[1] From: David Green <david@ninch.org> (147)
Subject: Exhibits: Tibetan Book of Dead; Adrian Scott; Brecht
[2] From: "David L. Gants" <dgants@english.uga.edu> (20)
Subject: New on Web
[3] From: Wendy McFarland <wendy@chaos.press.jhu.edu> (340)
Subject: Postmodern Culture 8.2
[4] From: Daniel Traister <traister@pobox.upenn.edu> (21)
Subject: New web site: "Cultural Readings"
[5] From: mgk3k@faraday.clas.virginia.edu (25)
Subject: update from the Blake Archive
--[1]------------------------------------------------------------------
Date: Tue, 10 Feb 1998 17:02:20 -0500
From: David Green <david@ninch.org>
Subject: Exhibits: Tibetan Book of Dead; Adrian Scott; Brecht
NINCH ANNOUNCEMENT
February 10,1998
VIRTUAL EXHIBITIONS
Below are three web exhibits that have recently opened. The first is a
stunning web accompaniment to an exhibit at the Alderman Library at the
University of Virginia on the Tibetan Book of the Dead. The second and
third are a little less satisfying. One is a collaborative exhibit between
the University of Maryland and University of Wyoming on the screenwriter
and film producer Adrian Scott and the Hollywood Ten. The other is the
opening of a developing exhibit on Bertolt Brecht in the U.S., based on the
collections of the Feuchtwanger Memorial Library at the University of
Southern California. Both the Adrian Scott and Brecht exhibits include
House Un-American Activities Committee material.
David Green
THE TIBETAN BOOK OF THE DEAD:
Literature and Artwork on Prayer, Ritual, and Meditation
from the Religious Traditions of Tibet, India and Nepal
<http://www.lib.virginia.edu/exhibits/dead/>
ONE IN TEN: ADRIAN SCOTT AND THE HOLLYWOOD TEN
<http://www.otal.umd.edu/~rccs/blacklist/>
BERTOLT BRECHT TURNS 100
<http://www-lib.usc.edu/Info/FML/Brecht/>
==============
>Date: Fri, 6 Feb 1998 12:45:06 -0500
>Reply-To: Archives & Archivists <ARCHIVES@MIAMIU.ACS.MUOHIO.EDU>
>>From: Edward Gaynor <gaynor@VIRGINIA.EDU>
>
THE TIBETAN BOOK OF THE DEAD:
Literature and Artwork on Prayer, Ritual, and Meditation
<http://www.lib.virginia.edu/exhibits/dead/>
"Actor Brad Pitt may have taken moviegoers to the edge of their seats in
"Seven Years In Tibet," but the University of Virginia's Special
Collections Department will take you on an enlightenment odyssey with a
ground-breaking 19-week exhibition that appeals simultaneously to the
intellect and spiritual senses.
A prayer wheel. A ritual scepter and bell. A magnificent ivory statue
depicting Padmasambhava -- revered for subduing demons -- seated on a
silver throne. A ritual dagger to conquer evil or negative emotions, a
sacred altar and a bunting of prayer flags. These are just a few of the
symbols of peaceful and wrathful deities in Tibetan iconography and scroll
paintings that are mounted as part of a comprehensive exhibition titled,
The Tibetan Book of the Dead: Literature and Artwork on Prayer, Ritual, and
Meditation from the Religious Traditions of Tibet, India and Nepal, which
runs through March 14, 1998 in the Library's McGregor Room and is available
online at:
http://www.lib.virginia.edu/exhibits/dead/
Discover the nuances of Tibetan culture from the pages of old woodblock
printed books. Learn what Tibetan Lamas do when they meditate in isolation,
and about the colorful rituals and artifacts that frame events relating to
death and dying for Tibetans.
The show brings together more than a dozen ritual artwork items from the
holdings of the University's Bayly Art Museum, the Virginia Museum of Fine
Arts, and from private collections. This is the most inclusive exposition
in subject matter and scope ever displayed at Alderman, says Kathryn
Morgan, associate director of special collections at the U.Va. library.
Anyone willing to surrender to the serenity and harmony of the display will
become attuned to how a culture that believes in past and future lives
explores the process of death and rebirth.
