tag:blogger.com,1999:blog-45664441364157356052024-03-18T03:03:08.945+00:00Reclamation & RepresentationThis blog brings together information about literary archives in the news, conferences and publications. Our book "The Boundaries of the Literary Archive: Reclamation and Representation" (Ashgate 2013) is out now!Lisa Steadhttp://www.blogger.com/profile/12020731059347478772noreply@blogger.comBlogger116125tag:blogger.com,1999:blog-4566444136415735605.post-5308961135936404262014-04-22T14:24:00.003+01:002014-04-22T14:24:58.907+01:00Shakespeare Lecture at Exeter Cathedral<div dir="ltr" style="text-align: left;" trbidi="on">
<span style="font-family: Calibri, sans-serif; font-size: 15px;">Exeter's Professor Philip Schwyzer will be giving a public lecture tomorrow at Exeter Cathedral.</span><br />
<span style="font-family: Calibri, sans-serif; font-size: 15px;"><a href="https://humanities.exeter.ac.uk/english/staff/schwyzer/" target="_blank">Prof. Schwyzer </a></span><span style="background-color: white; color: #3a3a3a; font-family: verdana, arial, sans-serif; font-size: 13px; line-height: 20.582401275634766px;">(Lecturer in Renaissance Literature and Culture)</span><span style="font-family: Calibri, sans-serif; font-size: 15px;"> will be talking about Shakespeare and the folio editions. The lecture is being held with Exeter Cathedral Library & Archives, and the Library’s Second Folio edition will be on display. </span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwCnFtXRLZ3OPOYBW2OXJlMXLp2aNUAQwZKOI7RES-3mtrSyateSLN-CpLi5jeZBjaKa4vPcyj8ESsAguaJ-cP4K9vQtGo-Pm6c7oBpWlxjfpyQNKNq0irAXM3ctJoPnbFu8u2lWax4HLw/s1600/74645_2-700x532.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwCnFtXRLZ3OPOYBW2OXJlMXLp2aNUAQwZKOI7RES-3mtrSyateSLN-CpLi5jeZBjaKa4vPcyj8ESsAguaJ-cP4K9vQtGo-Pm6c7oBpWlxjfpyQNKNq0irAXM3ctJoPnbFu8u2lWax4HLw/s1600/74645_2-700x532.jpg" height="243" width="320" /></a></div>
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<span style="font-family: Calibri, sans-serif; font-size: 15px;">For full details, follow <a href="http://www.exeter-cathedral.org.uk/event/all-events/shakespeare-and-the-second-folio-edition.ashx" target="_blank">this </a>link to the Cathedral's website.</span></div>
Lisa Steadhttp://www.blogger.com/profile/12020731059347478772noreply@blogger.com0tag:blogger.com,1999:blog-4566444136415735605.post-40052431347899873202014-03-31T08:41:00.001+01:002014-03-31T08:41:29.473+01:00Recovering 'The First War Poet': new Ivor Gurney documentary<div dir="ltr" style="text-align: left;" trbidi="on">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNkSix-lbHagg_kyp8akiYRKOkHV1BAiLtJDl5Nra73pSBHOCE7J9NXojuKnMPNKYJQnMKa8QRuIP3UsftXp8DdPI5LicXzAMDEuNDp7xy5jjNbrtGUwDZ6tnc_WV2cTshK8NJ0CaSLJnr/s1600/gurney1915diff90.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNkSix-lbHagg_kyp8akiYRKOkHV1BAiLtJDl5Nra73pSBHOCE7J9NXojuKnMPNKYJQnMKa8QRuIP3UsftXp8DdPI5LicXzAMDEuNDp7xy5jjNbrtGUwDZ6tnc_WV2cTshK8NJ0CaSLJnr/s1600/gurney1915diff90.jpg" height="200" width="148" /></a>Exeter's Professor Tim Kendall is presenting a new documentary airing on BBC4 this week focusing on the life and work of WWI poet and composer Ivor Gurney. Professor Kendall and Philip Lancaster have been working with the Gurney archive to bring his writing-- both poetic and musical -- to greater public attention.<br />
The documentary sheds vital new light on a forgotten figure who considered himself to be the 'first war poet', overlooked in the history of war writing before now.<br />
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Gloucestershire born Gurney studied at the Royal College of Music, fought at the front and suffered mental health problems across his life -- leading to his incarceration in an asylum for 15 years, where he continued to write and compose. Having survived a bullet wound to the shoulder, gas and shell shock, Gurney was committed to the Dartford asylum in 1922, and died of tuberculosis in 1937 at the age of 47, leaving a substantial body of unpublished and unperformed work.<br />
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For full details, see the <a href="http://www.bbc.co.uk/programmes/b03zq4cb" target="_blank">BBC webpages</a>.</div>
Lisa Steadhttp://www.blogger.com/profile/12020731059347478772noreply@blogger.com0tag:blogger.com,1999:blog-4566444136415735605.post-22002875176565950232013-10-24T10:18:00.000+01:002013-10-24T11:30:33.017+01:00Our archive book goes on the road in America!Our book <i><a href="http://www.ashgate.com/isbn/9781409443223" target="_blank">The Boundaries of the Literary Archive</a> </i>is all grown up, it has now flown the nest and has been travelling America with Peter K. Steinberg! (@sylviaplathinfo ) Here are some of its holiday pictures!<br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="background-color: white; color: #333333; font-family: Arial, sans-serif; font-size: 13.63636302947998px; line-height: 17.99715805053711px; text-align: left; white-space: pre-wrap;"><a href="https://twitter.com/sylviaplathinfo/status/391249851067154432" target="_blank">Crossing the finish line of the Boston Marathon</a> </span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="background-color: white; color: #333333; font-family: Arial, sans-serif; font-size: 13.63636302947998px; line-height: 17.99715805053711px; text-align: left; white-space: pre-wrap;"><a href="https://twitter.com/sylviaplathinfo/status/391264242235490304" target="_blank">Bounding somewhere along Eastern Seaboard of the USA</a></span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="background-color: whitesmoke; color: #333333; font-family: Arial, sans-serif; font-size: 13.63636302947998px; line-height: 17.99715805053711px; text-align: left; white-space: pre-wrap;"><a href="https://twitter.com/sylviaplathinfo/status/392321027788640256" target="_blank">Boundaries of Literary Archives takes Manhattan by storm</a></span></td></tr>
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Where will it go next?!</div>
<br />Carrie Smithhttp://www.blogger.com/profile/15989578190786553232noreply@blogger.com0tag:blogger.com,1999:blog-4566444136415735605.post-21017697554891896652013-09-19T15:24:00.000+01:002013-09-19T16:09:28.884+01:00A collection of responses to #AskACurator day<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: Georgia, Times New Roman, serif;">The brilliant #AskACurator day was held on Twitter yesterday. Various institutions have collected, blogged, storified their responses, so I have listed them here for your ease! Just click on the links below. Let me know if I've missed any collections @CarrieRSmith and I'll add them to the set!</span><br />
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<a href="http://blogs.smithsonianmag.com/aroundthemall/2013/09/the-best-of-the-smithsonians-answers-to-askacurator-tweets/?utm_source=twitter.com&utm_medium=socialmedia&utm_campaign=20130918&utm_content=aroundthemallaskacurator3" target="_blank"><span style="color: black; font-family: Georgia, Times New Roman, serif;">The Smithsonian </span></a><br />
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<a href="http://www.911memorial.org/blog/museum-curators-take-part-global-%E2%80%98ask-curator%E2%80%99-campaign" target="_blank"><span style="font-family: Georgia, Times New Roman, serif;">9/11 Memorial Museum</span></a><br />
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<span style="background-color: white; line-height: 24px;"><span style="font-family: Georgia, Times New Roman, serif;"><a href="http://storify.com/MVforTeachers/askacurator-day-with-gwbooks" target="_blank">The Fred W. Smith National Library for the Study of George Washington</a> </span></span><br />
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<span style="font-family: Georgia, Times New Roman, serif;"><a href="http://storify.com/palazzomadamato/askacurator-a-palazzo-madama" target="_blank">Palazzo Madama</a></span><br />
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<a href="http://www.rom.on.ca/en/blog/romtoronto-does-askacurator" target="_blank"><span style="font-family: Georgia, Times New Roman, serif;">Royal Ontario Museum</span></a><br />
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<span style="font-family: Georgia, Times New Roman, serif;"><a href="http://storify.com/MuseumofLondon/askacurator-day-2013" target="_blank">Museum of London</a></span><br />
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<span style="font-family: Georgia, Times New Roman, serif;"><a href="http://storify.com/LACMA/2013-askacurator-day-turrell-trifecta" target="_blank">Los Angeles County Museum of Art</a></span><br />
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<a href="http://storify.com/MUDIMilano/ask-a-curator-day" target="_blank">Museo Diocesano</a><br />
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<span style="font-family: Georgia, Times New Roman, serif;">The site <a href="http://hyperallergic.com/84114/questions-we-wish-more-curators-answered-during-askacurator-day/" target="_blank">Hyperallergic</a> collected a list of interesting questions across the hashtag - "<span style="background-color: white; line-height: 26px;">from the very important and serious to the downright hilarious"</span></span><br />
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<span style="font-family: Georgia, Times New Roman, serif;">See also our post on <a href="http://reclamationandrepresentation.blogspot.co.uk/2011/06/questions-from-askarchivists-day.html" target="_blank">#AskArchivists Day</a></span>Carrie Smithhttp://www.blogger.com/profile/15989578190786553232noreply@blogger.com0tag:blogger.com,1999:blog-4566444136415735605.post-67055802524874830292013-09-13T16:48:00.001+01:002013-09-13T16:48:17.997+01:00‘Sourcing the Archive: new approaches to materialising textile history’ Conference<span style="font-family: Georgia, Times New Roman, serif;">Thanks to @KathrynHannan who alerted us to what looks like a really interesting conference! Details below.</span><br />
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<span style="font-family: Georgia, Times New Roman, serif;">Pasold Conference, 7-8 November 2013 & 11th January 2014</span><br />
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<span style="font-family: Georgia, Times New Roman, serif;">‘Sourcing the Archive: new approaches to materialising textile history’ </span><br />
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<span style="font-family: Georgia, Times New Roman, serif;">Registration open.</span><br />
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<span style="font-family: Georgia, Times New Roman, serif;">Keynote speakers:<br />Professor Carolyn Steedman, University of Warwick<br />Dr Solveigh Goett, Textile Artist and Researcher<br />(January speaker tba)<br />Extra conference date, 11 January 2014</span><br />
