven’t figured out how to mix my scholarly role with the curatorial role I am supposed to play here, in the Peabody. In the end, I say nothing. Professional segregation is another kind of silence in the library.\r\n\r\nWe cannot change the archaeological record beneath our feet, but we can rearrange the fossils we dig up to create new narratives. We can tell different kinds of archive stories, including the story of what research in the archive was and is. Is it too idealistic to expect that dissolving the entrenched fantasies about archival research will make room for new methods? Is it naïve to imagine a space that, in putting into practice the archival turn’s preliminary insights about disciplinary and disorder, can support experimentation, facilitate connection across professions and disciplines, and enable new discoveries?','The Archeology of Archival Practice','','inherit','open','open','','2199-revision-14','','','2012-09-21 23:36:13','2012-09-21 23:36:13','',2199,'http://www.archivejournal.net/issue/2/uncategorized/2199-revision-14/',0,'revision','',0),(2311,19,'2012-09-21 15:58:21','2012-09-21 15:58:21','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-43','','','2012-09-21 15:58:21','2012-09-21 15:58:21','',1500,'http://www.archivejournal.net/issue/2/uncategorized/1500-revision-43/',0,'revision','',0),(2312,19,'2012-09-21 15:57:29','2012-09-21 15:57:29','My experience in the archive directly contributed to my interest in graduate school, which is perhaps unsurprising when you think about the demands of archival work. The move from undergraduate to graduate study shares the guiding principles of archival work. You must first learn what others have said before the foray into the topics that demand further examination. Archival research, in this sense, is the unending game of hide-and-seek with that perfect research subject we yen for in each new project, class, and semester.\r\n\r\nAside from its importance in the training of future scholars, archival work is an important paradigm even for students who have less professional allegiances to the academy. Original research is a principle worth thinking about closely in undergraduate course design, as it signifies the marketable job placement skills that are supposed to be evidence of proper university training. In the 1997 <em>Harper’s Magazine</em> essay “On the Uses of a Liberal Education,” Mark Edmundson suggests undergraduate study has become “lite entertainment for bored college students.” He writes, “University culture, like American culture writ large, is, to put it crudely, ever more devoted to consumption and entertainment, to the using and using up of goods and images.”<a title=\"\" href=\"#_ftn1\">[1]</a> Edmundson goes on to argue that the transactional nature of undergraduate study creates an imbalance between what professors look to put into a syllabus and what students seek to get out of it. But if we think about archival research as a process of skill development, it just may serve as a corrective to the literal and figurative banking concept of education.\r\n\r\nArchival work is often thought to be opposed methodologically to new media research techniques, an unfair corollary being that undergraduates, as “digital natives,” must learn and maintain a skill set in the archive apart from their new media literacy. How, for example, should undergraduates navigate the thick mess of a paper archive when Facebook and Twitter are their daily information grounds? If the job market is increasingly concerned with social media, why should students spend time poring over “dead” technologies? Contrary to the notion that the archive and new media are irreconcilable, we might instead think of them as complementary educational forces. It is no coincidence, for example, that undergraduates in the archive are more likely to be keen and discerning arbiters of information.\r\n<div class=\"footnote\"><a title=\"\" href=\"#_ftnref\">[1]</a> Mark Edmundson, “On the Uses of a Liberal Education: I. As Lite Entertainment for Bored College Students,” <em>Harper’s Magazine</em>, September 1997, 40.</div>','Undergraduates in the Archives - Gotkin 2','My experience in the archive directly contributed to my interest in graduate school, which is perhaps unsurprising when you think about the demands of archival work. The move from undergraduate to graduate study shares the guiding principles of archival work. You must first learn what others have said before the foray into the topics that demand further examination. ','inherit','open','open','','1527-revision-9','','','2012-09-21 15:57:29','2012-09-21 15:57:29','',1527,'http://www.archivejournal.net/issue/2/uncategorized/1527-revision-9/',0,'revision','',0),(2313,19,'2012-09-24 16:19:49','2012-09-24 16:19:49','My experience in the archive directly contributed to my interest in graduate school, which is perhaps unsurprising when you think about the demands of archival work. The move from undergraduate to graduate study shares the guiding principles of archival work. You must first learn what others have said before the foray into the topics that demand further examination. Archival research, in this sense, is the unending game of hide-and-seek with that perfect research subject we yen for in each new project, class, and semester.\r\n\r\nAside from its importance in the training of future scholars, archival work is an important paradigm even for students who have less professional allegiances to the academy. Original research is a principle worth thinking about closely in undergraduate course design, as it signifies the marketable job placement skills that are supposed to be evidence of proper university training. In the 1997 <em>Harper’s Magazine</em> essay “On the Uses of a Liberal Education,” Mark Edmundson suggests undergraduate study has become “lite entertainment for bored college students.” He writes, “University culture, like American culture writ large, is, to put it crudely, ever more devoted to consumption and entertainment, to the using and using up of goods and images.”<a title=\"\" href=\"#_ftn1\">[1]</a> Edmundson goes on to argue that the transactional nature of undergraduate study creates an imbalance between what professors look to put into a syllabus and what students seek to get out of it. But if we think about archival research as a process of skill development, it just may serve as a corrective to the literal and figurative banking concept of education.\r\n\r\nArchival work is often thought to be opposed methodologically to new media research techniques, an unfair corollary being that undergraduates, as “digital natives,” must learn and maintain a skill set in the archive apart from their new media literacy. How, for example, should undergraduates navigate the thick mess of a paper archive when Facebook and Twitter are their daily information grounds? If the job market is increasingly concerned with social media, why should students spend time poring over “dead” technologies? Contrary to the notion that the archive and new media are irreconcilable, we might instead think of them as complementary educational forces. It is no coincidence, for example, that undergraduates in the archive are more likely to be keen and discerning arbiters of information.\r\n<div class=\"footnote\"><a title=\"\" href=\"#_ftnref\">[1]</a> Mark Edmundson, “On the Uses of a Liberal Education: I. As Lite Entertainment for Bored College Students,” <em>Harper’s Magazine</em>, September 1997, 40.</div>','Undergraduates in the Archives - Gotkin 2','My experience in the archive directly contributed to my interest in graduate school, which is perhaps unsurprising when you think about the demands of archival work. The move from undergraduate to graduate study shares the guiding principles of archival work. You must first learn what others have said before the foray into the topics that demand further examination. ','inherit','open','open','','1527-revision-10','','','2012-09-24 16:19:49','2012-09-24 16:19:49','',1527,'http://www.archivejournal.net/issue/%issue%/uncategorized/1527-revision-10/',0,'revision','',0),(2315,19,'2012-09-21 15:59:59','2012-09-21 15:59:59','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','','inherit','open','open','','1580-revision-7','','','2012-09-21 15:59:59','2012-09-21 15:59:59','',1580,'http://www.archivejournal.net/issue/2/uncategorized/1580-revision-7/',0,'revision','',0),(2316,10,'2012-11-28 22:10:41','2012-11-28 22:10:41','The biggest challenge by far is the preliminary work, which must be completed before the semester begins. In order to work with either the APS or Penn Museum collections, a good deal of paperwork must be filled out to secure permission from the curatorial staff. Because this material is rarely used by students who are designing digital exhibits for the web, often we must create new forms and convince very cautious curators who want to be sure that the tribe’s involvement will be properly documented—itself a very time-consuming endeavor. I find that it is also essential to communicate openly and honestly with institutional administrators at every level to help them understand that such projects are mutually beneficial to the archive, the students, and the indigenous communities. The next challenge is to locate enough relevant material to keep the students occupied for a month, or even an entire semester. One must also be aware that a good deal of time and expertise are required after the semester is over to ensure that the resulting exhibit is of a high enough quality to be valuable to the Native American communities and the general public. The current Andrew W. Mellon grant that I direct for the APS includes a Native American Fellows program that brings distinguished members of the Eastern Band of the Cherokee Indians and the Ojibwe Nation to Philadelphia. Ideally, this provides the students a unique opportunity to meet the indigenous wisdom keepers who are responsible for returning the digital surrogates to their community. This is a wonderful experience for the students, but requires great care to make sure that the Native people feel comfortable talking to students who have no real sense of the diplomacy and respect for indigenous protocols involved in this kind of work.\n\nPedagogically, it takes at least a month to provide the students with enough historical, anthropological, religious, and cultural background so that they can identify important primary materials. Because some of the material is considered sacred, students must learn protocols for dealing with culturally sensitive objects. This is made even more difficult because the Society of American Archivists has not yet issued protocols concerning Native American cultural sensitivities. The current APS Mellon grant will digitize 3000 hours of audio recordings related to Native American cultures. The grant has also allowed us to create a Native American advisory board to establish protocols for protecting culturally sensitive archival materials. Currently, I have two independent-study students working on documenting and implementing protocols for cultural sensitivity at the APS. This cutting-edge work is another important means of involving the most advanced students in ongoing research projects with archival materials.\n\nIt can be difficult, however, to teach the students to be respectful of how Native people see their own culture. The idea, for example, that museum artifacts are considered animate objects—or living beings—is sometimes beyond the intellectual reach of some students. The success of the projects, therefore, often depends on the students’ respect for and understanding of the culture. The students’ performance can be very uneven, with some going on to win grants to pursue further work in the area and others sitting quietly in the corner.','Undergraduates in the Archives - Powell 4','The biggest challenge by far is the preliminary work, which must be completed before the semester begins.  In order to work with either the APS or Penn Museum collections, a good deal of paperwork must be filled out securing permission from the curatorial staff.  Because this material is rarely used by students designing digital exhibits for the web, this can require creating new forms and convincing very conservative curators that the material will be used for educational purposes.','inherit','open','open','','1586-autosave','','','2012-11-28 22:10:41','2012-11-28 22:10:41','',1586,'http://www.archivejournal.net/issue/2/uncategorized/1586-autosave/',0,'revision','',0),(2317,10,'2012-11-29 00:46:00','2012-11-29 00:46:00','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.)<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.\n\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.) <span id=\"attachment_2609\" class=\"alignright wp-caption\" style=\"width: 300px;\"><a href=\"http://www.archivejournal.net/issue/2/three-sixty/undergraduates-in-the-archives-powell-3/attachment/powell_2/\" rel=\"attachment wp-att-2609\"><img class=\"size-full wp-image-2609\" title=\"Powell 2, Cherokee Stickball\" src=\"http://www.archivejournal.net/journal/wp-content/uploads/2012/02/powell_2.jpg\" alt=\"Cherokee Stickball, American Philosophical Society, Frank Speck collection.\" width=\"300\" height=\"345\" /></a> <span class=\"wp-caption-text\"><em>Figure 2.</em> Cherokee Stickball, American Philosophical Society, Frank Speck collection.</span></span> 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 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.','inherit','open','open','','1583-autosave','','','2012-11-29 00:46:00','2012-11-29 00:46:00','',1583,'http://www.archivejournal.net/issue/2/uncategorized/1583-autosave/',0,'revision','',0),(2318,19,'2012-09-21 16:00:08','2012-09-21 16:00:08','Because I teach at Penn, am a Contributing Scholar at the Penn Museum, and Director of Native American Projects at the American Philosophical Society (APS), I am in a unique position to provide my students access to a wide variety of archival materials, many of which are linked in surprising ways.  For most of the 20<sup>th</sup> century, Penn was home to some of the greatest anthropologists—Frank Speck, A. Irving Hallowell, Anthony F.C. Wallace and Dell Hymes.  All of these scholars gave their papers to the APS, while Speck and Hallowell also donated artifacts to the Penn Museum.  The collections fit together very nicely, even though the institutions have rarely worked cooperatively.  Students have a plethora of opportunities to connect the two collections in a variety of interesting ways.  I have also directed three large grant projects at the APS to digitize images and audio recordings related to Native American culture.  I am thus intimately familiar with the collection and, now that they are have been digitized, the material is much more accessible to students.\r\n\r\nMuch of my work involves outreach to Native American communities, so I am constantly writing grants that focus on returning digital surrogates of archival materials to their community of origin.  In 2005, I started a website entitled <em><a href=\"http://gibagadinamaagoom.info/\">Gibagadinamaagoom: An Ojibwe Digital Archive</a></em> that houses digital materials and is used by Ojibwe high school and tribal college students throughout the state of Minnesota.  Several years later, I started a sister site, entitled <em><a href=\"http://gibagadinamaagoom.info/\">Digital Partnerships with Indian Communities</a></em>, that allows the students to “publish” their work.  When their work is polished enough (this usually entails some substantive editing) it is then made available to Native communities via the <em>Digital Partnerships</em> website.  Both sites are designed with the Drupal content management system and are maintained by the School of Arts and Sciences Computing at Penn.  This provides long-term sustainability.  Because Drupal is so flexible, students can learn how to design digital exhibits on the website that incorporate highlights of the archival materials, thus making them more accessible to Native communities.  This requires training and an outstanding student, many of whom receive grant support from Penn or other sources to work with me on these projects.','Undergraduates in the Archives - Powell 1','','inherit','open','open','','1577-revision-6','','','2012-09-21 16:00:08','2012-09-21 16:00:08','',1577,'http://www.archivejournal.net/issue/2/uncategorized/1577-revision-6/',0,'revision','',0),(2319,19,'2012-09-21 15:57:29','2012-09-21 15:57:29','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','','inherit','open','open','','1583-revision-6','','','2012-09-21 15:57:29','2012-09-21 15:57:29','',1583,'http://www.archivejournal.net/issue/2/uncategorized/1583-revision-6/',0,'revision','',0),(2320,19,'2012-09-21 15:59:48','2012-09-21 15:59:48','The biggest challenge by far is the preliminary work, which must be completed before the semester begins.  In order to work with either the APS or Penn Museum collections, a good deal of paperwork must be filled out securing permission from the curatorial staff.  Because this material is rarely used by students designing digital exhibits for the web, this can require creating new forms and convincing very conservative curators that the material will be used for educational purposes  I find that it is essential, too, to communicate openly and honestly with institutional administrators at every level to help them understand that such projects are mutually beneficial to the archive, the students, and the indigenous communities.  Having done so, the next challenge is to locate enough relevant material to keep the students occupied for a month and to ensure that the resulting exhibit is of high enough quality that it will be valuable to the Native American communities, and the general public.  In addition, contacts must be set up in the Native American communities and visits to the APS for the Native American scholars program must be coordinated with Penn’s semester schedule to create an opportunity for the elders to speak to the class (this is not always possible, but has worked on occasion).\r\n\r\nPedagogically, it takes at least a month to provide the students with enough historical, anthropological, religious, and cultural background so that they can identify primary important materials.  Because some of the material is considered to be sacred, students must also be taught protocols about culturally sensitive objects.  This is made even more difficult because the Society of American Archivists has delayed issuing protocols concerning Native American cultural sensitivities.  A recent Mellon grant to the APS to digitize more than 3000 hours of audio recordings related to Native American cultures allowed for the creation of a Native American advisory board to address this issue.  This is cutting edge work that interests some of the students, and I currently have two independent study students working on documenting and implementing protocols for cultural sensitivity at the APS.\r\n\r\nIt can also be difficult to teach the students to be respectful of how Native people see their own culture.  The idea, for example, that museum artifacts are considered animate objects—or living beings— is sometimes beyond the intellectual reach of certain students.  The success of the projects, therefore, often depends on the students’ respect for and intellectual understanding of the culture.  The performance of the students is very uneven, with some students going on to win grants to pursue further work in the area and others sitting quietly in the corner.','Undergraduates in the Archives - Powell 4','','inherit','open','open','','1586-revision-5','','','2012-09-21 15:59:48','2012-09-21 15:59:48','',1586,'http://www.archivejournal.net/issue/2/uncategorized/1586-revision-5/',0,'revision','',0),(2321,19,'2012-09-21 15:59:42','2012-09-21 15:59:42','I have only recently begun experimenting with using archival materials in the classroom, so I am still learning how to achieve the best results.  Initially, I began by limiting student involvement to 2-3 weeks of the semester.  I found that, practically, the students did much better when they worked in groups, in part because of the potential that some students are more engaged than others, and in part because the students enjoyed being part of a team.  Penn, of course, is home to the Wharton School of Business and I often have a few Wharton students in class.  These students helpfully pointed out that many Wharton classes are designed such that students are assigned to a team in order to better prepare them for the private sector.  This also allows the students to divide up the work according to the skill sets of each individual student.  I have found the team oriented approach—with all of the teams working together as one larger team devoted to producing a quality product for Native American clients—to work very well in the highly professionalized culture of Penn (this culture is double edged, for it also makes it difficult to attract pre-professional students to courses on Native American studies, which is not a program or a department at Penn).\r\n\r\nAs I became more comfortable and was able to prepare more quickly for the semester, I found that I could make more materials available to the students.  I try to balance the students’ exposure to the originals by providing them with digital surrogates and also having them visit the Penn Museum and the APS.  This can prove a challenge since the APS is not set up for student visits and, therefore, it is only because of my position as Director of Native American projects that I am able to arrange a classroom to view original documents.  The Penn Museum, on the other hand, actively encourages professors to bring their classes and provides access to the storage facilities.  This planning paid off, however, when, to my surprise, the students asked to have more time to work on their projects.  Last semester, one suggested that the entire semester should be devoted to creating the exhibits for the class project.  We talked about this together and the students also felt their work with archival materials would be more meaningful if they learned more about the historical and cultural background from which the materials emerged.  The best students had done this research on their own, but I realized that the early part of the course could be structured to teach the students a great deal more about the cultural context of the archival materials and that this would result in them being able to understand the materials better and to do a better job of .  So this coming semester, that is what I am going to try to accomplish.  The APS recently acquired more than 500 hours of audio recordings related to Ojibwe culture in northern Canada (the acquisition was an outcome of the Pimachiowin Aki collaboration).  The first five weeks of the class will be devoted to teaching the students the religious background necessary to understand the Ojibwe ceremonies being discussed, the ethics of working with religious materials in terms of what can or cannot be placed on the web, and basic archival skills so that the students can create a database and tags to make this new material more accessible to scholars and the Ojibwe communities where the material originated.  All of the students’ work will be donated to those communities and the database will be housed at the APS.','Undergraduates in the Archives - Powell 5','','inherit','open','open','','1589-revision-8','','','2012-09-21 15:59:42','2012-09-21 15:59:42','',1589,'http://www.archivejournal.net/issue/2/uncategorized/1589-revision-8/',0,'revision','',0),(2522,19,'2012-09-25 04:27:42','2012-09-25 04:27:42','<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-5','','','2012-09-25 04:27:42','2012-09-25 04:27:42','',1975,'http://www.archivejournal.net/issue/2/uncategorized/1975-revision-5/',0,'revision','',0),(2523,19,'2012-09-25 04:22:01','2012-09-25 04:22:01','<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-19','','','2012-09-25 04:22:01','2012-09-25 04:22:01','',1205,'http://www.archivejournal.net/issue/2/uncategorized/1205-revision-19/',0,'revision','',0),(2524,19,'2012-09-25 04:26:15','2012-09-25 04:26:15','<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-4','','','2012-09-25 04:26:15','2012-09-25 04:26:15','',1967,'http://www.archivejournal.net/issue/2/uncategorized/1967-revision-4/',0,'revision','',0),(2525,19,'2012-09-25 04:27:38','2012-09-25 04:27:38','<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-20','','','2012-09-25 04:27:38','2012-09-25 04:27:38','',1200,'http://www.archivejournal.net/issue/2/uncategorized/1200-revision-20/',0,'revision','',0),(2526,19,'2012-02-11 02:50:29','2012-02-11 02:50:29','<p>Jimmy Barnett was hired as a student digital imaging technician for the Carrère and Hastings Project. Jimmy worked an average of 10-20 hours per week for on this project for one year, 2010-2011.</p>\r\n<p>The student worker description for Jimmy’s position is below.</p>\r\n<p><strong style=\"text-decoration: underline;\">Student Assistant – Large Format Digital Imaging Technician, Digital Library Center, University of Florida</strong></p>\r\n<p><strong>Job Description</strong></p>\r\n<p>Reporting to the Operations Manager, the Large Format Imaging Technician will capture pages for the Carrère and Hastings Project, perform image optimization and quality control on captured images as needed, and assist in the transportation of materials from Conservation to the Digital Library Center.</p>\r\n<p><strong>Duties and Responsibilities include:</strong></p>\r\n<ul>\r\n	<li>Digitally capture source materials using a Betterlight Super 8K-HS Camera Back.</li>\r\n	<li>Perform quality control on files, process, optimize images as necessary for artifactual fidelity using Adobe Photoshop.</li>\r\n	<li>Monitor work flow history in coordination with Digital Library Center and Conservation staff.</li>\r\n</ul>\r\n<p><strong>Preferred Qualifications</strong></p>\r\n<ul>\r\n	<li>Experience with DSLR and other sophisticated cameras with knowledge of photography. \r\nExperience with Adobe Photoshop.</li>\r\n	<li>Strong computer skills and demonstrated ability to work accurately in detail-oriented, busy production environment.</li>\r\n	<li>Excellent organizational skills, ability to set and follow a written schedule, and the ability to work independently.</li>\r\n	<li>Federal Work Study eligibility.</li>\r\n</ul>\r\n\r\n','UF - Student Job Description','','inherit','open','open','','1004-revision-12','','','2012-02-11 02:50:29','2012-02-11 02:50:29','',1004,'http://www.archivejournal.net/issue/2/uncategorized/1004-revision-12/',0,'revision','',0),(2326,19,'2012-09-24 17:22:54','2012-09-24 17:22:54','Presented to USC by Warner Communications in 1977, the USC Warner Bros. Archives is the largest single studio collection in the world. It is the only collection to bring production, distribution and exhibition records together to document the activities of a vertically integrated studio. The making of many classic films such as The Jazz Singer, Casablanca and Rebel without a Cause is documented from story purchase through theatrical release and chronicled down to the daily contributions of writers, directors, producers and actors.\n\nThe USC Warner Bros. Archives contains the records of Warner Bros. Pictures Inc. and its motion picture-related subsidiaries (including First National and Vitagraph). The records document the period from 1918 (the release of the brothers’ first major feature film) through 1968 (the sale of the studio to Seven Arts). Also included are extensive production records for Warner Bros. television series from 1955-1968.','Warner Bros. Archives','','inherit','open','open','','815-autosave','','','2012-09-24 17:22:54','2012-09-24 17:22:54','',815,'http://www.archivejournal.net/issue/2/uncategorized/815-autosave/',0,'revision','',0),(2327,19,'2012-09-21 15:59:22','2012-09-21 15:59:22','<em>The Vodou Archive</em> is being unveiled currently (spring of 2012) in my course “Introduction to Haitian Vodou.” On a weekly basis, different parts of the archive will be highlighted and students will be expected to visit the digital library to read or view the assigned materials. In order to stress the importance of <em>The Vodou Archive</em> as a digital library, I will also require that students write essays about some of its components. As Florida has numerous active Vodou communities, students will be encouraged to produce materials for the archive—photographs or recordings from Vodou ceremonies and rituals, for example.\r\n\r\n&nbsp;\r\n\r\nThe work undertaken in collaboration with undergraduates to produce <em>Vodou Songs in Haitian Creole and English</em> and <em>The Vodou Archive</em> has been integrated into the curriculum in numerous ways. For example, students are assigned reading materials that spring from the collaboration. Based on the topics selected for essays, students are encouraged to read or examine parts of <em>The Vodou Archive</em>; for example, students who want to write about how Catholic chromolithographs camouflage Vodou <em>lwa</em> (spirits) are encouraged to visit the selection in <em>The Vodou Archive</em> (<a href=\"http://www.dloc.com/AA00008694/allvolumes2\">click here</a>); other students might need photographic data about Vodou (<a href=\"http://www.dloc.com/AA00005507/00001/thumbs\">click here</a>); other students may need to consult important but hard to find works such as Arthur Holly’s (1928) <em>Dra-po</em> (<a href=\"http://www.dloc.com/UF00076958\">click here</a>); finally, some students will want to listen to rare recordings made by Maya Deren held exclusively by <em>The Vodou Archive</em> (<a href=\"http://www.dloc.com/UF00082017\">click here</a>). <em>The Vodou Archive</em> is rich and diverse assemblage of documents; while not all of it can be directly included in the curriculum for all students, individual students are encouraged to branch into the parts of the archive that are relevant to their own work.\r\n\r\n&nbsp;\r\n\r\nAnother way that I will increase student contributions to <em>The Vodou Archive</em> will be through the creation of <em>The</em> <em>Vodou Journal</em>, a planned dimension of the digital archive: 10 of the students’ best essays will be submitted to <em>The</em> <em>Vodou Journal </em>for peer review and possible publication. I hope that this unique opportunity for undergraduates to make a significant contribution to the scholarship on Vodou and will also stimulate greater attention to writing and also introduce undergraduates to the process of scholarly publishing in general.','Undergraduates in the Archives - Hebblethwaite 5','The Vodou Archive is being unveiled currently (spring of 2012) in my course “Introduction to Haitian Vodou.” On a weekly basis, different parts of the archive will be highlighted and students will be expected to visit the digital library to read or view the assigned materials. In order to stress the importance of The Vodou Archive as a digital library, I will also require that students write essays about some of its components.','inherit','open','open','','1516-revision-7','','','2012-09-21 15:59:22','2012-09-21 15:59:22','',1516,'http://www.archivejournal.net/issue/2/uncategorized/1516-revision-7/',0,'revision','',0),(3245,19,'2012-10-19 01:04:11','2012-10-19 01:04:11','<em>The Vodou Archive</em> is being unveiled currently (spring of 2012) in my course “Introduction to Haitian Vodou.” On a weekly basis, different parts of the archive will be highlighted and students will be expected to visit the digital library to read or view the assigned materials. In order to stress the importance of <em>The Vodou Archive</em> as a digital library, I will also require that students write essays about some of its components. As Florida has numerous active Vodou communities, students will be encouraged to produce materials for the archive—photographs or recordings from Vodou ceremonies and rituals, for example.\r\n\r\nThe work undertaken in collaboration with undergraduates to produce <em>Vodou Songs in Haitian Creole and English</em> and <em>The Vodou Archive</em> has been integrated into the curriculum in numerous ways. For example, students are assigned reading materials that spring from the collaboration. Based on the topics selected for essays, students are encouraged to read or examine parts of <em>The Vodou Archive</em>; for example, students who want to write about how Catholic chromolithographs camouflage Vodou <em>lwa</em> (spirits) are encouraged to visit the selection in <em>The Vodou Archive</em> (<a href=\"http://www.dloc.com/AA00008694/allvolumes2\">click here</a>); other students might need photographic data about Vodou (<a href=\"http://www.dloc.com/AA00005507/00001/thumbs\">click here</a>); other students may need to consult important but hard to find works such as Arthur Holly’s (1928) <em>Dra-po</em> (<a href=\"http://www.dloc.com/UF00076958\">click here</a>); finally, some students will want to listen to rare recordings made by Maya Deren held exclusively by <em>The Vodou Archive</em> (<a href=\"http://www.dloc.com/UF00082017\">click here</a>). <em>The Vodou Archive</em> is rich and diverse assemblage of documents; while not all of it can be directly included in the curriculum for all students, individual students are encouraged to branch into the parts of the archive that are relevant to their own work.\r\n\r\nAnother way that I will increase student contributions to <em>The Vodou Archive</em> will be through the creation of <em>The</em> <em>Vodou Journal</em>, a planned dimension of the digital archive: 10 of the students’ best essays will be submitted to <em>The</em> <em>Vodou Journal </em>for peer review and possible publication. I hope that this unique opportunity for undergraduates to make a significant contribution to the scholarship on Vodou and will also stimulate greater attention to writing and also introduce undergraduates to the process of scholarly publishing in general.','Undergraduates in the Archives - Hebblethwaite 5','<em>The Vodou Archive</em> is being unveiled currently (spring of 2012) in my course “Introduction to Haitian Vodou.” On a weekly basis, different parts of the archive will be highlighted and students will be expected to visit the digital library to read or view the assigned materials.  In order to stress the importance of <em>The Vodou Archive</em> as a digital library, I will also require that students write essays about some of its components.','inherit','open','open','','1516-revision-17','','','2012-10-19 01:04:11','2012-10-19 01:04:11','',1516,'http://www.archivejournal.net/issue/2/uncategorized/1516-revision-17/',0,'revision','',0),(2328,19,'2012-09-21 15:59:17','2012-09-21 15:59:17','The major challenges in writing and editing <em>Vodou Songs in Haitian Creole and English</em> and <em>The Vodou Archive</em> are the profusion of variant spelling systems found in Haitian Creole until 1980. Most Haitian-Americans I work with at the University of Florida have limited exposure to written Haitian Creole prior to enrolling in my courses. After a year of intermediate Haitian Creole, it is typical to still misspell certain words. Given that the source texts they work from routinely employ spelling conventions that are no longer current, it is also common for undergraduate research assistants to reproduce the outdated spelling, especially in the cases of words that refer to concepts that are unfamiliar to them. The source text in (a) below, taken from scholar Milo Marcelin (1950), illustrates the base from which transcription (b) and translation (c) were produced:\r\n\r\n(a)\r\n\r\n(b) (c)\r\n\r\nDanbala Wèdo se koulèv dlo! Danbala Wèdo is the water snake!\r\n\r\nChèche Danbala, ki bò w a wè li? Look for Danbala, where will you see him?\r\n\r\nPapa Danbala se koulèv dlo, Papa Danbala is the water snake,\r\n\r\nli plonje anba dlo! he dives under water!\r\n\r\n&nbsp;\r\n\r\nIn texts like this one, it is common for research assistants to import words like <em>Oueddo </em>uncorrected, or to accidently retain the “c” in <em>coulève </em>instead of writing the official <em>koulèv</em>. This impacted my work as it required that I extensively edit the students’ work and send it back for review and correction; while labor intensive, the feedback provided the students with the opportunity to master the transcription of Haitian Creole and the translation into English. Students will learn from their mistakes if they can see what they are and have the chance to correct them. It is also common for students to import erroneous grammatical analyses by writing “wa” following <em>oua</em> (in line two), a minor confusion in which separate words are conflated. The correct representation of <em>oua </em>is “<em>w a</em>” (‘you will’ or ‘will you,’ when used interrogatively as in the above). As senior editor, I had the challenge of constantly encountering traces of outdated spellings that research assistants had unwittingly imported into their transcription.\r\n\r\n&nbsp;\r\n\r\nThe quality of the work of the undergraduates varied widely. The nuances of the mythology, the ‘cryptic tricksterism’  of Vodou semantics, and the rich—and obscure—idioms, expressions, and conceptualizations of the Haitian Creole language meant that all the texts required years of refinement through the editorial process which is based upon countless critical re-readings from various points of view. Thus working with undergraduates is rewarding but requires mentoring and patience due to their limited experience.','Undergraduates in the Archives - Hebblethwaite 4','The major challenges in writing and editing Vodou Songs in Haitian Creole and English and The Vodou Archive are the profusion of variant spelling systems found in Haitian Creole until 1980. Most Haitian-Americans I work with at the University of Florida have limited exposure to written Haitian Creole prior to enrolling in my courses. ','inherit','open','open','','1513-revision-6','','','2012-09-21 15:59:17','2012-09-21 15:59:17','',1513,'http://www.archivejournal.net/issue/2/uncategorized/1513-revision-6/',0,'revision','',0),(2329,10,'2012-11-28 20:21:15','2012-11-28 20:21:15','The positive responses I received from publishers reinforced my sense that this project would be viable. In addition to this standard measure of academic success, the project itself was very successful as an intellectual and practical collaboration. The undergraduate collaborators worked vigorously and productively, helping to quickly advance the project. Vodou religion itself is a communal phenomenon. Likewise, I want the book and <em>The Vodou Archive</em> to express the unity of our collaboration as a means of ensuring accuracy through multiple voices and perspectives. Plus, as someone who was not raised within Vodou religion, I sensed that my scholarship on Haitian religion and its primary language, Haitian Creole, would benefit from extensive refereeing from a wide variety of informants: from <em>oungan </em>(priests), <em>manbo </em>(priestesses), <em>bòkò </em>(diviners), <em>ounsi</em> (initiates), scholars of all stripes, students in my classes, and the students directly involved in the project. As sharp intellectuals in their own right, these students participated in a triangular working methodology (my students, Vodou practitioners, and me) that helped ensure quality. They lent their talents to correcting, fashioning, and polishing the final product. The book and <em>The Vodou Archive</em> are the direct result of sharing texts and ideas through cooperative study, writing, and editing. As several students have native command of Haitian Creole, they were able to bring their deep knowledge and instincts of the language to the tasks I assigned them. Overall, it is the friendship and collegiality of working with people from all walks of life, and the experience of discovery, that has made, and continues to make, this project a great success for me. Writing and editing for academics is often a solitary activity. Working with undergraduate research assistants transformed the experience into a textual conversation about the nature and design of Vodou religion.