NATIONAL ENDOWMENT FOR THE HUMANITIES • VOLUME 12 • NUMBER 2 • MARCH/APRIL 1991

THE LEGACY OF THE OHIO RIVER Editor's Note

The State Councils

From the beginning of the National Endowment for the Humanities a little more than a quarter century ago, there was concern expressed that the benefits reach out across the country—to small towns, to the distant corners of the states and territories. That aim found expression just five years later in the creation of state humanities councils. This year marks their twentieth anniversary. The effort began as an experi­ ment in six states—Georgia and Missouri, Maine and Oklahoma, Oregon and Wyoming —and has grown into a network of fifty-four councils covering all View of Cincinnati, engraving after a paint­ of the states, the District of Columbia, Puerto Rico, the U.S. Virgin Islands, and ing by John Casper Wild, 1835. Beginning this May and continuing through the rest of Guam. Soon there will be a fifty-fifth, the Northern Marianas. the year, the humanities councils of the six What have the state councils meant in the spreading of the humanities? The states along the Ohio River will celebrate the breadth is astonishing. It has meant a number of things: Scholar Clay Jenkinson history and culture of the river and its valley. portraying Meriwether Lewis in a chautauqua tent in Epping, North Dakota ... (Cincinnati Historical Society) Mary Sinclair retelling the ancient story of the Odyssey to adult new readers in Humanities Wells Village, Vermont. . . Actress Ruby Dee reading passages from author A bimonthly review published by the Zora Neale Hurston at Hurston's birthplace in Eatonville, Florida ... Medical National Endowment for the Humanities students and faculty in North Carolina dramatizing works by poet and physi­ cian William Carlos Williams in Lillington ... Fifth- and sixth-graders in West Chairman: Lynne V. Cheney Virginia studying German migration in the nineteenth century and uncover­ Publisher, Editorial Director: ing ethnic architecture in their hometown of Wheeling . . . Townspeople in Marguerite Hoxie Sullivan Searchlight, Nevada, starting a museum to chronicle the town's up-and-down past as a mining center ... Senior citizens "Discovering Chekhov" in Warrens- Editor: Mary Lou Beatty Assistant Editors: James S. Turner burg, Ohio ... The film "Gullah Tales" recreating stories of slaves working the Ellen Marsh rice and cotton fields of the Sea Island plantations... And this year, a six-state Editorial Assistant: Kristen Hall extravaganza—an exhibition barge making its way down the Ohio River, trac­ Marketing Director: Joy Evans ing the cultural pathways of the states along the river's banks. Qualifying the results of this array of projects is not easy to do. Perhaps the Editorial Board: Marjorie Berlincourt, best way is to borrow a phrase from a participant in the American Pirandello Harold Cannon, Richard Ekman, George F. Farr, Jr., Donald Gibson, Guinevere festival in Louisville, Kentucky. He called his experience there "from start to Griest, James Herbert, Thomas Kingston, finish a feast for the mind and the heart." A feast indeed. It is a word that Jerry Martin, Malcolm Richardson lends itself to describing the work of the state councils as they embark on their anniversary year. Design: Hausmann Graphic Design, Inc. —Mary Lou Beatty The opinions and conclusions expressed in Humanities are those of the authors and do not necessarily reflect Endowment policy. Material appearing in this publication, except for that already copyrighted, may be reproduced. Please notify the editor in advance so that appropriate credit can be given. The Chairman of the Endowment has determined that the pub­ lication of this periodical is necessary in the transaction of the public business required by law of this agency. Use of funds for printing this periodical has been approved by the director of the Office of Management and Bud­ get through September 1992. Send requests for subscriptions and other communications to the editor, Humanities, National Endowment for the Humanities, 1100 Pennsylvania Avenue, N.W., Washington, D.C. 20506. Telephone 202/786-0435. Annual subscription rate: $11.00 domestic, $13.75 foreign. Two years: $22.00, $27.50. (USPS 521-090) ISSN 0018-7526.

2 MARCH/APRIL 1991 Contents

The World of Thought A Conversation with NEH . . . Chairman Lynne V. Cheney discusses 4 how storytelling can provide moral insight with child psychiatrist and author Robert Coles.

State Programs State Programs at NEH: A Twenty-Year Anniversary. 10 Taking the humanities to public audiences.

Highway to the Heartland by James S. Turner. This 12 summer, six states celebrate their heritage in "Always a River: The Ohio River and the American Experience.

Picture Essay: Visions of the Ohio by Robert L. Reid. Images 17 of la belle riviere from the nineteenth and twentieth centuries.

The Mozart Bicentennial Mozart: The Myth and the Reality by Gregory Hayes. 20 How distortions in Mozart's biography have accumulated since his death two hundred years ago.

The Debate over Mozart's Music by Neal Zaslaw. How early musicians 25 and traditional performers interpret the composer's works.

The Changing Face of Mozart Editions by George Barth. The journey 29 from a score in Mozart's hand to a modern instructive edition.

Other Features In Focus: Patterson B. Williams. Enriching public appreciation of art 33 in museums through master teachers.

A Race Against Time: Preserving the Past by Ann Russell. A national 34 effort strives to save the nation's deteriorating research collections.

38 Noteworthy

The Numbers Game by Jeffrey Thomas. A survey of full-time 39 humanities professors in higher education.

41 Calendar

The Humanities Guide Travel to Collections Program by Kathleen Mitchell, 42. Recent NEH Grants by Discipline, 43. Deadlines, 46.

HUMANITIES 3 A Conversation with... Robert Coles

how they're alive for him and how, asked him that in 1986, and Carver's when he has tough moral decisions to response was, "Enough to know that make, he thinks of them. I've quoted they're crazy." I don't go that far, but that passage so much because it's such I think at times it's kind of funny and eloquent testimony to what literature I sometimes think of Kafka and think can mean for a person's life. of what he would do with some of Robert Coles: Oh, thank you. That these efforts to take over these stories is sometimes forgotten by some of us and at times turn them into nothing. critics who take literature and turn Cheney: You've also spoken about it into an object and then analyze it. the diminishment to art that results We forget that people are capable of when the critic becomes more impor­ not only using those books intellectu­ tant than the storyteller. ally, but taking them to heart. Coles: Unfortunately this happens. Cheney: You have been pretty out­ It's not very surprising to those of us spoken about some of the more recent who have been parents and have seen trends in literary scholarship. I have children fighting things out with one a speech you gave to the National another; sometimes I'm afraid that Council of Teachers of English in we never do outgrow our childhood. which you talk about deconstruction. In that sense, ironically, some of the Coles: Well, I understand that there deconstructionists who uphold Freud are some valuable parts to the kind of so fervently and reverently might literary analysis that is called decon­ remember what he observed when he struction, which is in a sense a catch­ saw people fighting things out and all phrase. I understand the intellec­ becoming very rivalrous and claim­ tual will that's involved in decon­ ing property vis-a-vis one another. struction, and I even applaud it. In a Cheney: And setting out to undo the sense I compare deconstruction to the older generation. kind of psychoanalytic intellectuality Coles: Setting out to undo the older that I'm all too used to in my own generation and claiming that there is profession—these efforts to figure out some wisdom that is very special to in an abstract way symbolic meaning them as the new generation. and to get to the bottom of certain ow storytelling can provide intentions on the part of writers, or Cheney: You were an English major moral insight was one of the patients, for that matter. But some­ as an undergraduate. topics NEH Chairman Lynne times in this rigorous analysis, the Coles: I was. I majored in English, H and my tutor was Perry Miller. What V. Cheney discussed recently with Robert overall meaning of either a life or a Coles, professor of psychiatry and medi­ story is forgotten. Sometimes there's a great man he was, and what a priv­ cal humanities at Harvard University. a certain comic extravagance, shall ilege it was to study with him! I took Dr. Coles is the author of fifty books, we call it, that gets going in this kind a course that he started in 1949 called including the Children of Crisis series, of analysis, whether it be the psycho­ "Classics of the Christian Tradition," for which he won the Pulitzer Prize. analyst working with a patient or the and in that course he used not only literary critic working with a text. some of the great texts of the Chris­ Lynne V. Cheney: I want to tell you If I want to be really mean, I could tian tradition such as St. Augustine's how much I have enjoyed The Call of quote you something that Raymond Confessions and Pascal's Pensees, he'd Stories. There is a young man at the Carver said. He was asked by an draw upon poems of Robert Frost or end—I think you call him Gordon— interviewer—I'm quoting directly— Emily Dickinson and he'd encourage who talks about characters like Jude "Do you know much about the us to read novels. He's the one who Fawley [in Jude the Obscure] and Jack deconstructionists?" The interviewer encouraged me to do my thesis on Burden [in All the King's Men] and was a man named John Alton and he William Carlos Williams.