"Tibetan Buddhism is known for its detailed descriptions of the
psychological and physical processes of death," says Jeffrey Hopkins, a
professor of Religious Studies at U.Va.
With a trove of more than 10,000 titles, U.Va. has the largest collection
of Tibetan literary materials outside Tibet. More than 40 of the library's
prized texts will be showcased, and a limited-edition catalogue of the
exhibit will be issued. Curators of this exhibition are even scheduling
lectures by professors of religious studies, including one by Tibetan Lama
Tenzin Wangyel Rinpoche, who will open the lecture series with a discussion
on "Facing Death With Hope and Without Fear."
Since artwork and ritual symbols are an integral part of the religious
system for Tibetans, scroll paintings and statues depicting a dizzying
array of deities help viewers gain familiarity with the dying process.
Tibet, often referred to as "the roof" of the world because it sits on a
high plateau, is situated between China and India. Most of its 6 million
inhabitants practice Buddhism, a religion not confined behind the region's
high mountainous peaks. Interest in Tibetan Buddhism is growing in the
United States, with practitioners totaling up to 100,000 according to a
recent article in Time magazine.
Attention to things Tibetan is not expected to wane anytime soon. In
addition to "Seven Years in Tibet," movie audiences can see "Red Corner",
starring devout Buddhist Richard Gere and "Kundun," a Martin Scorsese film
about the Dalai Lama. It is in keeping with growing interest that U.Va.
aspires to raise awareness of Tibet through its artistic and philosophical
reading materials.
To signal the start of the exhibit, a large traditional cotton banner
designed and crafted by Khedup Gyatso, a Tibetan residing in America, will
hang outside Alderman Library. Accompanying the banner will be colorful
traditional Tibetan prayer flags, which also will adorn the McGregor Room.
The prayer flags are printed in black ink on blue, white, red, green and
yellow panels of fabric. Each panel is printed with identical Tibetan text
with a representation of the "Wind Horse," a symbol of good fortune bearing
a blazing jewel at the center. Tibetan text on each flag includes various
mantras and Tibetan prayers for averting obstacles, and for luck and
prosperity. Such flags are traditionally placed at high mountain passes so
that their prayers and good wishes will be carried on the wind.
============
>Date: Wed, 4 Feb 1998 15:45:19 -0700
>Reply-To: Archives & Archivists <ARCHIVES@MIAMIU.ACS.MUOHIO.EDU>
>Sender: Archives & Archivists <ARCHIVES@MIAMIU.ACS.MUOHIO.EDU>
>From: "Mark L. Shelstad" <Shelstad@uwyo.edu>
>Subject: Announcement: New Virtual Exhibition
ONE IN TEN: ADRIAN SCOTT AND THE HOLLYWOOD TEN
<http://www.otal.umd.edu/~rccs/blacklist/>
A collaborative project between the Resource Center for Cyberculture
Studies at the University of Maryland and the American Heritage Center at
the University of Wyoming, "One in Ten: Adrian Scott and the Hollywood Ten"
explores the life of screenwriter Adrian Scott, who was blacklisted and
imprisoned for refusing to answer questions about alleged Communist
activities in the motion picture industry by the House Committee on
Un-American Activities.
Currently, the virtual exhibition includes Scott's testimony before the
Committee on Un-American Activities, an article-length essay on Scott's and
other blacklistee's use of pseudonyms and fronts, a filmography of the
Hollywood Ten, a detailed timeline of their trial, and an extensive archive
of photographs and personal letters.
Research conducted on Adrian Scott and his Papers has been made possible
through an American Heritage Center Travel grant, which are awarded
annually to allow scholars to conduct research in AHC collections.
=================
>Date: Tue, 10 Feb 1998 11:01:02 -0800
>Sender: Archives & Archivists <ARCHIVES@MIAMIU.ACS.MUOHIO.EDU>
>From: Marje Schuetze-Coburn <schuetze@CALVIN.USC.EDU>
>Subject: Bertolt Brecht Turns 100 - web exhibit
BERTOLT BRECHT TURNS 100
<http://www-lib.usc.edu/Info/FML/Brecht/>
I am pleased to announce a website created to celebrate the anniversary of
Bertolt Brecht's 100th birthday today -- February 10, 1998. This web
exhibition highlights archival materials from the Feuchtwanger Memorial
Library at the University of Southern California while describing various
aspects of Brecht's six years living in Los Angeles.