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<span style="font-family: Georgia, Times New Roman, serif;">The 2013 Pasold Conference, jointly organised by Goldsmiths Department of History and the Goldsmiths Textile Collection will explore how tacit knowledge of material and affective relationships can be traced through the words we think with (Lakoff & Johnson 1999, 2003) with a view to asking: how can our engagement with textile sources extend our knowledge of the past? What can textiles communicate that other sources cannot? Building on a range of recent events which encourage engagement with the materiality of textiles, textile archives and/or the relationship between textiles and other historical sources the Conference will seek to identify textiles’ unique contribution to the advancement of historical understanding and practices.</span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">The Conference will include an exhibition in the Constance Howard Gallery and a display, and optional handling session, of material from the Goldsmiths’ Textile Collection, ‘an eclectic, international treasure trove of textiles’.</span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">We are delighted to announce that the call for papers produced such an abundance of exciting proposals that we have arranged a second stage of the Conference, with support from <a href="http://www.gold.ac.uk/design/" style="background-color: transparent; border-bottom-color: rgb(162, 162, 162); border-bottom-style: solid; border-width: 0px 0px 1px; color: #646464; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;">Goldsmiths Department of Design</a>, on January 11 2014. ‘Fashioning the Archive: new approaches to materialising textile history’ will build on the November sessions, addressing the same questions but with an emphasis – though not an exclusive focus – on dress-related papers. Details are yet to be finalised, but confirmed speakers are listed with the November programme. There will be a further accompanying exhibition and opportunity to access the Goldsmiths’ Textile Collection. Day rates are available for both stages of the Conference, but there is a January fee waiver for those registering for both November dates.</span></div>
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<span style="border: 0px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="font-family: Georgia, Times New Roman, serif;">For all enquiries, please email Vivienne Richmond at: <a href="mailto:%20v.richmond@gold.ac.uk" style="background-color: transparent; border-bottom-color: rgb(162, 162, 162); border-bottom-style: solid; border-width: 0px 0px 1px; color: #646464; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;" title="Pasold Conference">v.richmond(@gold.ac.uk)</a>.</span></span></div>
Carrie Smithhttp://www.blogger.com/profile/15989578190786553232noreply@blogger.com0tag:blogger.com,1999:blog-4566444136415735605.post-6808702905624933322013-09-12T13:57:00.002+01:002013-09-19T15:42:57.226+01:00Archives and White Gloves Myth<span style="font-family: Georgia, Times New Roman, serif;">After The Great British Bake off featured The John Rylands Library of the University of Manchester, the inevitable tweets about white gloves appeared:</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXzZ3ewpDEZvpLchQCxFGYsbKgbYs89-7EgLEVikb93dmjN8I0w2uMcNPIQ6dZxFI5uaANRsTQ3dXutiY_skCylkMR-PVNfxpX8p1L5esUTZo3f16JnJjrp0rGlmHjBNKBzRnsmam9bfEY/s1600/white+gloves+2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Georgia, Times New Roman, serif;"><img border="0" height="138" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXzZ3ewpDEZvpLchQCxFGYsbKgbYs89-7EgLEVikb93dmjN8I0w2uMcNPIQ6dZxFI5uaANRsTQ3dXutiY_skCylkMR-PVNfxpX8p1L5esUTZo3f16JnJjrp0rGlmHjBNKBzRnsmam9bfEY/s320/white+gloves+2.jpg" width="320" /></span></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinqX6xLfe3r_EGepANHV0hdzvf0KP6VxuIinxrdk73i0pcKoKn4KBa40pWs_2oMKuSZe7gGBbDjhAgvlm3Y2MSIdRUZ0M58Sx9hdIYHNVHv8yGA58dqmQzqNAgq0EW7y7t89re4QNp8j13/s1600/white+gloves.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Georgia, Times New Roman, serif;"><img border="0" height="127" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinqX6xLfe3r_EGepANHV0hdzvf0KP6VxuIinxrdk73i0pcKoKn4KBa40pWs_2oMKuSZe7gGBbDjhAgvlm3Y2MSIdRUZ0M58Sx9hdIYHNVHv8yGA58dqmQzqNAgq0EW7y7t89re4QNp8j13/s320/white+gloves.jpg" width="320" /></span></a></div>
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<span style="font-family: Georgia, Times New Roman, serif;">The answer is, no! The standard Google images of people handling manuscripts don't help either</span><br />
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<span style="font-family: Georgia, Times New Roman, serif;"><a href="http://blogs-images.forbes.com/booked/files/2012/03/WhiteGloves.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="133" src="http://blogs-images.forbes.com/booked/files/2012/03/WhiteGloves.jpg" width="200" /></a><a href="http://www.pwnhc.ca/programs/images/archives.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="132" src="http://www.pwnhc.ca/programs/images/archives.jpg" width="200" /></a></span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">So, I was pleased to see the University of Reading's clear, informative post on the subject - <a href="http://blogs.reading.ac.uk/special-collections/2013/09/to-glove-or-not-to-glove/" target="_blank">here</a></span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">And the National Archives blog post - <a href="http://blog.nationalarchives.gov.uk/blog/the-gloves-are-off/" target="_blank">here</a></span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">You can also watch a video from the British Library on how best to handle manuscripts without white gloves - <a href="http://britishlibrary.typepad.co.uk/digitisedmanuscripts/2011/08/white-gloves-or-not-white-gloves.html" target="_blank">here</a></span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">Fran Baker, one of our contributors to <a href="http://www.ashgate.com/isbn/9781409443223" target="_blank">The Boundaries of the Literary Archive</a> collection works at The John Ryland's Library. Fran's chapter discusses Dickens' editorial influence on the manuscripts of Elizabeth Gaskell which can be found at the library. Fran's posts for the John Ryland's Library blog can be found - <a href="http://rylandscollections.wordpress.com/author/franbaker/" target="_blank">here</a></span></div>
Carrie Smithhttp://www.blogger.com/profile/15989578190786553232noreply@blogger.com0tag:blogger.com,1999:blog-4566444136415735605.post-42660386145029529922013-09-10T10:59:00.002+01:002013-09-10T10:59:39.720+01:00Emily Dickinson's Music Book Digitised<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkdq8lXfu5LObA3j9qoTSOAHPN8DBF96tP6UhUCUnqKZvBYxqUEsVZs4CRsNF0E9eWLGCsUcuQe3EkTzKdFBCfsd_5Cfe4YIEGBGy_cjgCVniLTfCw9nuyk_ilZLbWHTisnuLRJdxni3TQ/s1600/music+book.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkdq8lXfu5LObA3j9qoTSOAHPN8DBF96tP6UhUCUnqKZvBYxqUEsVZs4CRsNF0E9eWLGCsUcuQe3EkTzKdFBCfsd_5Cfe4YIEGBGy_cjgCVniLTfCw9nuyk_ilZLbWHTisnuLRJdxni3TQ/s320/music+book.jpg" width="244" /></a></div>
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<span style="font-family: Georgia, Times New Roman, serif;">Emily Dickinson's music book has been digitised by Harvard and can be accessed - <a href="http://hollis.harvard.edu/?itemid=|library/m/aleph|010110806" target="_blank">here</a></span><br />
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<span style="font-family: Georgia, Times New Roman, serif;">The full brilliant post by the Houghton Library Blog on the history of music books and this one in particular can be found - <a href="http://blogs.law.harvard.edu/houghton/2013/09/05/emily-dickinsons-music-book-edr-469/" target="_blank">here</a></span><br />
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<span style="font-family: Georgia, Times New Roman, serif;">"<span style="background-color: white; line-height: 23px; text-align: left;">Music books or “binders’ volumes” were extremely popular during the years 1830-1870. These personal collections of bound published sheet-music titles were assembled by young women primarily during their adolescent years, when musical training and accomplishment was sought after as a reflection of cultural refinement and gentility.</span></span><br />
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<span style="background-color: white; line-height: 23px; text-align: left;"><span style="font-family: Georgia, Times New Roman, serif;">[...]</span></span><br />
<span style="font-family: Georgia, Times New Roman, serif;"><span style="background-color: white; line-height: 23px; text-align: left;">The average binder’s volume contains 35 to 45 pieces of music. At just over 100 pieces, Emily Dickinson’s music book is uncommonly large. The book’s content tells us a great deal about her musical interests. Most binders from the period contain a majority of vocal music and only some instrumental numbers. In contrast, eighty percent of the Dickinson book is devoted to instrumental music, indicating Emily’s keen engagement in the piano repertoire of her day.</span>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDDgQIR2rFd0XTAB7Gtxu0jZOt1Lar3H3ShEdHAHvNFi-YIhPBm1IoOXD_mrNpLoabEvx6PrzJBw2fqMG5epXNuSZCKZLTlzLb6B6CSxl9BlGR0gck_4Yc9u9FvbOJd8xhQgQkhyphenhyphen93LAZ1/s1600/music+book+2.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDDgQIR2rFd0XTAB7Gtxu0jZOt1Lar3H3ShEdHAHvNFi-YIhPBm1IoOXD_mrNpLoabEvx6PrzJBw2fqMG5epXNuSZCKZLTlzLb6B6CSxl9BlGR0gck_4Yc9u9FvbOJd8xhQgQkhyphenhyphen93LAZ1/s320/music+book+2.jpg" width="249" /></a></div>
<span style="background-color: white; line-height: 23px; text-align: left;"><span style="font-family: Georgia, Times New Roman, serif;">While the music book contains a majority of popular waltzes, marches, quicksteps, theme and variations, and instrumental operatic arrangements, many of considerable difficulty, there are also notable groupings of traditional Irish and Scottish dance tunes and ballads, political songs, and in particular, minstrel music which are rare in binders’ volumes."</span></span><br />
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<span style="background-color: white; line-height: 23px; text-align: left;"><span style="font-family: Georgia, Times New Roman, serif;">Emily Dickinson's Electronic archive can be found - <a href="http://www.emilydickinson.org/" target="_blank">here</a></span></span><br />
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<span style="font-family: Georgia, Times New Roman, serif;"><span style="background-color: white; line-height: 23px; text-align: left;">A call for papers for </span><span style="-webkit-text-size-adjust: none; background-color: white; letter-spacing: 1px; line-height: 18px;">on </span></span><strong style="-webkit-text-size-adjust: none; border: 0px; font: inherit; letter-spacing: 1px; margin: 0px; padding: 0px; vertical-align: baseline;">Emily Dickinson’s Reading Culture</strong><span style="background-color: white; font-family: Georgia, 'Times New Roman', serif; line-height: 23px; text-align: left;"> - <a href="http://www.emilydickinson.org/news" target="_blank">here</a></span><br />
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<span style="font-family: Georgia, Times New Roman, serif;">Poetry Foundation's page on Emily Dickinson - <a href="http://www.poetryfoundation.org/bio/emily-dickinson" target="_blank">here</a></span><br />
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<h1 style="font-weight: normal; margin: 10px 0px 3px; padding: 0px; text-align: center;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: small;">“Hope” is the thing with feathers - (314)</span></h1>
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<span style="background-color: white; text-transform: uppercase;">BY</span><span style="background-color: white; text-transform: uppercase;"> </span><span style="background-color: white; text-transform: uppercase;">EMILY DICKINSON</span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">“Hope” is the thing with feathers -</span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">That perches in the soul -</span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">And sings the tune without the words -</span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">And never stops - at all -</span></div>
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</span><div style="line-height: 24px; padding-left: 1em; text-align: center; text-indent: -1em;">
<span style="font-family: Georgia, Times New Roman, serif;">And sweetest - in the Gale - is heard -</span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">And sore must be the storm -</span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">That could abash the little Bird</span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">That kept so many warm -</span></div>