4 MARCH/APRIL 1991 Cheney: I remember reading that he ten on one of his prescriptions. psychiatric unit there. It was a big encouraged you to do that because Cheney: Oh, how wonderful. neuropsychiatric unit, and this was in Williams was not merely unremarked, Coles: And it said, "Dear Mr. Coles, the late fifties, early sixties, just when he was held in rather low esteem by This is not bad—for a Harvard stu­ school desegregation started in New certain members of the Harvard faculty. dent!" Then he had another line, which Orleans; I was right there, and that marked the beginning of a whole new Coles: Williams was held in very low was, "If you're ever in the neighbor­ life for me. I had worked with chil­ esteem by the august Harvard faculty. hood, please drop by," and under­ dren who had polio in Boston in the I always tell my Harvard students neath was "Bill Williams." A week Children's Hospital in the last epi­ that they should keep their eye out later I was in Manhattan with my demic before the Salk vaccine. When not only for the books that the Har­ heart beating very fast, and I called I saw what was happening to these vard faculty write, but the ones that that number in Rutherford and I got children on the streets of New Orleans, they don't write. The English faculty his wife, Flossie, on the phone, and trying to get into schools that were of Harvard in 1950, when I was writ­ she told me that he was out in Pater­ totally boycotted and surrounded by ing my thesis on Williams, was not son with his patients but that if I mobs, I decided that I was interested known particularly for its humility. wanted to come over, she was sure in not only medical stress, but this Cheney: But you've tried to help them that he would be glad to see me, which was just very nice. kind of social and racial stress. That in that regard. was the beginning of the whole Cheney: And you went on house calls Coles: Well, I'm risking becoming research that started then and contin­ with him and... arrogant myself at this point. But I ued through the sixties and seventies, must say, it was awful. I worked hard Coles: I went over there and he took talking with children, black and white on that thesis. It was on the first two me on his rounds and down to Pater­ children in the South, and then extend­ books of Paterson, which had been pub­ son, where I met some of his patients, ing it to the children of migrant farm lished in 1947,1948. And then I had and that was the beginning of a whole workers and Appalachian children. a terrible time with two teachers who new life for me. I started taking pre- Then we went out West and lived in went over that thesis with no great med courses and decided to be a New Mexico for a few years, and I enthusiasm. But Miller told me, "You've doctor. talked with Spanish-speaking and learned something from this that's Cheney: And then a psychiatrist. Indian children, and then we went up more important even than what you Coles: Well, I was originally in pedi­ to Alaska and talked with Eskimo chil­ learned from Williams, who is not only atrics, and that's a story that connects dren. Then the final volume, volume a great poet and storyteller, but a great with him. I used to have trouble with five, has to do with the children of well- populist with a tremendous feel for some of these children in the sense to-do, middle-class and higher families. ordinary people and their language that I had to do some very difficult So it was a whole American journey and the rhythms of their lives and the procedures on them, and they'd start that took place in those decades of tensions they have in their heart. You've learned the distance between such a writer and some of us who live in these fancy university buildings. If you've learned that and can stay I've been doing work with children, close to that kind of knowledge, then you've gotten your money's worth trying to figure out how they get their out of Harvard." I'll never forget him telling me that, and I'm almost giving moral values and their political values ... the message word for word. Coles Cheney: You then began to spend time with Williams after you finished the thesis. Coles: I did. That's a little story in crying, very agitated, and I told him the sixties and the seventies. In the itself. Perry Miller suggested that I about this and how upset I got. He last ten years I've been doing work send the thesis to Williams, and I will looked at me and he said, "I guess with children, trying to figure out never forget that moment. I looked at you don't have the iron for that kind how they get their moral values and him and I said, "Well, I can't do that." of work." He said, "Why don't you their political values, their sense of And he looked at me with the kind of try the psychological side of children's what it means to be a member of a knowledge that a good psychological lives?" and that's how I went from particular country such as the United skeptic has and he said to me, "Well, pediatrics into child psychiatry. States or England or Northern Ireland. I guess you just don't have the post­ Cheney: And you spent twenty years We've worked in Latin America and age." I looked back and suddenly working on Children of Crisis. Have I Africa, too. And the last volume, saw what my mother used to call the got that part right? which is the end of my whole thirty sin of pride working full time, and I Coles: You've got that right. What years of wandering around, is called said, "Well, I guess I can get the post­ happened is, I went into the Air Force The Spiritual Life of Children. age together if I try hard," and I did. in 1958 under the old doctor's draft, Cheney: That sounds fascinating. It must have been about 10 cents in and I was in charge of a military hos­ Coles: And that'll be the end. But in those days. I sent the thesis off and I pital in Biloxi, Mississippi, Keesler between, I've been involved with cer­ got back a memorable little note writ­ Air Force Base. I was in charge of the tain writers like Walker Percy and

HUMANITIES 5 Flannery O'Connor, and they've been George Eliot. In the medical school, Percy delivered our Jefferson Lecture an important part of my life because in the same vein I use Chekhov and and he decided to talk on semiotics. they help me to figure out what I my­ Tolstoy and, again, Raymond Carver It was very enlightening, but there self believe in and what matters to me. and Tillie Olsen and, of course, Wil­ were a lot of people who were really Cheney: I've never been psychoana­ liams, and Walker Percy. I taught a disappointed that he didn't talk about lyzed or been to a psychiatrist, so I course at Harvard Law School called Binx Bolling because to many people don't know much about your profes­ "Dickens and the Law," using the he's just intensely real. sion, really. But it does strike me that novels of Dickens in which lawyers Coles: I'll send you something I wrote you're unusual. figure. I've taught a course at Har­ on my friendship with him. It's called Coles: I guess I try to take child psy­ vard Business School that is very popu­ "Shadowing Binx." I first met Binx chiatry and psychoanalysis and bring lar with the students. We read F. Scott Bolling when I was living in New those disciplines into the world of chil­ Fitzgerald's The Great Gatsby and we Orleans and in analysis in New Orleans, dren and parents and teachers. I read a lot of Cheever. and when I myself was a bit of a movie­ goer. The reality of Binx for me was so profound that it really shook me up and led to a lot of discussions with my analyst. Even as I did that work You not only bring psychiatry into the in New Orleans, the school desegre­ gation study, I kept on looking for world of children, you bring psychiatry Percy's writing because he'd written essays as well as The Moviegoer. Years into the world of the humanities ... later I did a profile of him for The New Yorker, which eventually became a Cheney book called Walker Percy: An American Search. Getting to know him, I told him how much his writing had meant to me personally. And I'll never for­ work in schools and homes and neigh­ Cheney: You said once that even get, he looked down and he said, "Well, borhoods rather than in a clinic or a though Gatsby is about ambition, that it's hard for me to even talk about this hospital. I've never had a private it's not just business students who are because so much of it drew on my own practice, so I've tried to just do that interested in him—that these things personal search." I was never able to work out there in the world, which is translate. easily understand his writing on semi­ what Williams used to do. He would Coles: They translate into all realms, otics. I told him once, "Walker, it's just visit those patients and get to know a so to speak. I could take Gatsby, or too complicated for me. I'll just stick lot about them medically, but he also we also use The Last Tycoon— I could with those stories of yours." got to know a lot about them cultur­ take The Last Tycoon to any part of the Cheney: When I look at the things ally and spiritually and intellectually. university and discuss with the stu­ you've criticized, you've criticized Somehow he took that knowledge dents the whole question of ambition the new literary approaches, you've and put it into his writing, and he was and the relationship between ambi­ criticized the social sciences, but gen­ a great inspiration. I don't have his tion and one's personal life and the erally what you criticize is people try­ gifts as a writer, but I certainly would kind of loneliness that can sometimes ing to arrive at abstract and general­ like to think that I've followed in his settle in on people who are so con­ ized theories about how people work footsteps a little bit. sumed by ambition that they get and how the world works. Cheney: You really are a storyteller. detached from other people in impor­ Coles: That's it. I have a real bone to It occurs to me when I look at your tant ways. And the same thing goes pick with too much theory, whether it books that you not only bring psy­ for some of the other books we read be too much psychoanalytic theory or chiatry into the world of children, in that business school course. We too much literary theory. you bring psychiatry into the world read The Moviegoer; we read Saul The great genius of Freud was that of the humanities in a sense. Bellow's Seize the Day, with the cen­ he himself was a storyteller. He lis­ Coles: I've tried to do that and, of tral figure that of a stockbroker; and tened, he took his own dreams very course, the teaching I do is all tied up we read William Carlos Williams' seriously, and he wrote highly literate with the humanities. I teach a course trilogy. The novels are White Mule, prose accounts of what took place in at Harvard College called "The Liter­ In the Money, and The Build-Up. They his own mind and in the minds of his ature of Social Reflection," and I ask convey the whole story of the rise of patients. The best writing that he gave the students to think about social and working people in America as they us are those stories about his patients, cultural issues, racial issues, class work their way up the social and eco­ which really are the foundation of con­ issues, not through social science but nomic ladder. It's a fascinating tril­ temporary psychoanalysis; I wish that through the writings of William Car­ ogy, and it works very well in the some of us would remember that. los Williams and Tillie Olsen and business school with the students. And also remember that the two Flannery O'Connor and Walker Percy Cheney: A lot of the novels that you greatest followers of Freud, namely, and James Agee and George Orwell mention have characters in them that his own daughter Anna and Erik H. and Raymond Carver. The culmina­ people come to regard almost as real. Erikson—who also, by the way, gave tion of the course are those three Vic­ I was thinking of Binx Bolling when a Jefferson Lecture—those two psy­ torian novelists: Dickens, Hardy, and you were talking about Walker Percy. choanalysts are marvelously literate