\n\n&nbsp;','Undergraduates in the Archives - Hebblethwaite 3','The positive responses I received from publishers reinforced my sense that this project would be viable.  In addition to this standard measure of academic success, the project itself was very successful as an intellectual and practical collaboration. The undergraduate collaborators worked vigorously and productively, helping to quickly advance the project. Vodou religion itself is a communal phenomenon. ','inherit','open','open','','1510-autosave','','','2012-11-28 20:21:15','2012-11-28 20:21:15','',1510,'http://www.archivejournal.net/issue/2/uncategorized/1510-autosave/',0,'revision','',0),(2330,10,'2012-11-28 20:18:24','2012-11-28 20:18:24','There were many benefits to working with these undergraduates. The undergraduates chosen to work on this project were balanced bilinguals who demonstrated robust literacy in English and Haitian Creole, which I was able to assess since they had taken my intermediate Haitian Creole course. Florida has a large Haitian-American population that is second only to New York. In my position at the University of Florida, I instruct a significant number of Haitians and Haitian-Americans who have an advanced command of spoken and written Haitian Creole. Due to this strength, it is only natural to cultivate and tap into these talents for the benefit of their professional development and for the momentum of this project. As Haitian Creole is the third most spoken language in Florida after English and Spanish, developing advanced literacy in the language benefits employment prospects and it empowers individuals to seek out unique knowledge that exists only in Haitian Creole. Bilingual and biliterate candidates for employment in Florida’s healthcare industry, tourism industry, government, the law enforcement and judiciary system, transportation, and a host of other industries stand out next to their monolingual peers. Mastery of literacy in two languages is beneficial because knowledge can be acquired and shared via different mediums; individuals with these skills can facilitate communication, accuracy, and productivity.\n\nThere were many benefits working with these undergraduates. The undergraduates selected to work for this project were balanced bilinguals who demonstrated robust literacy in English and Haitian Creole, which I was able to assess since they had taken my intermediate Haitian Creole course. The State of Florida has a large Haitian-American population that is second only to New York State; and, positioned at the Flagship University of the State, I instruct a significant number of Haitians and Haitian-Americans who have an advanced command of spoken and written Haitian Creole. Due to this strength, it is only natural to cultivate and tap into these talents for the benefit of their professional development and for the momentum of this project. As Haitian Creole is the third most spoken language in the State of Florida after English and Spanish, developing advanced literacy in the language benefits employment prospects and it empowers individuals to seek out unique  knowledge that exists only in Haitian Creole. Bilingual and biliterate candidates for employment in Florida’s healthcare industry, tourism industry, government, law enforcement and judiciary system, transportation and a host of other industries stand out next to their monolingual peers. Mastery of literacy in two languages is beneficial because knowledge can be acquired and shared via different mediums; individuals with these skills can facilitate communication, accuracy and productivity.\n\nComplex and large projects like <em>Vodou Songs in Haitian Creole and English</em> and <em>The Vodou Archive</em>—projects that overlap with specialized aspects of culture and language—are best done, I think, in collaboration with others. Since many of the texts are at first obscure, it is helpful to have several individuals bring unique knowledge and skills to the task of translation and interpretation. Each undergraduate editorial assistant has a unique mastery of Haitian Creole and English. Since material is parsed and analyzed by various editorial assistants, over time the collaboration allows for the emergence of an accurate collective transcription and translation. Given their fluency in Haitian Creole and English, the undergraduates provided outstanding transcriptions and translations of Vodou songs and interviews with Vodou practitioners that I could edit and improve upon for the book or <em>The Vodou Archive</em>.','Undergraduates in the Archives - Hebblethwaite 2','There were many benefits working with these undergraduates. The undergraduates selected to work for this project were balanced bilinguals who demonstrated robust literacy in English and Haitian Creole, which I was able to assess since they had taken my intermediate Haitian Creole course. ','inherit','open','open','','1507-autosave','','','2012-11-28 20:18:24','2012-11-28 20:18:24','',1507,'http://www.archivejournal.net/issue/2/uncategorized/1507-autosave/',0,'revision','',0),(2357,19,'2012-09-24 18:41:00','2012-09-24 18:41:00','<em>The Vodou Archive</em> is a collaborative partnership spearheaded by the University of Florida and Duke University which seeks to improve the understanding of a central Haitian and Haitian-American spiritual tradition by gathering the <strong>audiovisual</strong> and <strong>textual</strong> sources of Vodou communities, by <strong>interpreting</strong> what we collect, by <strong>expanding </strong>the holdings through a <strong>self-submission tool</strong>, and by diffusing the knowledge via an open access digital library.  You can find the current prototype here (<a href=\"http://www.dloc.com/vodou\">http://www.dloc.com/vodou</a>),  hosted within the existing <a href=\"http://dloc.com/\">Digital Library of the Caribbean</a> (dLOC). In addition to the 27 international partners working with the Digital Library of the Caribbean, collaborators from the University of Notre Dame, the University of Miami, the Schrijversvakschool, Florida International University, the Université des Antilles et de la Guyane, and City Lore, among others, will contribute elements to <strong><em>The Vodou Archive</em></strong>. This project belongs to a tradition of scholarly work stretching back to the early 20<sup>th</sup> century that has sought to counter reductionist and racist visions of the religion through ethnography, analysis of culture and music, and an exploration of the role of Vodou in Haiti’s founding revolution. Such work has long turned to the central texts in Haitian Vodou: its <strong>Creole-language songs</strong>.\r\n\r\nBuilding on my <em>Vodou Songs in Haitian Creole and English</em>,<a href=\"#_ftn1\">[1]</a> <em>The Vodou Archive</em> project makes these songs available in Haitian Creole and English along with substantial interpretative annotations and essays to contextualize the collection. The materials to be edited and curated in <em>The Vodou Archive</em> are of major literary, historical, cultural and religious significance. The vast Vodou corpus stands out because it preserves a wealth of African cultural, ethnological and historical knowledge.<a href=\"#_ftn2\">[2]</a> (Beauvoir 2008b). The oral and textual corpora of songs are comprised of the authentic and living traditions of the Vodou religion. They are primarily the songs that are sung in the context of Vodou worship in public and domestic ceremonies and they constitute the sacred literature of the religion. Vodou songs, a constant in ceremonies, address the mythologies and characteristics of the lwa and they describe their relations with humans. Vodou songs are time capsules that reveal the history and origins of the Haitian people in Africa, their journey to the Americas in the French slave trade, and their lives in the French colony. Due to their sacred nature, they are very well-preserved records of African and Haitian history and culture.<a href=\"#_ftn3\">[3]</a>). Ceremonies and songs preserve African historical (i.e. <em>Bosou</em>, <em>Achade</em>, <em>Legba</em>, <em>Danbala</em>), cultural (i.e. <em>lwa</em>,<em> ounsi</em>, <em>ason</em>,<em> oungan</em>) and geographical (i.e. <em>Rada</em>, <em>Savalou</em>, <em>Boumba</em>) terms in a creolized or blended religious and cultural system.<a href=\"#_ftn4\">[4]</a> <a href=\"#_msocom_1\">[C1]</a> Likewise, there are numerous Vodou ceremonies (rites) classified by the African <em>nanchon </em>(nations/communities) where they originate, i.e. Rada, Petwo, Ginen, Seneka, Ibo, Danwonmen, Nago, Kongo, Kita, etc.<a href=\"#_ftn5\">[5]</a> Undergraduates played, and will play, a key role in this archive.  They contributed first drafts of transcriptions and translations of Vodou songs and interviews with Vodou practitioners for the book, <em>Vodou Songs in Haitian Creole and English</em> (Hebblethwaite 2012). The undergraduate students worked on transcribing and translating interviews that I collected from Vodou priests in Haiti and they also transcribed and translated rare pre-existing published materials.<a href=\"#_ftn6\">[6]</a>   The students, Joanne Bartley, Vanessa Brissault, Kat Warwick, Wilmide Vernet, and Musset Apollon, were either paid hourly through grant funding or they earned credit for an independent study. We worked from manuscripts that employ a range of Haitian Creole spelling systems. The official variety, the “IPN,” named after the <em>Institut Pédagogique National</em>, was adopted for the first time in 1980. Many of our manuscripts predate 1980 and thus transcription required heavy correction and consultation with lexicographical works.<a href=\"#_ftn7\">[7]</a>The students had been exposed to the official variety of Haitian Creole spelling in my intermediate Haitian Creole course. After establishing the Haitian Creole source text, the students next produced the first draft of the English translation. I then corrected the Haitian Creole and English drafts in various cycles as the materials moved towards the finished products, the book or the Vodou Archive.  (See Figure 1, and for the related Vodou Archive digital library, Figures 2 & 3.)\r\n<div class=\"footnotes\"><br clear=\"all\" />\r\n\r\n    <div id=\"_ftn1\" class=\"footnote\">[1] Benjamin Hebblethwaite and Joanne Bartley, <em>Vodou Songs in Haitian Creole and English </em> <em>= Chante vodou an kreyòl ayisyen ak angle</em> (Philadelphia: Temple University Press, 2012).</div>\r\n    <div id=\"_ftn2\" class=\"footnote\">[2] Max Beauvoir, <em>Le Grand Recueil Sacré ou Répertoire des Chansons du Vodou Haïtien </em>(Port-au-Prince: Edisyon Près Nasyonal d Ayiti, 2008).</div>\r\n    <div id=\"_ftn3\" class=\"footnote\">[3] Claudine Michel, “Vodou in Haiti: Way of Life and Mode of Survival,” in <em>Vodou in Haitian Life and Culture: Invisible Powers, </em>ed. Claudine Michel and Patrick Bellegarde-Smith (New York: Palgrave Macmillan, 2006), 27–37.<em></em></div>\r\n    <div id=\"_ftn4\" class=\"footnote\">[4] See Roger Brand, <em>Cultes vodoun et textes oraux des Wéménou du sud Bénin </em>(Munich: Lincom Europa, 2000), 15; Marc Monsia, <em>Religions indigènes et savoir endogène au Bénin </em>(Cotonou, Benin: Les Éditions du Flamboyant, 2003); Gilbert Rouget, <em>La musique et la transe </em>(Paris: Gallimard, 1991 (1980)); and Gilbert Rouget, <em>Initiatique vôdoun, images du rituel: Chants et danses initiatiques pour le culte des vôdoun au Bénin </em>(Saint-Maur, France: Éditions Sépia, 2001), v.</div>\r\n    <div id=\"_ftn5\" class=\"footnote\">[5] Max G. Beauvoir, <em>Lapriyè Ginen </em>(Port-au-Prince: Edisyon Près Nasyonal d Ayiti. 2008), 109-110.</div>\r\n    <div id=\"_ftn6\" class=\"footnote\">[6] Milo Marcelin, <em>Mythologie Vodou (Rite Arada)</em>,<em> </em>2 vols. (Pétionville: Éditions Canapé Vert, 1950); Laura Boulton, “Laura Boulton’s Songs” (1947), in <em>Vodou Songs in Haitian Creole and English = Chante vodou an kreyòl ayisyen ak angle</em>, eds. Benjamin Hebblethwaite and Joanne Bartley (Philadelphia: Temple University Press, 2012), 127-145;  J.L., “J.L. Songs,” in <em>Vodou Songs in Haitian Creole and English</em>,<em> </em>147-184; Harold Courlander, unpublished manuscript (1939–1940), University of Michigan Special Collections Library; Milo Rigaud, <em>La tradition voudoo et le voudoo haïtien: Son temple, ses mystères, sa magie </em>(Paris: Éditions Niclaus, 1953).</div>\r\n    <div id=\"_ftn7\" class=\"footnote\">[7] Albert Valdman, Iskra Iskrova, Jacques Pierre, and Nicolas André, <em>Haitian Creole-English Bilingual Dictionary</em> (Bloomington, IN: Creole Institute, 2007); Bryant Freeman and Jowel Laguerre, <em>Haitian-English Dictionary</em>, 5th ed. (Lawrence, KS: Institute of Haitian Studies, 2004).</div>\r\n    </div>\r\n\r\n<hr align=\"left\" size=\"1\" width=\"33%\" />\r\n\r\n<a href=\"#_msoanchor_1\" class=\"footnote\" class=\"footnote\">[C1]The Brand citation is here. The original reference is: (Brand 2000: 15; Monsia 2003; Rouget 1991, 2001: v).  Which of the two Brand books should be referenced (I chose 2000a, but that could be wrong)?\r\n\r\n</div>','Undergraduates in the Archives - Hebblethwaite 1','The Vodou Archive is a collaborative partnership spearheaded by the University of Florida and Duke University which seeks to improve the understanding of a central Haitian and Haitian-American spiritual tradition by gathering the audiovisual and textual sources of Vodou communities, by interpreting what we collect, by expanding the holdings through a self-submission tool, and by diffusing the knowledge via an open access digital library.  ','inherit','open','open','','1504-revision-13','','','2012-09-24 18:41:00','2012-09-24 18:41:00','',1504,'http://www.archivejournal.net/issue/2/uncategorized/1504-revision-13/',0,'revision','',0),(2331,19,'2012-09-24 18:11:31','2012-09-24 18:11:31','','gotkin_fig1','Figure 1: Microform copy of the proceedings of a 1869 court case against spirit photographer William Mumler','inherit','open','open','','gotkin_fig1','','','2012-09-24 18:11:31','2012-09-24 18:11:31','',0,'http://www.archivejournal.net/wp-content/uploads/2012/02/gotkin_fig1.png',0,'attachment','image/png',0),(2332,19,'2012-09-24 18:11:35','2012-09-24 18:11:35','Figure 2: Example of a typical French hacker e-zine c. 1994','gotkin_fig2','','inherit','open','open','','gotkin_fig2','','','2012-09-24 18:11:35','2012-09-24 18:11:35','',0,'http://www.archivejournal.net/wp-content/uploads/2012/02/gotkin_fig2.png',0,'attachment','image/png',0),(2333,19,'2012-09-24 18:11:38','2012-09-24 18:11:38','','gotkin_fig3','Figure 3: Depiction of the god Hermes Trismegistus (courtesy of Roanoke College)','inherit','open','open','','gotkin_fig3','','','2012-09-24 18:11:38','2012-09-24 18:11:38','',0,'http://www.archivejournal.net/wp-content/uploads/2012/02/gotkin_fig3.jpg',0,'attachment','image/jpeg',0),(3293,19,'2012-10-19 04:40:23','2012-10-19 04:40:23','It is genuinely difficult to identify serious weaknesses of the Whitman archive. I might suggest a few relatively minor changes to site design. Some of the content is nested quite deeply within the site and requires several clicks to access it. For example in the Disciples section the user is three clicks away from accessing individual poems. Web log analysis suggests that the more clicks a users is required to make, the less likely they are to use that part of a site.[ref]P. Huntington, D. Nicholas, P. Williams and B. Gunter “Characterising the Health Information Consumer: an Examination of the Health Information Sources used by Digital Television Users,” <em>Libri</em> 52:1 (2002): 16-27[/ref] Thus I would suggest that if at all possible some of the intermediate levels of nesting are removed to allow better access to material.\r\n\r\nI also found it difficult to access the newspaper content, since the page images took a very long time to load, on an average home broadband connection. This will not cause problems for academics using the site on fast campus networks. However it might limit its usefulness and usability of these newspapers for members of the public to high school students who might be accessing them on a slower connection.\r\n\r\nI also had some problems using the search function, or rather understanding the results returned. I typed the words ‘metaphysics’ and ‘books’ into the search box as someone searching for the exact origin of a quotation might do. I would have hoped that the first hit in any general search of the archive might have referred me to published works, but instead it took me to instances of the words in criticism, but it was not clear why this happened, and would, I think be counter intuitive for most users. I then clicked on the top hit of published works, and when I clicked on it, this did indeed take me to Leaves of Grass, but only to the title page. Again this would not be intuitive for users accustomed for example to the functionality of commercial resources such as EEBO who would expect to be taken to the exact hit without a need to use the search function in Firefox to locate it.\r\n\r\nThese are technical problems which should be relatively easily corrected. However, I would also like to point out something which while not exactly being a weakness may more correctly be thought of as an opportunity that has not yet been exploited: that is the possibility of involving users more extensively in the Archive’s activities. At present, apart from leaving comments, it is difficult to see how academic users or members of the public interested in Whitman might be able to get involved in the project.\r\n\r\nThe current model for the Archive seems very much that of conventional publishing whereby the team produces content for its users, in a one-to-many fashion. It may be that this is a deliberate decision on the part of the editors: involving users is not appropriate for every digital project. However, if further content is to be created in future, the Whitman archive may consider taking part in some kind of crowd sourcing project. This is still a somewhat unusual method, but is being used by projects such as Transcribe Bentham at UCL to access crowd sourced transcriptions of page images of manuscripts. The use of crowd sourcing and social networking by memory institutions such as museums, has demonstrated that those outside academia are interested in participating in projects about their heritage and history and it may be that there is a potential new way for the Archive to engage with its user community, and to add further content while doing so.','The Walt Whitman Archive – Warwick 2','It is genuinely difficult to identify serious weaknesses of the Whitman archive.  I might suggest a few relatively minor changes to site design. Some of the content is nested quite deeply within the site and requires several clicks to access it.For example in the Disciples section the user is three clicks away from accessing individual poems.  Web log analysis suggests...','inherit','open','open','','122-revision-29','','','2012-10-19 04:40:23','2012-10-19 04:40:23','',122,'http://www.archivejournal.net/issue/2/uncategorized/122-revision-29/',0,'revision','',0),(3265,19,'2012-10-16 23:26:31','2012-10-16 23:26:31','I have only recently begun experimenting with using archival materials in the classroom, so I am still learning how to achieve the best results.  Initially, I began by limiting student involvement to 2-3 weeks of the semester.  I found that, practically, the students did much better when they worked in groups, in part because of the potential that some students are more engaged than others, and in part because the students enjoyed being part of a team.  Penn, of course, is home to the Wharton School of Business and I often have a few Wharton students in class.  These students helpfully pointed out that many Wharton classes are designed such that students are assigned to a team in order to better prepare them for the private sector.  This also allows the students to divide up the work according to the skill sets of each individual student.  I have found the team oriented approach—with all of the teams working together as one larger team devoted to producing a quality product for Native American clients—to work very well in the highly professionalized culture of Penn (this culture is double edged, for it also makes it difficult to attract pre-professional students to courses on Native American studies, which is not a program or a department at Penn).\r\n\r\nAs I became more comfortable and was able to prepare more quickly for the semester, I found that I could make more materials available to the students.  I try to balance the students’ exposure to the originals by providing them with digital surrogates and also having them visit the Penn Museum and the APS.  This can prove a challenge since the APS is not set up for student visits and, therefore, it is only because of my position as Director of Native American projects that I am able to arrange a classroom to view original documents.  The Penn Museum, on the other hand, actively encourages professors to bring their classes and provides access to the storage facilities.  This planning paid off, however, when, to my surprise, the students asked to have more time to work on their projects.  Last semester, one suggested that the entire semester should be devoted to creating the exhibits for the class project.  We talked about this together and the students also felt their work with archival materials would be more meaningful if they learned more about the historical and cultural background from which the materials emerged.  The best students had done this research on their own, but I realized that the early part of the course could be structured to teach the students a great deal more about the cultural context of the archival materials and that this would result in them being able to understand the materials better and to do a better job of .  So this coming semester, that is what I am going to try to accomplish.  The APS recently acquired more than 500 hours of audio recordings related to Ojibwe culture in northern Canada (the acquisition was an outcome of the Pimachiowin Aki collaboration).  The first five weeks of the class will be devoted to teaching the students the religious background necessary to understand the Ojibwe ceremonies being discussed, the ethics of working with religious materials in terms of what can or cannot be placed on the web, and basic archival skills so that the students can create a database and tags to make this new material more accessible to scholars and the Ojibwe communities where the material originated.  All of the students’ work will be donated to those communities and the database will be housed at the APS.','Undergraduates in the Archives - Powell 5','I have only recently begun experimenting with using archival materials in the classroom, so I am still learning how to achieve the best results.  Initially, I began by limiting student involvement to 2-3 weeks of the semester.  I found that, practically, the students did much better when they worked in groups, in part because of the potential that some students are more engaged than others, and in part because the students enjoyed being part of a team.','inherit','open','open','','1589-revision-22','','','2012-10-16 23:26:31','2012-10-16 23:26:31','',1589,'http://www.archivejournal.net/issue/2/uncategorized/1589-revision-22/',0,'revision','',0),(3258,19,'2012-10-19 01:24:36','2012-10-19 01:24:36','A few years ago, I was myself an undergraduate in the archive. In a class called “Dead Media Research Studio” at New York University, Professor Ben Kafka had introduced me to the great quip about the chiasmic imperative of good research— to “make the familiar strange and the strange familiar.” With this echoing in my ears, I found myself in the entrails of Bobst Library interviewing two preservation specialists about a small but intriguing collection of wire recordings. The recordings, I found out, were from rather unknown origins in the early 50s and contained some controversial tirades against President Truman. Though certainly not an exhaustive archive, the recordings were my first meaningful interaction with historical primary sources. And it was a rather lonely endeavor: the hallways leading to troves of under-researched sources were woefully empty compared to the bustling study lounges just a few floors above.\r\n\r\nMy research on wire recordings ended up as part of a dossier (similar to the format and scope of a Wikipedia entry) I wrote with two classmates for the Dead Media Archive. Professors Ben Kafka and Alex Galloway had rescued this archive from its own ironic demise as an email list created by Bruce Sterling to catalog and describe obsolete technologies. The new Dead Media Archive, technically a wiki platform for simultaneous publishing and editing, became the centerpiece for two classes in the Department of Media, Culture, &amp; Communication (one undergraduate and one graduate). The semester I took the class, there were barely 10 students enrolled. It puzzled me a bit, since Prof. Kafka announced on the first day what every undergraduate seems to dream of: there would be no exams, no papers, and very little reading. Instead, we were to be immersed in the city’s archives for a semester. Each student ended up producing three dossiers for the archive. In addition to one on wire recording, I also wrote an entry on spirit photography, a popular practice at the turn of the 20<sup>th</sup>century of “capturing” ghosts on film, accompanied by the rise of Spiritualism. A sizeable portion of my hard drive is still taken up by copies of the microform proceedings of the 1869 trial against William Mumler, a New York City spirit photographer accused of fraud. (FIG. 1) My final dossier took a more argumentative take on the “death” of media by cataloging marginalia, the scribbles in a text’s margins, as obsolete relics of a technological paradigm.<span class=\"caption right\" style=\"width: 200px; padding-left: 20px;\"><a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/gotkin_fig1.png\"><img class=\"size-medium wp-image-2331 alignright\" style=\"margin-bottom: 10px;\" title=\"gotkin_fig1\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/gotkin_fig1-193x250.png\" alt=\"Figure 1\" width=\"193\" height=\"250\" /></a>Figure 1: Microform copy of the proceedings of a 1869 court case against spirit photographer William Mumler.</span>\r\n\r\nBefore arriving at NYU, I would have scoffed at the idea of studying media history. There was much sighing on my first day in the required “History of Communication” course, since I imagined, like many fellow undergraduates, that a degree in media studies would help me land a job in New York’s radio, television, or film industries. History, for us, was a roadblock in the path to careers less concerned with history than the frenetic present. The thrill of finding primary sources changed my mind. In the archive, I realized the opportunity to conduct original research. The excitement of my undergraduate archival work is one shared by graduate students and faculty: of finding something that hasn’t been thought about enough and working hard enough to make it both familiar and strange.','Undergraduates in the Archives - Gotkin 1','','inherit','open','open','','3251-revision-5','','','2012-10-19 01:24:36','2012-10-19 01:24:36','',3251,'http://www.archivejournal.net/issue/2/uncategorized/3251-revision-5/',0,'revision','',0),(3259,19,'2012-10-19 01:24:46','2012-10-19 01:24:46','A few years ago, I was myself an undergraduate in the archive. In a class called “Dead Media Research Studio” at New York University, Professor Ben Kafka had introduced me to the great quip about the chiasmic imperative of good research— to “make the familiar strange and the strange familiar.” With this echoing in my ears, I found myself in the entrails of Bobst Library interviewing two preservation specialists about a small but intriguing collection of wire recordings. The recordings, I found out, were from rather unknown origins in the early 50s and contained some controversial tirades against President Truman. Though certainly not an exhaustive archive, the recordings were my first meaningful interaction with historical primary sources. And it was a rather lonely endeavor: the hallways leading to troves of under-researched sources were woefully empty compared to the bustling study lounges just a few floors above.\r\n\r\nMy research on wire recordings ended up as part of a dossier (similar to the format and scope of a Wikipedia entry) I wrote with two classmates for the Dead Media Archive. Professors Ben Kafka and Alex Galloway had rescued this archive from its own ironic demise as an email list created by Bruce Sterling to catalog and describe obsolete technologies. The new Dead Media Archive, technically a wiki platform for simultaneous publishing and editing, became the centerpiece for two classes in the Department of Media, Culture, &amp; Communication (one undergraduate and one graduate). The semester I took the class, there were barely 10 students enrolled. It puzzled me a bit, since Prof. Kafka announced on the first day what every undergraduate seems to dream of: there would be no exams, no papers, and very little reading. Instead, we were to be immersed in the city’s archives for a semester. Each student ended up producing three dossiers for the archive. In addition to one on wire recording, I also wrote an entry on spirit photography, a popular practice at the turn of the 20<sup>th</sup>century of “capturing” ghosts on film, accompanied by the rise of Spiritualism. A sizeable portion of my hard drive is still taken up by copies of the microform proceedings of the 1869 trial against William Mumler, a New York City spirit photographer accused of fraud. (FIG. 1) My final dossier took a more argumentative take on the “death” of media by cataloging marginalia, the scribbles in a text’s margins, as obsolete relics of a technological paradigm.<span class=\"caption right\" style=\"width: 200px; padding-left: 20px;\"><a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/gotkin_fig1.png\"><img class=\"size-medium wp-image-2331 alignright\" style=\"margin-bottom: 10px;\" title=\"gotkin_fig1\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/gotkin_fig1-193x250.png\" alt=\"Figure 1\" width=\"193\" height=\"250\" /></a>Figure 1: Microform copy of the proceedings of a 1869 court case against spirit photographer William Mumler.</span>\r\n\r\nBefore arriving at NYU, I would have scoffed at the idea of studying media history. There was much sighing on my first day in the required “History of Communication” course, since I imagined, like many fellow undergraduates, that a degree in media studies would help me land a job in New York’s radio, television, or film industries. History, for us, was a roadblock in the path to careers less concerned with history than the frenetic present. The thrill of finding primary sources changed my mind. In the archive, I realized the opportunity to conduct original research. The excitement of my undergraduate archival work is one shared by graduate students and faculty: of finding something that hasn’t been thought about enough and working hard enough to make it both familiar and strange.','Undergraduates in the Archives - Gotkin 1','','inherit','open','open','','3251-revision-6','','','2012-10-19 01:24:46','2012-10-19 01:24:46','',3251,'http://www.archivejournal.net/issue/2/uncategorized/3251-revision-6/',0,'revision','',0),(3260,19,'2012-10-19 01:25:47','2012-10-19 01:25:47','A few years ago, I was myself an undergraduate in the archive. In a class called “Dead Media Research Studio” at New York University, Professor Ben Kafka had introduced me to the great quip about the chiasmic imperative of good research— to “make the familiar strange and the strange familiar.” With this echoing in my ears, I found myself in the entrails of Bobst Library interviewing two preservation specialists about a small but intriguing collection of wire recordings. The recordings, I found out, were from rather unknown origins in the early 50s and contained some controversial tirades against President Truman. Though certainly not an exhaustive archive, the recordings were my first meaningful interaction with historical primary sources. And it was a rather lonely endeavor: the hallways leading to troves of under-researched sources were woefully empty compared to the bustling study lounges just a few floors above.\r\n\r\nMy research on wire recordings ended up as part of a dossier (similar to the format and scope of a Wikipedia entry) I wrote with two classmates for the Dead Media Archive. Professors Ben Kafka and Alex Galloway had rescued this archive from its own ironic demise as an email list created by Bruce Sterling to catalog and describe obsolete technologies. The new Dead Media Archive, technically a wiki platform for simultaneous publishing and editing, became the centerpiece for two classes in the Department of Media, Culture, &amp; Communication (one undergraduate and one graduate). The semester I took the class, there were barely 10 students enrolled. It puzzled me a bit, since Prof. Kafka announced on the first day what every undergraduate seems to dream of: there would be no exams, no papers, and very little reading. Instead, we were to be immersed in the city’s archives for a semester. Each student ended up producing three dossiers for the archive. In addition to one on wire recording, I also wrote an entry on spirit photography, a popular practice at the turn of the 20<sup>th</sup>century of “capturing” ghosts on film, accompanied by the rise of Spiritualism. A sizeable portion of my hard drive is still taken up by copies of the microform proceedings of the 1869 trial against William Mumler, a New York City spirit photographer accused of fraud. (FIG. 1) My final dossier took a more argumentative take on the “death” of media by cataloging marginalia, the scribbles in a text’s margins, as obsolete relics of a technological paradigm.<span class=\"caption right\" style=\"width: 200px; padding-left: 20px;\"><a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/gotkin_fig1.png\"><img class=\"size-medium wp-image-2331 alignright\" style=\"margin-bottom: 10px;\" title=\"gotkin_fig1\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/gotkin_fig1-193x250.png\" alt=\"Figure 1\" width=\"193\" height=\"250\" /></a>Figure 1: Microform copy of the proceedings of a 1869 court case against spirit photographer William Mumler.</span>\r\n\r\nBefore arriving at NYU, I would have scoffed at the idea of studying media history. There was much sighing on my first day in the required “History of Communication” course, since I imagined, like many fellow undergraduates, that a degree in media studies would help me land a job in New York’s radio, television, or film industries. History, for us, was a roadblock in the path to careers less concerned with history than the frenetic present. The thrill of finding primary sources changed my mind. In the archive, I realized the opportunity to conduct original research. The excitement of my undergraduate archival work is one shared by graduate students and faculty: of finding something that hasn’t been thought about enough and working hard enough to make it both familiar and strange.','Undergraduates in the Archives - Gotkin 1','','inherit','open','open','','3251-revision-7','','','2012-10-19 01:25:47','2012-10-19 01:25:47','',3251,'http://www.archivejournal.net/issue/2/uncategorized/3251-revision-7/',0,'revision','',0),(3261,19,'2012-10-19 03:16:51','2012-10-19 03:16:51','A few years ago, I was myself an undergraduate in the archive. In a class called “Dead Media Research Studio” at New York University, Professor Ben Kafka had introduced me to the great quip about the chiasmic imperative of good research— to “make the familiar strange and the strange familiar.” With this echoing in my ears, I found myself in the entrails of Bobst Library interviewing two preservation specialists about a small but intriguing collection of wire recordings. The recordings, I found out, were from rather unknown origins in the early 50s and contained some controversial tirades against President Truman. Though certainly not an exhaustive archive, the recordings were my first meaningful interaction with historical primary sources. And it was a rather lonely endeavor: the hallways leading to troves of under-researched sources were woefully empty compared to the bustling study lounges just a few floors above.