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</span><div style="line-height: 24px; padding-left: 1em; text-align: center; text-indent: -1em;">
<span style="font-family: Georgia, Times New Roman, serif;">I’ve heard it in the chillest land -</span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">And on the strangest Sea -</span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">Yet - never - in Extremity,</span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">It asked a crumb - of me.</span></div>
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Carrie Smithhttp://www.blogger.com/profile/15989578190786553232noreply@blogger.com0tag:blogger.com,1999:blog-4566444136415735605.post-20482524068109329342013-08-28T11:38:00.001+01:002017-03-16T11:05:01.784+00:00New publication: The Boundaries of the Literary Archive<div dir="ltr" style="text-align: left;" trbidi="on">
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Carrie and I are very pleased to say that our edited collection <i>The Boundaries of the Literary Archive</i> is now in print and available to purchase!</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQlX_0-LTPlFGBfsiaRqiT3pDgqXoxOlcCGJxCjRhsg5O4PZml2GopTOSyE1Zr022mWGf0neaMkbe3o6LSn-J3WkeUAk0Q1owf4KUxL44FDII_zvZ0cvVUnTVGMwC_Mi9XTKE-RL7WEZOb/s1600/51xSIittTJL._.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQlX_0-LTPlFGBfsiaRqiT3pDgqXoxOlcCGJxCjRhsg5O4PZml2GopTOSyE1Zr022mWGf0neaMkbe3o6LSn-J3WkeUAk0Q1owf4KUxL44FDII_zvZ0cvVUnTVGMwC_Mi9XTKE-RL7WEZOb/s320/51xSIittTJL._.jpg" width="206" /></a></div>
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The book can be found <a href="http://www.ashgate.com/isbn/9781409443223" target="_blank">here on the Ashgate website</a>, and <a href="http://www.amazon.co.uk/Boundaries-Literary-Archive-Carrie-Smith/dp/1409443221" target="_blank">here on Amazon</a>.</div>
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The flyer for the book with full details can found below.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiz0DyzoU1QfV8PeW7Xc4hiVPWBYIpFRkSxJdnShsYjIaQL3JMrlHYa7sPR51Xyae5LbgboV-cflcXsRDdJsoJ5pc9GzjlM3rRCNmVkSF7qvIpEwNkZ1KMGQqQlNpQHLLdbi8bolnlDMNgj/s1600/Flyer.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiz0DyzoU1QfV8PeW7Xc4hiVPWBYIpFRkSxJdnShsYjIaQL3JMrlHYa7sPR51Xyae5LbgboV-cflcXsRDdJsoJ5pc9GzjlM3rRCNmVkSF7qvIpEwNkZ1KMGQqQlNpQHLLdbi8bolnlDMNgj/s640/Flyer.jpg" width="449" /></a></div>
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Lisa Steadhttp://www.blogger.com/profile/12020731059347478772noreply@blogger.com0tag:blogger.com,1999:blog-4566444136415735605.post-31287434928325338102013-08-28T09:48:00.000+01:002013-09-12T13:11:23.938+01:00Lantern Archive Opens 800,000 Pages of Digital Content<div dir="ltr" style="text-align: left;" trbidi="on">
A great new resource for anyone in the film and media history field -- the <a href="http://lantern.mediahist.org/" target="_blank">Lantern</a> Archive, a new digital repository for media history resources -- has gone live as part of the <a href="http://mediahistoryproject.org/" target="_blank">Media History Digital Library</a>.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibf3RjStBqGGCipsv-SThGfzNRtGnj8SHiKuBipC7BLjv6rUJQ9uRAIKS4aun5NPXIkxfPVI1fYVozOlGNWxN3pegcbU8juYugEZq0VM6MLJYZ96UYxuqPyjnJolqrAGjpCKvCbCqDdPTx/s1600/Untitled-1+copy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibf3RjStBqGGCipsv-SThGfzNRtGnj8SHiKuBipC7BLjv6rUJQ9uRAIKS4aun5NPXIkxfPVI1fYVozOlGNWxN3pegcbU8juYugEZq0VM6MLJYZ96UYxuqPyjnJolqrAGjpCKvCbCqDdPTx/s1600/Untitled-1+copy.jpg" /></a></div>
This new searchable archive gives access to some 800,000 pages of content that span film, television and broadcasting history, encompassing a vast number of film periodicals and magazines (if you're interested in knowing more about how these were used by audiences in the silent period, take a look at my chapter on 'Letter Writing, Cinemagoing and Archive Ephemera' in myself and Carrie's new edited collection <i><a href="http://www.amazon.co.uk/Boundaries-Literary-Archive-Carrie-Smith/dp/1409443221" target="_blank">The Boundaries of the Literary Archive</a></i> -- out now!).<br />
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The project represents a collaboration with the University of Wisconsin, whose collections of film periodicals are now text-searchable online -- a <i>huge</i> benefit to any researcher who has had experience of trawling page-by-page through these materials on microfiche looking for that elusive mention on one particular film or one particular star... even better, you can download images and texts.<br />
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Check it out, and enjoy the bizarre, the entertaining and the beautiful from film publishing up to the 1970s.</div>
Lisa Steadhttp://www.blogger.com/profile/12020731059347478772noreply@blogger.com0tag:blogger.com,1999:blog-4566444136415735605.post-49872833137633568302013-08-20T16:49:00.002+01:002013-08-20T16:49:58.896+01:00TS Eliot poem hand set by Virginia Woolf fetches £4,500 at auction<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="http://static.guim.co.uk/sys-images/Guardian/Pix/pictures/2013/8/20/1377009024279/The-Waste-Land-010.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="192" src="http://static.guim.co.uk/sys-images/Guardian/Pix/pictures/2013/8/20/1377009024279/The-Waste-Land-010.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="background-color: white; color: #666666; font-family: arial, sans-serif; font-size: 12px; line-height: 16px; text-align: start;">Hogarth Press edition of TS Eliot's The Waste Land. Photograph: Bonhams</span></td></tr>
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<span style="background-color: white; line-height: 19px;"><span style="font-family: Georgia, Times New Roman, serif;">A first edition of The Waste Land published by Woolf's Hogarth Press has been sold to St Andrew's University. Read the article - <a href="http://www.theguardian.com/books/2013/aug/20/ts-eliot-waste-land-virginia-woolf-auction?CMP=twt_fd" target="_blank">here</a></span></span><br />
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<span style="font-family: Georgia, Times New Roman, serif;"><span style="background-color: white; line-height: 18px;">'A rare UK first edition of </span>T.S. Eliot<span style="background-color: white; line-height: 18px;">'s poem The Waste Land, hand-set by </span>Virginia Woolf<span style="background-color: white; line-height: 18px;"> – who "had difficulty with the typography" – has been bought at auction by the University of St Andrews for £4,500 after being donated to Oxfam.'</span></span><br />
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<span style="font-family: Georgia, Times New Roman, serif;"><span style="background-color: white; line-height: 18px;">Sales such as these can draw attention to interesting aspects of the poem itself. For example, Lydia </span><span style="background-color: white; line-height: 18px;">Wilkinson, books specialist at auction house Bonhams, </span><span style="background-color: white; line-height: 18px;">notes that:</span></span><br />
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<span style="font-family: Georgia, Times New Roman, serif;"><span style="background-color: white; line-height: 18px;">"</span><span style="background-color: white; line-height: 18px;">Woolf had difficulty with the typography because of the way Eliot would write, the rhythm and space used in his poems, and she had a bit of trouble getting the typeface right."</span><span style="background-color: white; line-height: 18px;"> </span></span><br />
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<span style="font-family: Georgia, Times New Roman, serif;"><span style="background-color: white;"><span style="line-height: 18px;">This type of detail, considering the already acknowledged influence that The Waste Land' had on texts such as <i>Mrs. Dalloway</i>, can cause us to reconsider the "rhythm and space" in Woolf's novels.</span></span></span><br />
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<span style="font-family: Georgia, Times New Roman, serif;"><span style="background-color: white; line-height: 18px;">See more Eliot related content on this blog - <a href="http://reclamationandrepresentation.blogspot.co.uk/search/?q=eliot" target="_blank">here</a></span></span><br />
<span style="font-family: Georgia, Times New Roman, serif;">And more on Woolf - <a href="http://reclamationandrepresentation.blogspot.co.uk/search/?q=woolf" target="_blank">here</a></span>Carrie Smithhttp://www.blogger.com/profile/15989578190786553232noreply@blogger.com0tag:blogger.com,1999:blog-4566444136415735605.post-62834318412307421832013-08-19T21:28:00.001+01:002013-08-19T21:48:14.455+01:00Daphne du Maurier's son reveals 'Rebecca’ was based on the author's life<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="http://i.telegraph.co.uk/multimedia/archive/02646/daphneMaurier_2646491b.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="199" src="http://i.telegraph.co.uk/multimedia/archive/02646/daphneMaurier_2646491b.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">From <a href="http://www.telegraph.co.uk/culture/books/10248724/Daphne-du-Maurier-always-said-her-novel-Rebecca-was-a-study-in-jealousy.html" target="_blank">the Telegraph</a></td></tr>
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<span style="background-color: white; color: #282828; line-height: 20.71875px;"><span style="font-family: Georgia, Times New Roman, serif;">Interview in the Telegraph with the author's son </span></span><span style="background-color: white; color: #282828; line-height: 20.71875px;"><span style="font-family: Georgia, Times New Roman, serif;">Kits Browning which discusses some of the source material for the novel including du Maurier's life and some interesting documents. It also notes that there is a new adaptation in the pipeline! Read the full interview <a href="http://www.telegraph.co.uk/culture/books/10248724/Daphne-du-Maurier-always-said-her-novel-Rebecca-was-a-study-in-jealousy.html" target="_blank">here</a>.</span></span><br />
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<span style="background-color: white; color: #282828; line-height: 20.71875px;"><span style="font-family: Georgia, Times New Roman, serif;">Some excerpts: </span></span><br />
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<span style="background-color: white; color: #282828; line-height: 20.71875px;"><span style="font-family: Georgia, Times New Roman, serif;">'"Very roughly, the book will be about the influence of a first wife on a second,” wrote Daphne du Maurier in her notes. “Until wife 2 is haunted day and night… a tragedy is looming very close and crash! Bang! Something happens.”</span></span><br />
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<span style="background-color: white; color: #282828; line-height: 20.71875px;"><span style="font-family: Georgia, Times New Roman, serif;">[...]</span></span><br />