6 MARCH/APRIL 1991 and very sensitive to the humanities, Cheney: I have another person that I Coles: And it's too bad when at the each of them. I knew both of them quote along with Gordon. This other very minimum there can't be some and worked with both of them and person is a professor of English who complexity and ambiguity to all of learned from both of them the impor­ talks about how he used to regard this, enough of it to allow for both tance that fiction and poetry can have Jane Austen as a great moral teacher, approaches, so that if one is going to for any of us who want to figure out but now he understands that his proper be suspicious, one can also be wel­ human nature in all of its complexity. role is to suspect her and to try to coming and grateful. I suppose sus­ If you read Middlemarch, you will see, understand the corner that she's paint­ picion is one human emotion that we by the way, an important part of psy­ ing him into. He describes the "dis­ all have and struggle with, but lord choanalysis anticipated by a genera­ tancing" you're talking about. What knows there's more to be gotten from tion or two. In Middlemarch, George is important is no longer a direct and Jane Austen than suspicion or self­ Eliot understands the workings of the immediate relationship, but a distant suspicion. unconscious; she understands what and adversarial one. That may be a Cheney: Someone—I think maybe a we call the defense mechanisms of the point you have to arrive at in scholar­ man named Paul Ricoeur—has this won­ ego. It's a marvelous novel not only ship, but it's too bad when it domi­ derful phrase about new approaches as a great narrative telling of a story, nates the classroom. to literature. He calls them part of a

but it's a wise novel filled with psycho­ © logical insights. I tell my medical stu­ Harris Alex byPhotos dents and psychiatric residents that they could do no better than just sit­ ting down with that novel and learning from it, learning from its psychology and its sociology, because it's really an analysis of a changing England in the nineteenth century done with great wisdom and sensitivity. Cheney: The student that we spoke about at the beginning—Gordon— after talking about how people like Jude Fawley and Binx Bolling and Jack Burden are real for him, said something like, "Why don't college professors teach that way?" I've thought about that a lot because it would be regarded in some quarters now as very naive to teach that way. It's almost as though it's too easy and it makes literature too accessible. Coles: God forbid that literature should be too accessible (laughter). Cheney: It's a real concern to me because I see the number of young people who are looking for a vocation when they go to college and are sel­ dom given reason to understand that there might be other cause for study, other rewards to be gained from study. Coles: It's sad, I think, that presum­ ably well-intentioned people who take these novels seriously and become cri­ tics and professors can have that rela­ tionship to students—a relationship of being instruments of disenchant­ ment or distancing. The books, after all, were written by novelists who wanted to reach out to others, namely readers. Williams, I know, and Percy hungered for the response of readers. They weren't writing books that they wanted to see so analyzed that there was no longer a message, a story, a communication, a form of compan­ Robert Coles participates in the world of children at a day care center for the children of migrant ionship left after that kind of analysis. workers in Benson, North Carolina.

HUMANITIES 7 "hermeneutics of suspicion"—which, ness that he wanted to acknowledge Coles: This, of course, is very un­ on my more pessimistic days, I think and celebrate and explore through nerving for those of us who've tried is a pretty accurate description. image and stories—a rendering of a to acquire knowledge and whose job Coles: My students sometimes come language that's been heard by some­ it is to impart that knowledge to to me, the ones who are majoring in one like him or by any of us. You others as students. It's a rather hor­ English and have to contend with know, in Paterson, where "no ideas rifying reminder for people like me some of this. They come to me some­ but in things" is a clarion call that that psychiatrists have been an im­ what plaintively and say, "Well, you keeps coming up, he was exploring portant part of the gulag in the Soviet can get away with this, but we can't," a certain tension, at a minimum, Union, helping to run it, and that doc­ and that is very painful to hear. We're between art on the one hand and tors worked for the Nazis in those all readers and we're all human beings conduct on the other. He once said concentration camps, and that indeed in the sense that we're sojourners or to me, "I can craft a poem and not Hitler and the Nazis were able to gather around them important seg­ ments of the intellectual community. Some very well-known intellectuals embraced Nazism all too early on. ... she'd been praying for these very Percy has a good moment in his novel, The Second Coming, when he people who wanted to kill her and swore describes a character as one of those people who got all A's and flunked at her so obscenely. ordinary living. I'm afraid this is something that we're all vulnerable Coles to, that possibility. Cheney: You have a story that makes this point, a story about Ruby, the little girl you first saw in the middle pilgrims, and these novels that Dickens necessarily be a good person." It was of a mob. gave us, or Hardy or Tolstoy, are courageous of him to pick up on that Coles: Well, Ruby is one of my great meant to help us along on that jour­ polarity and to work it into Paterson. teachers—she was a six-year-old ney. It's a pity if the only reason I can There's a scene in Paterson where teacher of mine. I saw her in New get away with my approach to these he moves from poetry to prose in Orleans in 1960 going through a mob novels has to do with the fact that I order to get into the prosaic. In a con­ to get into a totally boycotted school happen to have training in psychiatry fessional moment, he has himself pick­ where she attended the first grade all and psychoanalysis and therefore ing away in his medical office at the by herself. This is a little girl whose can't too readily be dismissed as naive. label on a mayonnaise jar instead of parents were illiterate, who didn't Remember, Dickens never went to paying attention to his patients. What know how to read or write, and who college or even high school, nor did he's basically saying is, "Okay, here's came from an extremely poor black Hardy for that matter. They were the poetry, but let me connect you family. I spent weeks and weeks self-educated, and they sat down and with your life and mine, the way some­ getting to know her, months indeed, wrote these incredible stories. We times we fail." We fail, we tune out, several years in fact. have a right, without the intervention we become insensitive, and this is One day I found out that the of college professors or critics, to part of what an artist-writer has to schoolteacher had watched her com­ respond to Dickens or respond to acknowledge with respect to himself ing into the school building and had Hardy or respond to Tolstoy in Anna or herself and with respect to all of seen her talking to the people in the Karenina or in stories like The Death of us, namely, our capacity to come up street. This infuriated them and they Ivan Ilyich without feeling that we are with great ideas and yet not live up to surged toward her, but she was in some way lacking in insight, let them or not even take them into con­ accompanied by federal marshals, alone humanity. sideration in our daily life. He was so they couldn't hurt her. The school­ Cheney: The Williams phrase that I haunted, of course, by his friend Ezra teacher asked her why she had stopped keep thinking of when you talk about Pound and the fact that here was a that day to talk to the people, and how these moral questions, these ques­ great poet who also could become, as Ruby said she hadn't talked to the tions of character, come through spe­ Williams called him, a damn fool with people. So then the teacher became cific stories is the famous "no ideas respect to his political ideas and his worried. She thought that Ruby was but in things." Is that phrase about whole sense of the way the world beginning to crack under the strain generalizations not being true? worked. That was a lesson that Wil­ of this lonely, fearful life. Coles: It's about the importance of liams never forgot and took very I knew Ruby then, and that eve­ particularity and it's about the impor­ seriously. ning I asked her why she had stopped tance of the instance—the importance Cheney: It's not just a dichotomy and talked to those people and got of each and every one of us in all of between art and conduct that con­ them so worked up. She said that she our distinctiveness. Yes, I think he cerns you and that we all need to be hadn't talked to them at all. So I said, had a great suspicion of lofty abstrac­ aware of. You've talked also about "Well, Ruby, your teacher saw your tions that were untethered to indi­ intellect and conduct. A good edu­ lips move. She was watching you vidual life, to social reality, to cultural cation, vast knowledge, does not nec­ from inside the school building." And reality. I think there was a concrete­ essarily make a good person. Ruby said that she hadn't talked to