The first phase of the exhibition is ready for viewing but continue to
check back at the site since additional pages will be added throughout 1998
to celebrate Brecht's centennial.
I would be happy to receive any comments about the exhibit or answer any
questions you might have about the Feuchtwanger Memorial Library.
Marje Schuetze-Coburn
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
Marje Schuetze-Coburn
Feuchtwanger Librarian
Feuchtwanger Memorial Library
Department of Special Collections
Information Services Division
University of Southern California
Los Angeles, CA 90089-0182
-=- Voice: 213-740-7119
-=- Fax: 213-740-2343
-=- Email: schuetze@calvin.usc.edu
-=- URL: http://www-lib.usc.edu/Info/FML/
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
--[2]------------------------------------------------------------------
Date: Wed, 11 Feb 1998 15:42:18 -0500 (EST)
From: "David L. Gants" <dgants@english.uga.edu>
Subject: New on Web
>> From: Margaret Lantry <mlantry@imbolc.ucc.ie>
The Corpus of Electronic Texts (CELT) project hosted by University
College Cork, Ireland, is pleased to announce that the complete works of
Oscar Wilde are available at our web site
<http://www.ucc.ie/celt/wilde.html>.
Also recently made available are the complete works of James Connolly,
the influential socialist who died in Ireland's 1916 rising
<http://www.ucc.ie/celt/connolly.html>
CELT uses SGML/TEI to mark texts in Old and Middle Irish, English,
Hiberno-Norman French and Latin. We have an experimental search interface
available <http://www.ucc.ie/celt/search.html>: we would be grateful for
any comments and suggestions.
Margaret Lantry
----------------------------------------------------------------
Margaret Lantry mlantry@imbolc.ucc.ie
Managing Editor +353-21-902736
Corpus of Electronic Texts http://www.ucc.ie/celt/
Computer Centre
University College Cork
Ireland
--[3]------------------------------------------------------------------
Date: Fri, 13 Feb 1998 17:18:43 +0000
From: Wendy McFarland <wendy@chaos.press.jhu.edu>
Subject: Postmodern Culture 8.2
-----------------------------------------------------------------
POSTMODERNCULTUREPOSTMODERNCULTURE
P RNCU REPO ODER E P O S T M O D E R N
P TMOD RNCU U EP S ODER ULTU E C U L T U R E
P RNCU UR OS ODER ULTURE
P TMODERNCU UREPOS ODER ULTU E an electronic journal
P TMODERNCU UREPOS ODER E of interdisciplinary
POSTMODERNCULTUREPOSTMODERNCULTURE criticism
-----------------------------------------------------------------
Volume 8, Number 2 (January 1998) ISSN: 1053-1920
-----------------------------------------------------------------
Editors: Robert Kolker (guest editor)
Lisa Brawley
Stuart Moulthrop
Editors Emeritus: Eyal Amiran
John Unsworth
Review Editor: Paula Geyh
Managing Editor: Anne Sussman
Research Assistant: Lisa Spiro
Editorial Board:
Michael Berube Phil Novak
Nahum Chandler Chimalum Nwankwo
J. Yellowlees Douglas Patrick O'Donnell
Jim English Elaine Orr
Diane Gromala Marjorie Perloff
Graham Hammill Fred Pfeil
Phillip Brian Harper Peggy Phelan
David Herman David Porush
E. Ann Kaplan Mark Poster
Barbara Kirshenblatt-Gimblett Susan Schultz
Neil Larsen William Spanos
Tan Lin Allucquere Roseanne Stone
Saree Makdisi Gary Lee Stonum
Jerome McGann Rei Terada
Larysa Mykyta Paul Trembath
Jim Morrison Greg Ulmer
--------------------------------------------------------
SPECIAL ISSUE ON FILM
Robert Kolker, guest editor
CONTENTS
------------------
Editor's Introduction
------------------
Articles