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<span style="font-family: Georgia, Times New Roman, serif;">The seed of the story lay in du Maurier’s jealousy of Jan Ricardo, the first fiancée of her husband. “I know that she came across one or two letters or cards, fairly sort of harmless things, where Jan did sign 'Jan Ricardo’ with this wonderful great R,” says Browning, flourishing his hand in the air. It is a portentous curlicue that is emulated in the book.</span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">“The name Rebecca,” wrote du Maurier, “stood out black and strong, the tall and sloping R dwarfing the other letters.” Ricardo later threw herself under a train, although not, Browning says, due to his parents’ marriage. Still, it is said that Daphne was haunted by the suspicion that her husband remained attracted to Ricardo.</span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">[...]</span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">Manderley, like Hogwarts and Brideshead, is a name fixed in our imagination. Yet the anonymity of the novel’s narrator continues to intrigue. “She couldn’t think what to call her and so she didn’t call her anything. And then it became a challenge: could she actually write the whole thing without it,” says Browning. “Funnily enough, in the Hitchcock film, in the script she is written as 'I’, but they all called her 'Daphne’ on the shoot.”</span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">Both Mrs de Winters were drawn from du Maurier’s own character. “I always identified Mum with the second, rather timid one,” says Browning. “It was totally split, because she was just as good as Rebecca at the sailing and all that toughness.'</span><br />
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<span style="font-family: Georgia, Times New Roman, serif;">You can see Vivian Leigh's test reel for the part of the second Mrs de Winter - <a href="http://youtu.be/HxTEDtkXxxM" target="_blank">here</a> (via @DrJenBarnes)</span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">Other du Mau</span><span style="font-family: Georgia, 'Times New Roman', serif; line-height: 1.48em;">rier content on this blog can be found - </span><a href="http://reclamationandrepresentation.blogspot.co.uk/search/?q=du+maurier" style="font-family: Georgia, 'Times New Roman', serif; line-height: 1.48em;" target="_blank">here</a></div>
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<span style="font-family: Georgia, Times New Roman, serif;">Daphne du Maurier's papers are held in University of Exeter's Heritage Collections and form part of the subject of Prof. Helen Taylor's chapter in the forthcoming book: <a href="http://www.ashgate.com/isbn/9781409443223" target="_blank">The Boundaries of the Literary Archive</a></span></div>
Carrie Smithhttp://www.blogger.com/profile/15989578190786553232noreply@blogger.com0tag:blogger.com,1999:blog-4566444136415735605.post-47118865179085658512013-07-01T11:55:00.001+01:002013-07-01T11:55:31.471+01:00Lindisfarne Gospels Digitised by the British Library and exhibited in Durham<a href="http://lucian.uchicago.edu/blogs/vrc/files/2011/01/lindisfarne.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="217" src="http://lucian.uchicago.edu/blogs/vrc/files/2011/01/lindisfarne.jpg" width="320" /></a>As part of the British Library's commitment to digitising some of the most extraordinary manuscripts, we now have access to the Anglo Saxon Lindisfarne Gospels through its <a href="http://www.bl.uk/onlinegallery/sacredtexts/ttpbooks.html" target="_blank">'Turn the Pages' application</a> - This allows you to turn the pages of the manuscript, magnify it, hear an audio description of the page or read a written description.<br />
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The highlights from the Lindisfarne gospels are free for a limited time and the full version can be bought <a href="http://www.bl.uk/ebooktreasures/" target="_blank">as an app</a> for ipad. Once again the BL makes me wish I owned an ipad!<br />
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<a href="http://www.lindisfarnegospels.com/sites/default/files/images/lindisfarne_crop.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="144" src="http://www.lindisfarnegospels.com/sites/default/files/images/lindisfarne_crop.jpg" width="200" /></a>The physical gospels are currently being exhibited in Durham from today (1st July)! See the website <a href="http://www.lindisfarnegospels.com/" target="_blank">here</a>.<br />
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<span style="font-family: inherit;">"<span style="line-height: 1.2em;">The Lindisfarne Gospels book is one of the greatest landmarks of human cultural achievement. Created by the community of St Cuthbert on Lindisfarne it is one of the best examples of Medieval creativity and craftsmanship.</span></span><br />
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<span style="font-family: inherit;">The Lindisfarne Gospels Durham exhibition presents for the first time the extraordinary full story of the Lindisfarne Gospels, exploring how and why this masterpiece was created, its influence on Medieval Europe and how artistic traditions from Britain and the Mediterranean mainland came together in North East England.</span></div>
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<span style="font-family: inherit;">At the centre of the exhibition in Durham University's Palace Green Library is the gospel book itself, written in honour of St Cuthbert. In addition many fabulous artefacts from Anglo-Saxon England will be on show including ornate gold objects from the Staffordshire Hoard, intricately carved stone from Lindisfarne and silver from Hexham, alongside some very special medieval manuscripts such as the St Cuthbert Gospel and the Durham Gospels. These items place the Lindisfarne Gospels within a wider context of Anglo-Saxon creativity and show how incredibly complex and elaborate Medieval craftsmanship was."</span></div>
<br />Carrie Smithhttp://www.blogger.com/profile/15989578190786553232noreply@blogger.com0tag:blogger.com,1999:blog-4566444136415735605.post-22714414796385899192013-05-26T12:59:00.000+01:002013-05-26T12:59:24.119+01:00Abandoned Suitcases Reveal Private Lives of Insane Asylum Patients<div class="MsoNormal">
I stumbled across this wonderful article containing really moving photographs of the suitcases and belonging of the patients at a psychiatric institution between 1910-1960.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj32nugn-cjwP7IaLgTVHnud9Nq3muRwBD_d9_du2b117tSfRCxHaeT_ETrq_CGuMrqUI9p_QJNBS6px_7s0youDhixZAbN3PYuqZJwbQ3wO7fQwvgg6XSwwE9WpM9S-xqU_LOkhyphenhyphenVBH8Tx/s1600/4b1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="215" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj32nugn-cjwP7IaLgTVHnud9Nq3muRwBD_d9_du2b117tSfRCxHaeT_ETrq_CGuMrqUI9p_QJNBS6px_7s0youDhixZAbN3PYuqZJwbQ3wO7fQwvgg6XSwwE9WpM9S-xqU_LOkhyphenhyphenVBH8Tx/s320/4b1.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">From <a href="http://www.collectorsweekly.com/articles/abandoned-suitcases-reveal-private-lives-of-insane-asylum-patients/" target="_blank">Collectors Weekly</a></td></tr>
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"If you were committed to a psychiatric institution, unsure
if you’d ever return to the life you knew before, what would you take with you?
That sobering question hovers like an apparition over each of the Willard
Asylum suitcases. From the 1910s through the 1960s, many patients at the
Willard Asylum for the Chronic Insane left suitcases behind when they
passed away, with nobody to claim them. Upon the center’s closure in 1995,
employees found hundreds of these time capsules stored in a locked attic.
Working with the <a href="http://www.nysm.nysed.gov/">New York State
Museum</a>, former Willard staffers were able to preserve the hidden cache of
luggage as part of the museum’s permanent collection.</div>
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Photographer <a href="http://joncrispin.com/Welcome.html">Jon Crispin</a> has long been
drawn to the ghostly remains of abandoned psychiatric institutions. After
learning of the Willard suitcases, Crispin sought the museum’s
permission to document each case and its contents. In 2011, Crispin
completed a successful <a href="http://www.kickstarter.com/projects/265363123/willard-asylum-suitcase-documentation">Kickstarter
campaign</a> to help fund the first phase of the project, which he
recently finished. Next spring, a selection of his photos will accompany the
inaugural exhibit at the San Francisco <a href="http://www.exploratorium.edu/">Exploratorium’s</a> new location."</div>
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To read more about the project and an interview with the photographer - <a href="http://www.collectorsweekly.com/articles/abandoned-suitcases-reveal-private-lives-of-insane-asylum-patients/" target="_blank">click here</a></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJca-YkysL_Q4A93yko3tiJuUUFj697z1wwxEjjco0Lf5NQL0wjdU1cIqrZpQFtSMa7zDSByGvFFPnzOJxzQn3XCFdI6X0NmGNF3lovwBQLKe6eu9J6nIh2nq1yfRVYDFqImWJg-NVLJvr/s1600/trunkie.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="271" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJca-YkysL_Q4A93yko3tiJuUUFj697z1wwxEjjco0Lf5NQL0wjdU1cIqrZpQFtSMa7zDSByGvFFPnzOJxzQn3XCFdI6X0NmGNF3lovwBQLKe6eu9J6nIh2nq1yfRVYDFqImWJg-NVLJvr/s320/trunkie.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">From <a href="http://www.collectorsweekly.com/articles/abandoned-suitcases-reveal-private-lives-of-insane-asylum-patients/" target="_blank">Collectors Weekly</a></td></tr>
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Carrie Smithhttp://www.blogger.com/profile/15989578190786553232noreply@blogger.com0tag:blogger.com,1999:blog-4566444136415735605.post-60709934523069980632013-05-24T17:11:00.000+01:002013-05-24T17:13:04.714+01:00Newly Opened files at the National Archives reveal drunken meetings, cross dressing and surveillance There are some wonderful blog posts coming out of the <a href="http://blog.nationalarchives.gov.uk/blog/winston-was-complaining-of-a-slight-headache/" target="_blank">National Archives</a> material at the moment. Previously secret files have been opened and revealed some very interesting meetings!<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRd9cEBuy2lP5Ef1o2jkX3a3uVHnjrx3xbJLLMm03x4Cjy8ZDI8OgWMrRVcjgyfEVXhpTnRkDk7I_adqL9-JIhaMbdMEB4EqXQDypdeJgoX-0CzVGtX_ib5LLDDQ_O-6WxIw-TvJdoLcHr/s1600/churchill+and+stalin.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="color: black;"><img border="0" height="223" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRd9cEBuy2lP5Ef1o2jkX3a3uVHnjrx3xbJLLMm03x4Cjy8ZDI8OgWMrRVcjgyfEVXhpTnRkDk7I_adqL9-JIhaMbdMEB4EqXQDypdeJgoX-0CzVGtX_ib5LLDDQ_O-6WxIw-TvJdoLcHr/s400/churchill+and+stalin.jpeg" width="400" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">From <a href="http://www.itv.com/news/2013-05-23/details-of-a-drunken-wartime-meeting-between-churchill-and-stalin-revealed/" target="_blank">itv</a></td></tr>
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<span style="font-family: inherit;">"<span style="background-color: white; line-height: 18px;">‘There I found Winston and Stalin, and Molotov who has joined them, sitting with a heavily-laden board between them: food of all kinds crowned by a sucking [sic] pig, and innumerable bottles. What Stalin made me drink seemed pretty savage: Winston, who by that time was complaining of a slight headache, seemed wisely to be confining himself to a comparatively innocuous effervescent Caucasian red wine. Everyone seemed to be as merry as a marriage bell’."</span></span><br />
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<span style="font-family: inherit;"><span style="background-color: white; line-height: 18px;">The papers have also exposed the bugging of Edward VIII in the period before his abdications exposing a 'serious breakdown in trust' between himself and his ministers.</span></span><br />