8 MARCH/APRIL 1991 the people, she had said a prayer, and But Ruby didn't have social science and some of my students do and get that the reason she said the prayer language, and she was just learning A's in those courses— and yet not that particular morning in front of the how to read and write, and she was necessarily live in your everyday con­ mob was that she forgot to say the as vulnerable as could be, and yet she duct a decent and moral life, and that's prayer where she usually had said it, had those prayers available. the big tension. And that's what Tol­ namely, two blocks before she got to The other thing I learned about her stoy knew and Williams and Hardy the school. Then I learned from this and her parents is that they had memo­ and all the great writers. little girl that she had an arrangement rized whole passages from both the Cheney: And Percy. with the federal marshals to stop and Old and the New Testament by heart. Coles: Percy, of course, and Ray­ say a prayer every morning a couple They knew about the Hebrew proph­ mond Carver in his wonderful way, of blocks before the school, and after ets; they knew how Jesus lived his especially toward the end of his life school she said a prayer again, and life and what he stood for. It was a with those great stories of his, such as then in the evening she prayed also. remarkable kind of education that I "Cathedral" and "A Small Good Thing." And I found out that she'd been pray­ gave them no credit for. Cheney: I have really enjoyed this ing for these very people who wanted Cheney: That story is powerful tes­ conversation. I read once that you to kill her and swore at her so obscenely. timony to the force that stories have. referred to yourself as a psychoana­ I asked her that evening why she Coles: Powerful indeed. And when lyzed liberal, and I thought, well, as prayed for those people, and she I read social scientists and their des­ an unpsychoanalyzed conservative, looked at me and she said, "Well, don't criptions of moral development in I'm not sure that you and I will find a you think they need praying for?" children, which is supposed to start great deal in common, but I think Cheney: That is a marvelous story. at a very low level and slowly work there's a lot of ground that we share. Coles: And then I said, "Well, Ruby, up as you get more educated, I real­ Coles: Well, I was using a bit of I can understand why they need pray­ ize what they're talking about is moral irony with that self-description. ing for, perhaps, but I wonder why you reasoning, but not necessarily at all Cheney: I, too. I hope that's clear. should be the one who prays for them, conduct. So you can learn a lot and We'll both hope that our audience given all that they do to you, all the take courses in moral reasoning— understands that. □ threats and all the insults." And she looked at me again and she said, "Well, Susan byPhoto I'm the one who hears what they say, so I'm the one who should be praying M. for them." Then I asked her what she said in these prayers, and she said, "I Hogue always say the same thing," and then she told me what she said. She said, "I always say, 'Please, God, try to for­ give those people because they don't know what they're doing.'" Cheney: Some echoes there... Coles: And when I heard that, I just said to myself, "Wow, I've heard this someplace before. Someone said this before in the history of the world." Cheney: Yes, exactly. Coles: Later my wife said to me, "What would you do if you had to go into the Harvard Faculty Club and there was a mob waiting for you every time you came there?" That was such a shrewd question on her part. We figured out that what I would do is call the police, which Ruby couldn't do because the police weren't protect­ ing her. That's why the President had sent federal marshals there. The next thing I'd do is get a lawyer, and Ruby didn't have a lawyer to help her out. The third thing I'd do would be to mobilize the language of the social scientists and call these people all sorts of fancy words like disturbed and psychotic. And the last thing I would do probably would be to write an article about what I'd gone through.

HUMANITIES 9 r~

STATE PROGRAMS AT NEH: A Twenty-Year Anniversary

HIS YEAR IS the twentieth tors, media presentations, and muse­ anniversary of state programs um and traveling exhibitions. T at the National Endowment More than one-fifth of the Endow­ for the Humanities. Tailored to fit the ment's annual program budget is pro­ intellectual curiosities and interests vided to these councils through NEH's of people in varying locales, this effort Division of State Programs, which has resulted in hundreds of local administers the national grant giving. events that explore history, literature, In each state, the board of the state philosophy, and other dimensions of council employs a small professional the humanities. staff, headed by an executive director, At the heart of the program are the to run the council's activities. More state humanities councils—indepen­ than 1,100 educational and commu­ dent, not-for-profit organizations that nity leaders volunteer as board mem­ receive private donations as well as bers of the councils. NEH grant funds. In addition to designating grants in The first six state councils were support of public programs on human­ launched in 1971 in Georgia, Maine, ities topics, the councils initiate and Missouri, Oklahoma, Oregon, and conduct projects of their own, often in Wyoming. Today there are state partnership with other cultural, edu­ humanities councils in all fifty states, cational, and civic institutions. One the District of Columbia, Puerto Rico, such project is the forthcoming the U.S. Virgin Islands, and Guam, "Always a River: The Ohio River and with a council currently in the plan­ the American Experience," a collabo­ ning stage in the Northern Marianas. rative effort by the councils of the six These councils support more than states linked by the Ohio. Museums, 5,800 humanities projects annually, libraries, historical societies, and thea­ reaching some twenty-five million ters in the six states have committed citizens. The work is done in a num­ resources to the project. ber of ways—through library reading By bringing citizens and scholars programs, speaker-discussion series, together to study and discuss the conferences, seminars and institutes legacy of knowledge that forms the for teachers and school administra- humanities, the councils strive to enrich personal and civic life through­ Logos from thirteen state humanities councils. out the nation.

10 MARCH/APRIL 1991 Even before there was a mecha­ The most successful, after a year's involved in adult education activities. nism for disseminating federal funds testing, turned out to be the ad hoc However, the councils themselves to the states for public humanities pro­ state committees. "These had fewer found the requirement of connecting gramming, the fledgling NEH was administrative complications," said the humanities to public policy con­ philosophically committed to the prin­ former NEH Deputy Chairman Geof­ strictive and began to urge NEH to ciple of public outreach in the human­ frey Marshall in a 1988 interview. broaden the mandate to the councils. ities. The agency's 1965 enabling "They also had more flexibility because In 1976, each council was given the legislation specifically charged NEH the people weren't bound to institu­ authority to decide for itself the types to "insure that the benefit of its pro­ tional patterns of one sort or another, of humanities projects it would support. grams will also be available to citizens and there was a kind of built-in enthu­ The Endowment's state program where such programs would other­ siasm because no one was participat­ underwent further organizational wise be unavailable due to geographic ing except those who chose to do so changes in the late 1970s. In 1978, the or economic reasons." in the first place. Division of State Programs was estab­ During the late 1960s, state arts agen­ "The best approach," Marshall con­ lished as a separate unit. The same cies began to seek NEH funds in order tinued, "was to give people good ideas, year, the National Federation of State to broaden their organizations into good people to interact with to give Councils was founded as a member­ "arts and humanities councils" focus­ them an understanding of the role ship organization for the still highly ing on state and regional projects. Pro­ ideas have in their lives and also to experimental state program, with a ponents of this strategy argued that the provoke or challenge or entice people board elected from the volunteer arts and humanities were, after all, not into further study of the humanities." members of the state council boards. always separable, and that the poten­ By 1972, eleven more states had If the 1970s saw the state humanities tial of the available state-level network formed humanities councils. By 1973, councils striving to build audiences, ought to be used. This gave rise in the there were fifteen more; and by 1975, the 1980s have seen a broadened late sixties to plans for an experimen­ another eighteen, completing the state- sense of purpose among the state coun­ tal state-based humanities program. level apparatus in the fifty states. A cils and an increased recognition of The first step was a feasibility study council was established in Puerto Rico their potential for leadership in the to determine whether it was preferable in 1977, in the District of Columbia in intellectual life of their states. In addi­ to distribute federal funds through al­ 1979, in the U.S. Virgin Islands in 1983, tion to public programs, the humani­ ready established state institutions or and in Guam in 1990. ties councils have addressed major through new state institutions created In the early years, grants of $100,000 issues in education through seminars solely for the purpose of devising and were awarded to each participating and institutes for teachers and school administering a humanities program. state, with the council serving as the administrators, through programs in Whether new or already in place, the catalyst and regranting money to per­ schools, and through conferences and institution was expected to fill certain sons or groups sponsoring a program statewide task forces. goals: It had to be acceptable within deemed worthy of support. In 1976, From the start, the strength of the the state, have access to an understand­ state humanities councils were man­ state program lay in the commitment ing of higher education in their state, dated by law, and Congress directed of the volunteer citizen boards repre­ be able to involve academic human­ that at least 20 percent of the NEH senting the population of the state. ists in planning, and be committed to program budget be allocated among The members of the board are the trus­ giving its best effort to mounting a them. Last year, the state councils tees of the private, nonprofit entity to successful program in the humanities. were allocated nearly $30 million for which the federal funds are awarded, And so, in 1971, the first six experi­ a wide variety of projects: reading and and it is they who, under the direc­ mental state humanities councils were discussion programs, chautauquas, film tion of a chairman as the chief volun­ formed, using three test models. One documentaries, state histories, lecture teer officer, are charged with design­ model, undertaken in Georgia and series, collections of indigenous litera­ ing and implementing a humanities Missouri, was based on NEH support ture, museum and traveling exhibi­ program in their state. They, too, are of humanities programs set up in uni­ tions, and programs for teachers. accountable for the expenditure of the versity continuing-education divisions. In the early years, federal regrant federal funds. Through the participa­ The second, in Maine and Oklahoma, funds were restricted to projects deal­ tion of citizens and humanities schol­ involved NEH support of humanities ing with public policy issues. Because ars in every state in discussion and programs through the existing state such issues affected all citizens gener­ critical thinking, the state humanities arts councils. And the third, in Oregon ally, it was thought that this focus councils have demonstrated that public and Wyoming, involved NEH sup­ would attract adults to humanities humanities programs can increase the port of an ad hoc citizen's committee programs in numbers far greater than role of the humanities in the daily lives set up to develop a humanities program. the small percentage traditionally of the American people. □