Gina Marchetti, "Transnational Cinema, Hybrid
Identities and the Films of Evans Chan"
Stephen Mamber, "Simultaneity and Overlap in
Stanley Kubrick's _The Killing_"
Joseph Christopher Schaub, "Presenting the Cyborg's
Futurist Past: An Analysis of Dziga Vertov's
Kino-Eye"
Jorge Otero-Pailos, "Casablanca's Regime: The
Shifting Aesthetics of Political Technologies
(1907-1943)"
William D. Routt, "The Madness of Images and
Thinking Cinema"
Adrian Miles, "_Singin' In the Rain_: A
Hypertextual Reading"
Peter Donaldson, "Digital Archives and Sibylline
Fragments: _The Tempest_ and the End of Books
------------------
Review Essay
Edward Brunner, "Ersatz Truths: Variations on the
Faux Documentary. A review of Rick Prelinger's
_Ephemeral Films 1931-1960_: _To New Horizons_
and _You Can't Get There from Here_ and Prelinger's
_Our Secret Century: Archival Films from the Dark
Side of the American Dream:_ Volume 1: _The Rainbow
is Yours_ with Volume 2: _Capitalist Realism_;
Volume 3: _The Behavior Offensive_ with Volume 4:
_Menace and Jeopardy_; and Volume 5: _Teenage
Transgression_ with Volume 6: _The Uncharted
Landscape_. CD-ROMs. New York: Voyager, 1994 and
1996.
------------------
Reviews
Kim Fedderson and J.M. Richardson, "Looking for
Richard in _Looking for Richard_: Al Pacino
Appropriates the Bard and Flogs Him Back to the
Brits." A review of the recent film/video.
Anthony Enns, "The Art and Artifice of Peter
Greenaway." A review of Alan Woods' _Being Naked
Playing Dead: The Art of Peter Greenaway_.
Manchester: Manchester UP, 1996.
Mark Welch, "The Grim Fascination of an
Uncomfortable Legacy." A review of Eric
Rentschler's _The Ministry of Illusion: Nazi
Cinema and its Afterlife_. Cambridge: Harvard
UP, 1996.
Benzi Zhang, "(Global) Sense and (Local)
Sensibility: Poetics/Politics of Reading Film as
(Auto)Ethnography." A review of Rey Chow's
_Primitive Passions: Visuality, Sexuality,
Ethnography, and Contemporary Chinese Cinema_. New
York: Columbia UP, 1995.
Hassan Melehy, "Looking Forward to Godard." A
review of Wheeler Winston Dixon's _The Films of
Jean-Luc Godard_. Albany: SUNY Press, 1997.
M. Klaver, r rickey, and L. Howell, "Peripheral
Vision." A review of E. Ann Kaplan's _Looking
for the Other: Feminism, Film, and the Imperial
Gaze_. New York: Routledge, 1996.
------------------
Response
Arkady Plotnitsky and Richard Crew, Exchange on
Plotnitsky's essay, "'But It Is Above All Not
True': Derrida, Relativity and the 'Science Wars,'"
_Postmodern Culture_ 7.2
------------------
Letters
------------------
Related Readings
-----------------
Notices
-----------------
Abstracts
Gina Marchetti, "Transnational Cinema, Hybrid Identities
and the Films of Evans Chan"
o Abstract: This article attempts to rethink cultural
relationships within the dynamics of an
increasingly globalized media environment, using
the case of Evans Chan as the focus for the study.
Chan is a New York-based filmmaker, born in
mainland China, bred in Macao, educated in Hong
Kong and America, who makes independent narrative
films primarily for a Hong Kong, overseas Chinese,
"greater China" audience. To date, Chan has
completed two features, _To Liv(e)_ (1991) and
_Crossings_ (1994). Both of these films openly
address issues that find only a marginal voice in
the mainstream cinema of Hong Kong, the United
States, and other Chinese cinemas globally. His
work will be used here as an illustration of the
necessity for a new approach to nation and culture
within media criticism.