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<span style="font-family: inherit;"><span style="background-color: white; line-height: 18px;">In addition, the National Archives have posted some photographs of intelligence officer </span><span style="background-color: white; line-height: 22px;">Lieutenant Colonel Dudley Clarke</span><span style="background-color: white; line-height: 22px;"> </span></span><span style="background-color: white; line-height: 22px;">dressed as both a man and a woman </span><span style="background-color: white; font-family: inherit; line-height: 22px;">taken by the Spanish police. The Lieutenant was fined by the Spanish police and hurried back to Gibraltar by Churchill.</span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6pifErHDVJrKqTLv4ssCreBZ2J9yr5A1gAxFnz7zy4MUT0ibytjW6EKnUKcB0j8nXIIGYqthLmvU-Jjf77lO1gYoBSfBfzTrPirs26I7BE9vefM1JBImo7H5t3u2r0CxZ805i8b9wDjBT/s1600/blog+man.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="223" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6pifErHDVJrKqTLv4ssCreBZ2J9yr5A1gAxFnz7zy4MUT0ibytjW6EKnUKcB0j8nXIIGYqthLmvU-Jjf77lO1gYoBSfBfzTrPirs26I7BE9vefM1JBImo7H5t3u2r0CxZ805i8b9wDjBT/s400/blog+man.jpeg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">From <a href="http://www.itv.com/news/2013-05-23/details-of-a-drunken-wartime-meeting-between-churchill-and-stalin-revealed/" target="_blank">itv</a></td></tr>
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<span style="font-family: inherit;"><span style="background-color: white; line-height: 22px;">Read more <a href="http://www.itv.com/news/2013-05-23/details-of-a-drunken-wartime-meeting-between-churchill-and-stalin-revealed/" target="_blank">here</a>.</span></span>Carrie Smithhttp://www.blogger.com/profile/15989578190786553232noreply@blogger.com0tag:blogger.com,1999:blog-4566444136415735605.post-14123864010104400552013-05-21T13:10:00.000+01:002013-05-24T17:15:31.695+01:00Reclaiming Exhibition: Two views on Carl Theodore Dreyer's The Passion of Joan of Arc (1928)<div dir="ltr" style="text-align: left;" trbidi="on">
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<h2 style="text-align: left;">
<span style="line-height: 115%;"><b><span style="font-family: inherit; font-size: large;">1. Reclaiming</span></b></span></h2>
<h4 style="text-align: left;">
(<i>Lisa Stead</i>)</h4>
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<span style="font-family: 'Calisto MT', serif; font-size: 10pt;">Carl Dreyer's<span class="apple-converted-space"> </span><i>The Passion of Joan if Arc</i><span class="apple-converted-space"> </span>is my favourite film, pretty much bar
none. Although I suspect very concept of a favourite film is in itself a bit
ridiculous -- clearly pinning down what you consider to be the 'best' is a
question anyone who teaches or studies Film or English most likely dislikes
being asked for all the ways in which it we feel it challenges us to say what's
expected, what intellectually defines us and pins our taste down in a single
sentence open to swift judgement. So much so that I always begin seminars with
any new class by asking them to admit to (and revel in) what they consider to
be their most embarrassing pet love, not the obscure art house text they think
will make them look widely viewed, appropriately cultured in obscurity (and
thus potentially that much more attractive to the geekier members of the
opposite sex...).<o:p></o:p></span><u1:p></u1:p></div>
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<span style="font-family: 'Calisto MT', serif; font-size: 10pt;">However, despite this -- turns
out, this IS my favourite film, one that I constantly circle back to and one
that just kind of stays there under your skin. And the reasons why circulate
further around its somewhat romantic exhibition history and status as film
history artefact as much as its excessively beautiful, haunting and emotionally
draining portrayal of faith on trial showcasing one of the greatest and most
obscure performances in cinema.<o:p></o:p></span></div>
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Dreyer's film, which focuses upon the record of Joan's trial, was equal parts
critically successful to financially disastrous upon its initial release, and
its immediate history saw a series of cuts and mishaps and made the original a
rare and eventually ‘lost’ commodity (the original negative was lost to a
studio fire at UFA). Dreyer's attempted restructuring from a few remaining
original prints was then<span class="apple-converted-space"> </span><i>again</i><span class="apple-converted-space"> </span>lost to fire in 1929 (bad fire times
all round). Since then, the original film was considered lost entire, until,
bizarrely canisters containing the film were found in a cleaning cupboard
mental institution in Oslo in the 1980s. After three years at the Norwegian
Film Institute the reels were finally examined and found to be Dreyer's
original cut.<br />
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Reclaimed, frequently screened at film festivals, given a DVD release and now a
part of numerous film syllabuses, the film really does live again in multiple
forms.<br />
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What I personally want to flag up in contrast with Carrie's response below is
the influence of the contemporary score commissioned for the reclaimed film--
which has a major influence upon the film is experienced in contrast to the
live accomplishment you will witness with silent screenings at many festivals
and events (a great number of diverse contemplate scores have been written for
the film since the late 1989s, including Live accompaniments by the likes of
Nick cave and Cat power). The power of Richard Einhorn's 1994 oratorio based on
the film entitled "Voices of Light" (available as an optional accompaniment
on the Criterion Collection's DVD release) is rather difficult to put in
to words, but the richness and fullness of the soundscape works in startling
compositions and contrasts with the sparse nature of Dreyer's images, the
intensity of his compositions that blank all else out against the frantic eyes
of<span class="apple-converted-space"> </span>Renée Falconetti<span class="apple-converted-space"> </span>in the film's relentless succession of
tight, unforgiving close ups as Joan response to each stage of her
interrogation. Watch it with the score, watch it without -- experience it every
way you can, because this is a text that grows and changes each time it's
encountered, and one that carries with it it's bizarre history of reclamation
and restoration that remains just as oddly intoxicating in the overall
experience as the film itself.<o:p></o:p></span></div>
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<h2 style="text-align: left;">
<span style="font-family: 'Times New Roman', serif; line-height: 115%;"><b><span style="font-size: large;">2. (Re)viewings</span></b></span></h2>
<h4 style="text-align: left;">
(<i>Carrie Smith</i>)</h4>
I recently attended
a screening of The Passion of Joan of Arc at Birmingham Cathedral as part of
the Flatpack Cinema Festival -<a href="https://owa.exeter.ac.uk/owa/redir.aspx?C=JJ_u4v80R0W_41Sm-u97iaetobdmJtAI5zzo3YqXqC2WWZZ0weMDZGjGoGATJQpTjbKfCyNK7TY.&URL=http%3a%2f%2fwww.flatpackfestival.org.uk%2fevent%2fthe-passion-of-joan-of-arc%2f" target="_blank"><span style="color: windowtext;">http://www.flatpackfestival.org.uk/event/the-passion-of-joan-of-arc/</span></a><span class="apple-converted-space"> The film was introduced by Paul
Shallcross, a pianist who had written a score to accompany it. In his
introduction he chose to stress the film’s timelessness. He mentioned that the
sets gesture towards medieval simplicity, yet the soldiers wear helmets which
look similar to those worn in World War One. He also highlighted the brief
incongruent appearance of 1920s plastic spectacles.</span><br />
<br />
Despite the film’s
damning portrayal of the Catholic Church, to watch it in Birmingham
Cathedral felt entirely appropriate. The cathedral’s high vaulted ceilings,
columns, religious paintings etc made you feel that the bishops were about to
enter from stage left. The image of the light through the window creating a
crucifix on the floor of Joan’s cell was echoed in the stained glass window of
the cathedral which was directly behind the screen. The acoustics of the
cathedral meant that the score reverberated around the audience. The walls seemed to lean inwards towards Renée Maria Falconetti’s
expressive face at the centre of the space. <span class="apple-converted-space"> </span><br />
<br />
Too often, perhaps, films are confined to being watched in the archives and do not have the
opportunity to be shown in spaces which can add new meaning and relevance. Dreyer’s film about intolerance felt like it was interacting with
modern questions in a real setting and I would applaud Birmingham Cathedral for
agreeing to the screening. It would be wonderful to see more silent films present beyond the archive in a living space and in doing so, able to reach larger audiences.</div>
Lisa Steadhttp://www.blogger.com/profile/12020731059347478772noreply@blogger.com0tag:blogger.com,1999:blog-4566444136415735605.post-32322623268059038662013-04-28T10:50:00.002+01:002013-04-28T10:52:07.313+01:00Storify: Beyond the Text: Literary Archives in the 21st Century SymposiumThe <a href="http://beinecke.library.yale.edu/beyond-text-abstracts" target="_blank">Beyond the Text</a> Symposium at t<span style="font-family: inherit;">he <strong style="background-color: white; border: 0px; color: #333333; font-weight: normal; line-height: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">The Beinecke Rare Book and Manuscript Library </strong>sounded brilliant and I was grateful to everyone live tweeting the papers. I have put together a selection of the tweets on Storify, adding in the titles of the papers w</span>here possible.<br />
<br />
It can be found <a href="https://storify.com/CarrieRSmith/beyond-the-text-literary-archives-in-the-21st-cent#" target="_blank">here</a><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqE5aKV88nLuY5UEtV15ldeuaW4FAPIVOIjVs05jVCl-zlY0kFtuGFc2qT4wXgqrAcVKkUEMEc8I8rjv8XiCJi8OB0Uft3NrlBEqOF9yomX9LKwDmiu-z9cmbz7DpVpnES5KwE8DraCZHc/s1600/storify.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="304" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqE5aKV88nLuY5UEtV15ldeuaW4FAPIVOIjVs05jVCl-zlY0kFtuGFc2qT4wXgqrAcVKkUEMEc8I8rjv8XiCJi8OB0Uft3NrlBEqOF9yomX9LKwDmiu-z9cmbz7DpVpnES5KwE8DraCZHc/s320/storify.jpg" width="320" /></a></div>
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<br />Carrie Smithhttp://www.blogger.com/profile/15989578190786553232noreply@blogger.com0tag:blogger.com,1999:blog-4566444136415735605.post-28144145248114600122013-04-10T21:49:00.000+01:002013-04-10T21:49:51.992+01:00Tiny hand-written poem by Charlotte Brontë sells for £92,000<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnyWivouOIytV6nvFPIYVswQNhpT8aTDI45Pw0RuZ2QymHxmMflrkisbZ_EfJPJMfZtf6It0bexwzEqGGulEE1obfM4Vs_IW3rQ7ctq_tCPb6vNydq8G1mJQInGyjltEFDLJBWZasHxRH6/s1600/Charlotte-Bront--poem-008.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnyWivouOIytV6nvFPIYVswQNhpT8aTDI45Pw0RuZ2QymHxmMflrkisbZ_EfJPJMfZtf6It0bexwzEqGGulEE1obfM4Vs_IW3rQ7ctq_tCPb6vNydq8G1mJQInGyjltEFDLJBWZasHxRH6/s1600/Charlotte-Bront--poem-008.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">From <a href="http://www.guardian.co.uk/books/2013/apr/10/charlotte-bronte-poem-manuscript-sells-92000?CMP=twt_fd" target="_blank">The Guardian</a></td></tr>
</tbody></table>
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"Signed C Brontë, and dated by her on 14 December 1829,
"I've been wandering in the greenwoods" is written on a piece of
paper measuring just three inches square, and is difficult to read without a
magnifying glass</div>
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[...]</div>
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<br /></div>
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The manuscript was sold by Bonhams as part of the collection
of the poet and scholar Roy Davids: it had been given an estimated sale price
of £40,000-£45,000, but went for more than double that, selling for £92,450.