HUMANITIES e f o r e t h e r e w e r e roads the American Experience" will enable sapiens first came into the valley in the vast, uncharted forest the people who live along the river- some 15,000 years ago with the north­ wilderness of North America, bank in six states to explore the local ward retreat of the last great glaciers. there were rivers. And for histories, cultures, and industries of Native Americans, whose ancestors Bearly adventurers and later settlers their shared ancient legacy—the river. along the entire length of the river left from the eastern seaboard, no river They are likely to find that beneath behind massive, artifact-filled earthen was more important as a highway to the modern industrial appearance of mounds that mystified the first white the heartland of the continent than the Ohio River and its valley lies the explorers, peopled the region's forests the Ohio, stretching as it does 981 storied history of America's first West for centuries before the river was first miles on a southwesterly course from —a kind of El Dorado that sprawled seen by a white man, allegedly the Pittsburgh to the Mississippi. westward from the Allegheny Moun­ Frenchman La Salle in 1669. A settler This summer, a project titled tains across hundreds of miles of on the St. Lawrence River, he eagerly “Always a River: The Ohio River and untracked forest wilderness to the followed Indian reports of the distant Mississippi River. As attested by the waterway in pursuit of the fabled James S. Turner is assistant editor of discovery of crude stone implements northwest passage to China. Humanities. and the remains of mammoths, homo With the discovery of its rich poten-

An 1849 painting shows the bustle of steam­ boats and other craft at Pittsburgh, "Gateway to the West," where the Monongahela and Allegheny Rivers meet to form the Ohio River. tial for the European fur trade, the the forests and mountains of western among the Iroquois and who now Ohio River valley fully entered the Pennsylvania, bound for the fork served as Indian negotiator for the white man's history with a race for con­ where the Allegheny and Mononga- colonial government of Pennsylvania. trol between the French, pushing east­ hela Rivers merge to form the Ohio Their mission was to deliver the ward from their trading posts on the River—the site of present-day Pitts­ goods to the Indians, soldering a Mississippi, and the English, reach­ burgh. The party was led by two fron­ recently made alliance between the ing westward over the Alleghenies— tiersmen familiar with the Ohio region British colonies and the six nations of a race that ended with English vic­ —George Croghan, an English fur the Iroquois confederacy against the tory in the French and Indian War trader married to an Indian woman, French, who also laid claim to the (1756-1763). and Andrew Montour, part Indian, Ohio territory. Reaching the head­ In a prelude to that conflict, late in part French, and a drifter among the waters of the Ohio, the expedition the summer of 1747 an English pack tribes of the region. With them were loaded into canoes and paddled some train, laden with trinkets and tobacco, Benjamin Franklin's nineteen-year-old twenty miles down the Ohio River hatchets and knives, guns and flints, son, William, veteran of an expedi­ v - ; • bar lead for bullets and barrels of tion to Canada, and Conrad Weiser, gunpowder, snaked westward through a Pennsylvania farmer who grew up

Highway HighwaytotheHEARTLAND BY JAMES S. TURNER to their destination—the timber-hut that forged the steel in the Empire our environment, but also the interac­ Indian village of Logstown—where State and Radio City buildings, the tion between the present and the they met the Indian delegation and, bridges that span the Mackinac and past. We can learn a lot about some with English aplomb and whiskey, Verrazano straits. Recovering a sense of the basic questions of cultural differ­ sealed the bond. of the effaced past from beneath the ence that face us today, for instance, After the canoes came the flatboats creations of modem technology is part by looking at the historic relation and keelboats laden with settlers, pad­ of the mission of "Always a River." between the Indian and white cultures dle steamboats heralding the triumph "In many ways, communities in the in this region. In a small way that's of technology, and finally the trap­ Ohio Valley have turned their backs being done through this project." pings of modern industrial society on the river," says Charles Daugherty, In literature, while the Midwest has with dams, steel mills, and the usurp­ executive director of the West Vir­ produced great authors, there are no ing of the river as a means of trans­ ginia Humanities Council. "At one Leatherstocking Tales, no Huck Finn, port by the railroads. Near the long- time the river was a vital part of our no Yoknapatawpha County, "no com­ obliterated site of Logstown today is lives, until it was cut off from contact mon cultural touchstones that we in the old steel town of Ambridge, Penn­ by the railroads and the floodwalls the Midwest can turn to again and sylvania. Where once Indian foot­ along its shores. This project will again to tell us who we are," says paths were the only trace of human bring to people's consciousness not Kenneth L. Gladish, executive direc­ life, today stand the derricks and mills only the interaction between us and tor of the Indiana Humanities Coun­ cil. But travelers and observers on the river, including English novelist Charles Dickens, left prodigious des­ criptive accounts of the beauty and In this 1690 map meaning of the river, and through such by Vicenza Maria Coronelli, accounts, along with other works of the Ohio River, literature and historiography, people in "la belle riviere," the region can glimpse their heritage. lies between "If you look especially at the writ­ Canada and Florida. ings of George Washington in his musings about the future develop­ ment of the United States," says Gladish, "it's clear that he conceived of the transappalachian West, partic­ ularly the Ohio River and its con­ nected watershed, as the real valley of democracy, as the place where America would develop itself. He knew the area very well, of course, as a surveyor and leader of military operations there. In fact, perhaps one of the most fascinating museum exhibits in the whole region is at Fort Pitt in Pittsburgh, at the point where the Monongahela and Allegheny rivers come together to form the Ohio. What you learn from that display is the incredible strategic importance of this new inland territory for the European empires of the eighteenth century. You also learn that it was here that Washington learned as a military man all of the great lessons that would inspire him and inform him in his leadership of the American military forces during the Revolution. I think that experience served as the ground­ work of his aspiration for this region." Beginning in May and continuing through the rest of the year, the state humanities councils of Illinois, Indiana, Kentucky, Ohio, Pennsylvania, and West Virginia will examine the legacy of the great waterway that connects their states. A converted river barge will travel down the river, making

14 MARCH/APRIL 1991 “Always a River” Barge Schedule, Summer 1991, and Ohio River Events Supported by the State Humanities Councils