With one foot in the United States and the other in
Hong Kong, Chan can freely address issues as
diverse as Hong Kong's return to China in 1997, the
legacy of the events of June 4th in Tian'anmen
Square, the role of women in the world economy, and
the processes of immigration and dispersal
involving the Chinese globally. While fears of
censorship arising from Hong Kong's laws and the
unofficial censorship of the marketplace in the
United States place a boundary around what can and
cannot be said in the cinema, Chan, with his
transnational production team, manages to seriously
explore controversial issues. In this way, Chan
creates a transnational, transcultural discourse
through the medium of the motion picture, pointing
to a new type of cultural sphere that must be noted
within media studies.--gm
Stephen Mamber, "Simultaneity and Overlap in Stanley
Kubrick's _The Killing_"
o Abstract: This article explores the temporal
construction of the 1956 Stanley Kubrick film,
_The Killing_. A caper story presented through an
elaborate series of isolated segments, the film is
organized around moments of simultaneity and
overlap--a grand conceptual design explored in the
article partly through the use of a chart and some
3-D re-creations. The linkage between the film's
temporal strategy and its spatial construction is
also examined.--sm
Jorge Otero-Pailos, "Casablanca's Regime: The Shifting
Aesthetics of Political Technologies (1907-1943)"
o Abstract: In this essay, I illustrate how the film
_Casablanca_, while bearing little visual
resemblance to the city in Morocco where it draws
its name, exists and performs in symbiosis with the
real Casablanca. I argue for a more cohesive
analysis of the Casablanca phenomenon, presenting a
previously neglected urban/filmic comparative study
as intrinsic to our historical understanding of
both aesthetic objects. This work delineates the
construction of Casablanca around both World Wars,
first by France (architecturally), and then by
North America (filmically). The history of each
building effort is presented %vis a vis% that of
the other, capitalizing on their dist urbing
similarities of intent, methodology, anticipated
political effects, and relation to dominant modes
of perception. The modern city was a full scale
urban experiment of France's colonial
administration, meant to boost national self esteem
and secure military support from the people in the
face of World War I, while the film was a
calculated American attempt to quell national
anxiety about engaging in World War II. Both
objects were produced on the run, riddled with
incertitude, and invested with an agenda to
aestheticize politics in an attempt to establish
social order by mobilizing entire populations
towards war. The success of each effort lay in its
ability to excite the desires of their audience by
drawing on familiar conceptions of reality and
manipulating them so as to drive the general
perception of the world towards a politicized
%imago mundi% of clear rights and wrongs.
"Casablanca's Regime" introduces the reader to
Casablanca as an exceptional virtual city, where
images--architectural, filmic, or otherwise--are
jointly weapons of political control, and
instruments of seduction.--jop
Joseph Christopher Schaub, "Presenting the Cyborg's
Futurist Past: An Analysis of Dziga Vertov's Kino-Eye"
o Abstract: Since Donna Haraway's groundbreaking
essay, "A Cyborg Manifesto," there has been a great
deal of debate concerning the liberatory potential
of cyborg subjectivity. Of particular interest
have been the effects that the cyborg, which
dissolves the boundary between human and machine,
will have upon the equally contested boundaries
which comprise distinctions of gender in the late
twentieth century. In this paper I examine a
cyborg construction which appears in the early
twentieth century films of the Soviet theorist and
filmmaker Dziga Vertov. The Kino-eye (or
camera-eye) is a cyborg combination of the
mechanical movie camera and the human eye. It is
most fully explored in Vertov's _Man With a Movie
Camera_ (1929), the %magnum opus% of his cinematic
theories. _Man With a Movie Camera_ has
interesting contemporary implications because of
the prominence that Vertov gives to women in this
film. The Kino-eye is seen as a cyborg combination
that incorporates both the male cameraman and the
female editor. As the film unfolds woman is
depicted as maker of meaning, rather than
spectacle. That Vertov, a Russian Futurist, was
unusual in this respect can be seen by comparing
his work to the writings of his contemporaries. In
particular, the misogynist writings of the Italian
Futurists provide a strong contrast to the theories
of the cyborg Vertov explored in his own film work.