\r\n\r\nMy research on wire recordings ended up as part of a dossier (similar to the format and scope of a Wikipedia entry) I wrote with two classmates for the Dead Media Archive. Professors Ben Kafka and Alex Galloway had rescued this archive from its own ironic demise as an email list created by Bruce Sterling to catalog and describe obsolete technologies. The new Dead Media Archive, technically a wiki platform for simultaneous publishing and editing, became the centerpiece for two classes in the Department of Media, Culture, &amp; Communication (one undergraduate and one graduate). The semester I took the class, there were barely 10 students enrolled. It puzzled me a bit, since Prof. Kafka announced on the first day what every undergraduate seems to dream of: there would be no exams, no papers, and very little reading. Instead, we were to be immersed in the city’s archives for a semester. Each student ended up producing three dossiers for the archive. In addition to one on wire recording, I also wrote an entry on spirit photography, a popular practice at the turn of the 20<sup>th</sup>century of “capturing” ghosts on film, accompanied by the rise of Spiritualism. A sizeable portion of my hard drive is still taken up by copies of the microform proceedings of the 1869 trial against William Mumler, a New York City spirit photographer accused of fraud. (FIG. 1) My final dossier took a more argumentative take on the “death” of media by cataloging marginalia, the scribbles in a text’s margins, as obsolete relics of a technological paradigm.<span class=\"caption right\" style=\"width: 200px; padding-left: 20px;\"><a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/gotkin_fig1.png\"><img class=\"size-medium wp-image-2331 alignright\" style=\"margin-bottom: 10px;\" title=\"gotkin_fig1\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/gotkin_fig1-193x250.png\" alt=\"Figure 1\" width=\"193\" height=\"250\" /></a>Figure 1: Microform copy of the proceedings of a 1869 court case against spirit photographer William Mumler.</span>\r\n\r\nBefore arriving at NYU, I would have scoffed at the idea of studying media history. There was much sighing on my first day in the required “History of Communication” course, since I imagined, like many fellow undergraduates, that a degree in media studies would help me land a job in New York’s radio, television, or film industries. History, for us, was a roadblock in the path to careers less concerned with history than the frenetic present. The thrill of finding primary sources changed my mind. In the archive, I realized the opportunity to conduct original research. The excitement of my undergraduate archival work is one shared by graduate students and faculty: of finding something that hasn’t been thought about enough and working hard enough to make it both familiar and strange.','Undergraduates in the Archives - Gotkin 1','','inherit','open','open','','3251-revision-8','','','2012-10-19 03:16:51','2012-10-19 03:16:51','',3251,'http://www.archivejournal.net/issue/2/uncategorized/3251-revision-8/',0,'revision','',0),(3262,19,'2012-10-19 03:20:53','2012-10-19 03:20:53','A few years ago, I was myself an undergraduate in the archive. In a class called “Dead Media Research Studio” at New York University, Professor Ben Kafka had introduced me to the great quip about the chiasmic imperative of good research— to “make the familiar strange and the strange familiar.” With this echoing in my ears, I found myself in the entrails of Bobst Library interviewing two preservation specialists about a small but intriguing collection of wire recordings. The recordings, I found out, were from rather unknown origins in the early 50s and contained some controversial tirades against President Truman. Though certainly not an exhaustive archive, the recordings were my first meaningful interaction with historical primary sources. And it was a rather lonely endeavor: the hallways leading to troves of under-researched sources were woefully empty compared to the bustling study lounges just a few floors above.\r\n\r\nMy research on wire recordings ended up as part of a dossier (similar to the format and scope of a Wikipedia entry) I wrote with two classmates for the Dead Media Archive. Professors Ben Kafka and Alex Galloway had rescued this archive from its own ironic demise as an email list created by Bruce Sterling to catalog and describe obsolete technologies. The new Dead Media Archive, technically a wiki platform for simultaneous publishing and editing, became the centerpiece for two classes in the Department of Media, Culture, &amp; Communication (one undergraduate and one graduate). The semester I took the class, there were barely 10 students enrolled. It puzzled me a bit, since Prof. Kafka announced on the first day what every undergraduate seems to dream of: there would be no exams, no papers, and very little reading. Instead, we were to be immersed in the city’s archives for a semester. Each student ended up producing three dossiers for the archive. In addition to one on wire recording, I also wrote an entry on spirit photography, a popular practice at the turn of the 20<sup>th</sup>century of “capturing” ghosts on film, accompanied by the rise of Spiritualism. A sizeable portion of my hard drive is still taken up by copies of the microform proceedings of the 1869 trial against William Mumler, a New York City spirit photographer accused of fraud. (FIG. 1) My final dossier took a more argumentative take on the “death” of media by cataloging marginalia, the scribbles in a text’s margins, as obsolete relics of a technological paradigm.<span class=\"caption right\" style=\"width: 200px; padding-left: 20px;\"><a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/gotkin_fig1.png\"><img class=\"size-medium wp-image-2331 alignright\" style=\"margin-bottom: 10px;\" title=\"gotkin_fig1\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/gotkin_fig1-193x250.png\" alt=\"Figure 1\" width=\"193\" height=\"250\" /></a>Figure 1: Microform copy of the proceedings of a 1869 court case against spirit photographer William Mumler.</span>\r\n\r\nBefore arriving at NYU, I would have scoffed at the idea of studying media history. There was much sighing on my first day in the required “History of Communication” course, since I imagined, like many fellow undergraduates, that a degree in media studies would help me land a job in New York’s radio, television, or film industries. History, for us, was a roadblock in the path to careers less concerned with history than the frenetic present. The thrill of finding primary sources changed my mind. In the archive, I realized the opportunity to conduct original research. The excitement of my undergraduate archival work is one shared by graduate students and faculty: of finding something that hasn’t been thought about enough and working hard enough to make it both familiar and strange.','Undergraduates in the Archives - Gotkin 1','','inherit','open','open','','3251-revision-9','','','2012-10-19 03:20:53','2012-10-19 03:20:53','',3251,'http://www.archivejournal.net/issue/2/uncategorized/3251-revision-9/',0,'revision','',0),(3263,19,'2012-10-19 03:21:29','2012-10-19 03:21:29','A few years ago, I was myself an undergraduate in the archive. In a class called “Dead Media Research Studio” at New York University, Professor Ben Kafka had introduced me to the great quip about the chiasmic imperative of good research— to “make the familiar strange and the strange familiar.” With this echoing in my ears, I found myself in the entrails of Bobst Library interviewing two preservation specialists about a small but intriguing collection of wire recordings. The recordings, I found out, were from rather unknown origins in the early 50s and contained some controversial tirades against President Truman. Though certainly not an exhaustive archive, the recordings were my first meaningful interaction with historical primary sources. And it was a rather lonely endeavor: the hallways leading to troves of under-researched sources were woefully empty compared to the bustling study lounges just a few floors above.\r\n\r\nMy research on wire recordings ended up as part of a dossier (similar to the format and scope of a Wikipedia entry) I wrote with two classmates for the Dead Media Archive. Professors Ben Kafka and Alex Galloway had rescued this archive from its own ironic demise as an email list created by Bruce Sterling to catalog and describe obsolete technologies. The new Dead Media Archive, technically a wiki platform for simultaneous publishing and editing, became the centerpiece for two classes in the Department of Media, Culture, &amp; Communication (one undergraduate and one graduate). The semester I took the class, there were barely 10 students enrolled. It puzzled me a bit, since Prof. Kafka announced on the first day what every undergraduate seems to dream of: there would be no exams, no papers, and very little reading. Instead, we were to be immersed in the city’s archives for a semester. Each student ended up producing three dossiers for the archive. In addition to one on wire recording, I also wrote an entry on spirit photography, a popular practice at the turn of the 20<sup>th</sup>century of “capturing” ghosts on film, accompanied by the rise of Spiritualism. A sizeable portion of my hard drive is still taken up by copies of the microform proceedings of the 1869 trial against William Mumler, a New York City spirit photographer accused of fraud. (FIG. 1) My final dossier took a more argumentative take on the “death” of media by cataloging marginalia, the scribbles in a text’s margins, as obsolete relics of a technological paradigm.<span class=\"caption right\" style=\"width: 200px; padding-left: 20px;\"><a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/gotkin_fig1.png\"><img class=\"size-medium wp-image-2331 alignright\" style=\"margin-bottom: 10px;\" title=\"gotkin_fig1\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/gotkin_fig1-193x250.png\" alt=\"Figure 1\" width=\"193\" height=\"250\" /></a>Figure 1: Microform copy of the proceedings of a 1869 court case against spirit photographer William Mumler.</span>\r\n\r\nBefore arriving at NYU, I would have scoffed at the idea of studying media history. There was much sighing on my first day in the required “History of Communication” course, since I imagined, like many fellow undergraduates, that a degree in media studies would help me land a job in New York’s radio, television, or film industries. History, for us, was a roadblock in the path to careers less concerned with history than the frenetic present. The thrill of finding primary sources changed my mind. In the archive, I realized the opportunity to conduct original research. The excitement of my undergraduate archival work is one shared by graduate students and faculty: of finding something that hasn’t been thought about enough and working hard enough to make it both familiar and strange.','Undergraduates in the Archives - Gotkin 1','','inherit','open','open','','3251-revision-10','','','2012-10-19 03:21:29','2012-10-19 03:21:29','',3251,'http://www.archivejournal.net/issue/2/uncategorized/3251-revision-10/',0,'revision','',0),(3264,19,'2012-10-15 23:12:49','2012-10-15 23:12:49','My experience in the archive directly contributed to my interest in graduate school, which is perhaps unsurprising when you think about the demands of archival work. The move from undergraduate to graduate study shares the guiding principles of archival work. You must first learn what others have said before the foray into the topics that demand further examination. Archival research, in this sense, is the unending game of hide-and-seek with that perfect research subject we yen for in each new project, class, and semester.\r\n\r\nAside from its importance in the training of future scholars, archival work is an important paradigm even for students who have less professional allegiances to the academy. Original research is a principle worth thinking about closely in undergraduate course design, as it signifies the marketable job placement skills that are supposed to be evidence of proper university training. In the 1997 <em>Harper’s Magazine</em> essay “On the Uses of a Liberal Education,” Mark Edmundson suggests undergraduate study has become “lite entertainment for bored college students.” He writes, “University culture, like American culture writ large, is, to put it crudely, ever more devoted to consumption and entertainment, to the using and using up of goods and images.”<a href=\"#_ftn1\">[1]</a> Edmundson goes on to argue that the transactional nature of undergraduate study creates an imbalance between what professors look to put into a syllabus and what students seek to get out of it. But if we think about archival research as a process of skill development, it just may serve as a corrective to the literal and figurative banking concept of education.\r\n\r\nArchival work is often thought to be opposed methodologically to new media research techniques, an unfair corollary being that undergraduates, as “digital natives,” must learn and maintain a skill set in the archive apart from their new media literacy. How, for example, should undergraduates navigate the thick mess of a paper archive when Facebook and Twitter are their daily information grounds? If the job market is increasingly concerned with social media, why should students spend time poring over “dead” technologies? Contrary to the notion that the archive and new media are irreconcilable, we might instead think of them as complementary educational forces. It is no coincidence, for example, that undergraduates in the archive are more likely to be keen and discerning arbiters of information.\r\n<div id=\"_ftn1\" class=\"footnote\">[1] Mark Edmundson, “On the Uses of a Liberal Education: I. As Lite Entertainment for Bored College Students,” <em>Harper’s Magazine</em>, September 1997, 40.</div>','Undergraduates in the Archives - Gotkin 2','My experience in the archive directly contributed to my interest in graduate school, which is perhaps unsurprising when you think about the demands of archival work. The move from undergraduate to graduate study shares the guiding principles of archival work.','inherit','open','open','','1527-revision-23','','','2012-10-15 23:12:49','2012-10-15 23:12:49','',1527,'http://www.archivejournal.net/issue/2/uncategorized/1527-revision-23/',0,'revision','',0),(2343,19,'2012-09-24 16:29:15','2012-09-24 16:29:15','My experience in the archive directly contributed to my interest in graduate school, which is perhaps unsurprising when you think about the demands of archival work. The move from undergraduate to graduate study shares the guiding principles of archival work. You must first learn what others have said before the foray into the topics that demand further examination. Archival research, in this sense, is the unending game of hide-and-seek with that perfect research subject we yen for in each new project, class, and semester.\r\n\r\nAside from its importance in the training of future scholars, archival work is an important paradigm even for students who have less professional allegiances to the academy. Original research is a principle worth thinking about closely in undergraduate course design, as it signifies the marketable job placement skills that are supposed to be evidence of proper university training. In the 1997 <em>Harper’s Magazine</em> essay “On the Uses of a Liberal Education,” Mark Edmundson suggests undergraduate study has become “lite entertainment for bored college students.” He writes, “University culture, like American culture writ large, is, to put it crudely, ever more devoted to consumption and entertainment, to the using and using up of goods and images.”<a title=\"\" href=\"#_ftn1\">[1]</a> Edmundson goes on to argue that the transactional nature of undergraduate study creates an imbalance between what professors look to put into a syllabus and what students seek to get out of it. But if we think about archival research as a process of skill development, it just may serve as a corrective to the literal and figurative banking concept of education.\r\n\r\nArchival work is often thought to be opposed methodologically to new media research techniques, an unfair corollary being that undergraduates, as “digital natives,” must learn and maintain a skill set in the archive apart from their new media literacy. How, for example, should undergraduates navigate the thick mess of a paper archive when Facebook and Twitter are their daily information grounds? If the job market is increasingly concerned with social media, why should students spend time poring over “dead” technologies? Contrary to the notion that the archive and new media are irreconcilable, we might instead think of them as complementary educational forces. It is no coincidence, for example, that undergraduates in the archive are more likely to be keen and discerning arbiters of information.\r\n<div class=\"footnote\"><a title=\"\" href=\"#_ftnref\">[1]</a> Mark Edmundson, “On the Uses of a Liberal Education: I. As Lite Entertainment for Bored College Students,” <em>Harper’s Magazine</em>, September 1997, 40.</div>','Undergraduates in the Archives - Gotkin 2','My experience in the archive directly contributed to my interest in graduate school, which is perhaps unsurprising when you think about the demands of archival work. The move from undergraduate to graduate study shares the guiding principles of archival work.','inherit','open','open','','1527-revision-12','','','2012-09-24 16:29:15','2012-09-24 16:29:15','',1527,'http://www.archivejournal.net/issue/2/uncategorized/1527-revision-12/',0,'revision','',0),(2344,10,'2012-11-28 21:26:03','2012-11-28 21:26:03','&nbsp;\n\nIn one of my undergraduate courses a professor handed out a checklist for good archival research. The last item on the list was simply, “Get lucky.” My most meaningful archival work has indeed come out of the pleasures of spelunking in archives, hoping to come upon a hidden gem. In my junior year of college I studied abroad in Paris, where I took a class on global media structures. As many graduate-level courses require, the final paper was an individual research project rather than a paper based on class readings and discussions. I knew that my home department in New York offered a course called “Hacker Culture &amp; Politics,” which I ended up taking as soon as I returned. In anticipation of that course, I contacted the professor, Biella Coleman, to ask if she had any contacts in Paris who were working on hacking. After a series of e-mail introductions through friends of friends, I got in touch with the head of a hacker space just outside of Paris.\n\n<span class=\"caption right\" style=\"width: 200px; margin-left: 20px;\"><a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/gotkin_fig2.png\"><img class=\"size-medium wp-image-2332\" style=\"margin-bottom: 10px;\" title=\"gotkin_fig2\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/gotkin_fig2-199x250.png\" alt=\"Figure 2\" width=\"199\" height=\"250\" /></a> Figure 2: Example of a typical French hacker e-zine c. 1994</span>\n\nAlthough I originally intended to study a contemporary aspect of hacking, I ended up with a historical project. After talking with a few French hackers on Internet Relay Chat, it became clear that the early French hacker scene was highly ritualized around electronic magazines, or e-zines. Ultimately, I wrote the paper based on research from about seventy different e-zines sent over digital bulletin board systems and the nascent Internet (see Figure 2). Getting access to the e-zines was not easy, and in the end, I amassed my own archive. Mine was not the image of the archive-as-dungeon, but instead the archive-as-disk-space. Perhaps as difficult to catalog and maintain as any rare book collection (if not more so), the e-zines I collected were infinitely reproducible and accessible from anywhere, even after I left France.\n\nArchival practices change when the historical subject is itself born digital. The challenge of marshaling evidence around a research question is no less important, but the dematerialized archive demands new techniques of investigation. What happens, for example, when we can do archival research from a coffee shop? The absence of the physical walls in a traditional archive might become a new figurative challenge. What is archival work if the archivist is not literally surrounded by material? These are the questions that productively vex my research. Creating the digital archive has been my greatest success because it provided me with a set of substantive and methodological questions that continue to complicate and broaden my research years later.','Undergraduates in the Archives - Gotkin 3','In one of my undergraduate courses, a professor handed out a checklist for good archival research. The last item on the list was simply, “Get lucky.” My most meaningful archival work has indeed been the pleasures of spelunking around archives hoping to come upon a hidden gem.  In my junior year of college, I studied abroad in Paris where I took a class on global media structures. ','inherit','open','open','','1530-autosave','','','2012-11-28 21:26:03','2012-11-28 21:26:03','',1530,'http://www.archivejournal.net/issue/2/uncategorized/1530-autosave/',0,'revision','',0),(2345,19,'2012-09-24 18:21:25','2012-09-24 18:21:25','My experience in the archive directly contributed to my interest in graduate school, which is perhaps unsurprising when you think about the demands of archival work. The move from undergraduate to graduate study shares the guiding principles of archival work. You must first learn what others have said before the foray into the topics that demand further examination. Archival research, in this sense, is the unending game of hide-and-seek with that perfect research subject we yen for in each new project, class, and semester.\r\n\r\nAside from its importance in the training of future scholars, archival work is an important paradigm even for students who have less professional allegiances to the academy. Original research is a principle worth thinking about closely in undergraduate course design, as it signifies the marketable job placement skills that are supposed to be evidence of proper university training. In the 1997 <em>Harper’s Magazine</em> essay “On the Uses of a Liberal Education,” Mark Edmundson suggests undergraduate study has become “lite entertainment for bored college students.” He writes, “University culture, like American culture writ large, is, to put it crudely, ever more devoted to consumption and entertainment, to the using and using up of goods and images.”<a href=\"#_ftn1\">[1]</a> Edmundson goes on to argue that the transactional nature of undergraduate study creates an imbalance between what professors look to put into a syllabus and what students seek to get out of it. But if we think about archival research as a process of skill development, it just may serve as a corrective to the literal and figurative banking concept of education.\r\n\r\nArchival work is often thought to be opposed methodologically to new media research techniques, an unfair corollary being that undergraduates, as “digital natives,” must learn and maintain a skill set in the archive apart from their new media literacy. How, for example, should undergraduates navigate the thick mess of a paper archive when Facebook and Twitter are their daily information grounds? If the job market is increasingly concerned with social media, why should students spend time poring over “dead” technologies? Contrary to the notion that the archive and new media are irreconcilable, we might instead think of them as complementary educational forces. It is no coincidence, for example, that undergraduates in the archive are more likely to be keen and discerning arbiters of information.\r\n<div class=\"footnote\"><a name=\"_ftnref\">[1]</a> Mark Edmundson, “On the Uses of a Liberal Education: I. As Lite Entertainment for Bored College Students,” <em>Harper’s Magazine</em>, September 1997, 40.</div>','Undergraduates in the Archives - Gotkin 2','My experience in the archive directly contributed to my interest in graduate school, which is perhaps unsurprising when you think about the demands of archival work. The move from undergraduate to graduate study shares the guiding principles of archival work.','inherit','open','open','','1527-revision-13','','','2012-09-24 18:21:25','2012-09-24 18:21:25','',1527,'http://www.archivejournal.net/issue/2/uncategorized/1527-revision-13/',0,'revision','',0),(2346,19,'2012-09-24 18:22:12','2012-09-24 18:22:12','My experience in the archive directly contributed to my interest in graduate school, which is perhaps unsurprising when you think about the demands of archival work. The move from undergraduate to graduate study shares the guiding principles of archival work. You must first learn what others have said before the foray into the topics that demand further examination. Archival research, in this sense, is the unending game of hide-and-seek with that perfect research subject we yen for in each new project, class, and semester.\r\n\r\nAside from its importance in the training of future scholars, archival work is an important paradigm even for students who have less professional allegiances to the academy. Original research is a principle worth thinking about closely in undergraduate course design, as it signifies the marketable job placement skills that are supposed to be evidence of proper university training. In the 1997 <em>Harper’s Magazine</em> essay “On the Uses of a Liberal Education,” Mark Edmundson suggests undergraduate study has become “lite entertainment for bored college students.” He writes, “University culture, like American culture writ large, is, to put it crudely, ever more devoted to consumption and entertainment, to the using and using up of goods and images.”<a href=\"#_ftn1\">[1]</a> Edmundson goes on to argue that the transactional nature of undergraduate study creates an imbalance between what professors look to put into a syllabus and what students seek to get out of it. But if we think about archival research as a process of skill development, it just may serve as a corrective to the literal and figurative banking concept of education.\r\n\r\nArchival work is often thought to be opposed methodologically to new media research techniques, an unfair corollary being that undergraduates, as “digital natives,” must learn and maintain a skill set in the archive apart from their new media literacy. How, for example, should undergraduates navigate the thick mess of a paper archive when Facebook and Twitter are their daily information grounds? If the job market is increasingly concerned with social media, why should students spend time poring over “dead” technologies? Contrary to the notion that the archive and new media are irreconcilable, we might instead think of them as complementary educational forces. It is no coincidence, for example, that undergraduates in the archive are more likely to be keen and discerning arbiters of information.\r\n<div class=\"footnote\" id=\"_ftnref\">[1]</a> Mark Edmundson, “On the Uses of a Liberal Education: I. As Lite Entertainment for Bored College Students,” <em>Harper’s Magazine</em>, September 1997, 40.</div>','Undergraduates in the Archives - Gotkin 2','My experience in the archive directly contributed to my interest in graduate school, which is perhaps unsurprising when you think about the demands of archival work. The move from undergraduate to graduate study shares the guiding principles of archival work.','inherit','open','open','','1527-revision-14','','','2012-09-24 18:22:12','2012-09-24 18:22:12','',1527,'http://www.archivejournal.net/issue/2/uncategorized/1527-revision-14/',0,'revision','',0),(2347,19,'2012-09-24 18:22:34','2012-09-24 18:22:34','My experience in the archive directly contributed to my interest in graduate school, which is perhaps unsurprising when you think about the demands of archival work. The move from undergraduate to graduate study shares the guiding principles of archival work. You must first learn what others have said before the foray into the topics that demand further examination. Archival research, in this sense, is the unending game of hide-and-seek with that perfect research subject we yen for in each new project, class, and semester.\r\n\r\nAside from its importance in the training of future scholars, archival work is an important paradigm even for students who have less professional allegiances to the academy. Original research is a principle worth thinking about closely in undergraduate course design, as it signifies the marketable job placement skills that are supposed to be evidence of proper university training. In the 1997 <em>Harper’s Magazine</em> essay “On the Uses of a Liberal Education,” Mark Edmundson suggests undergraduate study has become “lite entertainment for bored college students.” He writes, “University culture, like American culture writ large, is, to put it crudely, ever more devoted to consumption and entertainment, to the using and using up of goods and images.”<a href=\"#_ftn1\">[1]</a> Edmundson goes on to argue that the transactional nature of undergraduate study creates an imbalance between what professors look to put into a syllabus and what students seek to get out of it. But if we think about archival research as a process of skill development, it just may serve as a corrective to the literal and figurative banking concept of education.\r\n\r\nArchival work is often thought to be opposed methodologically to new media research techniques, an unfair corollary being that undergraduates, as “digital natives,” must learn and maintain a skill set in the archive apart from their new media literacy. How, for example, should undergraduates navigate the thick mess of a paper archive when Facebook and Twitter are their daily information grounds? If the job market is increasingly concerned with social media, why should students spend time poring over “dead” technologies? Contrary to the notion that the archive and new media are irreconcilable, we might instead think of them as complementary educational forces. It is no coincidence, for example, that undergraduates in the archive are more likely to be keen and discerning arbiters of information.\r\n<div id=\"_ftnref\" class=\"footnote\">[1] Mark Edmundson, “On the Uses of a Liberal Education: I. As Lite Entertainment for Bored College Students,” <em>Harper’s Magazine</em>, September 1997, 40.</div>','Undergraduates in the Archives - Gotkin 2','My experience in the archive directly contributed to my interest in graduate school, which is perhaps unsurprising when you think about the demands of archival work. The move from undergraduate to graduate study shares the guiding principles of archival work.','inherit','open','open','','1527-revision-15','','','2012-09-24 18:22:34','2012-09-24 18:22:34','',1527,'http://www.archivejournal.net/issue/2/uncategorized/1527-revision-15/',0,'revision','',0),(2348,19,'2012-09-21 16:01:34','2012-09-21 16:01:34','In one of my undergraduate courses, a professor handed out a checklist for good archival research. The last item on the list was simply, “Get lucky.” My most meaningful archival work has indeed been the pleasures of spelunking around archives hoping to come upon a hidden gem. In my junior year of college, I studied abroad in Paris where I took a class on global media structures. Like many graduate-level courses, the final paper was an individual research project rather than a paper born of the class readings and discussions. I knew that my home department in New York offered a course called “Hacker Culture &amp; Politics,” which I ended up taking as soon as I returned. In anticipation of that course, I contacted the professor, Biella Coleman, to ask if she had any contacts in Paris who work on hacking. After a series of e-mail introductions through friends of friends, I got in touch with the head of a hacker space just outside of Paris.\r\n\r\nAlthough I originally intended to study a contemporary aspect of hacking, I ended up with a historical project. After talking with a few French hackers on Internet Relay Chat, it became clear that the early French hacker scene was highly ritualized around electronic magazines, e-zines. Ultimately, I wrote the paper in which I drew from about 70 different e-zines sent over digital bulletin board systems and the nascent Internet. (FIG. 2) Getting access to the e-zines was not easy and in the end, I amassed my own archive. Mine was not the image of the archive-as-dungeon, but instead the archive-as-disk-space. Perhaps as difficult to catalog and maintain as any rare book collection (if not more so), the e-ezines I collected were infinitely reproducible and accessible from anywhere, even after I left France.\r\n\r\nArchival practices change when the historical subject is itself born digital. The challenge of marshaling evidence around a research question is no less important, but the dematerialized archive demands new techniques of investigation. What happens, for example, when we can do archival research from a coffee shop? The absence of the physical walls in a traditional archive might become a new figurative challenge. What is archival work without being literally surrounded by material? These are the questions that productively vex my research. The digital archive has become my greatest success because it provided me with a set of substantive and methodological questions that continue to complicate and broaden my research years later.','Undergraduates in the Archives - Gotkin 3','In one of my undergraduate courses, a professor handed out a checklist for good archival research. The last item on the list was simply, “Get lucky.” My most meaningful archival work has indeed been the pleasures of spelunking around archives hoping to come upon a hidden gem.  In my junior year of college, I studied abroad in Paris where I took a class on global media structures. ','inherit','open','open','','1530-revision-8','','','2012-09-21 16:01:34','2012-09-21 16:01:34','',1530,'http://www.archivejournal.net/issue/2/uncategorized/1530-revision-8/',0,'revision','',0),(2349,19,'2012-09-24 18:24:56','2012-09-24 18:24:56','In one of my undergraduate courses, a professor handed out a checklist for good archival research. The last item on the list was simply, “Get lucky.” My most meaningful archival work has indeed been the pleasures of spelunking around archives hoping to come upon a hidden gem. In my junior year of college, I studied abroad in Paris where I took a class on global media structures. Like many graduate-level courses, the final paper was an individual research project rather than a paper born of the class readings and discussions. I knew that my home department in New York offered a course called “Hacker Culture &amp; Politics,” which I ended up taking as soon as I returned. In anticipation of that course, I contacted the professor, Biella Coleman, to ask if she had any contacts in Paris who work on hacking. After a series of e-mail introductions through friends of friends, I got in touch with the head of a hacker space just outside of Paris.<span class=\"caption right\" style=\"width: 200px; margin-left: 20px;\"><a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/gotkin_fig2.png\"><img class=\"size-medium wp-image-2332\" title=\"gotkin_fig2\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/gotkin_fig2-199x250.png\" alt=\"Figure 2\" width=\"199\" height=\"250\" /></a> Figure 2: Example of a typical French hacker e-zine c. 1994</span>\r\n\r\nAlthough I originally intended to study a contemporary aspect of hacking, I ended up with a historical project. After talking with a few French hackers on Internet Relay Chat, it became clear that the early French hacker scene was highly ritualized around electronic magazines, e-zines. Ultimately, I wrote the paper in which I drew from about 70 different e-zines sent over digital bulletin board systems and the nascent Internet. (FIG. 2) Getting access to the e-zines was not easy and in the end, I amassed my own archive. Mine was not the image of the archive-as-dungeon, but instead the archive-as-disk-space. Perhaps as difficult to catalog and maintain as any rare book collection (if not more so), the e-ezines I collected were infinitely reproducible and accessible from anywhere, even after I left France.\r\n\r\nArchival practices change when the historical subject is itself born digital. The challenge of marshaling evidence around a research question is no less important, but the dematerialized archive demands new techniques of investigation. What happens, for example, when we can do archival research from a coffee shop? The absence of the physical walls in a traditional archive might become a new figurative challenge. What is archival work without being literally surrounded by material? These are the questions that productively vex my research. The digital archive has become my greatest success because it provided me with a set of substantive and methodological questions that continue to complicate and broaden my research years later.','Undergraduates in the Archives - Gotkin 3','In one of my undergraduate courses, a professor handed out a checklist for good archival research. The last item on the list was simply, “Get lucky.” My most meaningful archival work has indeed been the pleasures of spelunking around archives hoping to come upon a hidden gem.  In my junior year of college, I studied abroad in Paris where I took a class on global media structures. ','inherit','open','open','','1530-revision-9','','','2012-09-24 18:24:56','2012-09-24 18:24:56','',1530,'http://www.archivejournal.net/issue/2/uncategorized/1530-revision-9/',0,'revision','',0),(3288,19,'2012-10-15 23:12:11','2012-10-15 23:12:11','Undergraduate archival work can be like learning to ride a bike without training wheels. In most classes, the readings and discussions act as essential compasses in guiding the student through the semester. In the archive, most—if not all—bets are off: there are rarely already-made tutorials on organizing and making sense of the productive entropy that often marks an archive. How are we to situate a newly discovered text if we haven’t even finished our undergraduate prerequisite courses?\r\n\r\nFor me, the most challenging moments in the archive were the earliest, both because I was adjusting to the demands of archival methods and because I had only a small number of anchoring texts echoing in my head to help me make sense of anything I found. In fact, I probably missed a number of promising leads in the archive because I didn’t know to look for.