Courtesy of Indiana Humanities Council ILLINOIS Shippingport, which sprang up in the early PENNSYLVANIA (All listed events are in Pittsburgh) CIVIL RIGHTS IN CAIRO—a photographic nineteenth century at the Ohio River falls. exhibit, essays, and oral histories on the HISTORIC MAYSVILLE—selected historic RIVER RESOURCES— a lecture at the Civil Rights movement in Cairo during the photographs for display on the barge School of the Carnegie and dinner cruise 1960s, at the Community High School, during its stay, July 11-13. on April 24. Cairo, September to mid-October, and at OWENSBORO RIVERFRONT FESTIVAL— RIVER CITY BRASS BAND CONCERTS — Southern Illinois University, Carbondale, featuring riverfront tours by a local historian, featuring the music of the Ohio River mid-October through November. a concert by folksinger John Hartford, and basin of the last 150 years, especially folk a performance by a Mark Twain imperson­ and band music, from April 18-28. INDIANA ator during the barge's August 12-13 visit. SONGS OF THE OHIO—a concert by the EARLY SETTLEMENT OF VEVAY— a cos­ HENDERSON SOUNDS—a series of weekly Mendelssohn Choir, joined by the Junior tumed recreation of life in Vevay at differ­ programs on local radio, featuring stories Mendelssohn and the Children's Festival ent times from 1790 to 1865. A hands-on about Henderson, leading up to the Chorus, featuring the work of Stephen diorama for children, with a 4' x 3' model barge's arrival on August 20. Foster, Jerome Kern, Victor Herbert, and of the riverfront, will be featured on the other American composers, on April 21. barge during its stay at Vevay, July 25-28. OHIO CARNEGIE SCULPTURE COURT CONCERT SCHWEITZERFEST—in Tell City, August 8- “ALWAYS A RIVER”—a one-hour documen­ —an evening of river songs and music at 10. A celebration of the town's German- tary film about the voyage of the "Always the Carnegie on June 28. Swiss heritage, featuring traditional foods, a River" barge, a collaborative effort of dances, costumes, and games. ON THE WATER FRONT—a summer exhibit the six participating state councils; focus­ at the Pittsburgh Center for the Arts. THE RIVER AND THE ARTS— a festival in ing on how river communities are using Evansville, August 15-18, on the local tra­ their history and culture to reclaim the WEST VIRGINIA ditions of storytelling and arts and crafts. river as a positive force in civic life. HUMANITIES COUNCIL CONFERENCE — CENTENNIAL OF MT. VERNON—a town FREEDOM LIGHT—a book on leaders of October 18-19, in Charleston. The state's meeting in August for public discussion the underground railroad in Ripley, Ohio. annual humanities conference will be built of the town's past, present, and future. The book will be distributed through his­ around the Ohio River theme and the torical societies and at barge stops. KENTUCKY barge exhibition, which at that time will TALL BOATS-A-BUILDING—a traveling be in Charleston on the Kanawha River, HISTORY AND FOLKLORE CONFERENCE- exhibit on shipbuilding, including archi­ a tributary of the Ohio. at the Galt House in Louisville, May 10-11. val material from the Cincinnati and A RIVER CALLED OHIO—a one-hour tele­ Sessions led by scholars, riverboat pilots, Hamilton County Public Libraries; the vision documentary on the Ohio River, and other presenters will examine uses of Ohio River Museum in Marietta; the Cin­ scheduled for release in late 1991. The the river, mapping, river preservation, the cinnati Historical Society; and the Sons program is being produced at WPBY-TV. political history, and the river as a social and Daughters of Pioneer Rivermen Col­ and intellectual artery. lection. Before being shown on board the WEST VIRGINIA CHAUTAUQUA—featuring AN OHIO RIVER PORTRAIT—a traveling barge in July, the exhibit will travel to historical West Virginia characters, includ­ exhibit on the cultural heritage of com­ Ohio schools and libraries. ing Mike Fink and Stephen Foster. The scholar/performers will be featured at munities in nine regions along the Ohio “ALWAYS A RIVER” BOOK SERIES. Spon­ many of the events along the river. River, featuring privately owned photo­ sored by the Steubenville Public Library, graphs never before displayed. the reading and discussion program will RIVER REACHES—an exhibition at the take place in six Ohio communities: (Public information on the "Always a River" Portland Museum in Louisville, from May Bellaire, Ironton, Pomeroy, Portsmouth, activities in all six states is available by to August, on the history of Portland and Ripley, and Steubenville. calling 1-800-BUCKEYE.) twenty-one stops between Pittsburgh earlier state council-sponsored pro­ people merely passed on their way and Cairo, Illinois, where the Ohio grams in the region commemorating to other parts of the country, without flows into the Mississippi. Aboard the bicentennials of the Land Ordi­ either affecting the region or being will be an educational exhibition for nance of 1785 and the Northwest Ordi­ affected by it. And it was also a line visitors on the ways in which the river nance of 1787. And third, in light of of division between the North and has shaped the personal experiences, the forthcoming Columbian quincen­ the South." As John Jakle, one of the commercial life, technological devel­ tenary, cultural leaders in the region project's consulting scholars, points opment, settlement patterns, and see that the story of the discovery, out in his book Images of the Ohio Val­ artistic vision of the people. The craft exploration, and settlement of the Ohio ley: A Historical Geography of Travel, has a two-story superstructure incor­ River region from the seventeenth to 1740-1860, north of the river the gov­ porating 5,000 feet of exhibit space. the nineteenth centuries, including the ernment's land policies and the anti­ Owned by the Army Corps of Engi­ impact of these incursions on the native slavery bent gave rise to the develop­ neers and the Tennessee Valley Auth­ American population, is a major event ment of small family farms, while a ority, it was used in 1982 at the Knox­ in the continuing epic of the European planter aristocracy based on slavery ville World's Fair, where it housed a encounter with the New World. evolved to the south. "In the decades traveling exhibition commemorating preceding the Civil War the Ohio Val­ the TVA's fiftieth anniversary. here has not been a strong per­ ley ceased to be a western frontier," The barge is just one of the activi­ ception in the Midwest that the Jakle writes. Thereafter, he points out, ties directed at public and scholarly region was at one time part of the Ohio River came to be seen as the T boundary between the Midwest and reflection about the river. The other the frontier, Gladish says. "People here elements are reading and discussion tend to think of the West as out there in the Upper South. programs on local history and folklore the plains beyond the Mississippi. But "What the scholars from around in more than forty libraries through­ in fact, the confidence to move on far­ the region helped us to clarify," says out the Ohio River region, a publica­ ther west was gained in large measure Gladish, "is that the project should tions effort to produce new journal­ by the success of the settlement and focus not on whether there is or isn't ism and academic literature on the development of this part of the country." an Ohio Valley culture, but rather on river, a series of educational programs Gladish points out that after the settle­ how the region changed the people for use in schools, a media effort to ment of the old Northwest Territory, who came to live there and how the produce television and radio programs, which in the eighteenth century consisted people changed the river. Those two and a regional history and folklore of Ohio, Indiana, Illinois, Michigan, themes dominate the barge exhibi­ conference at Louisville, Kentucky's Wisconsin, and part of Minnesota, tion. The Ohio River region may not Galt House Hotel on May 10-11,1991. states came into the Union under the have a distinctive identity such as Coordinated with these activities will obligations and rules of the Northwest that in other parts of the country, but be exhibitions of art and artifacts at Ordinance of 1787, which guided the there were similar challenges of set­ museums and historical societies in nation's territorial expansion until the tlement and physical survival for cities throughout the region. end of the nineteenth century. "If you everyone who came to live in it, and The barge exhibition covers seven read the Northwest Ordinance, which the communities of people along the major themes: the natural river, the preceded the Constitution," says river's shores developed common altered river, the river as an artery Gladish, "in some ways it was more responses to those challenges." of movement, the settlement of the of a model of how we would settle and Consequently, a major goal of the region, ethnicity and culture in the be a people together than was the project, says Gladish, will be to repre­ region, the economic development of Constitution itself, because the Consti­ sent the historical river in three ways: the region, and the river as an ecosys­ tution outlines the national forms of as a unifier of disparate river commu­ tem. In addition to texts and photo­ government and legislation, while the nities, as a kind of nautical express­ graphs, the exhibition will include his­ Northwest Ordinance really outlined way for passersby, and as a divider toric maps and small working models principles on which to build regional between spheres of political influence. of the dams that were used on the communities from virtually nothing." Why the title "Always a River"? river from the earliest days. A book At the planning conference for the "Throughout history there's seeming­ on the project, to be published by the "Always a River" project in Septem­ ly always a river connected with the Indiana University Press, is sched­ ber 1988, a main issue was whether development of a culture and civiliza­ uled to appear in the spring of 1991. there were sufficiently common social tion," Gladish says, "and perhaps more The timing of the project could not and cultural traits among the various than any other river the Ohio is the one be better, according to Gladish, whose populations of the river that a partic­ on which American culture began to Indiana Humanities Council has led ular Ohio Valley culture could be iden­ assume many of the traits that we rec­ the organizational effort among the tified and located in history, litera­ ognize as distinctly American today." □ humanities councils of the six partici­ ture, and art, as is broadly the case pating states. First of all, he notes, in with New England, the South, and In 1989, for planning and implementa­ recent years the riverfront areas of the Southwest. The consensus, Gladish tion of "Always a River: The Ohio River many communities along the Ohio says, was that no such common Ohio and the American Experience," the state have experienced a revival, with the River culture ever existed. humanities councils of the Ohio River development of riverfront parks and "One of the difficulties," he says, region received an exemplary award of historical tourism projects. In addi­ "is that the river not only linked the $175,000 in outright funds from the tion, there is a groundswell of public communities of the region together. Division of State Programs, the largest interest in local history generated by It was also an artery through which such award ever granted by the division.