This paper then, also explores the way that Vertov
rescues the cyborg (his Kino-eye construct) from
the misogynist framework of its initial Italian
Futurist conception, and suggest that there is much
that can be applied from his work to the
contemporary debate on gender in cyberspace.--jcs
William D. Routt, "The Madness of Images and Thinking
Cinema"
o Abstract: This article attempts a preliminary
understanding of the experience--or sensation--of
place evoked in the cinema, based on some of the
earliest films and their spectators. It exposits
certain ideas contained in Vachel Lindsay's _The
Art of the Moving Picture_ and finds a delirious
resemblance between these ideas and some in Gilles
Deleuze's two Cinema books. Perhaps the piece
suggests that madness is a property of the
sensation of place in the cinema. Animated gif
files, maddening their sources, offer a crude
supplementary patchwork commentary.--wdr
Adrian Miles, "_Singin' in the Rain_: A Hypertextual
Reading"
o Abstract: _Singin' in the Rain_ is a canonical
self-reflexive film which combines an informed
self-consciousness with an argument about its own
legitimacy as art. The film's argument is
structurally evident within one of the film's more
famous self-reflexive sequences, "You Were Meant
for Me." Through the incorporation of video into
the essay and an emphasis on a hypertextual writing
style, this hypertext attempts to find a middle
ground between hypertext and film theory where each
complements the other. It is hoped that the
inclusion of part of the object of study within the
work exerts some hermeneutic force on the reading
and the writing, and it is intended as a
preliminary move in an exploration of new academic
genres in film theory that hypertext and
digitisation might allow.--am
Peter Donaldson, "Digital Archives and Sibylline
Fragments: _The Tempest_ and the End of Books"
o Abstract: This multimedia essay traces how Peter
Greenaway's film _Prospero's Books_ reads _The
Tempest_, anachronistically, as a play about the
end of books and the advent of electronic forms.
Greenaway finds _The Tempest_ relevant to this
shift because, as he puts it, we are living in the
early years of a new "Gutenberg Revolution," in
which the ambitions of the Renaissance magus with
his magic books are being realized, in part,
through digital technologies.
_Prospero's Books_ is an anticipatory or proleptic
allegory of the digital future, figuring the
figuring the destruction of libraries and their
rebirth as "magically" enhanced electronic books.
It is set in the past, and extrapolates from the
several passages in the play in which Prospero's
books are mentioned the story of twenty-four
wonder-working books through which Prospero
achieves his magic; yet, by calling attention to
the digital special effects by which these books
have been created on screen--"paint" and
photoprocessing applications, computer animation,
multiple screen overlays--Greenaway suggests that
the magically enhanced codex volume is as much a
part of our future as our past.
The essay also compares the "creative" magical
volumes of Greenaway's film to several kinds of
documentary evidence concering the fate of real
books (Shakespeare's Folios) and their vicissitudes
in the material world (damage, compositorial
variation) and the use of specialized books such
as fold-out anatomies in ways that parallel
Greenaway's attempt to rival the miracle of human
reproduction in digitally enhanced cinema.
Like _Prospero's Books_, this essay itself exists
in a transitional form (networked hypertext with
linked images and brief video citations), and like
_Prospero's Books_ it imagines future forms and
depends on them. It is relatively linear in its
form, and bounded in its contours, presenting a
small number of textual and visual citations. Yet
it asks its readers to imagine that they are
exploring a path, one particular path, through an
immense networked digital archive.
Such an archive would include the complete film
_Prospero's Books_--as well as all other
Shakespearean film adaptations, linked to relevant
lines of text; which includes all extant copies and
page fragments of the Folio text of _The Tempest_,
and an extensive library of commentary; which is
linked as well to extensive collections of
anatomical illustrations from the Renaissance
forward, and to texts and images that illustrate
the motif of the "end of the book" in the late
twentieth century.--pd
---------------------------------------------------------
CONTENTS OF THIS ISSUE ARE AVAILABLE FREE OF CHARGE AT
http://www.iath.virginia.edu/pmc/issue.198 UNTIL
RELEASE OF THE NEXT ISSUE. A TEXT-ONLY ARCHIVE OF THE
JOURNAL IS ALSO AVAILABLE FREE OF CHARGE AT
http://www.iath.virginia.edu/pmc/text-only. FOR FULL
HYPERTEXT ACCESS TO BACK ISSUES, SEARCH UTILITIES, AND
OTHER VALUABLE FEATURES, YOU OR YOUR INSTITUTION MAY
SUBSCRIBE TO PROJECT MUSE, THE ON-LINE JOURNALS
PROJECT OF THE JOHNS HOPKINS UNIVERSITY PRESS.