The Brontë poem, said the auction house, is "extremely rare", because
although the author would go on to write around 200 poems, the "vast
majority" are in institutions, with "perhaps no more than four"
in private hands.</div>
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<br /></div>
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"I've been wandering in the greenwoods" is a
celebration of nature, with the precocious young poet elaborating on how she
has "been to the distant mountain,/ To the silver singing rill/ By the
crystal murmering mountain,/ And the shady verdant hill." It appeared in a
printed version in the literary magazine The Young Man's Intelligencer, which
was produced by the Brontë children for their own enjoyment. Charlotte took
over as editor from her brother Branwell in 1829."</div>
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<br /></div>
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This auction follows the sale of <a href="http://www.guardian.co.uk/books/2011/dec/15/charlotte-bronte-manuscript-paris-museum" target="_blank">one of the famous little books</a> to the<span style="font-family: inherit;"> <span style="line-height: 200%;">Musée des Lettres et Manuscrits</span> in </span><span style="font-family: inherit;">2011.</span></div>
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<br /></div>
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<b>I've been wandering in the greenwoods by Charlotte Brontë</b></div>
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<br /></div>
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I've been wandering in the greenwoods<br />
And mid flowery smiling plains<br />
I've been listening to the dark floods<br />
To the thrushes thrilling strains</div>
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<br /></div>
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I have gathered the pale primrose<br />
And the purple violet sweet<br />
I've been where the Asphodel grows<br />
And where lives the red deer fleet.</div>
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<br /></div>
<div class="MsoNormal">
I've been to the distant mountain,<br />
To the silver singing rill<br />
By the crystal murmering mountain,<br />
And the shady verdant hill.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I've been where the poplar is springing<br />
From the fair Inamelled ground<br />
Where the nightingale is singing<br />
With a solemn plaintive sound.</div>
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<br /></div>
<div class="MsoNormal">
<a href="http://www.guardian.co.uk/books/2013/apr/10/charlotte-bronte-poem-manuscript-sells-92000?CMP=twt_fd">http://www.guardian.co.uk/books/2013/apr/10/charlotte-bronte-poem-manuscript-sells-92000?CMP=twt_fd</a></div>
Carrie Smithhttp://www.blogger.com/profile/15989578190786553232noreply@blogger.com0tag:blogger.com,1999:blog-4566444136415735605.post-77564400582145831762013-04-05T20:38:00.000+01:002013-04-05T20:38:07.932+01:00A Living Archive: William McDonough<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://www.sustainablebrands.com/sites/default/files/imagecache/635x300/article_images/bill-mcdonough.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="151" src="http://www.sustainablebrands.com/sites/default/files/imagecache/635x300/article_images/bill-mcdonough.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://www.sustainablebrands.com/news_and_views/articles/stanford-selects-cradle-cradles-william-mcdonough-first-living-archive" target="_blank">From Sustainable Brands</a></td></tr>
</tbody></table>
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<span style="font-family: inherit;"><span style="line-height: 115%;"><a href="http://www.mcdonough.com/" target="_blank">William McDonough</a>, an American architect, is
one of the first living archives. </span><span style="color: windowtext;">This
<a href="http://topics.nytimes.com/topics/reference/timestopics/subjects/a/archives_and_records/index.html" target="_blank">New York Times</a></span> article explains that McDonough "<span style="background: white;">has started filming all of his meetings and recording all of
his phone conversations. He will send them in something close to real time to
Stanford, which will be making much of the material immediately accessible on
the Internet." The article suggests that this will work in direct contrast
with traditional archives in which an "aging famous person puts together his
correspondence and drafts, hires an agent and sells the material to the
institution that offered the most loot. [...] Scholars would then slowly come
pick through the material, which sometimes carried restrictions for
decades".</span> <o:p></o:p></span></div>
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<span style="font-family: inherit;"><br /></span></div>
<div class="MsoNormal">
<span style="line-height: 115%;"><span style="font-family: inherit;">The article’s tone suggests that the manner
in which ‘traditional’ archives function should be superseded as they are based
on commercial gain (loot), elitism (scholars) and cumbersome restrictions. The
restrictions placed on traditional archives are sometimes requested by the author/donor,
however, restrictions are also enforced by others – people referred to in
letters, for example. Before it is made public, the archivist is responsible
for combing the archive for material which may impinge on the privacy of third
parties. The scholar using the archive is aware of the restrictions on the
material. <o:p></o:p></span></span></div>
<div class="MsoNormal">
<span style="line-height: 115%;"><span style="font-family: inherit;"><br /></span></span></div>
<div class="MsoNormal">
<span style="line-height: 115%;"><span style="font-family: inherit;">Is the editing hand on McDonough’s ‘living archive’ as
transparent? McDonough has to gain permission from those on the other end of
the phone or in the meeting with him. <span style="background: white;">McDonough
suggests that refusal to allow permission has occurred “twice out of a thousand”.
Although this assurance appears to dispel these queries and implies that we are
receiving unmediated, open access into his life,</span> the constant stream of
material is still being shaped in hidden ways. For example, will third parties referred to in conversations have a say? The article admits that “<span style="background: white;">The privacy implications of this are still somewhat
murky”.<o:p></o:p></span></span></span></div>
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<span style="line-height: 115%;"><span style="background: white;"><span style="font-family: inherit;"><br /></span></span></span></div>
<div class="MsoNormal">
<span style="font-family: inherit;"><span style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 115%;"><a href="http://www.sustainablebrands.com/news_and_views/articles/stanford-selects-cradle-cradles-william-mcdonough-first-living-archive" target="_blank">Another article</a> on the subject
draws attention to the opportunity for collaborative archiving. It notes “</span><span style="line-height: 115%;">The
libraries will use the digital components to create a set of open-source
archival technologies allowing creators, archivists and selected contributors
to actively participate in the project.</span>” This sounds like, potentially,
the most interesting and groundbreaking part of the project, although the
details remain unclear at this point.<span style="background: white;"><o:p></o:p></span></span></div>
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<span style="font-family: inherit;"><br /></span></div>
<div class="MsoNormal">
<span style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 115%;"><span style="font-family: inherit;">As archivists begin to create new
parameters for dealing with privacy relating to born digital materials, ‘living
archives’ offer both an exciting step forwards and a new set of difficult
questions for archivists and scholars alike.</span><span style="font-family: Times New Roman, serif; font-size: 12pt;"><o:p></o:p></span></span></div>
Carrie Smithhttp://www.blogger.com/profile/15989578190786553232noreply@blogger.com0tag:blogger.com,1999:blog-4566444136415735605.post-45855508360206309122013-03-21T12:05:00.003+00:002013-08-04T11:26:00.352+01:00The Boundaries of the Literary Archive-- book listing and review now on Ashgate webpages<div dir="ltr" style="text-align: left;" trbidi="on">
<a href="http://ecx.images-amazon.com/images/I/51xSIittTJL.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="http://ecx.images-amazon.com/images/I/51xSIittTJL.jpg" width="206" /></a>Exciting times -- the official listing, information and first review are up for our co-edited collection <i>The Boundaries of the Literary Archive, </i>released in August of this year with Ashgate.<br />
Check it out <a href="http://www.ashgate.com/isbn/9781409443223" target="_blank">here</a> and <a href="http://www.amazon.co.uk/Boundaries-Literary-Archive-Carrie-Smith/dp/1409443221" target="_blank">here</a>!<br />
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Lisa Steadhttp://www.blogger.com/profile/12020731059347478772noreply@blogger.com0tag:blogger.com,1999:blog-4566444136415735605.post-29909967271500475432013-02-08T12:41:00.000+00:002013-02-08T12:41:08.055+00:00Virginia Woolf's fun side revealed in unseen manuscriptsVirginia Woolf's 'fun side' isn't really a revelation if you've read novels like 'Orlando', but new Woolf material is always welcome!<div>
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In this case, editions of 'The Charleston Bulletin' founded by Woolf's nephews Quentin and Julian Bell in the summer of 1923.</div>
<div>
<span style="font-family: inherit;"><br /></span></div>
<div>
<a href="http://static.guim.co.uk/sys-images/BOOKS/Pix/pictures/2013/2/7/1360240010286/Charleston-Bulletin-008.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="192" src="http://static.guim.co.uk/sys-images/BOOKS/Pix/pictures/2013/2/7/1360240010286/Charleston-Bulletin-008.jpg" width="320" /></a><span style="font-family: inherit;"><span style="background-color: white;">'</span><span style="background-color: white; line-height: 18px;">"It seemed stupid to have a real author so close at hand and not have her contribute," he said of the project. </span><span style="background-color: white; line-height: 18px;">Woolf agreed to get involved, and wrote or dictated a series of supplements – illustrated by Quentin – for the newspaper between 1923 and 1927. The booklets describe the escapades, characters and antics of Bell and Woolf's family, as well as their household servants and members of the Bloomsbury Group.'</span></span></div>
<div>
<span style="background-color: white; line-height: 18px;"><span style="font-family: inherit;"><br /></span></span></div>
<div>
<span style="background-color: white;"><span style="font-family: inherit;"><span style="line-height: 18px;">The British Library will publish The Charleston Bulletin Supplements this June. You can read </span></span><span style="line-height: 18px;">excerpts</span><span style="font-family: inherit;"><span style="line-height: 18px;"> and see illustrations here - </span></span></span><span style="line-height: 18px;">http://www.guardian.co.uk/books/2013/feb/07/virginia-woolf-lighter-side-unseen-manuscripts?CMP=twt_gu</span></div>
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<span style="background-color: white; line-height: 18px;"><span style="font-family: inherit;"><br /></span></span></div>
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Carrie Smithhttp://www.blogger.com/profile/15989578190786553232noreply@blogger.com0tag:blogger.com,1999:blog-4566444136415735605.post-56942652014388076612013-01-24T10:47:00.001+00:002013-09-12T13:10:17.566+01:00Missing Screenplays Unearthed in the Archive: Laurence Olivier's lost Macbeth<div dir="ltr" style="text-align: left;" trbidi="on">