\r\n\r\nA good friend and I won a small grant at NYU for a research project about marginalia. We were to trace the marginalia of a particular ancient religious text, the Hermes Trismegistus. While I was scouring libraries in Paris for the history of the text’s early translation, my partner was in New York looking for evidence of contemporary readers’ marks on the book. My job was to plot the ancient scribbles, which seemed easy enough before I actually entered the stacks. (FIG. 3) I was looking for the text itself while piecing together others’ accounts of the its migrations. <span class=\"caption right\" style=\"width: 200px; padding-left: 20px;\"><a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/gotkin_fig3.jpg\"><img class=\"size-medium wp-image-2333 \" style=\"margin-bottom: 10px;\" title=\"gotkin_fig3\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/gotkin_fig3-190x250.jpg\" alt=\"Figure 3\" width=\"190\" height=\"250\" /></a> Figure 3: Depiction of the god Hermes Trismegistus (courtesy of Roanoke College)</span> As it turns out, the Hermes Trismegistus is an enduringly baffling historical object and its ancestry is riddled with gaps. A more experienced researcher would know how to explain this fitful history and perhaps use the inconsistencies and question marks as launching pads for substantive contributions. But since it was my first time in the archive for a sustained and labor-intensive project, they instead weighed on me like chains. Not only did I have trouble tracing the marginalia themselves, I had trouble explaining how I was having trouble.\r\n\r\nI realize now that this situation is not so much overcome with academic training as it is more efficiently handled. That moment of chaos and crisis is in fact a prerequisite to clear thinking, in my experience. As an undergraduate, I was overwhelmed by the disorder of the archival process, but then again, these troubles might have been the best training.','Undergraduates in the Archives - Gotkin 4','Undergraduate archival work can be like learning to ride a bike without training wheels. In most classes, the readings and discussions act as essential compasses in guiding the student through the semester. In the archive, most—if not all—bets are off: there are rarely already-made tutorials on organizing and making sense of the productive entropy that often marks an archive. ','inherit','open','open','','1533-revision-19','','','2012-10-15 23:12:11','2012-10-15 23:12:11','',1533,'http://www.archivejournal.net/issue/2/uncategorized/1533-revision-19/',0,'revision','',0),(3289,19,'2012-10-15 23:13:11','2012-10-15 23:13:11','As an undergraduate, I felt like the archive primed me to search for pristine differences between the past and present, as if the past is a foreign country I was visiting while in the archive and must be translated into a more modern language. Yet the evidence I worked with was rarely so easily explained on the page. Similarities across time were often differences in addition. There was also the logistical challenge of gauging the depth of a semester-long archival project. I had the classic Goldilocks problem of finding a research question that was neither too big nor too small.\r\n\r\nThe added obstacle is that undergraduates rarely devote their time to academics as faithfully as graduate students and faculty do. As an undergraduate, I was juggling internships, part-time jobs, and community service with my class work. Before I started my undergraduate archival work, I usually resolved the logistical tangles by relegating reading and writing to the wee morning hours. When I needed to start visiting collections around New York City, this wasn’t so easy. I started setting aside time to commute uptown to the New York Public Library, for example, while giving myself enough time to grab lunch and get back downtown for class.\r\n\r\nThe challenge was manageable on a practical level, but also on a conceptual one. Undergraduates – and I include myself when I was one – tend to think that setting aside business hours for internships will help develop the practical skills necessary for landing the perfect job after graduation. And there’s no denying that internships can be useful in teaching the rigors of the workplace. But when we design courses for undergraduates, requiring them to spend time actively engaged in searching and <em>re</em>-searching, the pace and tenor of undergraduate study changes. In my experience, substituting work done alone late in my apartment for the work of talking with librarians, archivists, and other experts, was a far more meaningful undergraduate experience, and something that was actually easily marketable for a job interview.','Undergraduates in the Archives - Gotkin 5','As an undergraduate, I felt like the archive primed me to search for pristine differences between the past and present, as if the past is a foreign country I was visiting while in the archive and must be translated into a more modern language. Yet the evidence I worked with was rarely so easily explained on the page. ','inherit','open','open','','1536-revision-14','','','2012-10-15 23:13:11','2012-10-15 23:13:11','',1536,'http://www.archivejournal.net/issue/2/uncategorized/1536-revision-14/',0,'revision','',0),(3257,19,'2012-10-19 01:23:11','2012-10-19 01:23:11','A few years ago, I was myself an undergraduate in the archive. In a class called “Dead Media Research Studio” at New York University, Professor Ben Kafka had introduced me to the great quip about the chiasmic imperative of good research— to “make the familiar strange and the strange familiar.” With this echoing in my ears, I found myself in the entrails of Bobst Library interviewing two preservation specialists about a small but intriguing collection of wire recordings. The recordings, I found out, were from rather unknown origins in the early 50s and contained some controversial tirades against President Truman. Though certainly not an exhaustive archive, the recordings were my first meaningful interaction with historical primary sources. And it was a rather lonely endeavor: the hallways leading to troves of under-researched sources were woefully empty compared to the bustling study lounges just a few floors above.\r\n\r\nMy research on wire recordings ended up as part of a dossier (similar to the format and scope of a Wikipedia entry) I wrote with two classmates for the Dead Media Archive. Professors Ben Kafka and Alex Galloway had rescued this archive from its own ironic demise as an email list created by Bruce Sterling to catalog and describe obsolete technologies. The new Dead Media Archive, technically a wiki platform for simultaneous publishing and editing, became the centerpiece for two classes in the Department of Media, Culture, &amp; Communication (one undergraduate and one graduate). The semester I took the class, there were barely 10 students enrolled. It puzzled me a bit, since Prof. Kafka announced on the first day what every undergraduate seems to dream of: there would be no exams, no papers, and very little reading. Instead, we were to be immersed in the city’s archives for a semester. Each student ended up producing three dossiers for the archive. In addition to one on wire recording, I also wrote an entry on spirit photography, a popular practice at the turn of the 20<sup>th</sup>century of “capturing” ghosts on film, accompanied by the rise of Spiritualism. A sizeable portion of my hard drive is still taken up by copies of the microform proceedings of the 1869 trial against William Mumler, a New York City spirit photographer accused of fraud. (FIG. 1) My final dossier took a more argumentative take on the “death” of media by cataloging marginalia, the scribbles in a text’s margins, as obsolete relics of a technological paradigm.<span class=\"caption right\" style=\"width: 200px; padding-left: 20px;\"><a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/gotkin_fig1.png\"><img class=\"size-medium wp-image-2331 alignright\" style=\"margin-bottom: 10px;\" title=\"gotkin_fig1\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/gotkin_fig1-193x250.png\" alt=\"Figure 1\" width=\"193\" height=\"250\" /></a>Figure 1: Microform copy of the proceedings of a 1869 court case against spirit photographer William Mumler.</span>\r\n\r\nBefore arriving at NYU, I would have scoffed at the idea of studying media history. There was much sighing on my first day in the required “History of Communication” course, since I imagined, like many fellow undergraduates, that a degree in media studies would help me land a job in New York’s radio, television, or film industries. History, for us, was a roadblock in the path to careers less concerned with history than the frenetic present. The thrill of finding primary sources changed my mind. In the archive, I realized the opportunity to conduct original research. The excitement of my undergraduate archival work is one shared by graduate students and faculty: of finding something that hasn’t been thought about enough and working hard enough to make it both familiar and strange.','Undergraduates in the Archives - Gotkin 1','','inherit','open','open','','3251-revision-4','','','2012-10-19 01:23:11','2012-10-19 01:23:11','',3251,'http://www.archivejournal.net/issue/2/uncategorized/3251-revision-4/',0,'revision','',0),(2351,19,'2012-09-21 16:01:28','2012-09-21 16:01:28','Undergraduate archival work can be like learning to ride a bike without training wheels. In most classes, the readings and discussions act as essential compasses in guiding the student through the semester. In the archive, most—if not all—bets are off: there are rarely already-made tutorials on organizing and making sense of the productive entropy that often marks an archive. How are we to situate a newly discovered text if we haven’t even finished our undergraduate prerequisite courses?\r\n\r\nFor me, the most challenging moments in the archive were the earliest, both because I was adjusting to the demands of archival methods and because I had only a small number of anchoring texts echoing in my head to help me make sense of anything I found. In fact, I probably missed a number of promising leads in the archive because I didn’t know to look for.\r\n\r\nA good friend and I won a small grant at NYU for a research project about marginalia. We were to trace the marginalia of a particular ancient religious text, the Hermes Trismegistus. While I was scouring libraries in Paris for the history of the text’s early translation, my partner was in New York looking for evidence of contemporary readers’ marks on the book. My job was to plot the ancient scribbles, which seemed easy enough before I actually entered the stacks. (FIG. 3) I was looking for the text itself while piecing together others’ accounts of the its migrations. As it turns out, the Hermes Trismegistus is an enduringly baffling historical object and its ancestry is riddled with gaps. A more experienced researcher would know how to explain this fitful history and perhaps use the inconsistencies and question marks as launching pads for substantive contributions. But since it was my first time in the archive for a sustained and labor-intensive project, they instead weighed on me like chains. Not only did I have trouble tracing the marginalia themselves, I had trouble explaining how I was having trouble.\r\n\r\nI realize now that this situation is not so much overcome with academic training as it is more efficiently handled. That moment of chaos and crisis is in fact a prerequisite to clear thinking, in my experience. As an undergraduate, I was overwhelmed by the disorder of the archival process, but then again, these troubles might have been the best training.','Undergraduates in the Archives - Gotkin 4','Undergraduate archival work can be like learning to ride a bike without training wheels. In most classes, the readings and discussions act as essential compasses in guiding the student through the semester. In the archive, most—if not all—bets are off: there are rarely already-made tutorials on organizing and making sense of the productive entropy that often marks an archive. ','inherit','open','open','','1533-revision-10','','','2012-09-21 16:01:28','2012-09-21 16:01:28','',1533,'http://www.archivejournal.net/issue/2/uncategorized/1533-revision-10/',0,'revision','',0),(2352,19,'2012-09-24 18:28:19','2012-09-24 18:28:19','Undergraduate archival work can be like learning to ride a bike without training wheels. In most classes, the readings and discussions act as essential compasses in guiding the student through the semester. In the archive, most—if not all—bets are off: there are rarely already-made tutorials on organizing and making sense of the productive entropy that often marks an archive. How are we to situate a newly discovered text if we haven’t even finished our undergraduate prerequisite courses?\r\n\r\nFor me, the most challenging moments in the archive were the earliest, both because I was adjusting to the demands of archival methods and because I had only a small number of anchoring texts echoing in my head to help me make sense of anything I found. In fact, I probably missed a number of promising leads in the archive because I didn’t know to look for.\r\n\r\nA good friend and I won a small grant at NYU for a research project about marginalia. We were to trace the marginalia of a particular ancient religious text, the Hermes Trismegistus. While I was scouring libraries in Paris for the history of the text’s early translation, my partner was in New York looking for evidence of contemporary readers’ marks on the book. My job was to plot the ancient scribbles, which seemed easy enough before I actually entered the stacks. (FIG. 3) I was looking for the text itself while piecing together others’ accounts of the its migrations. As it turns out, the Hermes Trismegistus is an enduringly baffling historical object and its ancestry is riddled with gaps. A more experienced researcher would know how to explain this fitful history and perhaps use the inconsistencies and question marks as launching pads for substantive contributions. But since it was my first time in the archive for a sustained and labor-intensive project, they instead weighed on me like chains. Not only did I have trouble tracing the marginalia themselves, I had trouble explaining how I was having trouble.<span class=\"caption right\" style=\"width: 200px; padding-left: 20px;\"><a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/gotkin_fig3.jpg\"><img class=\"size-medium wp-image-2333 \" style=\"margin-bottom: 10px;\" title=\"gotkin_fig3\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/gotkin_fig3-190x250.jpg\" alt=\"Figure 3\" width=\"190\" height=\"250\" /></a> Figure 3: Depiction of the god Hermes Trismegistus (courtesy of Roanoke College)</span>\r\n\r\nI realize now that this situation is not so much overcome with academic training as it is more efficiently handled. That moment of chaos and crisis is in fact a prerequisite to clear thinking, in my experience. As an undergraduate, I was overwhelmed by the disorder of the archival process, but then again, these troubles might have been the best training.','Undergraduates in the Archives - Gotkin 4','Undergraduate archival work can be like learning to ride a bike without training wheels. In most classes, the readings and discussions act as essential compasses in guiding the student through the semester. In the archive, most—if not all—bets are off: there are rarely already-made tutorials on organizing and making sense of the productive entropy that often marks an archive. ','inherit','open','open','','1533-revision-11','','','2012-09-24 18:28:19','2012-09-24 18:28:19','',1533,'http://www.archivejournal.net/issue/2/uncategorized/1533-revision-11/',0,'revision','',0),(2353,19,'2012-09-21 15:58:33','2012-09-21 15:58:33','<em>The Vodou Archive</em> is a collaborative partnership spearheaded by the University of Florida and Duke University which seeks to improve the understanding of a central Haitian and Haitian-American spiritual tradition by gathering the <strong>audiovisual</strong> and <strong>textual</strong> sources of Vodou communities, by <strong>interpreting</strong> what we collect, by <strong>expanding </strong>the holdings through a <strong>self-submission tool</strong>, and by diffusing the knowledge via an open access digital library.  You can find the current prototype here (<a href=\"http://www.dloc.com/vodou\">http://www.dloc.com/vodou</a>),  hosted within the existing <a href=\"http://dloc.com/\">Digital Library of the Caribbean</a> (dLOC). In addition to the 27 international partners working with the Digital Library of the Caribbean, collaborators from the University of Notre Dame, the University of Miami, the Schrijversvakschool, Florida International University, the Université des Antilles et de la Guyane, and City Lore, among others, will contribute elements to <strong><em>The Vodou Archive</em></strong>. This project belongs to a tradition of scholarly work stretching back to the early 20<sup>th</sup> century that has sought to counter reductionist and racist visions of the religion through ethnography, analysis of culture and music, and an exploration of the role of Vodou in Haiti’s founding revolution. Such work has long turned to the central texts in Haitian Vodou: its <strong>Creole-language songs</strong>.\r\n\r\nBuilding on my <em>Vodou Songs in Haitian Creole and English</em>,<a title=\"\" href=\"#_ftn1\">[1]</a> <em>The Vodou Archive</em> project makes these songs available in Haitian Creole and English along with substantial interpretative annotations and essays to contextualize the collection. The materials to be edited and curated in <em>The Vodou Archive</em> are of major literary, historical, cultural and religious significance. The vast Vodou corpus stands out because it preserves a wealth of African cultural, ethnological and historical knowledge.<a title=\"\" href=\"#_ftn2\">[2]</a> (Beauvoir 2008b). The oral and textual corpora of songs are comprised of the authentic and living traditions of the Vodou religion. They are primarily the songs that are sung in the context of Vodou worship in public and domestic ceremonies and they constitute the sacred literature of the religion. Vodou songs, a constant in ceremonies, address the mythologies and characteristics of the lwa and they describe their relations with humans. Vodou songs are time capsules that reveal the history and origins of the Haitian people in Africa, their journey to the Americas in the French slave trade, and their lives in the French colony. Due to their sacred nature, they are very well-preserved records of African and Haitian history and culture.<a title=\"\" href=\"#_ftn3\">[3]</a>). Ceremonies and songs preserve African historical (i.e. <em>Bosou</em>, <em>Achade</em>, <em>Legba</em>, <em>Danbala</em>), cultural (i.e. <em>lwa</em>,<em> ounsi</em>, <em>ason</em>,<em> oungan</em>) and geographical (i.e. <em>Rada</em>, <em>Savalou</em>, <em>Boumba</em>) terms in a creolized or blended religious and cultural system.<a title=\"\" href=\"#_ftn4\">[4]</a> <a href=\"#_msocom_1\">[C1]</a> Likewise, there are numerous Vodou ceremonies (rites) classified by the African <em>nanchon </em>(nations/communities) where they originate, i.e. Rada, Petwo, Ginen, Seneka, Ibo, Danwonmen, Nago, Kongo, Kita, etc.<a title=\"\" href=\"#_ftn5\">[5]</a> Undergraduates played, and will play, a key role in this archive.  They contributed first drafts of transcriptions and translations of Vodou songs and interviews with Vodou practitioners for the book, <em>Vodou Songs in Haitian Creole and English</em> (Hebblethwaite 2012). The undergraduate students worked on transcribing and translating interviews that I collected from Vodou priests in Haiti and they also transcribed and translated rare pre-existing published materials.<a title=\"\" href=\"#_ftn6\">[6]</a>   The students, Joanne Bartley, Vanessa Brissault, Kat Warwick, Wilmide Vernet, and Musset Apollon, were either paid hourly through grant funding or they earned credit for an independent study. We worked from manuscripts that employ a range of Haitian Creole spelling systems. The official variety, the “IPN,” named after the <em>Institut Pédagogique National</em>, was adopted for the first time in 1980. Many of our manuscripts predate 1980 and thus transcription required heavy correction and consultation with lexicographical works.<a title=\"\" href=\"#_ftn7\">[7]</a>The students had been exposed to the official variety of Haitian Creole spelling in my intermediate Haitian Creole course. After establishing the Haitian Creole source text, the students next produced the first draft of the English translation. I then corrected the Haitian Creole and English drafts in various cycles as the materials moved towards the finished products, the book or the Vodou Archive.  (See Figure 1, and for the related Vodou Archive digital library, Figures 2 - 4.)\r\n<div class=\"footnotes\"><br clear=\"all\" />\r\n\r\n<hr align=\"left\" size=\"1\" width=\"33%\" />\r\n\r\n<div><a title=\"\" href=\"#_ftnref\">[1]</a> Benjamin Hebblethwaite and Joanne Bartley, <em>Vodou Songs in Haitian Creole and English </em> <em>= Chante vodou an kreyòl ayisyen ak angle</em> (Philadelphia: Temple University Press, 2012).</div>\r\n<div><a title=\"\" href=\"#_ftnref\">[2]</a> Max Beauvoir, <em>Le Grand Recueil Sacré ou Répertoire des Chansons du Vodou Haïtien </em>(Port-au-Prince: Edisyon Près Nasyonal d Ayiti, 2008).</div>\r\n<div><a title=\"\" href=\"#_ftnref\">[3]</a> Claudine Michel, “Vodou in Haiti: Way of Life and Mode of Survival,” in <em>Vodou in Haitian Life and Culture: Invisible Powers, </em>ed. Claudine Michel and Patrick Bellegarde-Smith (New York: Palgrave Macmillan, 2006), 27–37.<em></em></div>\r\n<div><a title=\"\" href=\"#_ftnref\">[4]</a> See Roger Brand, <em>Cultes vodoun et textes oraux des Wéménou du sud Bénin </em>(Munich: Lincom Europa, 2000), 15; Marc Monsia, <em>Religions indigènes et savoir endogène au Bénin </em>(Cotonou, Benin: Les Éditions du Flamboyant, 2003); Gilbert Rouget, <em>La musique et la transe </em>(Paris: Gallimard, 1991 (1980)); and Gilbert Rouget, <em>Initiatique vôdoun, images du rituel: Chants et danses initiatiques pour le culte des vôdoun au Bénin </em>(Saint-Maur, France: Éditions Sépia, 2001), v.</div>\r\n<div><a title=\"\" href=\"#_ftnref\">[5]</a> Max G. Beauvoir, <em>Lapriyè Ginen </em>(Port-au-Prince: Edisyon Près Nasyonal d Ayiti. 2008), 109-110.</div>\r\n<div><a title=\"\" href=\"#_ftnref\">[6]</a> Milo Marcelin, <em>Mythologie Vodou (Rite Arada)</em>,<em> </em>2 vols. (Pétionville: Éditions Canapé Vert, 1950); Laura Boulton, “Laura Boulton’s Songs” (1947), in <em>Vodou Songs in Haitian Creole and English = Chante vodou an kreyòl ayisyen ak angle</em>, eds. Benjamin Hebblethwaite and Joanne Bartley (Philadelphia: Temple University Press, 2012), 127-145;  J.L., “J.L. Songs,” in <em>Vodou Songs in Haitian Creole and English</em>,<em> </em>147-184; Harold Courlander, unpublished manuscript (1939–1940), University of Michigan Special Collections Library; Milo Rigaud, <em>La tradition voudoo et le voudoo haïtien: Son temple, ses mystères, sa magie </em>(Paris: Éditions Niclaus, 1953).</div>\r\n<div><a title=\"\" href=\"#_ftnref\">[7]</a> Albert Valdman, Iskra Iskrova, Jacques Pierre, and Nicolas André, <em>Haitian Creole-English Bilingual Dictionary</em> (Bloomington, IN: Creole Institute, 2007); Bryant Freeman and Jowel Laguerre, <em>Haitian-English Dictionary</em>, 5th ed. (Lawrence, KS: Institute of Haitian Studies, 2004).</div>\r\n</div>\r\n<div>\r\n\r\n<hr align=\"left\" size=\"1\" width=\"33%\" />\r\n\r\n<a href=\"#_msoanchor_1\">[C1]</a>The Brand citation is here. The original reference is: (Brand 2000: 15; Monsia 2003; Rouget 1991, 2001: v).  Which of the two Brand books should be referenced (I chose 2000a, but that could be wrong)?</div>','Undergraduates in the Archives - Hebblethwaite 1','The Vodou Archive is a collaborative partnership spearheaded by the University of Florida and Duke University which seeks to improve the understanding of a central Haitian and Haitian-American spiritual tradition by gathering the audiovisual and textual sources of Vodou communities, by interpreting what we collect, by expanding the holdings through a self-submission tool, and by diffusing the knowledge via an open access digital library.  ','inherit','open','open','','1504-revision-9','','','2012-09-21 15:58:33','2012-09-21 15:58:33','',1504,'http://www.archivejournal.net/issue/2/uncategorized/1504-revision-9/',0,'revision','',0),(2354,19,'2012-09-24 18:35:57','2012-09-24 18:35:57','<em>The Vodou Archive</em> is a collaborative partnership spearheaded by the University of Florida and Duke University which seeks to improve the understanding of a central Haitian and Haitian-American spiritual tradition by gathering the <strong>audiovisual</strong> and <strong>textual</strong> sources of Vodou communities, by <strong>interpreting</strong> what we collect, by <strong>expanding </strong>the holdings through a <strong>self-submission tool</strong>, and by diffusing the knowledge via an open access digital library.  You can find the current prototype here (<a href=\"http://www.dloc.com/vodou\">http://www.dloc.com/vodou</a>),  hosted within the existing <a href=\"http://dloc.com/\">Digital Library of the Caribbean</a> (dLOC). In addition to the 27 international partners working with the Digital Library of the Caribbean, collaborators from the University of Notre Dame, the University of Miami, the Schrijversvakschool, Florida International University, the Université des Antilles et de la Guyane, and City Lore, among others, will contribute elements to <strong><em>The Vodou Archive</em></strong>. This project belongs to a tradition of scholarly work stretching back to the early 20<sup>th</sup> century that has sought to counter reductionist and racist visions of the religion through ethnography, analysis of culture and music, and an exploration of the role of Vodou in Haiti’s founding revolution. Such work has long turned to the central texts in Haitian Vodou: its <strong>Creole-language songs</strong>.\n\nBuilding on my <em>Vodou Songs in Haitian Creole and English</em>,<a title=\"\" href=\"#_ftn1\">[1]</a> <em>The Vodou Archive</em> project makes these songs available in Haitian Creole and English along with substantial interpretative annotations and essays to contextualize the collection. The materials to be edited and curated in <em>The Vodou Archive</em> are of major literary, historical, cultural and religious significance. The vast Vodou corpus stands out because it preserves a wealth of African cultural, ethnological and historical knowledge.<a title=\"\" href=\"#_ftn2\">[2]</a> (Beauvoir 2008b). The oral and textual corpora of songs are comprised of the authentic and living traditions of the Vodou religion. They are primarily the songs that are sung in the context of Vodou worship in public and domestic ceremonies and they constitute the sacred literature of the religion. Vodou songs, a constant in ceremonies, address the mythologies and characteristics of the lwa and they describe their relations with humans. Vodou songs are time capsules that reveal the history and origins of the Haitian people in Africa, their journey to the Americas in the French slave trade, and their lives in the French colony. Due to their sacred nature, they are very well-preserved records of African and Haitian history and culture.<a title=\"\" href=\"#_ftn3\">[3]</a>). Ceremonies and songs preserve African historical (i.e. <em>Bosou</em>, <em>Achade</em>, <em>Legba</em>, <em>Danbala</em>), cultural (i.e. <em>lwa</em>,<em> ounsi</em>, <em>ason</em>,<em> oungan</em>) and geographical (i.e. <em>Rada</em>, <em>Savalou</em>, <em>Boumba</em>) terms in a creolized or blended religious and cultural system.<a title=\"\" href=\"#_ftn4\">[4]</a> <a href=\"#_msocom_1\">[C1]</a> Likewise, there are numerous Vodou ceremonies (rites) classified by the African <em>nanchon </em>(nations/communities) where they originate, i.e. Rada, Petwo, Ginen, Seneka, Ibo, Danwonmen, Nago, Kongo, Kita, etc.<a title=\"\" href=\"#_ftn5\">[5]</a> Undergraduates played, and will play, a key role in this archive.  They contributed first drafts of transcriptions and translations of Vodou songs and interviews with Vodou practitioners for the book, <em>Vodou Songs in Haitian Creole and English</em> (Hebblethwaite 2012). The undergraduate students worked on transcribing and translating interviews that I collected from Vodou priests in Haiti and they also transcribed and translated rare pre-existing published materials.<a title=\"\" href=\"#_ftn6\">[6]</a>   The students, Joanne Bartley, Vanessa Brissault, Kat Warwick, Wilmide Vernet, and Musset Apollon, were either paid hourly through grant funding or they earned credit for an independent study. We worked from manuscripts that employ a range of Haitian Creole spelling systems. The official variety, the “IPN,” named after the <em>Institut Pédagogique National</em>, was adopted for the first time in 1980. Many of our manuscripts predate 1980 and thus transcription required heavy correction and consultation with lexicographical works.<a title=\"\" href=\"#_ftn7\">[7]</a>The students had been exposed to the official variety of Haitian Creole spelling in my intermediate Haitian Creole course. After establishing the Haitian Creole source text, the students next produced the first draft of the English translation. I then corrected the Haitian Creole and English drafts in various cycles as the materials moved towards the finished products, the book or the Vodou Archive.  (See Figure 1, and for the related Vodou Archive digital library, Figures 2 - 4.)\n<div class=\"footnotes\"><br clear=\"all\" />\n\n<hr align=\"left\" size=\"1\" width=\"33%\" />\n\n<div><a title=\"\" href=\"#_ftnref\">[1]</a> Benjamin Hebblethwaite and Joanne Bartley, <em>Vodou Songs in Haitian Creole and English </em> <em>= Chante vodou an kreyòl ayisyen ak angle</em> (Philadelphia: Temple University Press, 2012).</div>\n<div><a title=\"\" href=\"#_ftnref\">[2]</a> Max Beauvoir, <em>Le Grand Recueil Sacré ou Répertoire des Chansons du Vodou Haïtien </em>(Port-au-Prince: Edisyon Près Nasyonal d Ayiti, 2008).</div>\n<div><a title=\"\" href=\"#_ftnref\">[3]</a> Claudine Michel, “Vodou in Haiti: Way of Life and Mode of Survival,” in <em>Vodou in Haitian Life and Culture: Invisible Powers, </em>ed. Claudine Michel and Patrick Bellegarde-Smith (New York: Palgrave Macmillan, 2006), 27–37.<em></em></div>\n<div><a title=\"\" href=\"#_ftnref\">[4]</a> See Roger Brand, <em>Cultes vodoun et textes oraux des Wéménou du sud Bénin </em>(Munich: Lincom Europa, 2000), 15; Marc Monsia, <em>Religions indigènes et savoir endogène au Bénin </em>(Cotonou, Benin: Les Éditions du Flamboyant, 2003); Gilbert Rouget, <em>La musique et la transe </em>(Paris: Gallimard, 1991 (1980)); and Gilbert Rouget, <em>Initiatique vôdoun, images du rituel: Chants et danses initiatiques pour le culte des vôdoun au Bénin </em>(Saint-Maur, France: Éditions Sépia, 2001), v.</div>\n<div><a title=\"\" href=\"#_ftnref\">[5]</a> Max G. Beauvoir, <em>Lapriyè Ginen </em>(Port-au-Prince: Edisyon Près Nasyonal d Ayiti. 2008), 109-110.</div>\n<div><a title=\"\" href=\"#_ftnref\">[6]</a> Milo Marcelin, <em>Mythologie Vodou (Rite Arada)</em>,<em> </em>2 vols. (Pétionville: Éditions Canapé Vert, 1950); Laura Boulton, “Laura Boulton’s Songs” (1947), in <em>Vodou Songs in Haitian Creole and English = Chante vodou an kreyòl ayisyen ak angle</em>, eds. Benjamin Hebblethwaite and Joanne Bartley (Philadelphia: Temple University Press, 2012), 127-145;  J.L., “J.L. Songs,” in <em>Vodou Songs in Haitian Creole and English</em>,<em> </em>147-184; Harold Courlander, unpublished manuscript (1939–1940), University of Michigan Special Collections Library; Milo Rigaud, <em>La tradition voudoo et le voudoo haïtien: Son temple, ses mystères, sa magie </em>(Paris: Éditions Niclaus, 1953).</div>\n<div><a title=\"\" href=\"#_ftnref\">[7]</a> Albert Valdman, Iskra Iskrova, Jacques Pierre, and Nicolas André, <em>Haitian Creole-English Bilingual Dictionary</em> (Bloomington, IN: Creole Institute, 2007); Bryant Freeman and Jowel Laguerre, <em>Haitian-English Dictionary</em>, 5th ed. (Lawrence, KS: Institute of Haitian Studies, 2004).</div>\n</div>\n<div>\n\n<hr align=\"left\" size=\"1\" width=\"33%\" />\n\n<a href=\"#_msoanchor_1\">[C1]</a>The Brand citation is here. The original reference is: (Brand 2000: 15; Monsia 2003; Rouget 1991, 2001: v).  Which of the two Brand books should be referenced (I chose 2000a, but that could be wrong)?\n\n</div>','Undergraduates in the Archives - Hebblethwaite 1','The Vodou Archive is a collaborative partnership spearheaded by the University of Florida and Duke University which seeks to improve the understanding of a central Haitian and Haitian-American spiritual tradition by gathering the audiovisual and textual sources of Vodou communities, by interpreting what we collect, by expanding the holdings through a self-submission tool, and by diffusing the knowledge via an open access digital library.  ','inherit','open','open','','1504-revision-10','','','2012-09-24 18:35:57','2012-09-24 18:35:57','',1504,'http://www.archivejournal.net/issue/2/uncategorized/1504-revision-10/',0,'revision','',0),(2356,19,'2012-09-24 18:40:13','2012-09-24 18:40:13','<em>The Vodou Archive</em> is a collaborative partnership spearheaded by the University of Florida and Duke University which seeks to improve the understanding of a central Haitian and Haitian-American spiritual tradition by gathering the <strong>audiovisual</strong> and <strong>textual</strong> sources of Vodou communities, by <strong>interpreting</strong> what we collect, by <strong>expanding </strong>the holdings through a <strong>self-submission tool</strong>, and by diffusing the knowledge via an open access digital library.  You can find the current prototype here (<a href=\"http://www.dloc.com/vodou\">http://www.dloc.com/vodou</a>),  hosted within the existing <a href=\"http://dloc.com/\">Digital Library of the Caribbean</a> (dLOC). In addition to the 27 international partners working with the Digital Library of the Caribbean, collaborators from the University of Notre Dame, the University of Miami, the Schrijversvakschool, Florida International University, the Université des Antilles et de la Guyane, and City Lore, among others, will contribute elements to <strong><em>The Vodou Archive</em></strong>. This project belongs to a tradition of scholarly work stretching back to the early 20<sup>th</sup> century that has sought to counter reductionist and racist visions of the religion through ethnography, analysis of culture and music, and an exploration of the role of Vodou in Haiti’s founding revolution. Such work has long turned to the central texts in Haitian Vodou: its <strong>Creole-language songs</strong>.\r\n\r\nBuilding on my <em>Vodou Songs in Haitian Creole and English</em>,<a href=\"#_ftn1\">[1]</a> <em>The Vodou Archive</em> project makes these songs available in Haitian Creole and English along with substantial interpretative annotations and essays to contextualize the collection. The materials to be edited and curated in <em>The Vodou Archive</em> are of major literary, historical, cultural and religious significance. The vast Vodou corpus stands out because it preserves a wealth of African cultural, ethnological and historical knowledge.<a href=\"#_ftn2\">[2]</a> (Beauvoir 2008b). The oral and textual corpora of songs are comprised of the authentic and living traditions of the Vodou religion. They are primarily the songs that are sung in the context of Vodou worship in public and domestic ceremonies and they constitute the sacred literature of the religion. Vodou songs, a constant in ceremonies, address the mythologies and characteristics of the lwa and they describe their relations with humans. Vodou songs are time capsules that reveal the history and origins of the Haitian people in Africa, their journey to the Americas in the French slave trade, and their lives in the French colony. Due to their sacred nature, they are very well-preserved records of African and Haitian history and culture.<a href=\"#_ftn3\">[3]</a>). Ceremonies and songs preserve African historical (i.e. <em>Bosou</em>, <em>Achade</em>, <em>Legba</em>, <em>Danbala</em>), cultural (i.e. <em>lwa</em>,<em> ounsi</em>, <em>ason</em>,<em> oungan</em>) and geographical (i.e. <em>Rada</em>, <em>Savalou</em>, <em>Boumba</em>) terms in a creolized or blended religious and cultural system.<a href=\"#_ftn4\">[4]</a> <a href=\"#_msocom_1\">[C1]</a> Likewise, there are numerous Vodou ceremonies (rites) classified by the African <em>nanchon </em>(nations/communities) where they originate, i.e. Rada, Petwo, Ginen, Seneka, Ibo, Danwonmen, Nago, Kongo, Kita, etc.<a href=\"#_ftn5\">[5]</a> Undergraduates played, and will play, a key role in this archive.  They contributed first drafts of transcriptions and translations of Vodou songs and interviews with Vodou practitioners for the book, <em>Vodou Songs in Haitian Creole and English</em> (Hebblethwaite 2012). The undergraduate students worked on transcribing and translating interviews that I collected from Vodou priests in Haiti and they also transcribed and translated rare pre-existing published materials.<a href=\"#_ftn6\">[6]</a>   The students, Joanne Bartley, Vanessa Brissault, Kat Warwick, Wilmide Vernet, and Musset Apollon, were either paid hourly through grant funding or they earned credit for an independent study. We worked from manuscripts that employ a range of Haitian Creole spelling systems. The official variety, the “IPN,” named after the <em>Institut Pédagogique National</em>, was adopted for the first time in 1980. Many of our manuscripts predate 1980 and thus transcription required heavy correction and consultation with lexicographical works.<a href=\"#_ftn7\">[7]</a>The students had been exposed to the official variety of Haitian Creole spelling in my intermediate Haitian Creole course. After establishing the Haitian Creole source text, the students next produced the first draft of the English translation. I then corrected the Haitian Creole and English drafts in various cycles as the materials moved towards the finished products, the book or the Vodou Archive.  (See Figure 1, and for the related Vodou Archive digital library, Figures 2 & 3.)\r\n<div class=\"footnotes\"><br clear=\"all\" />\r\n\r\n    <div id=\"_ftn1\" class=\"footnote\">[1] Benjamin Hebblethwaite and Joanne Bartley, <em>Vodou Songs in Haitian Creole and English </em> <em>= Chante vodou an kreyòl ayisyen ak angle</em> (Philadelphia: Temple University Press, 2012).</div>\r\n    <div id=\"_ftn2\" class=\"footnote\">[2] Max Beauvoir, <em>Le Grand Recueil Sacré ou Répertoire des Chansons du Vodou Haïtien </em>(Port-au-Prince: Edisyon Près Nasyonal d Ayiti, 2008).</div>\r\n    <div id=\"_ftn3\" class=\"footnote\">[3] Claudine Michel, “Vodou in Haiti: Way of Life and Mode of Survival,” in <em>Vodou in Haitian Life and Culture: Invisible Powers, </em>ed. Claudine Michel and Patrick Bellegarde-Smith (New York: Palgrave Macmillan, 2006), 27–37.