16 MARCH/APRIL 1991 VISIONS OF THE OHIO

BY ROBERT L. REID

HE FRENCH natural scene during explorers called the first half of the it la belle riviere, nineteenth century "the beautiful river." included ornithologist Thomas Jefferson de­ John James Audubon, scribed it as "the most who lived in Louisville beautiful river on earth." and Henderson, Ken­ A traveler in 1838 noted tucky, and Karl Bodmer, that " every mile is as a Swiss-born artist rich in scenery as it was who traveled up the in verdure at the time Missouri River and of my passage down produced some of the its winding way." The earliest and finest illus­ river these visitors were trations of the Plains describing is the Ohio, Indians. In the winter celebrated in words of 1832, Bodmer spent and in visual imagery. several months in New One early artist of the Harmony; both Lesueur Figure I. Ink drawing of a scene near Cincinnati by Charles Alexandre Lesueur, region was the French and Bodmer made dated January 16,1826. naturalist Charles sketches of their travels Alexandre Lesueur along the entire length (1778-1846). Charles of the Ohio from Pitts­ Willson Peale said burgh to Cairo, Illinois. Lesueur possessed "the Another visitor to most knowledge of the interior was Lefevre Natural History" of J. Cranstone (active any person living. 1845-1867), an English On December 8,1825, landscape artist who a keelboat, named the painted from nature. Boatload of Knowledge Just before the Civil War, by its patron Robert he traveled through Owen, left Pittsburgh, the East and Midwest. at the headwaters of Three hundred and the Ohio. For six weeks twelve of the pen and Lesueur and his fellow ink and wash sketches scholars floated down from this journey in the river before reach­ Figure 2. Ohio River, a watercolor by Lefevre J. Cranstone, 1859-60. 1859-60 are preserved ing their final destina­ at the Lilly Library of tion, the utopian village of New of the boat with its fox carcass, powder- Indiana University. Most of these Harmony, Indiana. Working in ink, horn, boat sweep, and view of the river feature scenes of the river from Lesueur documented his journey near Cincinnati conveys a wealth of Wheeling to Cincinnati. Cranstone's with 127 sketches. These provide meanings about the American frontier romantic interest in the relationship of detailed renditions of the natural river (Figure 1). Lesueur remained in New sky, smoke, light, and water is demon­ with its uncut forests and of the emerg­ Harmony until 1837, when he returned strated in his scenes of river craft on ing towns located on its banks, including to France to head the Museum of the Ohio (Figure 2). Pittsburgh, Steubenville, Parkers­ Natural History at Le Havre, which By 1869, a transcontinental railroad burg, Gallipolis, Cincinnati, and Mt. houses his American sketchbooks. spanned the nation. Noting that "over­ Vernon. His sketch from the interior Other artists who pictured the land communication" made it possi-

Robert L. Reid, vice president for academic affairs and professor of history at the University of Southern Indiana in Evansville, is editor of several books about the Midwest, including Always a River: The Ohio River and the American Experience (Bloom­ ington: Indiana University Press, forthcoming, 1991).

HUMANITIES 17 ble to celebrate the natural beauty and "You Press the Button, We Do the during his Ohio River journey. These grandeur of the nation, poet William Rest." One such amateur was the remarkably clear and extremely rare Cullen Bryant edited a book in the secretary of the State Historical Society images are in the collection of his 1870s titled Picturesque America. Its of Wisconsin, Reuben Gold Thwaites beloved State Historical Society of chapters were illustrated by leading (1853-1913). In 1894, he floated down Wisconsin. American artists. As the selections the Ohio in a skiff, accompanied by A contemporary, Thomas P. Anshutz indicated, the railroad opened the West, his wife Jessie, their ten-year-old son, (1851-1912), made use of photography enabling the artist to portray "thou­ and Jessie's brother. Thwaites, who in a different way. Born in Newport, sands of charming nooks"; but the shared the outlook of his colleague, Kentucky, he studied painting with iron horse also intruded on the land­ Frederick Jackson Turner, on the clos­ Thomas Eakins and assisted him at scape, helping to transform the Ohio ing of the frontier and its implications the Philadelphia Academy of Fine Arts. Valley into urban, industrial America. for America's future, set about collect­ Later, his reputation as an outstand­ English-born artist Alfred R. Waud ing and editing writings on the his­ ing art teacher led to his appointment (1828-1891), perhaps better known for tory of the West. His prodigious work as head of the faculty at the academy. his Civil War sketches of the fighting included the seventy-three-volume Anshutz painted several Ohio river in the East, traveled from Pittsburgh Jesuit Relations and Related Documents, scenes. His "Steamboat on the Ohio" to Louisville for Picturesque America the thirty-two-volume Early Western (Figure 5) was inspired by six photo­ in 1871. His sketch of "High water Travels, and an eight-volume Original graphs taken near Wheeling; each on the Ohio—Iron Clads Passing the Journals of the Lewis and Clark Expedition. depicted one or more features of the Louisville Falls" depicts two monitors, Thwaites published a travel narra­ final work including the skinny- the Manayunk and the Umpqua, on tive describing his six-week trip, Afloat dipping boys, the man in the rowboat, their way to Mound City Navy Yard on the Ohio, which combined his and the steamboat itself. As his per­ at Cairo (Figure 3). Too large for the research interests with pleasure. He sonal papers reveal, Anshutz used existing locks, they were floated over tells of taking "Kodaks," the term for photographs to help him produce his the "falls" when the water was high. circular prints captured by his "point paintings. Not only his method but The city of Louisville appears in the and shoot" camera, a Kodak model 2. the strong metaphor of the innocence

background. Given his significance The selection here is Wisconsin of Society Historical State 1977.137.35.8 no. Acc. Center, Museum/Research Collection, Orleans NewHistoric as a wartime artist, Waud's depiction a portrait of his fash­ of the ironclads on their way to stor­ ionably dressed wife age is a unique and powerful image. at the oars of their More than 1,100 Civil War sketches small boat (Figure 4). by Waud are housed in the Library of Thwaites took nearly Congress. Nearly 2,000 of his sketches, a hundred pictures including some two hundred Ohio River scenes, are in the Historic New Orleans Collection. Photography spelled the demise of sketch artists like A. R. Waud in the years following the Civil War. Invented in 1839, the "mirror with a memory" profoundly affected all forms of vis­ ual communication. Some fifty years later, the Eastman Dry Film and Paper Fiquyc 4 (ngnt) Company introduced a new camera A "Kodak" taken by called a Kodak. It was designed for Reuben G. Thwaites at amateurs, as its advertising proclaimed: Cincinnati, 1894.