<br />
<div style="margin-bottom: .0001pt; margin: 0cm;">
Exeter
English academic Jennifer Barnes has recently stumbled across the kind of thing
everyone secretly (or not so secretly) hopes to find in the archive
-- a missing piece, a lost treasure. Very much in the manner of<span class="apple-converted-space"> </span><i>Possession</i>'s Roland Michell
(although<span class="apple-converted-space"> </span><i>very<span class="apple-converted-space"> </span></i>much minus any hint of cheekily
pocketing said lost treasures) Jennifer discovered
13 previous unstudied versions of Laurence Olivier's 1950s
screenplay of Macbeth, a film that was never made, in the Laurence Olivier
Archive at the British Library whislt working through production
notes for a different Olivier production. Jennifer has subsequently brought to
light this body of scripts previously thought to barely exist let alone be
'lost' (Olivier claimed that the only existing script planned for the production
was 'not any better than a sketch').<o:p></o:p></div>
<div style="margin: 0cm 0cm 0.0001pt;">
Jennifer
explains of the 13 manuscripts:<o:p></o:p></div>
<div style="margin: 0cm 0cm 0.0001pt;">
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<div style="margin: 0cm 0cm 0.0001pt;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFq5sdAnEYXj1U80-rLJh6WGAhsqHk8Is_USpH2HSNfeowU1qVCYq6apoad3foAtl8k6gCHg9d0eTBWGnkBSkgwUJd8_C0bpUnJppd8vcpI8MABh_ZESvBaP1LtTf8CPnjFUlsbHoGcERD/s1600/laurenceolivier_page.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="193" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFq5sdAnEYXj1U80-rLJh6WGAhsqHk8Is_USpH2HSNfeowU1qVCYq6apoad3foAtl8k6gCHg9d0eTBWGnkBSkgwUJd8_C0bpUnJppd8vcpI8MABh_ZESvBaP1LtTf8CPnjFUlsbHoGcERD/s320/laurenceolivier_page.jpg" width="320" /></a></div>
<blockquote>
<span style="background-color: white; background-position: initial initial; background-repeat: initial initial;">'... the final shooting script certainly does not correspond
to Olivier’s reference to the project as a mere “sketch”. Rather, it offers
intricate timings, set plans, set designs and technical notes alongside
a finalized script. A reading of all of the catalogued manuscripts
confirms that Olivier’s cuts to the play text (unlike those of <em>Hamlet</em>)
are minimal. It also reveals that the running time for <em>Macbeth</em> would,
like that of <em>Henry V</em>,<em>Hamlet</em>, and <em>Richard III</em>,
reach approximately 155 minutes. I can only conclude that Olivier did not want
the screenplays to be seen following the failure of the film to make it to the
screen. But these documents are worthy of study in their own right, attesting
to Olivier’s cultural significance as a Shakespearean icon in the twentieth and
twenty-first centuries.'</span></blockquote>
<o:p></o:p><br />
<div style="margin: 0cm 0cm 0.0001pt;">
<br /></div>
<div style="margin: 0cm 0cm 0.0001pt;">
<span style="background-color: white; background-position: initial initial; background-repeat: initial initial;">The details of this rather wonderful find and
an exploration of the light it sheds on Olivier and
his oeuvre can be found in Jennifer's recent article: “Posterity
is Dispossessed”: Laurence Olivier’s <em>Macbeth </em>manuscripts in
1958 and 2012.’ <em>Shakespeare Bulletin</em>. 30:3 (2012): 263-297. A
link to her academic profile can be found <a href="http://exeter.academia.edu/JenniferBarnes" target="_blank">here</a>.</span><o:p></o:p></div>
<div style="margin: 0cm 0cm 0.0001pt;">
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Lisa Steadhttp://www.blogger.com/profile/12020731059347478772noreply@blogger.com0tag:blogger.com,1999:blog-4566444136415735605.post-29342105125008901272013-01-07T13:24:00.000+00:002013-01-07T13:24:10.047+00:00Frida Kahlo's Closet opened 58 years after her death<a href="http://a.abcnews.com/images/ABC_Univision/wittlock_frida_kahlo_121126_wg.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="180" src="http://a.abcnews.com/images/ABC_Univision/wittlock_frida_kahlo_121126_wg.jpg" width="320" /></a><br />
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'Imagine being in Frida Kahlo's childhood home and opening up a closet that has been locked for decades. Inside are hundreds of personal items – personal photographs, love letters, medications, jewelry, shoes, and clothing that still hold the smell of perfume and the last cigarette she smoked.<br /><br />That is exactly what happened when Hilda Trujillo Soto, the director of the Frida Kahlo Museum opened the closets that had been locked since the Mexican artist's death in 1954. Inside were over 300 items belonging to Frida Kahlo, and now, a wide array of what was found is on display at the Casa Azul, the <a href="http://www.museofridakahlo.org.mx/">Frida Kahlo Museum</a> in the Coyoacán neighborhood of Mexico City.<br /><br />The exhibit, Appearances Can Be Deceiving: The Dresses of Frida Kahlo, a collaboration between the museum and <a href="http://www.vogue.mx/especiales/frida-kahlo">Vogue Mexico</a>, brings to an end an elaborate 50 year scheme to keep private the intimate details of Kahlo's life. It started when she died in 1954, as a distraught <a href="http://www.museoanahuacalli.org.mx/#Diego Rivera Museum">Diego Rivera</a>, the famous Mexican muralist and Frida Kahlo's husband, locked the doors to her closet and never let anyone enter for fear that the contents would be mishandled and ruined.<br /><br />When he died in 1957 the task of protecting its contents went to a dear friend and patron, <a href="http://www.museodoloresolmedo.org.mx/#Dolores Olmedo Museum">Dolores Olmedo</a>, who promised him that the closet would remain unopened until 15 years after his death. She kept her word. In fact, she decided to keep the closet locked until her own death. And she lived a long life, passing away in 2002 at the age of 93.<br /><br />Eventually, museum personnel decided it was time to look inside. And what a discovery. Art historians and fashionistas already knew Frida was unique and ahead of her time. But, what the items in the exhibit show are that despite the disabilities, the monobrow, and the violent depictions of the female anatomy in some of her paintings, Frida Kahlo was a bit of a girlie girl who wore makeup, used perfume and dressed up her prosthetic leg with a red high-heeled boot. Her clothing aimed for style and self-protection but it also made a statement, both political and cultural.<div class="separator" style="clear: both; text-align: center;">
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<a href="http://media.tumblr.com/tumblr_me63qmy9Vs1qi7ua6.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="213" src="http://media.tumblr.com/tumblr_me63qmy9Vs1qi7ua6.jpg" width="320" /></a></div>
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<br />This was especially true of the Tehuana dresses Kahlo wore like a "second skin," said Circe Henestrosa, the exhibit curator. Colorful and carefully made by indigenous artisans, they were a tribute to the matriarchal Tehuantepec society whose women were traders, considered equals with the men. Tehuana's long skirts were also the perfect way for Kahlo to hide her ailments, including a polio-deformed leg she would eventually have amputated.<br /><br />"This dress symbolizes a powerful woman," Henestrosa said, adding: "She wants to portray her Mexicanidad, or her political convictions, and it's a dress that at the same time helps her distinguish herself as a female artist of the 40s. It's a dress that helps her disguise physical imperfections."<br /><div>
<br /></div>
It is a fashion exhibit built around those two themes – disability and ethnicity. The highlights include several of the Tehuana dresses, corsets that Kahlo wore to keep her damaged spine straight and fancy embroidered satin shoes. Her cat-eye style sunglasses and a baguette clutch purse are among the surprising personal items displayed in a glass cabinet.'<div>
<br /></div>
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Read the full article and watch a video here - http://abcnews.go.com/ABC_Univision/frida-kahlo-fashion-exhibit-opens-mexico-city/story?id=17810830#.UOrLPW-vGSo</div>
Carrie Smithhttp://www.blogger.com/profile/15989578190786553232noreply@blogger.com1tag:blogger.com,1999:blog-4566444136415735605.post-36178733561144893672012-12-19T08:20:00.000+00:002012-12-19T08:33:15.404+00:00Developing a Curriculum for Undergraduate Work in the Digital Archives<a href="http://edudemic.com/wp-content/uploads/2012/08/50backtoschoolapps2.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="124" src="http://edudemic.com/wp-content/uploads/2012/08/50backtoschoolapps2.jpg" width="200" /></a><span style="font-family: inherit;">Rebecca Frost Davis has posted a really interesting consideration of teaching with digital archives. This key paragraph outlines what Frost Davis sees as the current issues facing universities:</span><br />
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<span style="font-family: inherit;"><span style="background-color: white; color: #222222; line-height: 22.78333282470703px;">"The seminar, “</span><a href="http://www.nitle.org/live/events/121-digital-scholarship-seminar-digital-scholarship-in" style="background-color: white; border-bottom-color: rgb(238, 238, 238); border-bottom-style: solid; border-bottom-width: 1px; color: black; font-weight: bold; line-height: 22.78333282470703px; outline: none; text-decoration: initial;">Digital Scholarship in the Online Archive</a><span style="background-color: white; color: #222222; line-height: 22.78333282470703px;">,” is important because Coates, Mandell, and McGrane describe ways that undergraduates can use existing digital archives. Too often, instructors are daunted by the prospect of undergraduate digital scholarship because it seems to require substantial digital work from scratch on the part of the instructor and student. Or it may be that undergraduate digital scholarship only seems possible at those institutions with a </span><a href="http://www.dhinitiative.org/" style="background-color: white; border-bottom-color: rgb(238, 238, 238); border-bottom-style: solid; border-bottom-width: 1px; color: black; font-weight: bold; line-height: 22.78333282470703px; outline: none; text-decoration: initial;">digital humanities initiative (like Hamilton College</a><span style="background-color: white; color: #222222; line-height: 22.78333282470703px;">) or </span><a href="http://dsl.richmond.edu/" style="background-color: white; border-bottom-color: rgb(238, 238, 238); border-bottom-style: solid; border-bottom-width: 1px; color: black; font-weight: bold; line-height: 22.78333282470703px; outline: none; text-decoration: initial;">digital scholarship lab (like the University of Richmond</a><span style="background-color: white; color: #222222; line-height: 22.78333282470703px;">). But, in fact, many digital resources are already available either openly online or through library subscriptions (see, for example, the resources aggregated by </span><a href="http://www.nines.org/" style="background-color: white; border-bottom-color: rgb(238, 238, 238); border-bottom-style: solid; border-bottom-width: 1px; color: black; font-weight: bold; line-height: 22.78333282470703px; outline: none; text-decoration: initial;">NINES</a><span style="background-color: white; color: #222222; line-height: 22.78333282470703px;">); building projects on these resources is a significant skill in the digital age, whether we call that “remix,” “mash-up,” or “curation”. And such work develops literacy for archival work; as students become familiar with how digital archives are constructed, they are more prepared to do their own archival work."</span></span><br />