<em></em></div>\r\n    <div id=\"_ftn4\" class=\"footnote\">[4] See Roger Brand, <em>Cultes vodoun et textes oraux des Wéménou du sud Bénin </em>(Munich: Lincom Europa, 2000), 15; Marc Monsia, <em>Religions indigènes et savoir endogène au Bénin </em>(Cotonou, Benin: Les Éditions du Flamboyant, 2003); Gilbert Rouget, <em>La musique et la transe </em>(Paris: Gallimard, 1991 (1980)); and Gilbert Rouget, <em>Initiatique vôdoun, images du rituel: Chants et danses initiatiques pour le culte des vôdoun au Bénin </em>(Saint-Maur, France: Éditions Sépia, 2001), v.</div>\r\n    <div id=\"_ftn5\" class=\"footnote\">[5] Max G. Beauvoir, <em>Lapriyè Ginen </em>(Port-au-Prince: Edisyon Près Nasyonal d Ayiti. 2008), 109-110.</div>\r\n    <div id=\"_ftn6\" class=\"footnote\">[6] Milo Marcelin, <em>Mythologie Vodou (Rite Arada)</em>,<em> </em>2 vols. (Pétionville: Éditions Canapé Vert, 1950); Laura Boulton, “Laura Boulton’s Songs” (1947), in <em>Vodou Songs in Haitian Creole and English = Chante vodou an kreyòl ayisyen ak angle</em>, eds. Benjamin Hebblethwaite and Joanne Bartley (Philadelphia: Temple University Press, 2012), 127-145;  J.L., “J.L. Songs,” in <em>Vodou Songs in Haitian Creole and English</em>,<em> </em>147-184; Harold Courlander, unpublished manuscript (1939–1940), University of Michigan Special Collections Library; Milo Rigaud, <em>La tradition voudoo et le voudoo haïtien: Son temple, ses mystères, sa magie </em>(Paris: Éditions Niclaus, 1953).</div>\r\n    <div id=\"_ftn7\" class=\"footnote\">[7] Albert Valdman, Iskra Iskrova, Jacques Pierre, and Nicolas André, <em>Haitian Creole-English Bilingual Dictionary</em> (Bloomington, IN: Creole Institute, 2007); Bryant Freeman and Jowel Laguerre, <em>Haitian-English Dictionary</em>, 5th ed. (Lawrence, KS: Institute of Haitian Studies, 2004).</div>\r\n    </div>\r\n\r\n<hr align=\"left\" size=\"1\" width=\"33%\" />\r\n\r\n<a href=\"#_msoanchor_1\" class=\"footnote\" class=\"footnote\">[C1]The Brand citation is here. The original reference is: (Brand 2000: 15; Monsia 2003; Rouget 1991, 2001: v).  Which of the two Brand books should be referenced (I chose 2000a, but that could be wrong)?\r\n\r\n</div>','Undergraduates in the Archives - Hebblethwaite 1','The Vodou Archive is a collaborative partnership spearheaded by the University of Florida and Duke University which seeks to improve the understanding of a central Haitian and Haitian-American spiritual tradition by gathering the audiovisual and textual sources of Vodou communities, by interpreting what we collect, by expanding the holdings through a self-submission tool, and by diffusing the knowledge via an open access digital library.  ','inherit','open','open','','1504-revision-12','','','2012-09-24 18:40:13','2012-09-24 18:40:13','',1504,'http://www.archivejournal.net/issue/2/uncategorized/1504-revision-12/',0,'revision','',0),(2359,19,'2012-09-24 18:46:45','2012-09-24 18:46:45','','hebbelthwaite_fig2','The homepage of the Vodou Archive.','inherit','open','open','','hebbelthwaite_fig2','','','2012-09-24 18:46:45','2012-09-24 18:46:45','',1504,'http://www.archivejournal.net/wp-content/uploads/2012/02/hebbelthwaite_fig2.jpg',0,'attachment','image/jpeg',0),(2360,19,'2012-09-24 18:46:47','2012-09-24 18:46:47','','hebbelthwaite_fig3','This screen shot presents the view inside of the Vodou Archive with the filter menu for narrowing results on the left hand side of the screen.','inherit','open','open','','hebbelthwaite_fig3','','','2012-09-24 18:46:47','2012-09-24 18:46:47','',1504,'http://www.archivejournal.net/wp-content/uploads/2012/02/hebbelthwaite_fig3.jpg',0,'attachment','image/jpeg',0),(3615,10,'2012-11-28 20:54:59','2012-11-28 20:54:59','The major challenges in writing and editing <em>Vodou Songs in Haitian Creole and English</em> and <em>The Vodou Archive</em> are the profusion of variant spelling systems found in Haitian Creole until 1980. Most Haitian-Americans I work with at the University of Florida have limited exposure to written Haitian Creole prior to enrolling in my courses. After a year of intermediate Haitian Creole, it is still typical to misspell certain words. Given that the source texts they work from routinely employ spelling conventions that are no longer current, it is also common for undergraduate research assistants to reproduce the outdated spelling, especially in the cases of words that refer to concepts that are unfamiliar to them. The source text in (a) below, taken from scholar Milo Marcelin (1950), illustrates the base from which transcription (b) and translation (c) were produced:\r\n\r\n(a)\r\n<a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/figure_a.png\"><img class=\"alignnone size-full wp-image-3242\" title=\"figure_a\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/figure_a.png\" alt=\"\" width=\"252\" height=\"70\" /></a>\r\n<table width=\"70%\" border=\"0\" cellspacing=\"0\" cellpadding=\"3\">\r\n<tbody>\r\n<tr>\r\n<td>(b)</td>\r\n<td>(c)</td>\r\n</tr>\r\n<tr>\r\n<td>Danbala Wèdo se koulèv dlo!</td>\r\n<td>Danbala Wèdo is the water snake!</td>\r\n</tr>\r\n<tr>\r\n<td>Chèche Danbala, ki bò w a wè li?</td>\r\n<td>Look for Danbala, where will you see him?</td>\r\n</tr>\r\n<tr>\r\n<td>Papa Danbala se koulèv dlo,</td>\r\n<td>Papa Danbala is the water snake,</td>\r\n</tr>\r\n<tr>\r\n<td>li plonje anba dlo!</td>\r\n<td>he dives under water!</td>\r\n</tr>\r\n</tbody>\r\n</table>\r\nIn texts like this one, it is common for research assistants to import uncorrected words like <em>Oueddo</em>, or to accidently retain the “c” or the unpronounced “e” in <em>coulève </em>instead of writing the official <em>koulèv</em>. This impacted my work, as it required me to extensively edit the students’ work and send it back for review and correction; while it was labor intensive, the feedback provided the students with the opportunity to master the transcription of Haitian Creole and the translation into English. Students will learn from their mistakes if they can see what they are and have the chance to correct them. It is also common for students to import erroneous grammatical analyses by writing “<em>wa</em>” following <em>oua</em> (in line two), a minor confusion in which separate words are conflated. The correct representation of <em>oua </em>is “<em>w a</em>” (“you will” or “will you,” when used interrogatively as in the above). As senior editor, I had the challenge of constantly encountering examples of outdated spellings that research assistants had unwittingly imported into their transcription.\r\n\r\nThe quality of the undergraduates’ work varied widely. The nuances of the mythology, the “cryptic tricksterism” of Vodou semantics, and the rich—and obscure—idioms, expressions, and conceptualizations of the Haitian Creole language meant that all the texts required years of refinement through the editorial process, which is based upon countless critical re-readings from various points of view.<a href=\"#_ftn4\">[8]</a> Thus, working with undergraduates is rewarding but requires mentoring and patience due to their limited experience.\r\n<div class=\"footnotes\">\r\n<div id=\"_ftn8\" class=\"footnote\">[8] Karen McCarthy Brown, “Plenty Confidence in Myself: The Initiation of a White Woman Scholar into Haitian Vodou,” <em>Journal of Feminist Studies in Religion</em> 3, no. 1 (Spring 1987): 67–76, 74.</div>\r\n</div>','Undergraduates in the Archives - Hebblethwaite 4','The major challenges in writing and editing <em>Vodou Songs in Haitian Creole and English</em> and <em>The Vodou Archive</em> are the profusion of variant spelling systems found in Haitian Creole until 1980. Most Haitian-Americans I work with at the University of Florida have limited exposure to written Haitian Creole prior to enrolling in my courses.','inherit','open','open','','1513-revision-22','','','2012-11-28 20:54:59','2012-11-28 20:54:59','',1513,'http://www.archivejournal.net/issue/2/uncategorized/1513-revision-22/',0,'revision','',0),(3614,10,'2012-11-28 20:48:54','2012-11-28 20:48:54','The major challenges in writing and editing <em>Vodou Songs in Haitian Creole and English</em> and <em>The Vodou Archive</em> are the profusion of variant spelling systems found in Haitian Creole until 1980. Most Haitian-Americans I work with at the University of Florida have limited exposure to written Haitian Creole prior to enrolling in my courses. After a year of intermediate Haitian Creole, it is still typical to misspell certain words. Given that the source texts they work from routinely employ spelling conventions that are no longer current, it is also common for undergraduate research assistants to reproduce the outdated spelling, especially in the cases of words that refer to concepts that are unfamiliar to them. The source text in (a) below, taken from scholar Milo Marcelin (1950), illustrates the base from which transcription (b) and translation (c) were produced:\r\n\r\n(a)\r\n<a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/figure_a.png\"><img class=\"alignnone size-full wp-image-3242\" title=\"figure_a\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/figure_a.png\" alt=\"\" width=\"252\" height=\"70\" /></a>\r\n<table width=\"70%\" border=\"0\" cellspacing=\"0\" cellpadding=\"3\">\r\n<tbody>\r\n<tr>\r\n<td>(b)</td>\r\n<td>(c)</td>\r\n</tr>\r\n<tr>\r\n<td>Danbala Wèdo se koulèv dlo!</td>\r\n<td>Danbala Wèdo is the water snake!</td>\r\n</tr>\r\n<tr>\r\n<td>Chèche Danbala, ki bò w a wè li?</td>\r\n<td>Look for Danbala, where will you see him?</td>\r\n</tr>\r\n<tr>\r\n<td>Papa Danbala se koulèv dlo,</td>\r\n<td>Papa Danbala is the water snake,</td>\r\n</tr>\r\n<tr>\r\n<td>li plonje anba dlo!</td>\r\n<td>he dives under water!</td>\r\n</tr>\r\n</tbody>\r\n</table>\r\nIn texts like this one, it is common for research assistants to import uncorrected words like <em>Oueddo</em>, or to accidently retain the “c” or the unpronounced “e” in <em>coulève </em>instead of writing the official <em>koulèv</em>. This impacted my work, as it required me to extensively edit the students’ work and send it back for review and correction; while it was labor intensive, the feedback provided the students with the opportunity to master the transcription of Haitian Creole and the translation into English. Students will learn from their mistakes if they can see what they are and have the chance to correct them. It is also common for students to import erroneous grammatical analyses by writing “<em>wa</em>” following <em>oua</em> (in line two), a minor confusion in which separate words are conflated. The correct representation of <em>oua </em>is “<em>w a</em>” (“you will” or “will you,” when used interrogatively as in the above). As senior editor, I had the challenge of constantly encountering examples of outdated spellings that research assistants had unwittingly imported into their transcription.\r\n\r\nThe quality of the undergraduates’ work varied widely. The nuances of the mythology, the “cryptic tricksterism” of Vodou semantics, and the rich—and obscure—idioms, expressions, and conceptualizations of the Haitian Creole language meant that all the texts required years of refinement through the editorial process, which is based upon countless critical re-readings from various points of view.[ref]8[/ref] Thus, working with undergraduates is rewarding but requires mentoring and patience due to their limited experience.\r\n\r\n<sup>8</sup> Karen McCarthy Brown, “Plenty Confidence in Myself: The Initiation of a White Woman Scholar into Haitian Vodou,” <em>Journal of Feminist Studies in Religion</em> 3, no. 1 (Spring 1987): 67–76, 74.','Undergraduates in the Archives - Hebblethwaite 4','The major challenges in writing and editing <em>Vodou Songs in Haitian Creole and English</em> and <em>The Vodou Archive</em> are the profusion of variant spelling systems found in Haitian Creole until 1980. Most Haitian-Americans I work with at the University of Florida have limited exposure to written Haitian Creole prior to enrolling in my courses.','inherit','open','open','','1513-revision-21','','','2012-11-28 20:48:54','2012-11-28 20:48:54','',1513,'http://www.archivejournal.net/issue/2/uncategorized/1513-revision-21/',0,'revision','',0),(2361,19,'2012-09-24 18:42:29','2012-09-24 18:42:29','<em>The Vodou Archive</em> is a collaborative partnership spearheaded by the University of Florida and Duke University which seeks to improve the understanding of a central Haitian and Haitian-American spiritual tradition by gathering the <strong>audiovisual</strong> and <strong>textual</strong> sources of Vodou communities, by <strong>interpreting</strong> what we collect, by <strong>expanding </strong>the holdings through a <strong>self-submission tool</strong>, and by diffusing the knowledge via an open access digital library.  You can find the current prototype here (<a href=\"http://www.dloc.com/vodou\">http://www.dloc.com/vodou</a>),  hosted within the existing <a href=\"http://dloc.com/\">Digital Library of the Caribbean</a> (dLOC). In addition to the 27 international partners working with the Digital Library of the Caribbean, collaborators from the University of Notre Dame, the University of Miami, the Schrijversvakschool, Florida International University, the Université des Antilles et de la Guyane, and City Lore, among others, will contribute elements to <strong><em>The Vodou Archive</em></strong>. This project belongs to a tradition of scholarly work stretching back to the early 20<sup>th</sup> century that has sought to counter reductionist and racist visions of the religion through ethnography, analysis of culture and music, and an exploration of the role of Vodou in Haiti’s founding revolution. Such work has long turned to the central texts in Haitian Vodou: its <strong>Creole-language songs</strong>.\r\n\r\nBuilding on my <em>Vodou Songs in Haitian Creole and English</em>,<a href=\"#_ftn1\">[1]</a> <em>The Vodou Archive</em> project makes these songs available in Haitian Creole and English along with substantial interpretative annotations and essays to contextualize the collection. The materials to be edited and curated in <em>The Vodou Archive</em> are of major literary, historical, cultural and religious significance. The vast Vodou corpus stands out because it preserves a wealth of African cultural, ethnological and historical knowledge.<a href=\"#_ftn2\">[2]</a> (Beauvoir 2008b). The oral and textual corpora of songs are comprised of the authentic and living traditions of the Vodou religion. They are primarily the songs that are sung in the context of Vodou worship in public and domestic ceremonies and they constitute the sacred literature of the religion. Vodou songs, a constant in ceremonies, address the mythologies and characteristics of the lwa and they describe their relations with humans. Vodou songs are time capsules that reveal the history and origins of the Haitian people in Africa, their journey to the Americas in the French slave trade, and their lives in the French colony. Due to their sacred nature, they are very well-preserved records of African and Haitian history and culture.<a href=\"#_ftn3\">[3]</a>). Ceremonies and songs preserve African historical (i.e. <em>Bosou</em>, <em>Achade</em>, <em>Legba</em>, <em>Danbala</em>), cultural (i.e. <em>lwa</em>,<em> ounsi</em>, <em>ason</em>,<em> oungan</em>) and geographical (i.e. <em>Rada</em>, <em>Savalou</em>, <em>Boumba</em>) terms in a creolized or blended religious and cultural system.<a href=\"#_ftn4\">[4]</a> <a href=\"#_msocom_1\">[C1]</a> Likewise, there are numerous Vodou ceremonies (rites) classified by the African <em>nanchon </em>(nations/communities) where they originate, i.e. Rada, Petwo, Ginen, Seneka, Ibo, Danwonmen, Nago, Kongo, Kita, etc.<a href=\"#_ftn5\">[5]</a> Undergraduates played, and will play, a key role in this archive.  They contributed first drafts of transcriptions and translations of Vodou songs and interviews with Vodou practitioners for the book, <em>Vodou Songs in Haitian Creole and English</em> (Hebblethwaite 2012). The undergraduate students worked on transcribing and translating interviews that I collected from Vodou priests in Haiti and they also transcribed and translated rare pre-existing published materials.<a href=\"#_ftn6\">[6]</a>   The students, Joanne Bartley, Vanessa Brissault, Kat Warwick, Wilmide Vernet, and Musset Apollon, were either paid hourly through grant funding or they earned credit for an independent study. We worked from manuscripts that employ a range of Haitian Creole spelling systems. The official variety, the “IPN,” named after the <em>Institut Pédagogique National</em>, was adopted for the first time in 1980. Many of our manuscripts predate 1980 and thus transcription required heavy correction and consultation with lexicographical works.<a href=\"#_ftn7\">[7]</a>The students had been exposed to the official variety of Haitian Creole spelling in my intermediate Haitian Creole course. After establishing the Haitian Creole source text, the students next produced the first draft of the English translation. I then corrected the Haitian Creole and English drafts in various cycles as the materials moved towards the finished products, the book or the Vodou Archive.  (See Figure 1, and for the related Vodou Archive digital library, Figures 2 & 3.)\r\n<div class=\"footnotes\"><br clear=\"all\" />\r\n\r\n    <div id=\"_ftn1\" class=\"footnote\">[1] Benjamin Hebblethwaite and Joanne Bartley, <em>Vodou Songs in Haitian Creole and English </em> <em>= Chante vodou an kreyòl ayisyen ak angle</em> (Philadelphia: Temple University Press, 2012).</div>\r\n    <div id=\"_ftn2\" class=\"footnote\">[2] Max Beauvoir, <em>Le Grand Recueil Sacré ou Répertoire des Chansons du Vodou Haïtien </em>(Port-au-Prince: Edisyon Près Nasyonal d Ayiti, 2008).</div>\r\n    <div id=\"_ftn3\" class=\"footnote\">[3] Claudine Michel, “Vodou in Haiti: Way of Life and Mode of Survival,” in <em>Vodou in Haitian Life and Culture: Invisible Powers, </em>ed. Claudine Michel and Patrick Bellegarde-Smith (New York: Palgrave Macmillan, 2006), 27–37.<em></em></div>\r\n    <div id=\"_ftn4\" class=\"footnote\">[4] See Roger Brand, <em>Cultes vodoun et textes oraux des Wéménou du sud Bénin </em>(Munich: Lincom Europa, 2000), 15; Marc Monsia, <em>Religions indigènes et savoir endogène au Bénin </em>(Cotonou, Benin: Les Éditions du Flamboyant, 2003); Gilbert Rouget, <em>La musique et la transe </em>(Paris: Gallimard, 1991 (1980)); and Gilbert Rouget, <em>Initiatique vôdoun, images du rituel: Chants et danses initiatiques pour le culte des vôdoun au Bénin </em>(Saint-Maur, France: Éditions Sépia, 2001), v.</div>\r\n    <div id=\"_ftn5\" class=\"footnote\">[5] Max G. Beauvoir, <em>Lapriyè Ginen </em>(Port-au-Prince: Edisyon Près Nasyonal d Ayiti. 2008), 109-110.</div>\r\n    <div id=\"_ftn6\" class=\"footnote\">[6] Milo Marcelin, <em>Mythologie Vodou (Rite Arada)</em>,<em> </em>2 vols. (Pétionville: Éditions Canapé Vert, 1950); Laura Boulton, “Laura Boulton’s Songs” (1947), in <em>Vodou Songs in Haitian Creole and English = Chante vodou an kreyòl ayisyen ak angle</em>, eds. Benjamin Hebblethwaite and Joanne Bartley (Philadelphia: Temple University Press, 2012), 127-145;  J.L., “J.L. Songs,” in <em>Vodou Songs in Haitian Creole and English</em>,<em> </em>147-184; Harold Courlander, unpublished manuscript (1939–1940), University of Michigan Special Collections Library; Milo Rigaud, <em>La tradition voudoo et le voudoo haïtien: Son temple, ses mystères, sa magie </em>(Paris: Éditions Niclaus, 1953).</div>\r\n    <div id=\"_ftn7\" class=\"footnote\">[7] Albert Valdman, Iskra Iskrova, Jacques Pierre, and Nicolas André, <em>Haitian Creole-English Bilingual Dictionary</em> (Bloomington, IN: Creole Institute, 2007); Bryant Freeman and Jowel Laguerre, <em>Haitian-English Dictionary</em>, 5th ed. (Lawrence, KS: Institute of Haitian Studies, 2004).</div>\r\n	<div id=\"_msoanchor_1\" class=\"footnote\">[C1] The Brand citation is here. The original reference is: (Brand 2000: 15; Monsia 2003; Rouget 1991, 2001: v).  Which of the two Brand books should be referenced (I chose 2000a, but that could be wrong)?</div>\r\n\r\n</div>','Undergraduates in the Archives - Hebblethwaite 1','The Vodou Archive is a collaborative partnership spearheaded by the University of Florida and Duke University which seeks to improve the understanding of a central Haitian and Haitian-American spiritual tradition by gathering the audiovisual and textual sources of Vodou communities, by interpreting what we collect, by expanding the holdings through a self-submission tool, and by diffusing the knowledge via an open access digital library.  ','inherit','open','open','','1504-revision-14','','','2012-09-24 18:42:29','2012-09-24 18:42:29','',1504,'http://www.archivejournal.net/issue/2/uncategorized/1504-revision-14/',0,'revision','',0),(3607,10,'2012-11-28 20:13:40','2012-11-28 20:13:40','<em>The Vodou Archive</em> is a collaborative partnership spearheaded by the University of Florida and Duke University that seeks to improve the understanding of a central Haitian and Haitian-American spiritual tradition by gathering the audiovisual and textual sources of Vodou communities, interpreting what we collect, expanding the holdings through a self-submission tool, and diffusing the knowledge via an open access digital library.  You can find the current prototype here &lt;<a href=\"http://www.dloc.com/vodou\">http://www.dloc.com/vodou</a>&gt;,  hosted within the existing <a href=\"http://dloc.com/\">Digital Library of the Caribbean</a> (dLOC). In addition to the twenty-seven international partners working with the Digital Library of the Caribbean, collaborators from the University of Notre Dame, the University of Miami, the Schrijversvakschool, Florida International University, the Université des Antilles et de la Guyane, and City Lore, among others, will contribute elements to <em>The Vodou Archive</em>. This project belongs to a tradition of scholarly work stretching back to the early twentieth century that has sought to counter reductionist and racist visions of the religion through ethnography, analysis of culture and music, and an exploration of the role of Vodou in Haiti’s founding revolution. Such work has long turned to the central texts in Haitian Vodou: its Creole-language songs.\r\n\r\nBuilding on my book, <em>Vodou Songs in Haitian Creole and English</em>,<a href=\"#_ftn1\">[1]</a> <em>The Vodou Archive</em> project makes these songs available in Haitian Creole and English, along with substantial interpretative annotations and essays to contextualize the collection. The edited and curated materials in <em>The Vodou Archive</em> are of major literary, historical, cultural, and religious significance. The vast Vodou corpus stands out because it preserves a wealth of African cultural, ethnological, and historical knowledge.<a href=\"#_ftn2\">[2]</a> The oral and textual corpora of songs are comprised of the authentic and living traditions of the Vodou religion. They are primarily sung in the context of Vodou worship in public and domestic ceremonies, and they constitute the sacred literature of the religion. Vodou songs, a constant in ceremonies, address the mythologies and characteristics of the religion: Bondye (God), the Marasa (the Divine Twins), the lwa (spirits), and the dantan (ancestors), as well as their relations with humans and nature. Vodou songs are time capsules that reveal the history and origins of the Haitian people in Africa, their journey to the Americas in the French slave trade, and their lives in the French colony. Due to their sacred nature, they arewell-preserved records of African and Haitian history and culture.<a href=\"#_ftn3\">[3]</a> Ceremonies and songs preserve African historical (i.e. <em>Bosou, Achade, Legba, Danbala, Simbi, Ayizan</em>), cultural (i.e. <em>lwa, ounsi, ason, oungan, manbo</em>) and geographical (i.e.<em> Rada, Savalou, Boumba</em>) terms in a creolized or blended religious and cultural system.<a href=\"#_ftn4\">[4]</a> Likewise, there are numerous Vodou ceremonies (rites) classified by the African <em>nanchon</em> (nations/communities) where they originate, such as Rada, Petwo, Ginen, Seneka, Ibo, Danwonmen, Nago, Kongo, Kita, etc.<a href=\"#_ftn5\">[5]</a>\r\n\r\nUndergraduates played, and will play, a key role in this archive.  They contributed first drafts of transcriptions and translations of Vodou songs and interviews with Vodou practitioners for the book, <em>Vodou Songs in Haitian Creole and English</em>. The undergraduate students worked on transcribing and translating interviews that I collected from Vodou priests in Haiti and they also transcribed and translated rare pre-existing published materials.<a href=\"#_ftn6\">[6]</a>   The students, Joanne Bartley, Vanessa Brissault, Kat Warwick, Wilmide Vernet, and Musset Apollon, were either paid hourly through grant funding or they earned credit for an independent study. We worked from manuscripts that employ a range of Haitian Creole spelling systems. The official variety, the “IPN,” named after the <em>Institut Pédagogique National</em>, was adopted for the first time in 1980. Many of our manuscripts predate 1980 and thus transcription required heavy correction and consultation with lexicographical works.<a href=\"#_ftn7\">[7]</a>The students had been exposed to the official variety of Haitian Creole spelling in my intermediate Haitian Creole course. After establishing the Haitian Creole source text, the students produced the first draft of the English translation. Then I corrected the Haitian Creole and English drafts in various cycles as the materials moved towards the finished products, either the book or <em>The Vodou Archive</em>.  (See Figure 1, and for the related Vodou Archive digital library, Figures 2 &amp; 3.)<span class=\"caption\" style=\"width: 166px; margin-bottom: 20px;\"><a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/hebbelthwaite_fig1.jpg\"><img class=\"size-medium wp-image-2358\" style=\"margin-bottom: 10px; margin-right: 10px;\" title=\"hebbelthwaite_fig1\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/hebbelthwaite_fig1-166x250.jpg\" alt=\"Figure 1\" width=\"166\" height=\"250\" /></a> Figure 1: The book cover of<em> Vodou Songs in Haitian Creole and English</em>.</span>\r\n\r\n<span class=\"caption left\" style=\"margin-right: 20px; width: 266px; clear: none;\"><a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/hebbelthwaite_fig2.jpg\"><img class=\" wp-image-2359\" style=\"margin-bottom: 10px;\" title=\"hebbelthwaite_fig2\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/hebbelthwaite_fig2-333x208.jpg\" alt=\"Figure 2\" width=\"266\" height=\"166\" /></a> Figure 2: The homepage of the Vodou Archive.</span><span class=\"caption left\" style=\"margin-right: 10px; width: 266px; clear: none;\"><a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/hebbelthwaite_fig3.jpg\"><img class=\" wp-image-2360\" style=\"margin-bottom: 10px; clear: right;\" title=\"hebbelthwaite_fig3\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/hebbelthwaite_fig3-333x208.jpg\" alt=\"Figure 3\" width=\"266\" height=\"166\" /></a> Figure 3: This screen shot presents the view inside of the Vodou Archive with the filter menu for narrowing results on the left hand side of the screen.</span>\r\n<div class=\"footnotes\">\r\n\r\n&nbsp;\r\n<div id=\"_ftn1\" class=\"footnote\">[1] Benjamin Hebblethwaite and Joanne Bartley, <em>Vodou Songs in Haitian Creole and English </em> <em>= Chante vodou an kreyòl ayisyen ak angle</em> (Philadelphia: Temple University Press, 2012).</div>\r\n<div id=\"_ftn2\" class=\"footnote\">[2] Max Beauvoir, <em>Le Grand Recueil Sacré ou Répertoire des Chansons du Vodou Haïtien </em>(Port-au-Prince: Edisyon Près Nasyonal d Ayiti, 2008).</div>\r\n<div id=\"_ftn3\" class=\"footnote\">[3] Claudine Michel, “Vodou in Haiti: Way of Life and Mode of Survival,” in <em>Vodou in Haitian Life and Culture: Invisible Powers, </em>ed. Claudine Michel and Patrick Bellegarde-Smith (New York: Palgrave Macmillan, 2006), 27–37.<em></em></div>\r\n<div id=\"_ftn4\" class=\"footnote\">[4] See Roger Brand, <em>Cultes vodoun et textes oraux des Wéménou du sud Bénin </em>(Munich: Lincom Europa, 2000); Brand, <em>Ethnographie et vocabulaire religieux des cultes vodoun </em>(Munich: Lincom Europa, 2000); Marc Monsia, <em>Religions indigènes et savoir endogène au Bénin </em>(Cotonou, Benin: Les Éditions du Flamboyant, 2003); Gilbert Rouget, <em>La musique et la transe </em>(Paris: Gallimard, 1991 [1980]); and Gilbert Rouget, <em>Initiatique vôdoun, images du rituel: Chants et danses initiatiques pour le culte des vôdoun au Bénin </em>(Saint-Maur, France: Éditions Sépia, 2001), v.</div>\r\n<div id=\"_ftn5\" class=\"footnote\">[5] Max G. Beauvoir, <em>Lapriyè Ginen </em>(Port-au-Prince: Edisyon Près Nasyonal d Ayiti. 2008), 109-110.</div>\r\n<div id=\"_ftn6\" class=\"footnote\">[6] Milo Marcelin, <em>Mythologie Vodou (Rite Arada)</em>,<em> </em>2 vols. (Pétionville: Éditions Canapé Vert, 1950); Laura Boulton, “Laura Boulton’s Songs” (1947), in <em>Vodou Songs in Haitian Creole and English = Chante vodou an kreyòl ayisyen ak angle</em>, eds. Benjamin Hebblethwaite and Joanne Bartley (Philadelphia: Temple University Press, 2012), 127-145;  J.L., “J.L. Songs,” in <em>Vodou Songs in Haitian Creole and English</em>,<em> </em>147-184; Harold Courlander, unpublished manuscript (1939–1940), University of Michigan Special Collections Library; Milo Rigaud, <em>La tradition voudoo et le voudoo haïtien: Son temple, ses mystères, sa magie </em>(Paris: Éditions Niclaus, 1953).</div>\r\n<div id=\"_ftn7\" class=\"footnote\">[7] Albert Valdman, Iskra Iskrova, Jacques Pierre, and Nicolas André, <em>Haitian Creole-English Bilingual Dictionary</em> (Bloomington, IN: Creole Institute, 2007); Bryant Freeman and Jowel Laguerre, <em>Haitian-English Dictionary</em>, 5th ed. (Lawrence, KS: Institute of Haitian Studies, 2004).</div>\r\n</div>','Undergraduates in the Archives - Hebblethwaite 1','The Vodou Archive is a collaborative partnership spearheaded by the University of Florida and Duke University which seeks to improve the understanding of a central Haitian and Haitian-American spiritual tradition by gathering the audiovisual and textual sources of Vodou communities, by interpreting what we collect, by expanding the holdings through a self-submission tool, and by diffusing the knowledge via an open access digital library.  ','inherit','open','open','','1504-revision-38','','','2012-11-28 20:13:40','2012-11-28 20:13:40','',1504,'http://www.archivejournal.net/issue/2/uncategorized/1504-revision-38/',0,'revision','',0),(2362,19,'2012-09-24 18:57:14','2012-09-24 18:57:14','<em>The Vodou Archive</em> is a collaborative partnership spearheaded by the University of Florida and Duke University which seeks to improve the understanding of a central Haitian and Haitian-American spiritual tradition by gathering the <strong>audiovisual</strong> and <strong>textual</strong> sources of Vodou communities, by <strong>interpreting</strong> what we collect, by <strong>expanding </strong>the holdings through a <strong>self-submission tool</strong>, and by diffusing the knowledge via an open access digital library.  You can find the current prototype here (<a href=\"http://www.dloc.com/vodou\">http://www.dloc.com/vodou</a>),  hosted within the existing <a href=\"http://dloc.com/\">Digital Library of the Caribbean</a> (dLOC). In addition to the 27 international partners working with the Digital Library of the Caribbean, collaborators from the University of Notre Dame, the University of Miami, the Schrijversvakschool, Florida International University, the Université des Antilles et de la Guyane, and City Lore, among others, will contribute elements to <strong><em>The Vodou Archive</em></strong>. This project belongs to a tradition of scholarly work stretching back to the early 20<sup>th</sup> century that has sought to counter reductionist and racist visions of the religion through ethnography, analysis of culture and music, and an exploration of the role of Vodou in Haiti’s founding revolution. Such work has long turned to the central texts in Haitian Vodou: its <strong>Creole-language songs</strong>.\r\n\r\nBuilding on my <em>Vodou Songs in Haitian Creole and English</em>,<a href=\"#_ftn1\">[1]</a> <em>The Vodou Archive</em> project makes these songs available in Haitian Creole and English along with substantial interpretative annotations and essays to contextualize the collection. The materials to be edited and curated in <em>The Vodou Archive</em> are of major literary, historical, cultural and religious significance. The vast Vodou corpus stands out because it preserves a wealth of African cultural, ethnological and historical knowledge.<a href=\"#_ftn2\">[2]</a> (Beauvoir 2008b). The oral and textual corpora of songs are comprised of the authentic and living traditions of the Vodou religion. They are primarily the songs that are sung in the context of Vodou worship in public and domestic ceremonies and they constitute the sacred literature of the religion. Vodou songs, a constant in ceremonies, address the mythologies and characteristics of the lwa and they describe their relations with humans. Vodou songs are time capsules that reveal the history and origins of the Haitian people in Africa, their journey to the Americas in the French slave trade, and their lives in the French colony. Due to their sacred nature, they are very well-preserved records of African and Haitian history and culture.<a href=\"#_ftn3\">[3]</a>). Ceremonies and songs preserve African historical (i.e. <em>Bosou</em>, <em>Achade</em>, <em>Legba</em>, <em>Danbala</em>), cultural (i.e. <em>lwa</em>,<em> ounsi</em>, <em>ason</em>,<em> oungan</em>) and geographical (i.e. <em>Rada</em>, <em>Savalou</em>, <em>Boumba</em>) terms in a creolized or blended religious and cultural system.<a href=\"#_ftn4\">[4]</a> <a href=\"#_msocom_1\">[C1]</a> Likewise, there are numerous Vodou ceremonies (rites) classified by the African <em>nanchon </em>(nations/communities) where they originate, i.e. Rada, Petwo, Ginen, Seneka, Ibo, Danwonmen, Nago, Kongo, Kita, etc.<a href=\"#_ftn5\">[5]</a> Undergraduates played, and will play, a key role in this archive.  They contributed first drafts of transcriptions and translations of Vodou songs and interviews with Vodou practitioners for the book, <em>Vodou Songs in Haitian Creole and English</em> (Hebblethwaite 2012). The undergraduate students worked on transcribing and translating interviews that I collected from Vodou priests in Haiti and they also transcribed and translated rare pre-existing published materials.<a href=\"#_ftn6\">[6]</a>   The students, Joanne Bartley, Vanessa Brissault, Kat Warwick, Wilmide Vernet, and Musset Apollon, were either paid hourly through grant funding or they earned credit for an independent study. We worked from manuscripts that employ a range of Haitian Creole spelling systems. The official variety, the “IPN,” named after the <em>Institut Pédagogique National</em>, was adopted for the first time in 1980. Many of our manuscripts predate 1980 and thus transcription required heavy correction and consultation with lexicographical works.<a href=\"#_ftn7\">[7]</a>The students had been exposed to the official variety of Haitian Creole spelling in my intermediate Haitian Creole course. After establishing the Haitian Creole source text, the students next produced the first draft of the English translation. I then corrected the Haitian Creole and English drafts in various cycles as the materials moved towards the finished products, the book or the Vodou Archive.  (See Figure 1, and for the related Vodou Archive digital library, Figures 2 &amp; 3.)\r\n\r\n<span class=\"caption right\" style=\"margin-right: 10px;\"><a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/hebbelthwaite_fig3.jpg\"><img class=\" wp-image-2360  \" style=\"margin-bottom: 10px;\" title=\"hebbelthwaite_fig3\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/hebbelthwaite_fig3-333x208.jpg\" alt=\"Figure 3\" width=\"266\" height=\"166\" /></a> This screen shot presents the view inside of the Vodou Archive with the filter menu for narrowing results on the left hand side of the screen.</span><span class=\"caption right\" style=\"margin-left: 10px; margin-right: 10px;\"><a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/hebbelthwaite_fig2.jpg\"><img class=\" wp-image-2359    \" style=\"margin-bottom: 10px;\" title=\"hebbelthwaite_fig2\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/hebbelthwaite_fig2-333x208.jpg\" alt=\"Figure 2\" width=\"266\" height=\"166\" /></a> The homepage of the Vodou Archive.</span><span class=\"caption right\" style=\"margin-left: 10px;\"><a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/hebbelthwaite_fig1.jpg\"><img class=\"size-medium wp-image-2358   \" style=\"margin-bottom: 10px; margin-right: 10px;\" title=\"hebbelthwaite_fig1\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/hebbelthwaite_fig1-166x250.jpg\" alt=\"Figure 1\" width=\"166\" height=\"250\" /></a> The book cover of Vodou Songs in Haitian Creole and English.</span>\r\n\r\n<div class=\"footnotes\"><br clear=\"all\" />\r\n<div id=\"_ftn1\" class=\"footnote\">[1] Benjamin Hebblethwaite and Joanne Bartley, <em>Vodou Songs in Haitian Creole and English </em> <em>= Chante vodou an kreyòl ayisyen ak angle</em> (Philadelphia: Temple University Press, 2012).</div>\r\n<div id=\"_ftn2\" class=\"footnote\">[2] Max Beauvoir, <em>Le Grand Recueil Sacré ou Répertoire des Chansons du Vodou Haïtien </em>(Port-au-Prince: Edisyon Près Nasyonal d Ayiti, 2008).</div>\r\n<div id=\"_ftn3\" class=\"footnote\">[3] Claudine Michel, “Vodou in Haiti: Way of Life and Mode of Survival,” in <em>Vodou in Haitian Life and Culture: Invisible Powers, </em>ed. Claudine Michel and Patrick Bellegarde-Smith (New York: Palgrave Macmillan, 2006), 27–37.<em></em></div>\r\n<div id=\"_ftn4\" class=\"footnote\">[4] See Roger Brand, <em>Cultes vodoun et textes oraux des Wéménou du sud Bénin </em>(Munich: Lincom Europa, 2000), 15; Marc Monsia, <em>Religions indigènes et savoir endogène au Bénin </em>(Cotonou, Benin: Les Éditions du Flamboyant, 2003); Gilbert Rouget, <em>La musique et la transe </em>(Paris: Gallimard, 1991 (1980)); and Gilbert Rouget, <em>Initiatique vôdoun, images du rituel: Chants et danses initiatiques pour le culte des vôdoun au Bénin </em>(Saint-Maur, France: Éditions Sépia, 2001), v.</div>\r\n<div id=\"_ftn5\" class=\"footnote\">[5] Max G. Beauvoir, <em>Lapriyè Ginen </em>(Port-au-Prince: Edisyon Près Nasyonal d Ayiti. 2008), 109-110.</div>\r\n<div id=\"_ftn6\" class=\"footnote\">[6] Milo Marcelin, <em>Mythologie Vodou (Rite Arada)</em>,<em> </em>2 vols. (Pétionville: Éditions Canapé Vert, 1950); Laura Boulton, “Laura Boulton’s Songs” (1947), in <em>Vodou Songs in Haitian Creole and English = Chante vodou an kreyòl ayisyen ak angle</em>, eds. Benjamin Hebblethwaite and Joanne Bartley (Philadelphia: Temple University Press, 2012), 127-145;  J.L., “J.L. Songs,” in <em>Vodou Songs in Haitian Creole and English</em>,<em> </em>147-184; Harold Courlander, unpublished manuscript (1939–1940), University of Michigan Special Collections Library; Milo Rigaud, <em>La tradition voudoo et le voudoo haïtien: Son temple, ses mystères, sa magie </em>(Paris: Éditions Niclaus, 1953).