Suchergebnisse

Ephemera, transitory materials that were not intended to be preserved or kept, often capture dynamics and activities that other sources do not. The Robbins Collection and Research Center in Religious and Civil Law has a small number of manuscript volumes that consist of ephemeral materials that were bound together, thus preserving early ephemera and, more unusually, in the context within which they were first used and understood. Robbins MS 232 is a collection of Philippe-Auguste Merlin's drafts of speeches to the French court of appeals between 1801 and 1804, which were the backs of letters, envelopes, announcements, and other ephemera. MS 174 is a mishmash of instructions, decisions, reports, correspondence, treatises, poems, discussions of the Jesuits, an index of Jewish observance, and calligraphy practice from the desk of an eighteenth-century cardinal. MS 180, on the other hand, is a coherent grouping of drafts and fair copies of resolutions, consultations, and proposals — complete with broadsheets containing the printer's proof and final copy — for an edict regarding rape that was issued in the Papal States in 1736. Because they contain so much ephemera, these volumes provide unique windows into law, politics, and power in eighteenth- and nineteenth-century France and Italy, but they also pose definite challenges to providing description and access. Here, I propose discussing the problems faced and decisions reached in the invisible work of making these materials visible and available for research and study. ; Ephemera, transitory materials that were not intended to be preserved or kept, often capture dynamics and activities that other sources do not. The Robbins Collection and Research Center in Religious and Civil Law has a small number of manuscript volumes that consist of ephemeral materials that were bound together, thus preserving early ephemera and, more unusually, in the context within which they were first used and understood.

Gregory D. Victorianne's Buti Voxx is a window into the diffuse erotic networks across the African diaspora who forged international information networks between the 1980s and early 2000s. The Afro-erotic zine occasions an opportunity to tease out what the author calls ephemera fever, the compulsion across contemporary Black queer studies and queer of color critique to frame the trace as evidence of imagining otherwise. The author attunes to the frictions, or what Keguro Macharia calls "frottage," between the production of Buti Voxx and José Esteban Muñoz's paradigm of "ephemera as evidence" in an effort to query the conceptual pressures undergirding the process of scaling the quotidian to the erotic and political blueprint. The conundrum of the black vernacular is that objects like Buti Voxx become locked into the affective expectations and hermeneutic feedback loops set in motion by altruistic grammars like ephemera. Frottage of ephemera is a launchpad for thinking through how grammatical possibility concurrently functions as hermeneutic enclosure.

The Elaine B. and Carl Krasik Pennsylvania and PresidentialPolitical Memorabilia Collection contains thousands of pieces ofpolitical ephemera—buttons, pins, tokens, ribbons, hats, badges,paperweights—that are not only visually striking but offer cluesabout political elections and campaigns of the past. The materialdates back to the late 18th century and numbers more than 4,000items; roughly 1,130 of the three-dimensional artifacts have beencataloged so far and nearly 600 paper pieces have been processedand are housed in the Detre Library & Archives.

The Elaine B. and Carl Krasik Pennsylvania and PresidentialPolitical Memorabilia Collection contains thousands of pieces ofpolitical ephemera—buttons, pins, tokens, ribbons, hats, badges,paperweights—that are not only visually striking but offer cluesabout political elections and campaigns of the past. The materialdates back to the late 18th century and numbers more than 4,000items; roughly 1,130 of the three-dimensional artifacts have beencataloged so far and nearly 600 paper pieces have been processedand are housed in the Detre Library & Archives.

Abstract: Histories of the nineteenth-century world often emphasize movements, connections, and linear paths toward uniformity. It is, however, possible to tell a global history of the nineteenth century that features sessile, globally disconnected actors; scarcely valuable commodities; and convergences that ended. Such is the case with the commercial publishers of late-Tokugawa Japan and the disaster lists they designed before the "opening" of the country in 1868. Disaster lists responded to seismic shifts that were both local and global: the rise of a market for organized knowledge and the formation of new ways of seeing. Their blend of survey and spectacle links Japanese printers to publishers in Europe, North America, and Mexico. Wholly unrestricted by the imperatives of movement and connectivity, disaster lists still trace the contours of a world in transformation. They also heed the call to look at globalization from the bottom up and from non-Eurocentric, non-West-centric, non-macro perspectives.

The First World War blurred the lines between "ordinary" and "literary" writing practices. Many sources corroborate this: necrologies written about poets who died in the act of writing not a poem but rather a letter, or introductions to poetry collections where bereaved families and friends admit they had no knowledge of their loved one's writing practices until they found a journal full of poems after the author's death, which they only published as a posthumous tribute. This article uses examples of French poetry of the Great War to explore this permeability between what is considered war poetry and what is considered war ephemera. The main question it addresses is what changes when we look at the war poems that were initially ephemera or ordinary writing. Whose stories get told when poetry is studied not as literature to be judged as accomplished or failed art but as a way of writing to make sense of the world? It argues that when we choose to read poems as ephemera and from the point of view of a larger anthropology of writing practices, diverse histories emerge and communities who write poetry not only as an artistic pursuit but also as a means of organizing experience and leaving traces behind reclaim ownership over their own narratives. This can challenge the false equivalence between the cultural history of warfare and an intellectual history of the elites at war and includes poetry within paradigmatic shifts that place objects at the centre of mediations of the experience of war.

A collection of essays composed during the Obama presidency on politics, theology, art, and education. Social and political critique, pastoral philosophy, postmodern theology, deschooling, and folk phenomenology: Rocha's essays in Tell Them Something Beautiful cover a range of topics and ideas, held together by his literary style and integrated point of view

Two short clippings about student election results, including Carol Hennessy's election to President of the Associated Women Students. There is also a campaign ribbon for Dick Bachus and Hennessy's student identification card. ; complete;

This dissertation offers a historical account of film preservation in South Korea, detailing how and why the idea of preserving film took hold, and how the process of decolonization complicated its practical realization. Drawing upon sources from archives, interviews, newspapers and published reports, it explores the conditions under which the archives of cinema evolved, and analyzes the conflicting ways that Japanese and American political authorities, Korean leaders, international policy makers, and Korean film industry members understood film's value and purpose. The political regimes that ruled over South Korea—both foreign and domestic—understood film to be both short-term entertainment and a didactic tool, and therefore were not concerned with the long-term storage of cinema. Meanwhile, local actors such as filmmakers and critics challenged the state's dominant perception of cinema. Their transnational encounters with film institutes, audiovisual education agencies, and film preservation movements around the world led to different and diverse understandings of the role and value of film. Despite this counter discourse, political regimes concentrated on the utility of cinema as part of the modernization of mutable subjects, instituting little rigor in local actors' film conservation activity until the early 1970s. What ended up dramatically shifting the country's attitudes towards and practices of film preservation was not a sustainable investment in film culture by the political regime, but instead competition with North Korea and the elevation of Korean cultural prestige as an economic force. These forces combined to lead to a reconsideration of film conservation and archival practices in South Korea.