--[4]------------------------------------------------------------------
Date: Fri, 13 Feb 1998 17:30:01 -0500 (EST)
From: Daniel Traister <traister@pobox.upenn.edu>
Subject: New web site: "Cultural Readings"
[ Part 2: "Included Message" ]
From: Daniel Traister <traister@pobox.upenn.edu>
--PLEASE EXCUSE MULTIPLE POSTINGS; PLEASE CIRCULATE--
ANNOUNCING A NEW ON LINE EXHIBITION
"CULTURAL READINGS: COLONIZATION AND PRINT IN THE AMERICAS"
http://www.library.upenn.edu/special/gallery/kislak/index/cultural.html
This collaborative web site presents and interprets a wide variety of
texts--books, manuscripts, illustrations, maps, and artifacts--generated
by Europe's colonization of the Americas. Comparative and broad in scope,
the exhibition investigates Spanish, French, English, and Dutch "readings"
of the New World and the "readings" of Europeans made by many Native
cultures.
Topics covered include the literature of colonial promotion; printed
images of Natives; Native responses to print; missionary activities;
Indian languages; the geographies of the New World; and captivity
narratives. The web site also contains essays by Louise Burkhart, Sabine
MacCormack, Michael Ryan, Daniel Slive, and Karim Tiro; bibliography; and
web links.
Materials shown in "Cultural Readings" are drawn from the collections of
the Jay I. Kislak Foundation; the Rosenbach Museum & Library; the
University of Pennsylvania's Department of Special Collections; and the
University of Pennsylvania Museum of Archaeology and Anthropology.
--[5]------------------------------------------------------------------
Date: Sun, 15 Feb 1998 12:23:30 -0500
From: mgk3k@faraday.clas.virginia.edu
Subject: update from the Blake Archive
The editors of the William Blake Archive
<http://www.iath.virginia.edu/blake/> are pleased to announce the
publication of an electronic edition of _Songs of Innocence and of
Experience_, copy Z. It joins editions of three copies of _The Book of Thel_
and two copies of _Visions of the Daughters of Albion_. In the coming week,
these works will be joined by _The Marriage of Heaven and Hell_, copy D,
_The Book of Urizen_, copy G, _America, a Prophecy_, copy E, and _Europe, a
Prophecy_, copy B. All of these editions have newly edited texts and were
scanned from 4x5 color transparencies made specifically for the Archive.
They are all fully searchable for both text and images and are supported by
the unique Inote and ImageSizer applications described in our previous updates.
_Urizen_ copy G and _Songs_ copy Z were produced in Blake's late printing
and coloring styles, c. 1818 and c. 1826 respectively. _America_ copy E is a
monochrome copy from 1793; _Europe_ copy B was color printed in 1794, and
_Marriage_ copy D was produced in 1795 on large paper and with some
rudimentary color printing.
We will be adding second and third copies of most illuminated books in the
coming months, with the goal of having the entire illuminated canon online
later this year. In addition, work continues on the SGML edition of David V.
Erdman's _Complete Poetry and Prose of William Blake_, which we anticipate
releasing sometime this spring.
Joseph Viscomi, Morris Eaves, and Robert Essick
======================================================================
Matthew G. Kirschenbaum University of Virginia
mgk3k@virginia.edu or mattk@virginia.edu Department of English
http://www.iath.virginia.edu/~mgk3k/ The Blake Archive | IATH
-------------------------------------------------------------------------
Humanist Discussion Group
Information at <http://www.kcl.ac.uk/humanities/cch/humanist/>
<http://www.princeton.edu/~mccarty/humanist/>
=========================================================================