</div>\r\n<div id=\"_ftn7\" class=\"footnote\">[7] Albert Valdman, Iskra Iskrova, Jacques Pierre, and Nicolas André, <em>Haitian Creole-English Bilingual Dictionary</em> (Bloomington, IN: Creole Institute, 2007); Bryant Freeman and Jowel Laguerre, <em>Haitian-English Dictionary</em>, 5th ed. (Lawrence, KS: Institute of Haitian Studies, 2004).</div>\r\n<div id=\"_msoanchor_1\" class=\"footnote\">[C1] The Brand citation is here. The original reference is: (Brand 2000: 15; Monsia 2003; Rouget 1991, 2001: v).  Which of the two Brand books should be referenced (I chose 2000a, but that could be wrong)?</div>\r\n</div>','Undergraduates in the Archives - Hebblethwaite 1','The Vodou Archive is a collaborative partnership spearheaded by the University of Florida and Duke University which seeks to improve the understanding of a central Haitian and Haitian-American spiritual tradition by gathering the audiovisual and textual sources of Vodou communities, by interpreting what we collect, by expanding the holdings through a self-submission tool, and by diffusing the knowledge via an open access digital library.  ','inherit','open','open','','1504-revision-15','','','2012-09-24 18:57:14','2012-09-24 18:57:14','',1504,'http://www.archivejournal.net/issue/2/uncategorized/1504-revision-15/',0,'revision','',0),(3606,10,'2012-11-28 20:09:51','2012-11-28 20:09:51','<em>The Vodou Archive</em> is a collaborative partnership spearheaded by the University of Florida and Duke University that seeks to improve the understanding of a central Haitian and Haitian-American spiritual tradition by gathering the audiovisual and textual sources of Vodou communities, interpreting what we collect, expanding the holdings through a self-submission tool, and diffusing the knowledge via an open access digital library.  You can find the current prototype here &lt;<a href=\"http://www.dloc.com/vodou\">http://www.dloc.com/vodou</a>&gt;,  hosted within the existing <a href=\"http://dloc.com/\">Digital Library of the Caribbean</a> (dLOC). In addition to the twenty-seven international partners working with the Digital Library of the Caribbean, collaborators from the University of Notre Dame, the University of Miami, the Schrijversvakschool, Florida International University, the Université des Antilles et de la Guyane, and City Lore, among others, will contribute elements to <em>The Vodou Archive</em>. This project belongs to a tradition of scholarly work stretching back to the early twentieth century that has sought to counter reductionist and racist visions of the religion through ethnography, analysis of culture and music, and an exploration of the role of Vodou in Haiti’s founding revolution. Such work has long turned to the central texts in Haitian Vodou: its Creole-language songs.\r\n\r\nBuilding on my book, <em>Vodou Songs in Haitian Creole and English</em>,<a href=\"#_ftn1\">[1]</a> <em>The Vodou Archive</em> project makes these songs available in Haitian Creole and English, along with substantial interpretative annotations and essays to contextualize the collection. The edited and curated materials in <em>The Vodou Archive</em> are of major literary, historical, cultural, and religious significance. The vast Vodou corpus stands out because it preserves a wealth of African cultural, ethnological, and historical knowledge.<a href=\"#_ftn2\">[2]</a> The oral and textual corpora of songs are comprised of the authentic and living traditions of the Vodou religion. They are primarily sung in the context of Vodou worship in public and domestic ceremonies, and they constitute the sacred literature of the religion. Vodou songs, a constant in ceremonies, address the mythologies and characteristics of the religion: Bondye (God), the Marasa (the Divine Twins), the lwa (spirits), and the dantan (ancestors), as well as their relations with humans and nature. Vodou songs are time capsules that reveal the history and origins of the Haitian people in Africa, their journey to the Americas in the French slave trade, and their lives in the French colony. Due to their sacred nature, they arewell-preserved records of African and Haitian history and culture.<a href=\"#_ftn3\">[3]</a> Ceremonies and songs preserve African historical (i.e. <em>Bosou, Achade, Legba, Danbala, Simbi, Ayizan</em>), cultural (i.e. <em>lwa, ounsi, ason, oungan, manbo</em>) and geographical (i.e.<em> Rada, Savalou, Boumba</em>) terms in a creolized or blended religious and cultural system.<a href=\"#_ftn4\">[4]</a> <a href=\"#_msocom_1\">[C1]</a> Likewise, there are numerous Vodou ceremonies (rites) classified by the African <em>nanchon</em> (nations/communities) where they originate, such as Rada, Petwo, Ginen, Seneka, Ibo, Danwonmen, Nago, Kongo, Kita, etc.<a href=\"#_ftn5\">[5]</a>\r\n\r\nUndergraduates played, and will play, a key role in this archive.  They contributed first drafts of transcriptions and translations of Vodou songs and interviews with Vodou practitioners for the book, <em>Vodou Songs in Haitian Creole and English</em>. The undergraduate students worked on transcribing and translating interviews that I collected from Vodou priests in Haiti and they also transcribed and translated rare pre-existing published materials.<a href=\"#_ftn6\">[6]</a>   The students, Joanne Bartley, Vanessa Brissault, Kat Warwick, Wilmide Vernet, and Musset Apollon, were either paid hourly through grant funding or they earned credit for an independent study. We worked from manuscripts that employ a range of Haitian Creole spelling systems. The official variety, the “IPN,” named after the <em>Institut Pédagogique National</em>, was adopted for the first time in 1980. Many of our manuscripts predate 1980 and thus transcription required heavy correction and consultation with lexicographical works.<a href=\"#_ftn7\">[7]</a>The students had been exposed to the official variety of Haitian Creole spelling in my intermediate Haitian Creole course. After establishing the Haitian Creole source text, the students produced the first draft of the English translation. Then I corrected the Haitian Creole and English drafts in various cycles as the materials moved towards the finished products, either the book or <em>The Vodou Archive</em>.  (See Figure 1, and for the related Vodou Archive digital library, Figures 2 &amp; 3.)<span class=\"caption\" style=\"width: 166px; margin-bottom: 20px;\"><a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/hebbelthwaite_fig1.jpg\"><img class=\"size-medium wp-image-2358\" style=\"margin-bottom: 10px; margin-right: 10px;\" title=\"hebbelthwaite_fig1\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/hebbelthwaite_fig1-166x250.jpg\" alt=\"Figure 1\" width=\"166\" height=\"250\" /></a> Figure 1: The book cover of<em> Vodou Songs in Haitian Creole and English</em>.</span>\r\n\r\n<span class=\"caption left\" style=\"margin-right: 20px; width: 266px; clear: none;\"><a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/hebbelthwaite_fig2.jpg\"><img class=\" wp-image-2359\" style=\"margin-bottom: 10px;\" title=\"hebbelthwaite_fig2\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/hebbelthwaite_fig2-333x208.jpg\" alt=\"Figure 2\" width=\"266\" height=\"166\" /></a> Figure 2: The homepage of the Vodou Archive.</span><span class=\"caption left\" style=\"margin-right: 10px; width: 266px; clear: none;\"><a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/hebbelthwaite_fig3.jpg\"><img class=\" wp-image-2360\" style=\"margin-bottom: 10px; clear: right;\" title=\"hebbelthwaite_fig3\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/hebbelthwaite_fig3-333x208.jpg\" alt=\"Figure 3\" width=\"266\" height=\"166\" /></a> Figure 3: This screen shot presents the view inside of the Vodou Archive with the filter menu for narrowing results on the left hand side of the screen.</span>\r\n<div class=\"footnotes\">\r\n\r\n&nbsp;\r\n<div id=\"_ftn1\" class=\"footnote\">[1] Benjamin Hebblethwaite and Joanne Bartley, <em>Vodou Songs in Haitian Creole and English </em> <em>= Chante vodou an kreyòl ayisyen ak angle</em> (Philadelphia: Temple University Press, 2012).</div>\r\n<div id=\"_ftn2\" class=\"footnote\">[2] Max Beauvoir, <em>Le Grand Recueil Sacré ou Répertoire des Chansons du Vodou Haïtien </em>(Port-au-Prince: Edisyon Près Nasyonal d Ayiti, 2008).</div>\r\n<div id=\"_ftn3\" class=\"footnote\">[3] Claudine Michel, “Vodou in Haiti: Way of Life and Mode of Survival,” in <em>Vodou in Haitian Life and Culture: Invisible Powers, </em>ed. Claudine Michel and Patrick Bellegarde-Smith (New York: Palgrave Macmillan, 2006), 27–37.<em></em></div>\r\n<div id=\"_ftn4\" class=\"footnote\">[4] See Roger Brand, <em>Cultes vodoun et textes oraux des Wéménou du sud Bénin </em>(Munich: Lincom Europa, 2000), 15; Marc Monsia, <em>Religions indigènes et savoir endogène au Bénin </em>(Cotonou, Benin: Les Éditions du Flamboyant, 2003); Gilbert Rouget, <em>La musique et la transe </em>(Paris: Gallimard, 1991 (1980)); and Gilbert Rouget, <em>Initiatique vôdoun, images du rituel: Chants et danses initiatiques pour le culte des vôdoun au Bénin </em>(Saint-Maur, France: Éditions Sépia, 2001), v.</div>\r\n<div id=\"_ftn5\" class=\"footnote\">[5] Max G. Beauvoir, <em>Lapriyè Ginen </em>(Port-au-Prince: Edisyon Près Nasyonal d Ayiti. 2008), 109-110.</div>\r\n<div id=\"_ftn6\" class=\"footnote\">[6] Milo Marcelin, <em>Mythologie Vodou (Rite Arada)</em>,<em> </em>2 vols. (Pétionville: Éditions Canapé Vert, 1950); Laura Boulton, “Laura Boulton’s Songs” (1947), in <em>Vodou Songs in Haitian Creole and English = Chante vodou an kreyòl ayisyen ak angle</em>, eds. Benjamin Hebblethwaite and Joanne Bartley (Philadelphia: Temple University Press, 2012), 127-145;  J.L., “J.L. Songs,” in <em>Vodou Songs in Haitian Creole and English</em>,<em> </em>147-184; Harold Courlander, unpublished manuscript (1939–1940), University of Michigan Special Collections Library; Milo Rigaud, <em>La tradition voudoo et le voudoo haïtien: Son temple, ses mystères, sa magie </em>(Paris: Éditions Niclaus, 1953).</div>\r\n<div id=\"_ftn7\" class=\"footnote\">[7] Albert Valdman, Iskra Iskrova, Jacques Pierre, and Nicolas André, <em>Haitian Creole-English Bilingual Dictionary</em> (Bloomington, IN: Creole Institute, 2007); Bryant Freeman and Jowel Laguerre, <em>Haitian-English Dictionary</em>, 5th ed. (Lawrence, KS: Institute of Haitian Studies, 2004).</div>\r\n<div id=\"_msoanchor_1\" class=\"footnote\">[C1] The Brand citation is here. The original reference is: (Brand 2000: 15; Monsia 2003; Rouget 1991, 2001: v).  Which of the two Brand books should be referenced (I chose 2000a, but that could be wrong)?</div>\r\n</div>','Undergraduates in the Archives - Hebblethwaite 1','The Vodou Archive is a collaborative partnership spearheaded by the University of Florida and Duke University which seeks to improve the understanding of a central Haitian and Haitian-American spiritual tradition by gathering the audiovisual and textual sources of Vodou communities, by interpreting what we collect, by expanding the holdings through a self-submission tool, and by diffusing the knowledge via an open access digital library.  ','inherit','open','open','','1504-revision-37','','','2012-11-28 20:09:51','2012-11-28 20:09:51','',1504,'http://www.archivejournal.net/issue/2/uncategorized/1504-revision-37/',0,'revision','',0),(2363,19,'2012-09-24 18:58:25','2012-09-24 18:58:25','<em>The Vodou Archive</em> is a collaborative partnership spearheaded by the University of Florida and Duke University which seeks to improve the understanding of a central Haitian and Haitian-American spiritual tradition by gathering the <strong>audiovisual</strong> and <strong>textual</strong> sources of Vodou communities, by <strong>interpreting</strong> what we collect, by <strong>expanding </strong>the holdings through a <strong>self-submission tool</strong>, and by diffusing the knowledge via an open access digital library.  You can find the current prototype here (<a href=\"http://www.dloc.com/vodou\">http://www.dloc.com/vodou</a>),  hosted within the existing <a href=\"http://dloc.com/\">Digital Library of the Caribbean</a> (dLOC). In addition to the 27 international partners working with the Digital Library of the Caribbean, collaborators from the University of Notre Dame, the University of Miami, the Schrijversvakschool, Florida International University, the Université des Antilles et de la Guyane, and City Lore, among others, will contribute elements to <strong><em>The Vodou Archive</em></strong>. This project belongs to a tradition of scholarly work stretching back to the early 20<sup>th</sup> century that has sought to counter reductionist and racist visions of the religion through ethnography, analysis of culture and music, and an exploration of the role of Vodou in Haiti’s founding revolution. Such work has long turned to the central texts in Haitian Vodou: its <strong>Creole-language songs</strong>.\r\n\r\nBuilding on my <em>Vodou Songs in Haitian Creole and English</em>,<a href=\"#_ftn1\">[1]</a> <em>The Vodou Archive</em> project makes these songs available in Haitian Creole and English along with substantial interpretative annotations and essays to contextualize the collection. The materials to be edited and curated in <em>The Vodou Archive</em> are of major literary, historical, cultural and religious significance. The vast Vodou corpus stands out because it preserves a wealth of African cultural, ethnological and historical knowledge.<a href=\"#_ftn2\">[2]</a> (Beauvoir 2008b). The oral and textual corpora of songs are comprised of the authentic and living traditions of the Vodou religion. They are primarily the songs that are sung in the context of Vodou worship in public and domestic ceremonies and they constitute the sacred literature of the religion. Vodou songs, a constant in ceremonies, address the mythologies and characteristics of the lwa and they describe their relations with humans. Vodou songs are time capsules that reveal the history and origins of the Haitian people in Africa, their journey to the Americas in the French slave trade, and their lives in the French colony. Due to their sacred nature, they are very well-preserved records of African and Haitian history and culture.<a href=\"#_ftn3\">[3]</a>). Ceremonies and songs preserve African historical (i.e. <em>Bosou</em>, <em>Achade</em>, <em>Legba</em>, <em>Danbala</em>), cultural (i.e. <em>lwa</em>,<em> ounsi</em>, <em>ason</em>,<em> oungan</em>) and geographical (i.e. <em>Rada</em>, <em>Savalou</em>, <em>Boumba</em>) terms in a creolized or blended religious and cultural system.<a href=\"#_ftn4\">[4]</a> <a href=\"#_msocom_1\">[C1]</a> Likewise, there are numerous Vodou ceremonies (rites) classified by the African <em>nanchon </em>(nations/communities) where they originate, i.e. Rada, Petwo, Ginen, Seneka, Ibo, Danwonmen, Nago, Kongo, Kita, etc.<a href=\"#_ftn5\">[5]</a> Undergraduates played, and will play, a key role in this archive.  They contributed first drafts of transcriptions and translations of Vodou songs and interviews with Vodou practitioners for the book, <em>Vodou Songs in Haitian Creole and English</em> (Hebblethwaite 2012). The undergraduate students worked on transcribing and translating interviews that I collected from Vodou priests in Haiti and they also transcribed and translated rare pre-existing published materials.<a href=\"#_ftn6\">[6]</a>   The students, Joanne Bartley, Vanessa Brissault, Kat Warwick, Wilmide Vernet, and Musset Apollon, were either paid hourly through grant funding or they earned credit for an independent study. We worked from manuscripts that employ a range of Haitian Creole spelling systems. The official variety, the “IPN,” named after the <em>Institut Pédagogique National</em>, was adopted for the first time in 1980. Many of our manuscripts predate 1980 and thus transcription required heavy correction and consultation with lexicographical works.<a href=\"#_ftn7\">[7]</a>The students had been exposed to the official variety of Haitian Creole spelling in my intermediate Haitian Creole course. After establishing the Haitian Creole source text, the students next produced the first draft of the English translation. I then corrected the Haitian Creole and English drafts in various cycles as the materials moved towards the finished products, the book or the Vodou Archive.  (See Figure 1, and for the related Vodou Archive digital library, Figures 2 &amp; 3.)\r\n\r\n<span class=\"caption right\" style=\"margin-right: 10px; width: 166px;\"><a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/hebbelthwaite_fig3.jpg\"><img class=\" wp-image-2360  \" style=\"margin-bottom: 10px;\" title=\"hebbelthwaite_fig3\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/hebbelthwaite_fig3-333x208.jpg\" alt=\"Figure 3\" width=\"266\" height=\"166\" /></a> This screen shot presents the view inside of the Vodou Archive with the filter menu for narrowing results on the left hand side of the screen.</span>\r\n<span class=\"caption right\" style=\"margin-left: 10px; margin-right: 10px; width: 266px;\"><a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/hebbelthwaite_fig2.jpg\"><img class=\" wp-image-2359    \" style=\"margin-bottom: 10px;\" title=\"hebbelthwaite_fig2\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/hebbelthwaite_fig2-333x208.jpg\" alt=\"Figure 2\" width=\"266\" height=\"166\" /></a> The homepage of the Vodou Archive.</span>\r\n<span class=\"caption right\" style=\"margin-left: 10px; width: 266px;\"><a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/hebbelthwaite_fig1.jpg\"><img class=\"size-medium wp-image-2358   \" style=\"margin-bottom: 10px; margin-right: 10px;\" title=\"hebbelthwaite_fig1\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/hebbelthwaite_fig1-166x250.jpg\" alt=\"Figure 1\" width=\"166\" height=\"250\" /></a> The book cover of Vodou Songs in Haitian Creole and English.</span>\r\n\r\n<div class=\"footnotes\"><br clear=\"all\" />\r\n<div id=\"_ftn1\" class=\"footnote\">[1] Benjamin Hebblethwaite and Joanne Bartley, <em>Vodou Songs in Haitian Creole and English </em> <em>= Chante vodou an kreyòl ayisyen ak angle</em> (Philadelphia: Temple University Press, 2012).</div>\r\n<div id=\"_ftn2\" class=\"footnote\">[2] Max Beauvoir, <em>Le Grand Recueil Sacré ou Répertoire des Chansons du Vodou Haïtien </em>(Port-au-Prince: Edisyon Près Nasyonal d Ayiti, 2008).</div>\r\n<div id=\"_ftn3\" class=\"footnote\">[3] Claudine Michel, “Vodou in Haiti: Way of Life and Mode of Survival,” in <em>Vodou in Haitian Life and Culture: Invisible Powers, </em>ed. Claudine Michel and Patrick Bellegarde-Smith (New York: Palgrave Macmillan, 2006), 27–37.<em></em></div>\r\n<div id=\"_ftn4\" class=\"footnote\">[4] See Roger Brand, <em>Cultes vodoun et textes oraux des Wéménou du sud Bénin </em>(Munich: Lincom Europa, 2000), 15; Marc Monsia, <em>Religions indigènes et savoir endogène au Bénin </em>(Cotonou, Benin: Les Éditions du Flamboyant, 2003); Gilbert Rouget, <em>La musique et la transe </em>(Paris: Gallimard, 1991 (1980)); and Gilbert Rouget, <em>Initiatique vôdoun, images du rituel: Chants et danses initiatiques pour le culte des vôdoun au Bénin </em>(Saint-Maur, France: Éditions Sépia, 2001), v.</div>\r\n<div id=\"_ftn5\" class=\"footnote\">[5] Max G. Beauvoir, <em>Lapriyè Ginen </em>(Port-au-Prince: Edisyon Près Nasyonal d Ayiti. 2008), 109-110.</div>\r\n<div id=\"_ftn6\" class=\"footnote\">[6] Milo Marcelin, <em>Mythologie Vodou (Rite Arada)</em>,<em> </em>2 vols. (Pétionville: Éditions Canapé Vert, 1950); Laura Boulton, “Laura Boulton’s Songs” (1947), in <em>Vodou Songs in Haitian Creole and English = Chante vodou an kreyòl ayisyen ak angle</em>, eds. Benjamin Hebblethwaite and Joanne Bartley (Philadelphia: Temple University Press, 2012), 127-145;  J.L., “J.L. Songs,” in <em>Vodou Songs in Haitian Creole and English</em>,<em> </em>147-184; Harold Courlander, unpublished manuscript (1939–1940), University of Michigan Special Collections Library; Milo Rigaud, <em>La tradition voudoo et le voudoo haïtien: Son temple, ses mystères, sa magie </em>(Paris: Éditions Niclaus, 1953).</div>\r\n<div id=\"_ftn7\" class=\"footnote\">[7] Albert Valdman, Iskra Iskrova, Jacques Pierre, and Nicolas André, <em>Haitian Creole-English Bilingual Dictionary</em> (Bloomington, IN: Creole Institute, 2007); Bryant Freeman and Jowel Laguerre, <em>Haitian-English Dictionary</em>, 5th ed. (Lawrence, KS: Institute of Haitian Studies, 2004).</div>\r\n<div id=\"_msoanchor_1\" class=\"footnote\">[C1] The Brand citation is here. The original reference is: (Brand 2000: 15; Monsia 2003; Rouget 1991, 2001: v).  Which of the two Brand books should be referenced (I chose 2000a, but that could be wrong)?</div>\r\n</div>','Undergraduates in the Archives - Hebblethwaite 1','The Vodou Archive is a collaborative partnership spearheaded by the University of Florida and Duke University which seeks to improve the understanding of a central Haitian and Haitian-American spiritual tradition by gathering the audiovisual and textual sources of Vodou communities, by interpreting what we collect, by expanding the holdings through a self-submission tool, and by diffusing the knowledge via an open access digital library.  ','inherit','open','open','','1504-revision-16','','','2012-09-24 18:58:25','2012-09-24 18:58:25','',1504,'http://www.archivejournal.net/issue/2/uncategorized/1504-revision-16/',0,'revision','',0),(2364,19,'2012-09-24 19:01:03','2012-09-24 19:01:03','<em>The Vodou Archive</em> is a collaborative partnership spearheaded by the University of Florida and Duke University which seeks to improve the understanding of a central Haitian and Haitian-American spiritual tradition by gathering the <strong>audiovisual</strong> and <strong>textual</strong> sources of Vodou communities, by <strong>interpreting</strong> what we collect, by <strong>expanding </strong>the holdings through a <strong>self-submission tool</strong>, and by diffusing the knowledge via an open access digital library.  You can find the current prototype here (<a href=\"http://www.dloc.com/vodou\">http://www.dloc.com/vodou</a>),  hosted within the existing <a href=\"http://dloc.com/\">Digital Library of the Caribbean</a> (dLOC). In addition to the 27 international partners working with the Digital Library of the Caribbean, collaborators from the University of Notre Dame, the University of Miami, the Schrijversvakschool, Florida International University, the Université des Antilles et de la Guyane, and City Lore, among others, will contribute elements to <strong><em>The Vodou Archive</em></strong>. This project belongs to a tradition of scholarly work stretching back to the early 20<sup>th</sup> century that has sought to counter reductionist and racist visions of the religion through ethnography, analysis of culture and music, and an exploration of the role of Vodou in Haiti’s founding revolution. Such work has long turned to the central texts in Haitian Vodou: its <strong>Creole-language songs</strong>. Building on my <em>Vodou Songs in Haitian Creole and English</em>,<a href=\"#_ftn1\">[1]</a> <em>The Vodou Archive</em> project makes these songs available in Haitian Creole and English along with substantial interpretative annotations and essays to contextualize the collection. The materials to be edited and curated in <em>The Vodou Archive</em> are of major literary, historical, cultural and religious significance. The vast Vodou corpus stands out because it preserves a wealth of African cultural, ethnological and historical knowledge.<a href=\"#_ftn2\">[2]</a> (Beauvoir 2008b). The oral and textual corpora of songs are comprised of the authentic and living traditions of the Vodou religion. They are primarily the songs that are sung in the context of Vodou worship in public and domestic ceremonies and they constitute the sacred literature of the religion. Vodou songs, a constant in ceremonies, address the mythologies and characteristics of the lwa and they describe their relations with humans. Vodou songs are time capsules that reveal the history and origins of the Haitian people in Africa, their journey to the Americas in the French slave trade, and their lives in the French colony. Due to their sacred nature, they are very well-preserved records of African and Haitian history and culture.<a href=\"#_ftn3\">[3]</a>). Ceremonies and songs preserve African historical (i.e. <em>Bosou</em>, <em>Achade</em>, <em>Legba</em>, <em>Danbala</em>), cultural (i.e. <em>lwa</em>,<em> ounsi</em>, <em>ason</em>,<em> oungan</em>) and geographical (i.e. <em>Rada</em>, <em>Savalou</em>, <em>Boumba</em>) terms in a creolized or blended religious and cultural system.<a href=\"#_ftn4\">[4]</a> <a href=\"#_msocom_1\">[C1]</a> Likewise, there are numerous Vodou ceremonies (rites) classified by the African <em>nanchon </em>(nations/communities) where they originate, i.e. Rada, Petwo, Ginen, Seneka, Ibo, Danwonmen, Nago, Kongo, Kita, etc.<a href=\"#_ftn5\">[5]</a> Undergraduates played, and will play, a key role in this archive.  They contributed first drafts of transcriptions and translations of Vodou songs and interviews with Vodou practitioners for the book, <em>Vodou Songs in Haitian Creole and English</em> (Hebblethwaite 2012). The undergraduate students worked on transcribing and translating interviews that I collected from Vodou priests in Haiti and they also transcribed and translated rare pre-existing published materials.<a href=\"#_ftn6\">[6]</a>   The students, Joanne Bartley, Vanessa Brissault, Kat Warwick, Wilmide Vernet, and Musset Apollon, were either paid hourly through grant funding or they earned credit for an independent study. We worked from manuscripts that employ a range of Haitian Creole spelling systems. The official variety, the “IPN,” named after the <em>Institut Pédagogique National</em>, was adopted for the first time in 1980. Many of our manuscripts predate 1980 and thus transcription required heavy correction and consultation with lexicographical works.<a href=\"#_ftn7\">[7]</a>The students had been exposed to the official variety of Haitian Creole spelling in my intermediate Haitian Creole course. After establishing the Haitian Creole source text, the students next produced the first draft of the English translation. I then corrected the Haitian Creole and English drafts in various cycles as the materials moved towards the finished products, the book or the Vodou Archive.  (See Figure 1, and for the related Vodou Archive digital library, Figures 2 &amp; 3.) \r\n<span class=\"caption right\" style=\"margin-right: 10px; width: 266px;\"><a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/hebbelthwaite_fig3.jpg\"><img class=\" wp-image-2360  \" style=\"margin-bottom: 10px;\" title=\"hebbelthwaite_fig3\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/hebbelthwaite_fig3-333x208.jpg\" alt=\"Figure 3\" width=\"266\" height=\"166\" /></a> This screen shot presents the view inside of the Vodou Archive with the filter menu for narrowing results on the left hand side of the screen.</span><span class=\"caption right\" style=\"margin-left: 10px; margin-right: 10px; width: 266px;\"><a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/hebbelthwaite_fig2.jpg\"><img class=\" wp-image-2359    \" style=\"margin-bottom: 10px;\" title=\"hebbelthwaite_fig2\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/hebbelthwaite_fig2-333x208.jpg\" alt=\"Figure 2\" width=\"266\" height=\"166\" /></a> The homepage of the Vodou Archive.</span><span class=\"caption right\" style=\"margin-left: 10px; width: 166px;\"><a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/hebbelthwaite_fig1.jpg\"><img class=\"size-medium wp-image-2358   \" style=\"margin-bottom: 10px; margin-right: 10px;\" title=\"hebbelthwaite_fig1\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/hebbelthwaite_fig1-166x250.jpg\" alt=\"Figure 1\" width=\"166\" height=\"250\" /></a> The book cover of Vodou Songs in Haitian Creole and English.</span>\r\n<div class=\"footnotes\"><br clear=\"all\" />\r\n<div id=\"_ftn1\" class=\"footnote\">[1] Benjamin Hebblethwaite and Joanne Bartley, <em>Vodou Songs in Haitian Creole and English </em> <em>= Chante vodou an kreyòl ayisyen ak angle</em> (Philadelphia: Temple University Press, 2012).</div>\r\n<div id=\"_ftn2\" class=\"footnote\">[2] Max Beauvoir, <em>Le Grand Recueil Sacré ou Répertoire des Chansons du Vodou Haïtien </em>(Port-au-Prince: Edisyon Près Nasyonal d Ayiti, 2008).</div>\r\n<div id=\"_ftn3\" class=\"footnote\">[3] Claudine Michel, “Vodou in Haiti: Way of Life and Mode of Survival,” in <em>Vodou in Haitian Life and Culture: Invisible Powers, </em>ed. Claudine Michel and Patrick Bellegarde-Smith (New York: Palgrave Macmillan, 2006), 27–37.<em></em></div>\r\n<div id=\"_ftn4\" class=\"footnote\">[4] See Roger Brand, <em>Cultes vodoun et textes oraux des Wéménou du sud Bénin </em>(Munich: Lincom Europa, 2000), 15; Marc Monsia, <em>Religions indigènes et savoir endogène au Bénin </em>(Cotonou, Benin: Les Éditions du Flamboyant, 2003); Gilbert Rouget, <em>La musique et la transe </em>(Paris: Gallimard, 1991 (1980)); and Gilbert Rouget, <em>Initiatique vôdoun, images du rituel: Chants et danses initiatiques pour le culte des vôdoun au Bénin </em>(Saint-Maur, France: Éditions Sépia, 2001), v.</div>\r\n<div id=\"_ftn5\" class=\"footnote\">[5] Max G. Beauvoir, <em>Lapriyè Ginen </em>(Port-au-Prince: Edisyon Près Nasyonal d Ayiti. 2008), 109-110.</div>\r\n<div id=\"_ftn6\" class=\"footnote\">[6] Milo Marcelin, <em>Mythologie Vodou (Rite Arada)</em>,<em> </em>2 vols. (Pétionville: Éditions Canapé Vert, 1950); Laura Boulton, “Laura Boulton’s Songs” (1947), in <em>Vodou Songs in Haitian Creole and English = Chante vodou an kreyòl ayisyen ak angle</em>, eds. Benjamin Hebblethwaite and Joanne Bartley (Philadelphia: Temple University Press, 2012), 127-145;  J.L., “J.L. Songs,” in <em>Vodou Songs in Haitian Creole and English</em>,<em> </em>147-184; Harold Courlander, unpublished manuscript (1939–1940), University of Michigan Special Collections Library; Milo Rigaud, <em>La tradition voudoo et le voudoo haïtien: Son temple, ses mystères, sa magie </em>(Paris: Éditions Niclaus, 1953).</div>\r\n<div id=\"_ftn7\" class=\"footnote\">[7] Albert Valdman, Iskra Iskrova, Jacques Pierre, and Nicolas André, <em>Haitian Creole-English Bilingual Dictionary</em> (Bloomington, IN: Creole Institute, 2007); Bryant Freeman and Jowel Laguerre, <em>Haitian-English Dictionary</em>, 5th ed. (Lawrence, KS: Institute of Haitian Studies, 2004).</div>\r\n<div id=\"_msoanchor_1\" class=\"footnote\">[C1] The Brand citation is here. The original reference is: (Brand 2000: 15; Monsia 2003; Rouget 1991, 2001: v).  Which of the two Brand books should be referenced (I chose 2000a, but that could be wrong)?</div>\r\n</div>','Undergraduates in the Archives - Hebblethwaite 1','The Vodou Archive is a collaborative partnership spearheaded by the University of Florida and Duke University which seeks to improve the understanding of a central Haitian and Haitian-American spiritual tradition by gathering the audiovisual and textual sources of Vodou communities, by interpreting what we collect, by expanding the holdings through a self-submission tool, and by diffusing the knowledge via an open access digital library.  ','inherit','open','open','','1504-revision-17','','','2012-09-24 19:01:03','2012-09-24 19:01:03','',1504,'http://www.archivejournal.net/issue/2/uncategorized/1504-revision-17/',0,'revision','',0),(2365,19,'2012-09-24 19:03:54','2012-09-24 19:03:54','<em>The Vodou Archive</em> is a collaborative partnership spearheaded by the University of Florida and Duke University which seeks to improve the understanding of a central Haitian and Haitian-American spiritual tradition by gathering the <strong>audiovisual</strong> and <strong>textual</strong> sources of Vodou communities, by <strong>interpreting</strong> what we collect, by <strong>expanding </strong>the holdings through a <strong>self-submission tool</strong>, and by diffusing the knowledge via an open access digital library.  You can find the current prototype here (<a href=\"http://www.dloc.com/vodou\">http://www.dloc.com/vodou</a>),  hosted within the existing <a href=\"http://dloc.com/\">Digital Library of the Caribbean</a> (dLOC). In addition to the 27 international partners working with the Digital Library of the Caribbean, collaborators from the University of Notre Dame, the University of Miami, the Schrijversvakschool, Florida International University, the Université des Antilles et de la Guyane, and City Lore, among others, will contribute elements to <strong><em>The Vodou Archive</em></strong>. This project belongs to a tradition of scholarly work stretching back to the early 20<sup>th</sup> century that has sought to counter reductionist and racist visions of the religion through ethnography, analysis of culture and music, and an exploration of the role of Vodou in Haiti’s founding revolution. Such work has long turned to the central texts in Haitian Vodou: its <strong>Creole-language songs</strong>. Building on my <em>Vodou Songs in Haitian Creole and English</em>,<a href=\"#_ftn1\">[1]</a> <em>The Vodou Archive</em> project makes these songs available in Haitian Creole and English along with substantial interpretative annotations and essays to contextualize the collection. The materials to be edited and curated in <em>The Vodou Archive</em> are of major literary, historical, cultural and religious significance. The vast Vodou corpus stands out because it preserves a wealth of African cultural, ethnological and historical knowledge.<a href=\"#_ftn2\">[2]</a> (Beauvoir 2008b). The oral and textual corpora of songs are comprised of the authentic and living traditions of the Vodou religion. They are primarily the songs that are sung in the context of Vodou worship in public and domestic ceremonies and they constitute the sacred literature of the religion. Vodou songs, a constant in ceremonies, address the mythologies and characteristics of the lwa and they describe their relations with humans. Vodou songs are time capsules that reveal the history and origins of the Haitian people in Africa, their journey to the Americas in the French slave trade, and their lives in the French colony. Due to their sacred nature, they are very well-preserved records of African and Haitian history and culture.<a href=\"#_ftn3\">[3]</a>). Ceremonies and songs preserve African historical (i.e. <em>Bosou</em>, <em>Achade</em>, <em>Legba</em>, <em>Danbala</em>), cultural (i.e. <em>lwa</em>,<em> ounsi</em>, <em>ason</em>,<em> oungan</em>) and geographical (i.e. <em>Rada</em>, <em>Savalou</em>, <em>Boumba</em>) terms in a creolized or blended religious and cultural system.<a href=\"#_ftn4\">[4]</a> <a href=\"#_msocom_1\">[C1]</a> Likewise, there are numerous Vodou ceremonies (rites) classified by the African <em>nanchon </em>(nations/communities) where they originate, i.e. Rada, Petwo, Ginen, Seneka, Ibo, Danwonmen, Nago, Kongo, Kita, etc.<a href=\"#_ftn5\">[5]</a> Undergraduates played, and will play, a key role in this archive.  They contributed first drafts of transcriptions and translations of Vodou songs and interviews with Vodou practitioners for the book, <em>Vodou Songs in Haitian Creole and English</em> (Hebblethwaite 2012). The undergraduate students worked on transcribing and translating interviews that I collected from Vodou priests in Haiti and they also transcribed and translated rare pre-existing published materials.<a href=\"#_ftn6\">[6]</a>   The students, Joanne Bartley, Vanessa Brissault, Kat Warwick, Wilmide Vernet, and Musset Apollon, were either paid hourly through grant funding or they earned credit for an independent study. We worked from manuscripts that employ a range of Haitian Creole spelling systems. The official variety, the “IPN,” named after the <em>Institut Pédagogique National</em>, was adopted for the first time in 1980. Many of our manuscripts predate 1980 and thus transcription required heavy correction and consultation with lexicographical works.<a href=\"#_ftn7\">[7]</a>The students had been exposed to the official variety of Haitian Creole spelling in my intermediate Haitian Creole course. After establishing the Haitian Creole source text, the students next produced the first draft of the English translation. I then corrected the Haitian Creole and English drafts in various cycles as the materials moved towards the finished products, the book or the Vodou Archive.  (See Figure 1, and for the related Vodou Archive digital library, Figures 2 &amp; 3.) \r\n\r\n<span class=\"caption\" style=\"margin-left: 10px; width: 166px; margin-bottom: 20px;\"><a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/hebbelthwaite_fig1.jpg\"><img class=\"size-medium wp-image-2358   \" style=\"margin-bottom: 10px; margin-right: 10px;\" title=\"hebbelthwaite_fig1\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/hebbelthwaite_fig1-166x250.jpg\" alt=\"Figure 1\" width=\"166\" height=\"250\" /></a> Figure 1: The book cover of Vodou Songs in Haitian Creole and English.</span>\r\n\r\n<span class=\"caption right\" style=\"margin-left: 10px; margin-right: 10px; width: 266px; clear:none;\"><a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/hebbelthwaite_fig2.jpg\"><img class=\" wp-image-2359    \" style=\"margin-bottom: 10px;\" title=\"hebbelthwaite_fig2\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/hebbelthwaite_fig2-333x208.jpg\" alt=\"Figure 2\" width=\"266\" height=\"166\" /></a> Figure 2: The homepage of the Vodou Archive.</span><span class=\"caption left\" style=\"margin-right: 10px; width: 266px; clear: none;\"><a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/hebbelthwaite_fig3.jpg\"><img class=\" wp-image-2360  \" style=\"margin-bottom: 10px;\" title=\"hebbelthwaite_fig3\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/hebbelthwaite_fig3-333x208.jpg\" alt=\"Figure 3\" width=\"266\" height=\"166\" /></a> Figure 3: This screen shot presents the view inside of the Vodou Archive with the filter menu for narrowing results on the left hand side of the screen.</span>\r\n\r\n<div class=\"footnotes\"><br clear=\"all\" />\r\n<div id=\"_ftn1\" class=\"footnote\">[1] Benjamin Hebblethwaite and Joanne Bartley, <em>Vodou Songs in Haitian Creole and English </em> <em>= Chante vodou an kreyòl ayisyen ak angle</em> (Philadelphia: Temple University Press, 2012).