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</span> <span style="background-color: white; color: #222222; line-height: 22.78333282470703px;">See her full blog post <a href="http://rebeccafrostdavis.wordpress.com/2012/12/17/developing-a-curriculum-for-undergraduate-work-in-the-digital-archives/" target="_blank">here</a>.</span></span><br />
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</span> <span style="background-color: white; color: #222222; line-height: 22.78333282470703px;">Thanks to @Alisonharvey_ for this.</span></span>Carrie Smithhttp://www.blogger.com/profile/15989578190786553232noreply@blogger.com0tag:blogger.com,1999:blog-4566444136415735605.post-89255907648372365742012-10-29T11:26:00.001+00:002012-10-29T11:31:47.316+00:00The 'Real' James Bond: the Cold War MI5 Diaries Released<div style="text-align: left;">
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<a href="http://blogs-images.forbes.com/carolpinchefsky/files/2012/10/Skyfall.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="131" src="http://blogs-images.forbes.com/carolpinchefsky/files/2012/10/Skyfall.jpg" width="200" /></a><span style="font-family: Georgia, Times New Roman, serif;">To coincide with the release of the new James Bond film "Skyfall" the <a href="http://blog.nationalarchives.gov.uk/blog/james-bond-the-cold-war-diaries-and-spying-in-kew/" target="_blank"><span style="color: blue;">National</span> <span style="color: blue;">Archives Blog</span></a> features a post concerning<span style="background-color: white; line-height: 18px;"> the ‘real’ James Bond and the MI5 Diaries which are available for a limited time to download for free.</span></span><br />
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<span style="font-family: Georgia, Times New Roman, serif;"><span style="background-color: white; line-height: 18px;"></span> <span style="background-color: white; line-height: 18px;">The candidate for the 'real' James Bond is "</span><a href="http://www.dailyrecord.co.uk/news/real-life/the-ruthless-spy-codenamed-white-rabbit-1388166" style="background-color: white; line-height: 18px; text-decoration: none;" target="_blank"><span style="color: blue;">Forest Yeo-Thomas</span></a><span style="background-color: white; line-height: 18px;">, a Second World War secret agent, codenamed ‘White Rabbit’, whose </span><a href="http://discovery.nationalarchives.gov.uk/SearchUI/Details?uri=C11120164" style="background-color: white; line-height: 18px; text-decoration: none;" target="_blank"><span style="color: blue;">Special Operations Executive file</span></a><span style="background-color: white; line-height: 18px;"> was released to The National Archives in 2003."</span></span><br />
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<span style="font-family: Georgia, Times New Roman, serif;"><span style="background-color: white; line-height: 18px;">"</span><span style="background-color: white; line-height: 18px;">The latest collection of Security Service (MI5) files are made public today and the undoubted highlights are the ten personal diaries of Guy Liddell, Deputy Director General of MI5 during the early Cold War.</span></span><br />
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<span style="font-family: Georgia, Times New Roman, serif;"><span id="more-4493"></span>Liddell dictated his personal thoughts on the day’s events to a secretary every evening and the pages of tightly-typed notes make fascinating reading."</span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">You can <a href="http://www.nationalarchives.gov.uk/news/policy-files-oct-2012.htm" style="text-decoration: none;" target="_blank"><span style="color: blue;">download the files</span></a> from their website free for one month.</span></div>
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Carrie Smithhttp://www.blogger.com/profile/15989578190786553232noreply@blogger.com0tag:blogger.com,1999:blog-4566444136415735605.post-16688339121108675332012-10-22T08:56:00.001+01:002013-05-27T14:50:56.236+01:00Advice for Archival Study: paper resources for film<div dir="ltr" style="text-align: left;" trbidi="on">
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<b><span style="font-family: Georgia, Times New Roman, serif;">Tips for working in a film archive (paper resources and ephemera)<o:p></o:p></span></b></div>
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<span style="font-family: Georgia, Times New Roman, serif;">When someone
says ‘film archive’, you might assume they mean old projectors, flammable film
stock, concrete bunkers and digitized home movies.<o:p></o:p></span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">Not
exactly, in my experience at least. The study of ‘film’ is rarely just the text
itself – it is the text embedded in context, industrial and cultural, and its
interrelation with a vast array of other histories – advertising, leisure,
urban development, print culture, visual culture, local industry, etc.<o:p></o:p></span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">My own
film archive experience is in this sense far more paper-based than moving image
based. As someone who works with a history of cinema as one of cinema<i>going</i>, what people see on cinema screens
is obviously just as important as how, where, why they see it, and questions
about these practices cannot be researched or inferred through films texts
alone. <o:p></o:p></span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">While paper
materials often accompany the big film archive centres that focus predominantly
upon housing and preserving moving images – the <a href="http://www.bfi.org.uk/archive-collections" target="_blank">BFI</a>, for example, holds
some 45,000 books, 20,000 unpublished scripts, 6000 collections of personal
papers and 2,000 items of cinema ephemera plus 4 million still images – some
centres, like the Bill Douglas Centre and Exeter, are exclusively ephemera
based, retaining everything <i>but</i> the
moving image itself.<o:p></o:p></span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">The
idea of a film archive as an exclusive entity is in itself problematic, just as
a ‘literary’ archive very rarely contains only paper and text. You will find
film related ephemera and material present in numerous other kinds of holdings
and repositories not exclusively designated for film. When researching the
filmmaker Elinor Glyn, for example, business records relating to her work with
British film companies and major American studios in the 1920s were to be found
in Reading Special Collections – by no means a film archive, but of course a
logical home for the work of a woman who, despite professing herself as the
‘ savior of the British film industry’ was, first and foremost, a novelist. <o:p></o:p></span></div>
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<span style="font-family: Georgia, Times New Roman, serif;"><b>Tip 1</b>, therefore, is an obvious point, but worth
stressing -- spread the net as wide as possible in beginning any kind of
research that may seem on the surface relatively discipline-exclusive. <a href="http://archiveshub.ac.uk/" target="_blank">Archiveshub</a> is one of the best
ways to keyword search and throw up locations for materials, rather than going
straight to a film archive to find, say, documents relating a screenplay writer
or director. You may find materials housed in the most unexpected places, just
as these materials themselves before they reach the archive are found in the
most unexpected places (the original cut of Carl Dreyer’s haunting<i> </i>1928 silent film <i>The Passion of Joan of Arc, </i>for example<i>, </i>was thought lost for decades after a fire destroyed the master
negative until rediscovered in the janitor’s closet of a mental institution in
Norway some 50 years later).<o:p></o:p></span></div>
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<span style="font-family: Georgia, Times New Roman, serif;"><b>Tip 2</b>: Ephemera is confusing stuff. It’s
fascinating, frequently amusing in its quirkiness, and will suck hours of your
research time as you sift through a hundred weird and wonderful postcards or
cigarette cards or deeply ugly Monroe memorabilia ...</span><br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_BMnp5RKOieMdPVofPzGgL6d6ZVlG19wgvmxLb3Izt4CMnhO8byOYUnp016Bg2nhYiIXArs0EG44OMZ4YGEM7SR_MazwTrHP7D-JcCEI_PupERQv4eG9-c0_f_gvDW1QKKDH6GKwyCCTl/s1600/74148-2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: Georgia, Times New Roman, serif;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_BMnp5RKOieMdPVofPzGgL6d6ZVlG19wgvmxLb3Izt4CMnhO8byOYUnp016Bg2nhYiIXArs0EG44OMZ4YGEM7SR_MazwTrHP7D-JcCEI_PupERQv4eG9-c0_f_gvDW1QKKDH6GKwyCCTl/s1600/74148-2.jpg" /></span></a></td></tr>
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<span style="font-family: Georgia, Times New Roman, serif; font-size: small;">Monroe dish: Peter Jewell Collection Bill Douglas Centre</span></div>
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...but what to do
with all this critically can be daunting. How do you turn a bunch of
interesting, fleeting, ephemeral <i>stuff</i>
into something more concrete? The BDC’s curator Phil Wickham helps in
explaining that the archive contains a history of film culture positioned in
‘the nexus between text and context’ where ephemera ‘can make meaning and
create evidence’ (2010: 316). In considering that nexus, any research questions
you take into the archive have to be broad enough to effectively accommodate the
sometimes seeming randomness of what it contains, but structured enough to bring
these material to bear on your project and its aims. My advice in this respect
is to utilize the catalogue and squeeze as much info as possible out of it as
possible to request the right things where you may be overwhelmed otherwise by
a volume of materials, but also to utilize the archivist or curator wherever
possible as a key resource—no one knows more about the collection that you’re
using than them, after all.<o:p></o:p></span></div>
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<span style="font-family: Georgia, Times New Roman, serif;"><b>Tip 3</b>: Consider the practicalities of the kind of
note taking you want do to. You may be working with objects rather than
manuscripts – things that can’t be photocopied or transcribed for more detailed
study later on. Always take a digital camera and check if you can use it to
enable you to revisit, if possible, the materials you’ve encountered. Any
archive is often about the tangible quality of working first hand with
materials, but with film ephemera – toys, memorabilia -- these are things that were always <i>meant</i> to be handled, and that experience
is significant and worth attempting to retain when writing up your findings.</span><br />
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<span style="background-color: white; line-height: 115%; text-indent: 35.45pt;"><span style="font-family: Georgia, Times New Roman, serif; font-size: xx-small;"><u>Works cited</u></span></span><br />
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<li><span style="font-family: Georgia, Times New Roman, serif; font-size: xx-small;"><span style="background-color: white; line-height: 200%; text-indent: 35.45pt;">Wickham, Phil. 2010. </span><span style="background-color: white; line-height: 200%; text-indent: 35.45pt;">Scrap
books, soap dishes, and screen dreams: ephemera, </span><span style="background-color: white; line-height: 200%; text-indent: 35.45pt;">everyday life and
cinema history. <i>New Review of Film and Television Studies, </i></span><span style="background-color: white; line-height: 200%; text-indent: 35.45pt;">8(3),
315-30.</span></span></li>
</ul>
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Lisa Steadhttp://www.blogger.com/profile/12020731059347478772noreply@blogger.com0