</div>\r\n<div id=\"_ftn2\" class=\"footnote\">[2] Max Beauvoir, <em>Le Grand Recueil Sacré ou Répertoire des Chansons du Vodou Haïtien </em>(Port-au-Prince: Edisyon Près Nasyonal d Ayiti, 2008).</div>\r\n<div id=\"_ftn3\" class=\"footnote\">[3] Claudine Michel, “Vodou in Haiti: Way of Life and Mode of Survival,” in <em>Vodou in Haitian Life and Culture: Invisible Powers, </em>ed. Claudine Michel and Patrick Bellegarde-Smith (New York: Palgrave Macmillan, 2006), 27–37.<em></em></div>\r\n<div id=\"_ftn4\" class=\"footnote\">[4] See Roger Brand, <em>Cultes vodoun et textes oraux des Wéménou du sud Bénin </em>(Munich: Lincom Europa, 2000), 15; Marc Monsia, <em>Religions indigènes et savoir endogène au Bénin </em>(Cotonou, Benin: Les Éditions du Flamboyant, 2003); Gilbert Rouget, <em>La musique et la transe </em>(Paris: Gallimard, 1991 (1980)); and Gilbert Rouget, <em>Initiatique vôdoun, images du rituel: Chants et danses initiatiques pour le culte des vôdoun au Bénin </em>(Saint-Maur, France: Éditions Sépia, 2001), v.</div>\r\n<div id=\"_ftn5\" class=\"footnote\">[5] Max G. Beauvoir, <em>Lapriyè Ginen </em>(Port-au-Prince: Edisyon Près Nasyonal d Ayiti. 2008), 109-110.</div>\r\n<div id=\"_ftn6\" class=\"footnote\">[6] Milo Marcelin, <em>Mythologie Vodou (Rite Arada)</em>,<em> </em>2 vols. (Pétionville: Éditions Canapé Vert, 1950); Laura Boulton, “Laura Boulton’s Songs” (1947), in <em>Vodou Songs in Haitian Creole and English = Chante vodou an kreyòl ayisyen ak angle</em>, eds. Benjamin Hebblethwaite and Joanne Bartley (Philadelphia: Temple University Press, 2012), 127-145;  J.L., “J.L. Songs,” in <em>Vodou Songs in Haitian Creole and English</em>,<em> </em>147-184; Harold Courlander, unpublished manuscript (1939–1940), University of Michigan Special Collections Library; Milo Rigaud, <em>La tradition voudoo et le voudoo haïtien: Son temple, ses mystères, sa magie </em>(Paris: Éditions Niclaus, 1953).</div>\r\n<div id=\"_ftn7\" class=\"footnote\">[7] Albert Valdman, Iskra Iskrova, Jacques Pierre, and Nicolas André, <em>Haitian Creole-English Bilingual Dictionary</em> (Bloomington, IN: Creole Institute, 2007); Bryant Freeman and Jowel Laguerre, <em>Haitian-English Dictionary</em>, 5th ed. (Lawrence, KS: Institute of Haitian Studies, 2004).</div>\r\n<div id=\"_msoanchor_1\" class=\"footnote\">[C1] The Brand citation is here. The original reference is: (Brand 2000: 15; Monsia 2003; Rouget 1991, 2001: v).  Which of the two Brand books should be referenced (I chose 2000a, but that could be wrong)?</div>\r\n</div>','Undergraduates in the Archives - Hebblethwaite 1','The Vodou Archive is a collaborative partnership spearheaded by the University of Florida and Duke University which seeks to improve the understanding of a central Haitian and Haitian-American spiritual tradition by gathering the audiovisual and textual sources of Vodou communities, by interpreting what we collect, by expanding the holdings through a self-submission tool, and by diffusing the knowledge via an open access digital library.  ','inherit','open','open','','1504-revision-18','','','2012-09-24 19:03:54','2012-09-24 19:03:54','',1504,'http://www.archivejournal.net/issue/2/uncategorized/1504-revision-18/',0,'revision','',0),(2367,19,'2012-09-24 19:07:33','2012-09-24 19:07:33','<em>The Vodou Archive</em> is a collaborative partnership spearheaded by the University of Florida and Duke University which seeks to improve the understanding of a central Haitian and Haitian-American spiritual tradition by gathering the <strong>audiovisual</strong> and <strong>textual</strong> sources of Vodou communities, by <strong>interpreting</strong> what we collect, by <strong>expanding </strong>the holdings through a <strong>self-submission tool</strong>, and by diffusing the knowledge via an open access digital library.  You can find the current prototype here (<a href=\"http://www.dloc.com/vodou\">http://www.dloc.com/vodou</a>),  hosted within the existing <a href=\"http://dloc.com/\">Digital Library of the Caribbean</a> (dLOC). In addition to the 27 international partners working with the Digital Library of the Caribbean, collaborators from the University of Notre Dame, the University of Miami, the Schrijversvakschool, Florida International University, the Université des Antilles et de la Guyane, and City Lore, among others, will contribute elements to <strong><em>The Vodou Archive</em></strong>. This project belongs to a tradition of scholarly work stretching back to the early 20<sup>th</sup> century that has sought to counter reductionist and racist visions of the religion through ethnography, analysis of culture and music, and an exploration of the role of Vodou in Haiti’s founding revolution. Such work has long turned to the central texts in Haitian Vodou: its <strong>Creole-language songs</strong>. Building on my <em>Vodou Songs in Haitian Creole and English</em>,<a href=\"#_ftn1\">[1]</a> <em>The Vodou Archive</em> project makes these songs available in Haitian Creole and English along with substantial interpretative annotations and essays to contextualize the collection. The materials to be edited and curated in <em>The Vodou Archive</em> are of major literary, historical, cultural and religious significance. The vast Vodou corpus stands out because it preserves a wealth of African cultural, ethnological and historical knowledge.<a href=\"#_ftn2\">[2]</a> (Beauvoir 2008b). The oral and textual corpora of songs are comprised of the authentic and living traditions of the Vodou religion. They are primarily the songs that are sung in the context of Vodou worship in public and domestic ceremonies and they constitute the sacred literature of the religion. Vodou songs, a constant in ceremonies, address the mythologies and characteristics of the lwa and they describe their relations with humans. Vodou songs are time capsules that reveal the history and origins of the Haitian people in Africa, their journey to the Americas in the French slave trade, and their lives in the French colony. Due to their sacred nature, they are very well-preserved records of African and Haitian history and culture.<a href=\"#_ftn3\">[3]</a>). Ceremonies and songs preserve African historical (i.e. <em>Bosou</em>, <em>Achade</em>, <em>Legba</em>, <em>Danbala</em>), cultural (i.e. <em>lwa</em>,<em> ounsi</em>, <em>ason</em>,<em> oungan</em>) and geographical (i.e. <em>Rada</em>, <em>Savalou</em>, <em>Boumba</em>) terms in a creolized or blended religious and cultural system.<a href=\"#_ftn4\">[4]</a> <a href=\"#_msocom_1\">[C1]</a> Likewise, there are numerous Vodou ceremonies (rites) classified by the African <em>nanchon </em>(nations/communities) where they originate, i.e. Rada, Petwo, Ginen, Seneka, Ibo, Danwonmen, Nago, Kongo, Kita, etc.<a href=\"#_ftn5\">[5]</a> Undergraduates played, and will play, a key role in this archive.  They contributed first drafts of transcriptions and translations of Vodou songs and interviews with Vodou practitioners for the book, <em>Vodou Songs in Haitian Creole and English</em> (Hebblethwaite 2012). The undergraduate students worked on transcribing and translating interviews that I collected from Vodou priests in Haiti and they also transcribed and translated rare pre-existing published materials.<a href=\"#_ftn6\">[6]</a>   The students, Joanne Bartley, Vanessa Brissault, Kat Warwick, Wilmide Vernet, and Musset Apollon, were either paid hourly through grant funding or they earned credit for an independent study. We worked from manuscripts that employ a range of Haitian Creole spelling systems. The official variety, the “IPN,” named after the <em>Institut Pédagogique National</em>, was adopted for the first time in 1980. Many of our manuscripts predate 1980 and thus transcription required heavy correction and consultation with lexicographical works.<a href=\"#_ftn7\">[7]</a>The students had been exposed to the official variety of Haitian Creole spelling in my intermediate Haitian Creole course. After establishing the Haitian Creole source text, the students next produced the first draft of the English translation. I then corrected the Haitian Creole and English drafts in various cycles as the materials moved towards the finished products, the book or the Vodou Archive.  (See Figure 1, and for the related Vodou Archive digital library, Figures 2 &amp; 3.) \r\n<span class=\"caption\" style=\"margin-left: 10px; width: 166px; margin-bottom: 20px;\"><a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/hebbelthwaite_fig1.jpg\"><img class=\"size-medium wp-image-2358\" style=\"margin-bottom: 10px; margin-right: 10px;\" title=\"hebbelthwaite_fig1\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/hebbelthwaite_fig1-166x250.jpg\" alt=\"Figure 1\" width=\"166\" height=\"250\" /></a> Figure 1: The book cover of Vodou Songs in Haitian Creole and English.</span>\r\n\r\n<span class=\"caption\" style=\"width: 266px; clear:none;\"><a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/hebbelthwaite_fig2.jpg\"><img class=\" wp-image-2359\" style=\"margin-bottom: 10px;\" title=\"hebbelthwaite_fig2\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/hebbelthwaite_fig2-333x208.jpg\" alt=\"Figure 2\" width=\"266\" height=\"166\" /></a> Figure 2: The homepage of the Vodou Archive.</span><span class=\"caption left\" style=\"margin-right: 20px; width: 266px; clear: none;\"><a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/hebbelthwaite_fig3.jpg\"><img class=\" wp-image-2360\" style=\"margin-bottom: 10px; clear:right;\" title=\"hebbelthwaite_fig3\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/hebbelthwaite_fig3-333x208.jpg\" alt=\"Figure 3\" width=\"266\" height=\"166\" /></a> Figure 3: This screen shot presents the view inside of the Vodou Archive with the filter menu for narrowing results on the left hand side of the screen.</span><br clear=\"all\" />\r\n<div class=\"footnotes\"><br clear=\"all\" />\r\n<div id=\"_ftn1\" class=\"footnote\">[1] Benjamin Hebblethwaite and Joanne Bartley, <em>Vodou Songs in Haitian Creole and English </em> <em>= Chante vodou an kreyòl ayisyen ak angle</em> (Philadelphia: Temple University Press, 2012).</div>\r\n<div id=\"_ftn2\" class=\"footnote\">[2] Max Beauvoir, <em>Le Grand Recueil Sacré ou Répertoire des Chansons du Vodou Haïtien </em>(Port-au-Prince: Edisyon Près Nasyonal d Ayiti, 2008).</div>\r\n<div id=\"_ftn3\" class=\"footnote\">[3] Claudine Michel, “Vodou in Haiti: Way of Life and Mode of Survival,” in <em>Vodou in Haitian Life and Culture: Invisible Powers, </em>ed. Claudine Michel and Patrick Bellegarde-Smith (New York: Palgrave Macmillan, 2006), 27–37.<em></em></div>\r\n<div id=\"_ftn4\" class=\"footnote\">[4] See Roger Brand, <em>Cultes vodoun et textes oraux des Wéménou du sud Bénin </em>(Munich: Lincom Europa, 2000), 15; Marc Monsia, <em>Religions indigènes et savoir endogène au Bénin </em>(Cotonou, Benin: Les Éditions du Flamboyant, 2003); Gilbert Rouget, <em>La musique et la transe </em>(Paris: Gallimard, 1991 (1980)); and Gilbert Rouget, <em>Initiatique vôdoun, images du rituel: Chants et danses initiatiques pour le culte des vôdoun au Bénin </em>(Saint-Maur, France: Éditions Sépia, 2001), v.</div>\r\n<div id=\"_ftn5\" class=\"footnote\">[5] Max G. Beauvoir, <em>Lapriyè Ginen </em>(Port-au-Prince: Edisyon Près Nasyonal d Ayiti. 2008), 109-110.</div>\r\n<div id=\"_ftn6\" class=\"footnote\">[6] Milo Marcelin, <em>Mythologie Vodou (Rite Arada)</em>,<em> </em>2 vols. (Pétionville: Éditions Canapé Vert, 1950); Laura Boulton, “Laura Boulton’s Songs” (1947), in <em>Vodou Songs in Haitian Creole and English = Chante vodou an kreyòl ayisyen ak angle</em>, eds. Benjamin Hebblethwaite and Joanne Bartley (Philadelphia: Temple University Press, 2012), 127-145;  J.L., “J.L. Songs,” in <em>Vodou Songs in Haitian Creole and English</em>,<em> </em>147-184; Harold Courlander, unpublished manuscript (1939–1940), University of Michigan Special Collections Library; Milo Rigaud, <em>La tradition voudoo et le voudoo haïtien: Son temple, ses mystères, sa magie </em>(Paris: Éditions Niclaus, 1953).</div>\r\n<div id=\"_ftn7\" class=\"footnote\">[7] Albert Valdman, Iskra Iskrova, Jacques Pierre, and Nicolas André, <em>Haitian Creole-English Bilingual Dictionary</em> (Bloomington, IN: Creole Institute, 2007); Bryant Freeman and Jowel Laguerre, <em>Haitian-English Dictionary</em>, 5th ed. (Lawrence, KS: Institute of Haitian Studies, 2004).</div>\r\n<div id=\"_msoanchor_1\" class=\"footnote\">[C1] The Brand citation is here. The original reference is: (Brand 2000: 15; Monsia 2003; Rouget 1991, 2001: v).  Which of the two Brand books should be referenced (I chose 2000a, but that could be wrong)?</div>\r\n</div>','Undergraduates in the Archives - Hebblethwaite 1','The Vodou Archive is a collaborative partnership spearheaded by the University of Florida and Duke University which seeks to improve the understanding of a central Haitian and Haitian-American spiritual tradition by gathering the audiovisual and textual sources of Vodou communities, by interpreting what we collect, by expanding the holdings through a self-submission tool, and by diffusing the knowledge via an open access digital library.  ','inherit','open','open','','1504-revision-20','','','2012-09-24 19:07:33','2012-09-24 19:07:33','',1504,'http://www.archivejournal.net/issue/2/uncategorized/1504-revision-20/',0,'revision','',0),(2366,19,'2012-09-24 19:06:44','2012-09-24 19:06:44','<em>The Vodou Archive</em> is a collaborative partnership spearheaded by the University of Florida and Duke University which seeks to improve the understanding of a central Haitian and Haitian-American spiritual tradition by gathering the <strong>audiovisual</strong> and <strong>textual</strong> sources of Vodou communities, by <strong>interpreting</strong> what we collect, by <strong>expanding </strong>the holdings through a <strong>self-submission tool</strong>, and by diffusing the knowledge via an open access digital library.  You can find the current prototype here (<a href=\"http://www.dloc.com/vodou\">http://www.dloc.com/vodou</a>),  hosted within the existing <a href=\"http://dloc.com/\">Digital Library of the Caribbean</a> (dLOC). In addition to the 27 international partners working with the Digital Library of the Caribbean, collaborators from the University of Notre Dame, the University of Miami, the Schrijversvakschool, Florida International University, the Université des Antilles et de la Guyane, and City Lore, among others, will contribute elements to <strong><em>The Vodou Archive</em></strong>. This project belongs to a tradition of scholarly work stretching back to the early 20<sup>th</sup> century that has sought to counter reductionist and racist visions of the religion through ethnography, analysis of culture and music, and an exploration of the role of Vodou in Haiti’s founding revolution. Such work has long turned to the central texts in Haitian Vodou: its <strong>Creole-language songs</strong>. Building on my <em>Vodou Songs in Haitian Creole and English</em>,<a href=\"#_ftn1\">[1]</a> <em>The Vodou Archive</em> project makes these songs available in Haitian Creole and English along with substantial interpretative annotations and essays to contextualize the collection. The materials to be edited and curated in <em>The Vodou Archive</em> are of major literary, historical, cultural and religious significance. The vast Vodou corpus stands out because it preserves a wealth of African cultural, ethnological and historical knowledge.<a href=\"#_ftn2\">[2]</a> (Beauvoir 2008b). The oral and textual corpora of songs are comprised of the authentic and living traditions of the Vodou religion. They are primarily the songs that are sung in the context of Vodou worship in public and domestic ceremonies and they constitute the sacred literature of the religion. Vodou songs, a constant in ceremonies, address the mythologies and characteristics of the lwa and they describe their relations with humans. Vodou songs are time capsules that reveal the history and origins of the Haitian people in Africa, their journey to the Americas in the French slave trade, and their lives in the French colony. Due to their sacred nature, they are very well-preserved records of African and Haitian history and culture.<a href=\"#_ftn3\">[3]</a>). Ceremonies and songs preserve African historical (i.e. <em>Bosou</em>, <em>Achade</em>, <em>Legba</em>, <em>Danbala</em>), cultural (i.e. <em>lwa</em>,<em> ounsi</em>, <em>ason</em>,<em> oungan</em>) and geographical (i.e. <em>Rada</em>, <em>Savalou</em>, <em>Boumba</em>) terms in a creolized or blended religious and cultural system.<a href=\"#_ftn4\">[4]</a> <a href=\"#_msocom_1\">[C1]</a> Likewise, there are numerous Vodou ceremonies (rites) classified by the African <em>nanchon </em>(nations/communities) where they originate, i.e. Rada, Petwo, Ginen, Seneka, Ibo, Danwonmen, Nago, Kongo, Kita, etc.<a href=\"#_ftn5\">[5]</a> Undergraduates played, and will play, a key role in this archive.  They contributed first drafts of transcriptions and translations of Vodou songs and interviews with Vodou practitioners for the book, <em>Vodou Songs in Haitian Creole and English</em> (Hebblethwaite 2012). The undergraduate students worked on transcribing and translating interviews that I collected from Vodou priests in Haiti and they also transcribed and translated rare pre-existing published materials.<a href=\"#_ftn6\">[6]</a>   The students, Joanne Bartley, Vanessa Brissault, Kat Warwick, Wilmide Vernet, and Musset Apollon, were either paid hourly through grant funding or they earned credit for an independent study. We worked from manuscripts that employ a range of Haitian Creole spelling systems. The official variety, the “IPN,” named after the <em>Institut Pédagogique National</em>, was adopted for the first time in 1980. Many of our manuscripts predate 1980 and thus transcription required heavy correction and consultation with lexicographical works.<a href=\"#_ftn7\">[7]</a>The students had been exposed to the official variety of Haitian Creole spelling in my intermediate Haitian Creole course. After establishing the Haitian Creole source text, the students next produced the first draft of the English translation. I then corrected the Haitian Creole and English drafts in various cycles as the materials moved towards the finished products, the book or the Vodou Archive.  (See Figure 1, and for the related Vodou Archive digital library, Figures 2 &amp; 3.) \r\n<span class=\"caption\" style=\"margin-left: 10px; width: 166px; margin-bottom: 20px;\"><a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/hebbelthwaite_fig1.jpg\"><img class=\"size-medium wp-image-2358\" style=\"margin-bottom: 10px; margin-right: 10px;\" title=\"hebbelthwaite_fig1\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/hebbelthwaite_fig1-166x250.jpg\" alt=\"Figure 1\" width=\"166\" height=\"250\" /></a> Figure 1: The book cover of Vodou Songs in Haitian Creole and English.</span>\r\n\r\n<span class=\"caption left\" style=\"margin-left: 10px; margin-right: 10px; width: 266px; clear:none;\"><a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/hebbelthwaite_fig2.jpg\"><img class=\" wp-image-2359\" style=\"margin-bottom: 10px;\" title=\"hebbelthwaite_fig2\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/hebbelthwaite_fig2-333x208.jpg\" alt=\"Figure 2\" width=\"266\" height=\"166\" /></a> Figure 2: The homepage of the Vodou Archive.</span><span class=\"caption left\" style=\"margin-right: 10px; width: 266px; clear: none;\"><a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/hebbelthwaite_fig3.jpg\"><img class=\" wp-image-2360\" style=\"margin-bottom: 10px; clear:right;\" title=\"hebbelthwaite_fig3\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/hebbelthwaite_fig3-333x208.jpg\" alt=\"Figure 3\" width=\"266\" height=\"166\" /></a> Figure 3: This screen shot presents the view inside of the Vodou Archive with the filter menu for narrowing results on the left hand side of the screen.</span><br clear=\"all\" />\r\n<div class=\"footnotes\"><br clear=\"all\" />\r\n<div id=\"_ftn1\" class=\"footnote\">[1] Benjamin Hebblethwaite and Joanne Bartley, <em>Vodou Songs in Haitian Creole and English </em> <em>= Chante vodou an kreyòl ayisyen ak angle</em> (Philadelphia: Temple University Press, 2012).</div>\r\n<div id=\"_ftn2\" class=\"footnote\">[2] Max Beauvoir, <em>Le Grand Recueil Sacré ou Répertoire des Chansons du Vodou Haïtien </em>(Port-au-Prince: Edisyon Près Nasyonal d Ayiti, 2008).</div>\r\n<div id=\"_ftn3\" class=\"footnote\">[3] Claudine Michel, “Vodou in Haiti: Way of Life and Mode of Survival,” in <em>Vodou in Haitian Life and Culture: Invisible Powers, </em>ed. Claudine Michel and Patrick Bellegarde-Smith (New York: Palgrave Macmillan, 2006), 27–37.<em></em></div>\r\n<div id=\"_ftn4\" class=\"footnote\">[4] See Roger Brand, <em>Cultes vodoun et textes oraux des Wéménou du sud Bénin </em>(Munich: Lincom Europa, 2000), 15; Marc Monsia, <em>Religions indigènes et savoir endogène au Bénin </em>(Cotonou, Benin: Les Éditions du Flamboyant, 2003); Gilbert Rouget, <em>La musique et la transe </em>(Paris: Gallimard, 1991 (1980)); and Gilbert Rouget, <em>Initiatique vôdoun, images du rituel: Chants et danses initiatiques pour le culte des vôdoun au Bénin </em>(Saint-Maur, France: Éditions Sépia, 2001), v.</div>\r\n<div id=\"_ftn5\" class=\"footnote\">[5] Max G. Beauvoir, <em>Lapriyè Ginen </em>(Port-au-Prince: Edisyon Près Nasyonal d Ayiti. 2008), 109-110.</div>\r\n<div id=\"_ftn6\" class=\"footnote\">[6] Milo Marcelin, <em>Mythologie Vodou (Rite Arada)</em>,<em> </em>2 vols. (Pétionville: Éditions Canapé Vert, 1950); Laura Boulton, “Laura Boulton’s Songs” (1947), in <em>Vodou Songs in Haitian Creole and English = Chante vodou an kreyòl ayisyen ak angle</em>, eds. Benjamin Hebblethwaite and Joanne Bartley (Philadelphia: Temple University Press, 2012), 127-145;  J.L., “J.L. Songs,” in <em>Vodou Songs in Haitian Creole and English</em>,<em> </em>147-184; Harold Courlander, unpublished manuscript (1939–1940), University of Michigan Special Collections Library; Milo Rigaud, <em>La tradition voudoo et le voudoo haïtien: Son temple, ses mystères, sa magie </em>(Paris: Éditions Niclaus, 1953).</div>\r\n<div id=\"_ftn7\" class=\"footnote\">[7] Albert Valdman, Iskra Iskrova, Jacques Pierre, and Nicolas André, <em>Haitian Creole-English Bilingual Dictionary</em> (Bloomington, IN: Creole Institute, 2007); Bryant Freeman and Jowel Laguerre, <em>Haitian-English Dictionary</em>, 5th ed. (Lawrence, KS: Institute of Haitian Studies, 2004).</div>\r\n<div id=\"_msoanchor_1\" class=\"footnote\">[C1] The Brand citation is here. The original reference is: (Brand 2000: 15; Monsia 2003; Rouget 1991, 2001: v).  Which of the two Brand books should be referenced (I chose 2000a, but that could be wrong)?</div>\r\n</div>','Undergraduates in the Archives - Hebblethwaite 1','The Vodou Archive is a collaborative partnership spearheaded by the University of Florida and Duke University which seeks to improve the understanding of a central Haitian and Haitian-American spiritual tradition by gathering the audiovisual and textual sources of Vodou communities, by interpreting what we collect, by expanding the holdings through a self-submission tool, and by diffusing the knowledge via an open access digital library.  ','inherit','open','open','','1504-revision-19','','','2012-09-24 19:06:44','2012-09-24 19:06:44','',1504,'http://www.archivejournal.net/issue/2/uncategorized/1504-revision-19/',0,'revision','',0),(2368,19,'2012-09-24 19:07:52','2012-09-24 19:07:52','<em>The Vodou Archive</em> is a collaborative partnership spearheaded by the University of Florida and Duke University which seeks to improve the understanding of a central Haitian and Haitian-American spiritual tradition by gathering the <strong>audiovisual</strong> and <strong>textual</strong> sources of Vodou communities, by <strong>interpreting</strong> what we collect, by <strong>expanding </strong>the holdings through a <strong>self-submission tool</strong>, and by diffusing the knowledge via an open access digital library.  You can find the current prototype here (<a href=\"http://www.dloc.com/vodou\">http://www.dloc.com/vodou</a>),  hosted within the existing <a href=\"http://dloc.com/\">Digital Library of the Caribbean</a> (dLOC). In addition to the 27 international partners working with the Digital Library of the Caribbean, collaborators from the University of Notre Dame, the University of Miami, the Schrijversvakschool, Florida International University, the Université des Antilles et de la Guyane, and City Lore, among others, will contribute elements to <strong><em>The Vodou Archive</em></strong>. This project belongs to a tradition of scholarly work stretching back to the early 20<sup>th</sup> century that has sought to counter reductionist and racist visions of the religion through ethnography, analysis of culture and music, and an exploration of the role of Vodou in Haiti’s founding revolution. Such work has long turned to the central texts in Haitian Vodou: its <strong>Creole-language songs</strong>. Building on my <em>Vodou Songs in Haitian Creole and English</em>,<a href=\"#_ftn1\">[1]</a> <em>The Vodou Archive</em> project makes these songs available in Haitian Creole and English along with substantial interpretative annotations and essays to contextualize the collection. The materials to be edited and curated in <em>The Vodou Archive</em> are of major literary, historical, cultural and religious significance. The vast Vodou corpus stands out because it preserves a wealth of African cultural, ethnological and historical knowledge.<a href=\"#_ftn2\">[2]</a> (Beauvoir 2008b). The oral and textual corpora of songs are comprised of the authentic and living traditions of the Vodou religion. They are primarily the songs that are sung in the context of Vodou worship in public and domestic ceremonies and they constitute the sacred literature of the religion. Vodou songs, a constant in ceremonies, address the mythologies and characteristics of the lwa and they describe their relations with humans. Vodou songs are time capsules that reveal the history and origins of the Haitian people in Africa, their journey to the Americas in the French slave trade, and their lives in the French colony. Due to their sacred nature, they are very well-preserved records of African and Haitian history and culture.<a href=\"#_ftn3\">[3]</a>). Ceremonies and songs preserve African historical (i.e. <em>Bosou</em>, <em>Achade</em>, <em>Legba</em>, <em>Danbala</em>), cultural (i.e. <em>lwa</em>,<em> ounsi</em>, <em>ason</em>,<em> oungan</em>) and geographical (i.e. <em>Rada</em>, <em>Savalou</em>, <em>Boumba</em>) terms in a creolized or blended religious and cultural system.<a href=\"#_ftn4\">[4]</a> <a href=\"#_msocom_1\">[C1]</a> Likewise, there are numerous Vodou ceremonies (rites) classified by the African <em>nanchon </em>(nations/communities) where they originate, i.e. Rada, Petwo, Ginen, Seneka, Ibo, Danwonmen, Nago, Kongo, Kita, etc.<a href=\"#_ftn5\">[5]</a> Undergraduates played, and will play, a key role in this archive.  They contributed first drafts of transcriptions and translations of Vodou songs and interviews with Vodou practitioners for the book, <em>Vodou Songs in Haitian Creole and English</em> (Hebblethwaite 2012). The undergraduate students worked on transcribing and translating interviews that I collected from Vodou priests in Haiti and they also transcribed and translated rare pre-existing published materials.<a href=\"#_ftn6\">[6]</a>   The students, Joanne Bartley, Vanessa Brissault, Kat Warwick, Wilmide Vernet, and Musset Apollon, were either paid hourly through grant funding or they earned credit for an independent study. We worked from manuscripts that employ a range of Haitian Creole spelling systems. The official variety, the “IPN,” named after the <em>Institut Pédagogique National</em>, was adopted for the first time in 1980. Many of our manuscripts predate 1980 and thus transcription required heavy correction and consultation with lexicographical works.<a href=\"#_ftn7\">[7]</a>The students had been exposed to the official variety of Haitian Creole spelling in my intermediate Haitian Creole course. After establishing the Haitian Creole source text, the students next produced the first draft of the English translation. I then corrected the Haitian Creole and English drafts in various cycles as the materials moved towards the finished products, the book or the Vodou Archive.  (See Figure 1, and for the related Vodou Archive digital library, Figures 2 &amp; 3.)\r\n<span class=\"caption\" style=\"margin-left: 10px; width: 166px; margin-bottom: 20px;\"><a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/hebbelthwaite_fig1.jpg\"><img class=\"size-medium wp-image-2358\" style=\"margin-bottom: 10px; margin-right: 10px;\" title=\"hebbelthwaite_fig1\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/hebbelthwaite_fig1-166x250.jpg\" alt=\"Figure 1\" width=\"166\" height=\"250\" /></a> Figure 1: The book cover of Vodou Songs in Haitian Creole and English.</span>\r\n\r\n<span class=\"caption\" style=\"width: 266px; clear: none;\"><a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/hebbelthwaite_fig2.jpg\"><img class=\" wp-image-2359\" style=\"margin-bottom: 10px;\" title=\"hebbelthwaite_fig2\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/hebbelthwaite_fig2-333x208.jpg\" alt=\"Figure 2\" width=\"266\" height=\"166\" /></a> Figure 2: The homepage of the Vodou Archive.</span><span class=\"caption left\" style=\"margin-right: 10px; width: 266px; clear: none;\"><a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/hebbelthwaite_fig3.jpg\"><img class=\" wp-image-2360\" style=\"margin-bottom: 10px; clear: right;\" title=\"hebbelthwaite_fig3\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/hebbelthwaite_fig3-333x208.jpg\" alt=\"Figure 3\" width=\"266\" height=\"166\" /></a> Figure 3: This screen shot presents the view inside of the Vodou Archive with the filter menu for narrowing results on the left hand side of the screen.</span>\r\n<div class=\"footnotes\"><br clear=\"all\" />\r\n<div id=\"_ftn1\" class=\"footnote\">[1] Benjamin Hebblethwaite and Joanne Bartley, <em>Vodou Songs in Haitian Creole and English </em> <em>= Chante vodou an kreyòl ayisyen ak angle</em> (Philadelphia: Temple University Press, 2012).</div>\r\n<div id=\"_ftn2\" class=\"footnote\">[2] Max Beauvoir, <em>Le Grand Recueil Sacré ou Répertoire des Chansons du Vodou Haïtien </em>(Port-au-Prince: Edisyon Près Nasyonal d Ayiti, 2008).</div>\r\n<div id=\"_ftn3\" class=\"footnote\">[3] Claudine Michel, “Vodou in Haiti: Way of Life and Mode of Survival,” in <em>Vodou in Haitian Life and Culture: Invisible Powers, </em>ed. Claudine Michel and Patrick Bellegarde-Smith (New York: Palgrave Macmillan, 2006), 27–37.<em></em></div>\r\n<div id=\"_ftn4\" class=\"footnote\">[4] See Roger Brand, <em>Cultes vodoun et textes oraux des Wéménou du sud Bénin </em>(Munich: Lincom Europa, 2000), 15; Marc Monsia, <em>Religions indigènes et savoir endogène au Bénin </em>(Cotonou, Benin: Les Éditions du Flamboyant, 2003); Gilbert Rouget, <em>La musique et la transe </em>(Paris: Gallimard, 1991 (1980)); and Gilbert Rouget, <em>Initiatique vôdoun, images du rituel: Chants et danses initiatiques pour le culte des vôdoun au Bénin </em>(Saint-Maur, France: Éditions Sépia, 2001), v.</div>\r\n<div id=\"_ftn5\" class=\"footnote\">[5] Max G. Beauvoir, <em>Lapriyè Ginen </em>(Port-au-Prince: Edisyon Près Nasyonal d Ayiti. 2008), 109-110.</div>\r\n<div id=\"_ftn6\" class=\"footnote\">[6] Milo Marcelin, <em>Mythologie Vodou (Rite Arada)</em>,<em> </em>2 vols. (Pétionville: Éditions Canapé Vert, 1950); Laura Boulton, “Laura Boulton’s Songs” (1947), in <em>Vodou Songs in Haitian Creole and English = Chante vodou an kreyòl ayisyen ak angle</em>, eds. Benjamin Hebblethwaite and Joanne Bartley (Philadelphia: Temple University Press, 2012), 127-145;  J.L., “J.L. Songs,” in <em>Vodou Songs in Haitian Creole and English</em>,<em> </em>147-184; Harold Courlander, unpublished manuscript (1939–1940), University of Michigan Special Collections Library; Milo Rigaud, <em>La tradition voudoo et le voudoo haïtien: Son temple, ses mystères, sa magie </em>(Paris: Éditions Niclaus, 1953).</div>\r\n<div id=\"_ftn7\" class=\"footnote\">[7] Albert Valdman, Iskra Iskrova, Jacques Pierre, and Nicolas André, <em>Haitian Creole-English Bilingual Dictionary</em> (Bloomington, IN: Creole Institute, 2007); Bryant Freeman and Jowel Laguerre, <em>Haitian-English Dictionary</em>, 5th ed. (Lawrence, KS: Institute of Haitian Studies, 2004).</div>\r\n<div id=\"_msoanchor_1\" class=\"footnote\">[C1] The Brand citation is here. The original reference is: (Brand 2000: 15; Monsia 2003; Rouget 1991, 2001: v).  Which of the two Brand books should be referenced (I chose 2000a, but that could be wrong)?</div>\r\n</div>','Undergraduates in the Archives - Hebblethwaite 1','The Vodou Archive is a collaborative partnership spearheaded by the University of Florida and Duke University which seeks to improve the understanding of a central Haitian and Haitian-American spiritual tradition by gathering the audiovisual and textual sources of Vodou communities, by interpreting what we collect, by expanding the holdings through a self-submission tool, and by diffusing the knowledge via an open access digital library.  ','inherit','open','open','','1504-revision-21','','','2012-09-24 19:07:52','2012-09-24 19:07:52','',1504,'http://www.archivejournal.net/issue/2/uncategorized/1504-revision-21/',0,'revision','',0),(2369,19,'2012-09-24 19:08:44','2012-09-24 19:08:44','<em>The Vodou Archive</em> is a collaborative partnership spearheaded by the University of Florida and Duke University which seeks to improve the understanding of a central Haitian and Haitian-American spiritual tradition by gathering the <strong>audiovisual</strong> and <strong>textual</strong> sources of Vodou communities, by <strong>interpreting</strong> what we collect, by <strong>expanding </strong>the holdings through a <strong>self-submission tool</strong>, and by diffusing the knowledge via an open access digital library.  You can find the current prototype here (<a href=\"http://www.dloc.com/vodou\">http://www.dloc.com/vodou</a>),  hosted within the existing <a href=\"http://dloc.com/\">Digital Library of the Caribbean</a> (dLOC). In addition to the 27 international partners working with the Digital Library of the Caribbean, collaborators from the University of Notre Dame, the University of Miami, the Schrijversvakschool, Florida International University, the Université des Antilles et de la Guyane, and City Lore, among others, will contribute elements to <strong><em>The Vodou Archive</em></strong>. This project belongs to a tradition of scholarly work stretching back to the early 20<sup>th</sup> century that has sought to counter reductionist and racist visions of the religion through ethnography, analysis of culture and music, and an exploration of the role of Vodou in Haiti’s founding revolution. Such work has long turned to the central texts in Haitian Vodou: its <strong>Creole-language songs</strong>. Building on my <em>Vodou Songs in Haitian Creole and English</em>,<a href=\"#_ftn1\">[1]</a> <em>The Vodou Archive</em> project makes these songs available in Haitian Creole and English along with substantial interpretative annotations and essays to contextualize the collection. The materials to be edited and curated in <em>The Vodou Archive</em> are of major literary, historical, cultural and religious significance. The vast Vodou corpus stands out because it preserves a wealth of African cultural, ethnological and historical knowledge.<a href=\"#_ftn2\">[2]</a> (Beauvoir 2008b). The oral and textual corpora of songs are comprised of the authentic and living traditions of the Vodou religion. They are primarily the songs that are sung in the context of Vodou worship in public and domestic ceremonies and they constitute the sacred literature of the religion. Vodou songs, a constant in ceremonies, address the mythologies and characteristics of the lwa and they describe their relations with humans. Vodou songs are time capsules that reveal the history and origins of the Haitian people in Africa, their journey to the Americas in the French slave trade, and their lives in the French colony. Due to their sacred nature, they are very well-preserved records of African and Haitian history and culture.<a href=\"#_ftn3\">[3]</a>). Ceremonies and songs preserve African historical (i.e. <em>Bosou</em>, <em>Achade</em>, <em>Legba</em>, <em>Danbala</em>), cultural (i.e. <em>lwa</em>,<em> ounsi</em>, <em>ason</em>,<em> oungan</em>) and geographical (i.e. <em>Rada</em>, <em>Savalou</em>, <em>Boumba</em>) terms in a creolized or blended religious and cultural system.<a href=\"#_ftn4\">[4]</a> <a href=\"#_msocom_1\">[C1]</a> Likewise, there are numerous Vodou ceremonies (rites) classified by the African <em>nanchon </em>(nations/communities) where they originate, i.e. Rada, Petwo, Ginen, Seneka, Ibo, Danwonmen, Nago, Kongo, Kita, etc.<a href=\"#_ftn5\">[5]</a> Undergraduates played, and will play, a key role in this archive.  They contributed first drafts of transcriptions and translations of Vodou songs and interviews with Vodou practitioners for the book, <em>Vodou Songs in Haitian Creole and English</em> (Hebblethwaite 2012). The undergraduate students worked on transcribing and translating interviews that I collected from Vodou priests in Haiti and they also transcribed and translated rare pre-existing published materials.<a href=\"#_ftn6\">[6]</a>   The students, Joanne Bartley, Vanessa Brissault, Kat Warwick, Wilmide Vernet, and Musset Apollon, were either paid hourly through grant funding or they earned credit for an independent study. We worked from manuscripts that employ a range of Haitian Creole spelling systems. The official variety, the “IPN,” named after the <em>Institut Pédagogique National</em>, was adopted for the first time in 1980. Many of our manuscripts predate 1980 and thus transcription required heavy correction and consultation with lexicographical works.<a href=\"#_ftn7\">[7]</a>The students had been exposed to the official variety of Haitian Creole spelling in my intermediate Haitian Creole course. After establishing the Haitian Creole source text, the students next produced the first draft of the English translation. I then corrected the Haitian Creole and English drafts in various cycles as the materials moved towards the finished products, the book or the Vodou Archive.  (See Figure 1, and for the related Vodou Archive digital library, Figures 2 &amp; 3.)<span class=\"caption\" style=\"width: 166px; margin-bottom: 20px;\"><a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/hebbelthwaite_fig1.jpg\"><img class=\"size-medium wp-image-2358\" style=\"margin-bottom: 10px; margin-right: 10px;\" title=\"hebbelthwaite_fig1\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/hebbelthwaite_fig1-166x250.jpg\" alt=\"Figure 1\" width=\"166\" height=\"250\" /></a> Figure 1: The book cover of Vodou Songs in Haitian Creole and English.</span>\r\n\r\n<span class=\"caption left\" style=\"margin-right: 20px; width: 266px; clear:none;\"><a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/hebbelthwaite_fig2.jpg\"><img class=\" wp-image-2359\" style=\"margin-bottom: 10px;\" title=\"hebbelthwaite_fig2\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/hebbelthwaite_fig2-333x208.jpg\" alt=\"Figure 2\" width=\"266\" height=\"166\" /></a> Figure 2: The homepage of the Vodou Archive.</span><span class=\"caption left\" style=\"margin-right: 10px; width: 266px; clear: none;\"><a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/hebbelthwaite_fig3.jpg\"><img class=\" wp-image-2360\" style=\"margin-bottom: 10px; clear:right;\" title=\"hebbelthwaite_fig3\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/hebbelthwaite_fig3-333x208.jpg\" alt=\"Figure 3\" width=\"266\" height=\"166\" /></a> Figure 3: This screen shot presents the view inside of the Vodou Archive with the filter menu for narrowing results on the left hand side of the screen.</span><br clear=\"all\" />\r\n<div class=\"footnotes\"><br clear=\"all\" />\r\n<div id=\"_ftn1\" class=\"footnote\">[1] Benjamin Hebblethwaite and Joanne Bartley, <em>Vodou Songs in Haitian Creole and English </em> <em>= Chante vodou an kreyòl ayisyen ak angle</em> (Philadelphia: Temple University Press, 2012).</div>\r\n<div id=\"_ftn2\" class=\"footnote\">[2] Max Beauvoir, <em>Le Grand Recueil Sacré ou Répertoire des Chansons du Vodou Haïtien </em>(Port-au-Prince: Edisyon Près Nasyonal d Ayiti, 2008).</div>\r\n<div id=\"_ftn3\" class=\"footnote\">[3] Claudine Michel, “Vodou in Haiti: Way of Life and Mode of Survival,” in <em>Vodou in Haitian Life and Culture: Invisible Powers, </em>ed. Claudine Michel and Patrick Bellegarde-Smith (New York: Palgrave Macmillan, 2006), 27–37.<em></em></div>\r\n<div id=\"_ftn4\" class=\"footnote\">[4] See Roger Brand, <em>Cultes vodoun et textes oraux des Wéménou du sud Bénin </em>(Munich: Lincom Europa, 2000), 15; Marc Monsia, <em>Religions indigènes et savoir endogène au Bénin </em>(Cotonou, Benin: Les Éditions du Flamboyant, 2003); Gilbert Rouget, <em>La musique et la transe </em>(Paris: Gallimard, 1991 (1980)); and Gilbert Rouget, <em>Initiatique vôdoun, images du rituel: Chants et danses initiatiques pour le culte des vôdoun au Bénin </em>(Saint-Maur, France: Éditions Sépia, 2001), v.</div>\r\n<div id=\"_ftn5\" class=\"footnote\">[5] Max G. Beauvoir, <em>Lapriyè Ginen </em>(Port-au-Prince: Edisyon Près Nasyonal d Ayiti. 2008), 109-110.</div>\r\n<div id=\"_ftn6\" class=\"footnote\">[6] Milo Marcelin, <em>Mythologie Vodou (Rite Arada)</em>,<em> </em>2 vols. (Pétionville: Éditions Canapé Vert, 1950); Laura Boulton, “Laura Boulton’s Songs” (1947), in <em>Vodou Songs in Haitian Creole and English = Chante vodou an kreyòl ayisyen ak angle</em>, eds. Benjamin Hebblethwaite and Joanne Bartley (Philadelphia: Temple University Press, 2012), 127-145;  J.L., “J.L. Songs,” in <em>Vodou Songs in Haitian Creole and English</em>,<em> </em>147-184; Harold Courlander, unpublished manuscript (1939–1940), University of Michigan Special Collections Library; Milo Rigaud, <em>La tradition voudoo et le voudoo haïtien: Son temple, ses mystères, sa magie </em>(Paris: Éditions Niclaus, 1953).</div>\r\n<div id=\"_ftn7\" class=\"footnote\">[7] Albert Valdman, Iskra Iskrova, Jacques Pierre, and Nicolas André, <em>Haitian Creole-English Bilingual Dictionary</em> (Bloomington, IN: Creole Institute, 2007); Bryant Freeman and Jowel Laguerre, <em>Haitian-English Dictionary</em>, 5th ed. (Lawrence, KS: Institute of Haitian Studies, 2004).</div>\r\n<div id=\"_msoanchor_1\" class=\"footnote\">[C1] The Brand citation is here. The original reference is: (Brand 2000: 15; Monsia 2003; Rouget 1991, 2001: v).  Which of the two Brand books should be referenced (I chose 2000a, but that could be wrong)?</div>\r\n</div>','Undergraduates in the Archives - Hebblethwaite 1','The Vodou Archive is a collaborative partnership spearheaded by the University of Florida and Duke University which seeks to improve the understanding of a central Haitian and Haitian-American spiritual tradition by gathering the audiovisual and textual sources of Vodou communities, by interpreting what we collect, by expanding the holdings through a self-submission tool, and by diffusing the knowledge via an open access digital library.  ','inherit','open','open','','1504-revision-22','','','2012-09-24 19:08:44','2012-09-24 19:08:44','',1504,'http://www.archivejournal.net/issue/2/uncategorized/1504-revision-22/',0,'revision','',0),(2370,19,'2012-04-27 20:41:39','2012-04-27 20:41:39','<iframe src=\"http://player.vimeo.com/video/37986760?title=0&amp;byline=0&amp;portrait=0\" frameborder=\"0\" width=\"640\" height=\"480\"></iframe>','The Development of Masculinity','','inherit','open','open','','1698-revision-5','','','2012-04-27 20:41:39','2012-04-27 20:41:39','',1698,'http://www.archivejournal.net/issue/2/uncategorized/1698-revision-5/',0,'revision','',0),(2371,19,'2012-07-27 08:34:57','2012-07-27 08:34:57','<img class=\"alignleft size-full wp-image-1378\" title=\"lehigh_student head shot_weber\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/lehigh_student-head-shot_weber.jpg\" alt=\"\" width=\"120\" height=\"160\" />\r\n\r\nDuring the fall 2011 semester, I was a part of Lehigh University’s Theories of Masculinity class, an upper-level English and women’s studies course. Initially, I signed up for it because it was a prerequisite for graduating with department honors. As part of this course, we created a documentary film on coeducation and its effects on men and masculinity at Lehigh, which is currently celebrating its fortieth anniversary of admitting female students. My role in this film became a challenging and ultimately very rewarding part of my education at Lehigh.\r\n\r\nCreating the film required extensive use of Lehigh University’s Special Collections. As someone unfamiliar with the process of researching in the archives, I was unaware of the extensive time and effort such an undertaking required. Yet, it was through delving into the pages and pages of yearbook photos from the late 1960s and early 1970s, and seeing headlines from that time in <em>The Brown and White</em>, Lehigh’s student newspaper, that I began to appreciate the power of the project our class was creating. This project allowed me to see the trajectory of Lehigh’s transition to a coeducational institution, a transition colored by many challenges, including sexism. These challenges are not easily visible in 2011, forty years later, so seeing the headlines and pictures in the archives literally, and in a unique way, demonstrated the hurdles women had to face at Lehigh. Some were the only girls in their classes, and all had to overcome being seen simply as weekend entertainment for the male students, as was the case for the women who were bussed in and out on Saturdays from nearby Cedar Crest College prior to coeducation. I had been taking my role as a woman on Lehigh’s campus for granted, and this process really made me consider the journey that others had taken to provide me with such an opportunity.\r\n\r\nThe archives played a major role in our documentary. The images and video clips we found provided evidence of our claims about the challenges women came up against at a conservative institution transitioning to coeducation, and in a way that our words alone could not do justice to. Simply hearing about the awkward mixers held before coeducation was implemented is not as powerful as seeing pictures of wide-eyed men groping at women, or of the huge amounts of alcohol they consumed at these parties. Lehigh’s archives are not used nearly enough. I am embarrassed to admit that as a first-semester senior English major I am just now getting my first taste of their value. It is my hope that our documentary project will serve as a positive example of the power that these resources can provide to our university. As these images fade further and further into the past, students have the chance to keep them alive in our contemporary work by using them in various classes and research projects. I hope that our documentary project can show the university, and especially other students like me who may not have known the extent of the material available, the value of these resources to the legacy of our institution and the appreciation of our education.','Kim Weber - Commentary','During the fall 2011 semester, I was a part of Lehigh University’s Theories of Masculinity class, an upper-level English and women’s studies course. Initially, I signed up for it because it was a prerequisite for graduating with department honors. As part of this course, we created a documentary film on coeducation and its effects on men and masculinity at Lehigh, which is currently celebrating its fortieth anniversary of admitting female students. My role in this film became a challenging and ultimately very rewarding part of my education at Lehigh.','inherit','open','open','','1113-revision-9','','','2012-07-27 08:34:57','2012-07-27 08:34:57','',1113,'http://www.archivejournal.net/issue/2/uncategorized/1113-revision-9/',0,'revision','',0),(2372,19,'2012-09-24 19:15:11','2012-09-24 19:15:11','<iframe src=\"http://player.vimeo.com/video/37986760?title=0&amp;byline=0&amp;portrait=0\" frameborder=\"0\" width=\"640\" height=\"480\"></iframe>','The Development of Masculinity','','inherit','open','open','','1698-revision-6','','','2012-09-24 19:15:11','2012-09-24 19:15:11','',1698,'http://www.archivejournal.net/issue/2/uncategorized/1698-revision-6/',0,'revision','',0),(2373,19,'2012-07-27 08:55:28','2012-07-27 08:55:28','[slideshow order=\"DESC\"]','Lehigh - Archival Materials','','inherit','open','open','','1387-revision-30','','','2012-07-27 08:55:28','2012-07-27 08:55:28','',1387,'http://www.archivejournal.net/issue/2/uncategorized/1387-revision-30/',0,'revision','',0),(2374,19,'2012-07-27 10:52:23','2012-07-27 10:52:23','<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-7','','','2012-07-27 10:52:23','2012-07-27 10:52:23','',1116,'http://www.archivejournal.net/issue/2/uncategorized/1116-revision-7/',0,'revision','',0),(2375,19,'2012-07-27 08:37:09','2012-07-27 08:37:09','<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-9','','','2012-07-27 08:37:09','2012-07-27 08:37:09','',1110,'http://www.archivejournal.net/issue/2/uncategorized/1110-revision-9/',0,'revision','',0),(2376,19,'2012-09-24 19:16:02','2012-09-24 19:16:02','[slideshow order=\"DESC\"]','Lehigh - Archival Materials','','inherit','open','open','','1387-revision-31','','','2012-09-24 19:16:02','2012-09-24 19:16:02','',1387,'http://www.archivejournal.net/issue/2/uncategorized/1387-revision-31/',0,'revision','',0),(2377,19,'2012-09-24 19:20:32','2012-09-24 19:20:32','[gallery order=desc columns=4]','Lehigh - Archival Materials','','inherit','open','open','','1387-revision-32','','','2012-09-24 19:20:32','2012-09-24 19:20:32','',1387,'http://www.archivejournal.net/issue/2/uncategorized/1387-revision-32/',0,'revision','',0),(2379,19,'2012-09-24 19:31:21','2012-09-24 19:31:21','[slideshow]','Lehigh - Archival Materials','','inherit','open','open','','1387-revision-34','','','2012-09-24 19:31:21','2012-09-24 19:31:21','',1387,'http://www.archivejournal.net/issue/2/uncategorized/1387-revision-34/',0,'revision','',0),(2378,19,'2012-09-24 19:22:07','2012-09-24 19:22:07','[gallery order=\"desc\" columns=\"4\" link=\"file\"]','Lehigh - Archival Materials','','inherit','open','open','','1387-revision-33','','','2012-09-24 19:22:07','2012-09-24 19:22:07','',1387,'http://www.archivejournal.net/issue/2/uncategorized/1387-revision-33/',0,'revision','',0),(2380,19,'2012-09-24 19:31:40','2012-09-24 19:31:40','[slideshow post_id=1387]','Lehigh - Archival Materials','','inherit','open','open','','1387-revision-35','','','2012-09-24 19:31:40','2012-09-24 19:31:40','',1387,'http://www.archivejournal.net/issue/2/uncategorized/1387-revision-35/',0,'revision','',0),(3721,2,'2012-11-14 06:11:42','2012-11-14 06:11:42','','Archival Materials into Documentary Film','Students in an English and Women’s Studies undergraduate course at Lehigh University used materials from Lehigh’s Special Collections and University Archives to create a documentary film. The students used these archival resources, along with interviews and other research, to tell a chapter of their own institution’s history, focusing on issues of gender and masculinity as Lehigh went from all-male to coed in 1971.','inherit','open','open','','1108-revision-21','','','2012-11-14 06:11:42','2012-11-14 06:11:42','',1108,'http://www.archivejournal.net/issue/2/uncategorized/1108-revision-21/',0,'revision','',0),(2381,19,'2012-07-27 10:49:54','2012-07-27 10:49:54','','Archival Materials into Documentary Film','Students in an English and Women’s Studies undergraduate course at Lehigh University used materials from Lehigh’s Special Collections and University Archives to create a documentary film. The students used these archival resources, along with interviews and other research, to tell a chapter of their own institution’s history, focusing on issues of gender and masculinity as Lehigh went from all-male to coed in 1971.','inherit','open','open','','1108-revision-16','','','2012-07-27 10:49:54','2012-07-27 10:49:54','',1108,'http://www.archivejournal.net/issue/2/uncategorized/1108-revision-16/',0,'revision','',0),(2383,19,'2012-09-24 19:32:42','2012-09-24 19:32:42','[slideshow post_id=\"1387\"]','Lehigh - Archival Materials','','inherit','open','open','','1387-revision-36','','','2012-09-24 19:32:42','2012-09-24 19:32:42','',1387,'http://www.archivejournal.net/issue/2/uncategorized/1387-revision-36/',0,'revision','',0),(2384,19,'2012-09-24 19:51:50','2012-09-24 19:51:50','[slideshow gallery_id=\"1\"]','Lehigh - Archival Materials','','inherit','open','open','','1387-revision-37','','','2012-09-24 19:51:50','2012-09-24 19:51:50','',1387,'http://www.archivejournal.net/issue/2/uncategorized/1387-revision-37/',0,'revision','',0),(2386,19,'2012-09-24 19:55:34','2012-09-24 19:55:34','[vslider name=\"lehigharchivalmaterials\"]','Lehigh - Archival Materials','','inherit','open','open','','1387-revision-38','','','2012-09-24 19:55:34','2012-09-24 19:55:34','',1387,'http://www.archivejournal.net/issue/2/uncategorized/1387-revision-38/',0,'revision','',0),(2452,19,'2012-09-25 01:32:32','2012-09-25 01:32:32','<a href=\"http://projectgado.org/\"><img class=\"size-full wp-image-1258\" title=\"jhu_student project photo 1_gado\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/jhu_student-project-photo-1_gado.jpg\" alt=\"\" width=\"638\" height=\"478\" /></a> <span class=\"caption\">The Gado 2 Robotic Scanner scanning photos at the <em>Afro-American Newspapers</em> archive.</span>\r\n\r\n<a href=\"http://eboh.jhu.edu/oralhistoryplayer\"><img class=\"size-full wp-image-1259\" title=\"jhu_student project photo 2_eboh\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/jhu_student-project-photo-2_eboh.jpg\" alt=\"\" width=\"638\" height=\"667\" /></a> <span class=\"caption\">The East Baltimore Oral History Player showing the index entry for a resident whose story Tom Smith helped to document and record.</span>','Student-Built Archival Tools','This case study focuses on two archival tools designed by Tom Smith, a Cognitive Science and Anthropology major who graduated in 2011: a web application for an oral history archive and a low-cost robotic scanner for paper-based materials.','inherit','open','open','','1057-revision-36','','','2012-09-25 01:32:32','2012-09-25 01:32:32','',1057,'http://www.archivejournal.net/issue/2/uncategorized/1057-revision-36/',0,'revision','',0),(2389,19,'2012-09-24 20:00:51','2012-09-24 20:00:51','[easingslider]','Lehigh - Archival Materials','','inherit','open','open','','1387-revision-39','','','2012-09-24 20:00:51','2012-09-24 20:00:51','',1387,'http://www.archivejournal.net/issue/2/uncategorized/1387-revision-39/',0,'revision','',0),(2390,19,'2012-09-24 20:21:59','2012-09-24 20:21:59','[portfolio_slideshow]','Lehigh - Archival Materials','','inherit','open','open','','1387-revision-40','','','2012-09-24 20:21:59','2012-09-24 20:21:59','',1387,'http://www.archivejournal.net/issue/2/uncategorized/1387-revision-40/',0,'revision','',0),(2391,19,'2012-09-24 20:25:10','2012-09-24 20:25:10','[gallery order=\"desc\" columns=\"4\" link=\"file\"]','Lehigh - Archival Materials','','inherit','open','open','','1387-revision-41','','','2012-09-24 20:25:10','2012-09-24 20:25:10','',1387,'http://www.archivejournal.net/issue/2/uncategorized/1387-revision-41/',0,'revision','',0),(2392,19,'2012-09-24 20:25:16','2012-09-24 20:25:16','[gallery order=\"desc\" columns=\"4\" link=\"file\"]','Lehigh - Archival Materials','','inherit','open','open','','1387-revision-42','','','2012-09-24 20:25:16','2012-09-24 20:25:16','',1387,'http://www.archivejournal.net/issue/2/uncategorized/1387-revision-42/',0,'revision','',0),(3544,19,'2012-11-14 04:40:14','2012-11-14 04:40:14','','lehigh_student-work_img2','Alpha Lambda Omega fraternity member list from <em>Epitome</em>, Lehigh’s yearbook (1970, p. 233). Reproduced by permission from Special Collections, Lehigh University Libraries.','inherit','open','open','','lehigh_student-work_img2','','','2012-11-14 04:40:14','2012-11-14 04:40:14','',1387,'http://www.archivejournal.net/wp-content/uploads/2012/11/lehigh_student-work_img2.jpg',2,'attachment','image/jpeg',0),(2393,19,'2012-09-24 20:39:33','0000-00-00 00:00:00','','Auto ThickBox Plus','','draft','open','open','','','','','2012-09-24 20:39:33','0000-00-00 00:00:00','',0,'http://www.archivejournal.net/?p=2393',0,'auto-thickbox-plus','',0),(2394,10,'2012-09-21 16:02:40','2012-09-21 16:02:40','<a href=\"http://stage.archivejournal.net/wp-content/uploads/2011/02/castle-book1.png\"><img class=\"size-full wp-image-2008 clear\" title=\"Castle Book\" src=\"http://stage.archivejournal.net/wp-content/uploads/2011/02/castle-book1.png\" alt=\"Castle Book\" width=\"526\" height=\"357\" /></a><span class=\"caption\">Castle Book of Hours #2, use of Rouen. Manuscript, written and illustrated in Rouen, France, mid-15th century. Bryn Mawr College Library.</span>\r\n\r\nThe encounter of the person with the object: that is the object of this journal and the focus of this first issue.   This particular object, the <em>Castle Book of Hours #2</em>, a gift to the Bryn Mawr College Library, has been in my hands several times and is now part of an exhibition of objects from the College’s Special Collections.  All of the objects in the exhibition have been in the hands of students and faculty over the years, encountered in classrooms, used in assignments, touched.\r\n\r\nHow do people encounter the <em>Castle Book of Hours #2</em>? We get some answer to this question in <a href=\"http://www.brynmawr.edu/library/exhibitions.html\" target=\"_blank\">“Worlds to Discover”</a>, an exhibit in honor of the 125<sup>th</sup> anniversary of Bryn Mawr College. The exhibit features objects that are set off by statements from students and faculty about how the object matters.  With this <em>Book of Hours</em>, faculty member Martha Easton remarks that instead of one page – out of context – when one has this manuscript in one’s hands, one gets a better sense of how this object “might have been used and consumed.” The encounters for Anne Harding, a student at Bryn Mawr, seem to be moving her towards a career that will keep her in touch with objects like these.\r\n\r\nhttp://www.viddler.com/explore/brynmawr/videos/960/\r\n\r\nI want to point to another encounter with this same object.  The teacher of a fifth grade art class, teaching the students to create their own illuminated manuscripts, asked that I bring in examples of illuminated manuscripts, and this was one of two that I brought along.  The fascination to the students was two-fold:  one, was the value of the object – how much was it worth?  This is something that college students ask too, so I say something like – well, as much as maybe a house is worth.  But that fascination was replaced quickly by the issue at hand:  the students had work to do; they were creating their own illumination and they wanted to use and consume this manuscript themselves.  Each of them had an initial letter, the first letter in their first name, to create for their own manuscript.  So the hunt was on, and luckily for them and for me, each of those letters could be found in the pages of this manuscript. Unlike Easton and Harding, the fifth graders themselves consumed the manuscripts, as opposed to getting the sense of how the manuscript was consumed.  They served as a reminder of the many ways that objects now in special collections speak to those who encounter them, from the first users of the Castle Book of Hours #2 to 21st-century students of all ages.','Same Object, Different Audiences','The encounter of the person with the object: that is the object of this journal and the focus of this first issue.   This particular object, the Castle Book of Hours #2, a gift to the Bryn Mawr College Library, has been in my hands several times and is now part of an exhibition of objects from the College’s Special Collections.  All of the objects in the exhibition have been in the hands of students and faculty over the years, encountered in classrooms, used in assignments, touched.','inherit','open','open','','222-revision-42','','','2012-09-21 16:02:40','2012-09-21 16:02:40','',222,'http://www.archivejournal.net/issue/2/uncategorized/222-revision-42/',0,'revision','',0),(2395,10,'2012-09-24 20:50:02','2012-09-24 20:50:02','<a href=\"http://stage.archivejournal.net/wp-content/uploads/2011/02/castle-book1.png\"><img class=\"size-full wp-image-2008 clear\" title=\"Castle Book\" src=\"http://stage.archivejournal.net/wp-content/uploads/2011/02/castle-book1.png\" alt=\"Castle Book\" width=\"526\" height=\"357\" /></a><span class=\"caption\">Castle Book of Hours #2, use of Rouen. Manuscript, written and illustrated in Rouen, France, mid-15th century. Bryn Mawr College Library.</span>\r\n\r\nThe encounter of the person with the object: that is the object of this journal and the focus of this first issue.   This particular object, the <em>Castle Book of Hours #2</em>, a gift to the Bryn Mawr College Library, has been in my hands several times and is now part of an exhibition of objects from the College’s Special Collections.  All of the objects in the exhibition have been in the hands of students and faculty over the years, encountered in classrooms, used in assignments, touched.\r\n\r\nHow do people encounter the <em>Castle Book of Hours #2</em>? We get some answer to this question in <a href=\"http://www.brynmawr.edu/library/exhibitions.html\" target=\"_blank\">“Worlds to Discover”</a>, an exhibit in honor of the 125<sup>th</sup> anniversary of Bryn Mawr College. The exhibit features objects that are set off by statements from students and faculty about how the object matters.  With this <em>Book of Hours</em>, faculty member Martha Easton remarks that instead of one page – out of context – when one has this manuscript in one’s hands, one gets a better sense of how this object “might have been used and consumed.” The encounters for Anne Harding, a student at Bryn Mawr, seem to be moving her towards a career that will keep her in touch with objects like these.\r\n\r\nhttp://www.viddler.com/explore/brynmawr/videos/960/\r\n\r\n[viddler id=ab2b7739 w=545 h=307]\r\n\r\nI want to point to another encounter with this same object.  The teacher of a fifth grade art class, teaching the students to create their own illuminated manuscripts, asked that I bring in examples of illuminated manuscripts, and this was one of two that I brought along.  The fascination to the students was two-fold:  one, was the value of the object – how much was it worth?  This is something that college students ask too, so I say something like – well, as much as maybe a house is worth.  But that fascination was replaced quickly by the issue at hand:  the students had work to do; they were creating their own illumination and they wanted to use and consume this manuscript themselves.  Each of them had an initial letter, the first letter in their first name, to create for their own manuscript.  So the hunt was on, and luckily for them and for me, each of those letters could be found in the pages of this manuscript. Unlike Easton and Harding, the fifth graders themselves consumed the manuscripts, as opposed to getting the sense of how the manuscript was consumed.  They served as a reminder of the many ways that objects now in special collections speak to those who encounter them, from the first users of the Castle Book of Hours #2 to 21st-century students of all ages.','Same Object, Different Audiences','The encounter of the person with the object: that is the object of this journal and the focus of this first issue.   This particular object, the Castle Book of Hours #2, a gift to the Bryn Mawr College Library, has been in my hands several times and is now part of an exhibition of objects from the College’s Special Collections.  All of the objects in the exhibition have been in the hands of students and faculty over the years, encountered in classrooms, used in assignments, touched.','inherit','open','open','','222-revision-43','','','2012-09-24 20:50:02','2012-09-24 20:50:02','',222,'http://www.archivejournal.net/issue/2/uncategorized/222-revision-43/',0,'revision','',0),(2396,10,'2012-09-24 21:00:13','2012-09-24 21:00:13','<a href=\"http://stage.archivejournal.net/wp-content/uploads/2011/02/castle-book1.png\"><img class=\"size-full wp-image-2008 clear\" title=\"Castle Book\" src=\"http://stage.archivejournal.net/wp-content/uploads/2011/02/castle-book1.png\" alt=\"Castle Book\" width=\"526\" height=\"357\" /></a><span class=\"caption\">Castle Book of Hours #2, use of Rouen. Manuscript, written and illustrated in Rouen, France, mid-15th century. Bryn Mawr College Library.</span>\r\n\r\nThe encounter of the person with the object: that is the object of this journal and the focus of this first issue.   This particular object, the <em>Castle Book of Hours #2</em>, a gift to the Bryn Mawr College Library, has been in my hands several times and is now part of an exhibition of objects from the College’s Special Collections.  All of the objects in the exhibition have been in the hands of students and faculty over the years, encountered in classrooms, used in assignments, touched.\r\n\r\nHow do people encounter the <em>Castle Book of Hours #2</em>? We get some answer to this question in <a href=\"http://www.brynmawr.edu/library/exhibitions.html\" target=\"_blank\">“Worlds to Discover”</a>, an exhibit in honor of the 125<sup>th</sup> anniversary of Bryn Mawr College. The exhibit features objects that are set off by statements from students and faculty about how the object matters.  With this <em>Book of Hours</em>, faculty member Martha Easton remarks that instead of one page – out of context – when one has this manuscript in one’s hands, one gets a better sense of how this object “might have been used and consumed.” The encounters for Anne Harding, a student at Bryn Mawr, seem to be moving her towards a career that will keep her in touch with objects like these.\r\n\r\n<!--[if IE]><object width=\"545\" height=\"349\" id=\"viddlerOuter-ab2b7739\" classid=\"clsid:D27CDB6E-AE6D-11cf-96B8-444553540000\"><param name=\"movie\" value=\"//www.viddler.com/player/ab2b7739/0/\"><param name=\"allowScriptAccess\" value=\"always\"><param name=\"allowNetworking\" value=\"all\"><param name=\"allowFullScreen\" value=\"true\"><param name=\"flashVars\" value=\"f=1&autoplay=f&disablebranding=f\"><object id=\"viddlerInner-ab2b7739\"><video id=\"viddlerVideo-ab2b7739\" src=\"//www.viddler.com/file/ab2b7739/html5mobile/\" type=\"video/mp4\" width=\"545\" height=\"307\" poster=\"//www.viddler.com/thumbnail/ab2b7739/\" controls=\"controls\" x-webkit-airplay=\"allow\"></video></object></object><![endif]--> <!--[if !IE]> <!--> <object width=\"545\" height=\"349\" id=\"viddlerOuter-ab2b7739\" type=\"application/x-shockwave-flash\" data=\"//www.viddler.com/player/ab2b7739/0/\"> <param name=\"movie\" value=\"//www.viddler.com/player/ab2b7739/0/\"> <param name=\"allowScriptAccess\" value=\"always\"><param name=\"allowNetworking\" value=\"all\"><param name=\"allowFullScreen\" value=\"true\"><param name=\"flashVars\" value=\"f=1&autoplay=f&disablebranding=f\"><object id=\"viddlerInner-ab2b7739\"> <video id=\"viddlerVideo-ab2b7739\" src=\"//www.viddler.com/file/ab2b7739/html5mobile/\" type=\"video/mp4\" width=\"545\" height=\"307\" poster=\"//www.viddler.com/thumbnail/ab2b7739/\" controls=\"controls\" x-webkit-airplay=\"allow\"></video> </object></object> <!--<![endif]-->\r\n\r\nhttp://www.viddler.com/explore/brynmawr/videos/960/\r\n\r\nI want to point to another encounter with this same object.  The teacher of a fifth grade art class, teaching the students to create their own illuminated manuscripts, asked that I bring in examples of illuminated manuscripts, and this was one of two that I brought along.  The fascination to the students was two-fold:  one, was the value of the object – how much was it worth?  This is something that college students ask too, so I say something like – well, as much as maybe a house is worth.  But that fascination was replaced quickly by the issue at hand:  the students had work to do; they were creating their own illumination and they wanted to use and consume this manuscript themselves.  Each of them had an initial letter, the first letter in their first name, to create for their own manuscript.  So the hunt was on, and luckily for them and for me, each of those letters could be found in the pages of this manuscript. Unlike Easton and Harding, the fifth graders themselves consumed the manuscripts, as opposed to getting the sense of how the manuscript was consumed.  They served as a reminder of the many ways that objects now in special collections speak to those who encounter them, from the first users of the Castle Book of Hours #2 to 21st-century students of all ages.','Same Object, Different Audiences','The encounter of the person with the object: that is the object of this journal and the focus of this first issue.   This particular object, the Castle Book of Hours #2, a gift to the Bryn Mawr College Library, has been in my hands several times and is now part of an exhibition of objects from the College’s Special Collections.  All of the objects in the exhibition have been in the hands of students and faculty over the years, encountered in classrooms, used in assignments, touched.','inherit','open','open','','222-revision-44','','','2012-09-24 21:00:13','2012-09-24 21:00:13','',222,'http://www.archivejournal.net/issue/2/uncategorized/222-revision-44/',0,'revision','',0),(2397,10,'2012-09-24 21:01:14','2012-09-24 21:01:14','<a href=\"http://stage.archivejournal.net/wp-content/uploads/2011/02/castle-book1.png\"><img class=\"size-full wp-image-2008 clear\" title=\"Castle Book\" src=\"http://stage.archivejournal.net/wp-content/uploads/2011/02/castle-book1.png\" alt=\"Castle Book\" width=\"526\" height=\"357\" /></a><span class=\"caption\">Castle Book of Hours #2, use of Rouen. Manuscript, written and illustrated in Rouen, France, mid-15th century. Bryn Mawr College Library.</span>\r\n\r\nThe encounter of the person with the object: that is the object of this journal and the focus of this first issue.   This particular object, the <em>Castle Book of Hours #2</em>, a gift to the Bryn Mawr College Library, has been in my hands several times and is now part of an exhibition of objects from the College’s Special Collections.  All of the objects in the exhibition have been in the hands of students and faculty over the years, encountered in classrooms, used in assignments, touched.\r\n\r\nHow do people encounter the <em>Castle Book of Hours #2</em>? We get some answer to this question in <a href=\"http://www.brynmawr.edu/library/exhibitions.html\" target=\"_blank\">“Worlds to Discover”</a>, an exhibit in honor of the 125<sup>th</sup> anniversary of Bryn Mawr College. The exhibit features objects that are set off by statements from students and faculty about how the object matters.  With this <em>Book of Hours</em>, faculty member Martha Easton remarks that instead of one page – out of context – when one has this manuscript in one’s hands, one gets a better sense of how this object “might have been used and consumed.” The encounters for Anne Harding, a student at Bryn Mawr, seem to be moving her towards a career that will keep her in touch with objects like these.\r\n\r\n<!--[if IE]><object width=\"545\" height=\"349\" id=\"viddlerOuter-ab2b7739\" classid=\"clsid:D27CDB6E-AE6D-11cf-96B8-444553540000\"><param name=\"movie\" value=\"//www.viddler.com/player/ab2b7739/0/\"><param name=\"allowScriptAccess\" value=\"always\"><param name=\"allowNetworking\" value=\"all\"><param name=\"allowFullScreen\" value=\"true\"><param name=\"flashVars\" value=\"f=1&#038;autoplay=f&#038;disablebranding=f\"><object id=\"viddlerInner-ab2b7739\"><video id=\"viddlerVideo-ab2b7739\" src=\"//www.viddler.com/file/ab2b7739/html5mobile/\" type=\"video/mp4\" width=\"545\" height=\"307\" poster=\"//www.viddler.com/thumbnail/ab2b7739/\" controls=\"controls\" x-webkit-airplay=\"allow\"></video></object></object><![endif]--> <!--[if !IE]> <!--> <object id=\"viddlerOuter-ab2b7739\" width=\"545\" height=\"349\" classid=\"clsid:d27cdb6e-ae6d-11cf-96b8-444553540000\" codebase=\"http://download.macromedia.com/pub/shockwave/cabs/flash/swflash.cab#version=6,0,40,0\"><param name=\"allowScriptAccess\" value=\"always\" /><param name=\"allowNetworking\" value=\"all\" /><param name=\"allowFullScreen\" value=\"true\" /><param name=\"flashVars\" value=\"f=1&amp;autoplay=f&amp;disablebranding=f\" /><param name=\"src\" value=\"//www.viddler.com/player/ab2b7739/0/\" /><embed id=\"viddlerOuter-ab2b7739\" width=\"545\" height=\"349\" type=\"application/x-shockwave-flash\" src=\"//www.viddler.com/player/ab2b7739/0/\" allowScriptAccess=\"always\" allowNetworking=\"all\" allowFullScreen=\"true\" flashVars=\"f=1&amp;autoplay=f&amp;disablebranding=f\" /><img src=\"http://stage.archivejournal.net/wp-includes/js/tinymce/themes/advanced/img/trans.gif\" id=\"viddlerInner-ab2b7739\" class=\"mceItemMedia mceItemFlash\" width=\"320\" height=\"240\" data-mce-json=\"{\'video\':{},\'params\':{\'src\':null},\'name\':null,\'object_html\':\'&lt;video id=\\&quot;viddlerVideo-ab2b7739\\&quot; src=\\&quot;//www.viddler.com/file/ab2b7739/html5mobile/\\&quot; type=\\&quot;video/mp4\\&quot; width=\\&quot;545\\&quot; height=\\&quot;307\\&quot; poster=\\&quot;//www.viddler.com/thumbnail/ab2b7739/\\&quot; controls=\\&quot;controls\\&quot; x-webkit-airplay=\\&quot;allow\\&quot;&gt;&lt;/video&gt;\',\'hspace\':null,\'vspace\':null,\'align\':null,\'bgcolor\':null}\"></img></object> <!--<![endif]-->\r\n\r\nI want to point to another encounter with this same object.  The teacher of a fifth grade art class, teaching the students to create their own illuminated manuscripts, asked that I bring in examples of illuminated manuscripts, and this was one of two that I brought along.  The fascination to the students was two-fold:  one, was the value of the object – how much was it worth?  This is something that college students ask too, so I say something like – well, as much as maybe a house is worth.  But that fascination was replaced quickly by the issue at hand:  the students had work to do; they were creating their own illumination and they wanted to use and consume this manuscript themselves.  Each of them had an initial letter, the first letter in their first name, to create for their own manuscript.  So the hunt was on, and luckily for them and for me, each of those letters could be found in the pages of this manuscript. Unlike Easton and Harding, the fifth graders themselves consumed the manuscripts, as opposed to getting the sense of how the manuscript was consumed.  They served as a reminder of the many ways that objects now in special collections speak to those who encounter them, from the first users of the Castle Book of Hours #2 to 21st-century students of all ages.','Same Object, Different Audiences','The encounter of the person with the object: that is the object of this journal and the focus of this first issue.   This particular object, the Castle Book of Hours #2, a gift to the Bryn Mawr College Library, has been in my hands several times and is now part of an exhibition of objects from the College’s Special Collections.  All of the objects in the exhibition have been in the hands of students and faculty over the years, encountered in classrooms, used in assignments, touched.','inherit','open','open','','222-revision-45','','','2012-09-24 21:01:14','2012-09-24 21:01:14','',222,'http://www.archivejournal.net/issue/2/uncategorized/222-revision-45/',0,'revision','',0),(2398,19,'2012-09-10 23:26:36','2012-09-10 23:26:36','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<img class=\"size-full wp-image-1319\" title=\"goucher_student work image2_kendall\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/goucher_student-work-image2_kendall.jpg\" alt=\"\" width=\"638\" height=\"567\" /><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-37','','','2012-09-10 23:26:36','2012-09-10 23:26:36','',1300,'http://www.archivejournal.net/issue/2/uncategorized/1300-revision-37/',0,'revision','',0),(2399,19,'2012-09-24 23:16:14','2012-09-24 23:16:14','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=\"\" 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-38','','','2012-09-24 23:16:14','2012-09-24 23:16:14','',1300,'http://www.archivejournal.net/issue/2/uncategorized/1300-revision-38/',0,'revision','',0),(2401,19,'2012-09-24 23:24:31','2012-09-24 23:24:31','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\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-40','','','2012-09-24 23:24:31','2012-09-24 23:24:31','',1300,'http://www.archivejournal.net/issue/2/uncategorized/1300-revision-40/',0,'revision','',0),(2402,19,'2012-09-24 23:55:34','2012-09-24 23:55:34','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> 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.</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-41','','','2012-09-24 23:55:34','2012-09-24 23:55:34','',1300,'http://www.archivejournal.net/issue/2/uncategorized/1300-revision-41/',0,'revision','',0),