Figure 3. High Water on the Ohio—Iron Clads Passing Louisville Falls, by Alfred R. Waud. Pencil and Chinese white drawing on paper, 1871

18 MARCH/APRIL 1991 ange uem f r, arn At ud 97 irr o Congress of Library 1957 Fund Art Patrons Art, of Museum Carnegie

Figure 5 (above). Steamboat on the Ohio by Thomas P. Anschutz, 1896. Figure 6 (right). A parlor organ sits forlornly in a field near Mt. Vernon, deposited there by a flood in February 1937. Russell Lee, photographer. and grace of the youth juxtaposed with the steamboat and the steel mill, both spewing steam and smoke into the air, make this an unusually strong statement about changing America. Another artist, photographer Russell Lee (1903-1986), worked for the Farm Security Administration's photography project, which docu­ mented America during the years from 1935 to 1943. These talented profes­ sionals, including Dorothea Lange, Walker Evans, Arthur Rothstein, and John Vachon, traveled throughout the United States capturing on film the traumatic experiences of the Great Depression, the Dust Bowl, and World War II. Born in Ottawa, Illinois, Lee took more pictures and spent more upended buildings, and eroded farm­ unspoiled wilderness, riverfront com­ time in the field than any of his famous lands. His image of a battered house munities, and magnificent steamboats. colleagues. In January 1937, Lee's organ standing upright in a field bore The artists range from a distinguished boss, Roy Stryker, instructed him to silent witness to the awesome power scholar armed with a simple Kodak take pictures of the devastation caused of nature (Figure 6). Edward Steichen, to illustrators of consummate skill by the Great Flood of the Ohio River, the dean of American photography, using such tools as pen, pencil, paint­ which broke records from Hunting­ considered this "grinning gargoyle" brush, and professional camera. Other ton, West Virginia, to Cairo. to be an outstanding contribution to examples of the artistic visions of la Lee photographed the aftermath of American art. belle riviere will be displayed on the the Great Flood in southern Illinois These six images, representative of "Always a River" barge as it travels and in Posey county in southern Indi­ the rich visual heritage of the Ohio down the length of the Ohio in the ana. He pictured drowned livestock, River, display the expected scenes of summer of 1991. □

HUMANITIES 19 -

MOZART THE MYTH & THE REALITY BY GREGORY HAYES HILE PERFORMANCES This immense undertaking presented mation about Mozart's youth is the of the music of Wolfgang for the first time thousands of docu­ invaluable treasury of letters exchanged Amadeus Mozart have ments in chronological order, from among members of Mozart's family, rarely been in short supply in our cen­ the marriage registry of Mozart's most important, between Mozart and tury, they surround us in special abun­ maternal grandparents (1710) to first­ his father Leopold. Though Leopold dance in this bicentenary year of his hand reminiscences from Mozart's con­ and, later, Mozart's wife Constanze death. For performers, scholars, and temporaries, transmitted by offspring recognized its archival significance the musical public the world over, the and published in the last decades of and made a special point of preserv­ occasion represents a culmination of the nineteenth century. Deutsch's ing their correspondence, it is never the astonishing growth of interest in work opened the door for dozens of tainted by posturing or "writing for Mozart that dates from the mid-1950s, smaller specialized studies, just as the the ages." On the contrary, it is the with the bicentenary celebrations of NMA (soon to become available in best source we have—more forthright the composer's birth in 1756. The years paperback) has stimulated renewed than the selective and sometimes con­ since have seen an outpouring of criti­ investigation of the autographs and tradictory impressions (many of them cal articles and essays, complemented original sources for the music itself. recorded after Mozart's death) of mem­ by a surge in recorded performances All of this activity has led to a "new" bers of the composer's circle, whose and the "rediscovery" of many works Mozart: a sophisticated social observer reports constitute the main store of long overlooked by even the most whose operas are charged with politi­ information after Mozart's move to ardent Mozart-lovers. They have also cal overtones, a mercurial personality Vienna in 1781. witnessed the inauguration — and whose tangled finances and behavior What the narrative sources lack in now, in 1991, the completion— of the are just now becoming better under­ depth, quantity, and authority they Neue Mozart Ausgabe (NMA, or New stood, and an almost inconceivably make up for in imaginative potential. Mozart Edition), the immense publish­ gifted musician whose inspirations No composer ever lived a life so rich ing project presenting all of Mozart's and compositional procedures are no in poignant imagery. From Leopold's 600-odd works in a new critical edition. less astonishing for their being seen and Wolfgang's descriptions of the Thirty-five years later, we are riding in the clearer light of incisive analysis extensive tours that introduced the the crest of a new wave of Mozartiana. and accurate chronology. boy to the social, political, and artistic What has changed since 1956? With­ Another "Mozart" has evolved over capitals of Europe between 1762 and out any clear way to measure, one can the years, a figure whose powerful 1771, we learn of the Wunderkind's tri­ nevertheless safely conclude that more hold on the popular imagination seems umphs, in which, before royal audi­ people than ever before now know of to have a life of its own, overshadow­ ences, he typically played his own com­ Mozart. His music is heard and reheard ing and sometimes confounding the positions, sometimes in conjunction constantly, sometimes (especially in scholarly efforts of musicologists and with his sister Nannerl, sightread and the case of the operas) in strikingly dif­ performers. This is the Mozart of myth improvised in various styles, and per­ ferent guises. The sounds of "early" and idealization: the child genius and formed a variety of musical "tricks," instruments—fortepianos, gut-string youthful virtuoso who, after brilliant such as naming pitches and furnish­ violins, the wind and brass instruments early success in Vienna, was spurned ing bass lines to given melodies. Upon played by musicians of Mozart's time by a philistine world of jealous peers their visit to Paris in 1764, Leopold —were largely unknown a generation who somehow conspired to engineer first published his son's compositions ago and have brought to recent concerts his early death. An imposing roster —two pairs of sonatas for keyboard and recordings a new element of fresh­ of writers, artists, playwrights, and fel­ and violin. The child's first sympho­ ness and vitality, as well as controversy. low composers—from the early roman­ nies followed during a stay in England There is no end to the scholarly inves­ tic E. T. A. Hoffmann to the nineteenth- the next year. Between 1766 and 1771, tigation of the Mozart canon. In 1961, century biographer Otto Jahn, and the family made sojourns to Vienna Otto Erich Deutsch published his docu­ from the Russian poet Alexander Push­ and Italy. At St. Peter's in Rome, mentary in association with the NMA. kin to (most recently) playwright Peter Mozart heard Allegri's choral Miserere Shaffer—have contributed to a portrait and, returning home, wrote it out from Gregory Hayes is a pianist and harpsi­ established soon after Mozart's death memory (1770). Anecdotes such as chordist who writes frequently on musical and elaborated over two centuries. this—reported by Leopold or con­ topics. He is currently teaching at Smith Fraught with speculation and infer­ tained in contemporary accounts, the College and is program guide editor for ence, all such accounts are rooted in the bicentenary symposium, "Mozart's the same small fund of narrative Opposite: Unfinished portrait of Mozart at the Nature, Mozart's World." material. The primary source for infor­ piano, by his brother-in-law, Joseph Lang, ca.1789.

HUMANITIES oat uem Salzburg Museum, Mozart

truth of which we have no reason to doubt—quickly became the stuff of early Mozart biography. Having contrived his own dismissal from the service of the archbishop of Salzburg, in 1781 Mozart settled in Vienna— then, as now, the most impor­ tant musical center in the German­ speaking world. The year 1782 saw Mozart's marriage to Constanze Weber and the well-received premiere of his opera The Abduction from the Seraglio. From the early biographers—Schlich- tegroll in his remembrance of Mozart The Mozart family, by Johann Nepomuk della Croce, ca. 1780. Leopold Mozart holds his violin; (1793), the Czech teacher and music Nannerl and Wolfgang are at the keyboard. The portrait on the wall is of Mozart's mother, who critic Franz Xaver Niemetschek (1798), died in 1778. and Constanze's second husband Georg Nikolaus Nissen in his immense and Niemetschek describes the enthusias­ commission; the overworked com­ uneven account published in 1828— tic reception Mozart's works received poser's delusion that he has been poi­ we hear of Mozart7s continued successes. in the author's native Bohemia; he also soned and his statement, "Did I not Niemetschek is the first to recount writes with uncanny insight about some say that I was writing this requiem Mozart's response to the emperor of Mozart's lesser-known compositions. for myself?"; and his death in the Joseph II's now-famous remark that the He provides, by way of Constanze, a night of December 5,1791. opera had "an extraordinary number detailed account of the composer's The doubts that Niemetschek casts of notes." "Just as many, Your Majesty, death, including the mysterious com­ regarding the composer's death be­ as are necessary," Mozart replied. mission for the Requiem. Here we come more vexing in the face of the By his account, Niemetschek in fact encounter the unknown messenger; attacks on Mozart's reputation that the sowed the seeds for the mythic Mozart, the prepayment and the messenger's biographer reports and goes to such that mysterious figure who has come return visits; Mozart's journey to great pains to refute. Niemetschek to fascinate and bedevil succeeding Prague for the coronation of Leopold writes: generations of scholars and music II and the premiere of the opera La lovers. Basing his report on his own clemenza di Tito; his desperate efforts Mozart's enemies and slanderers became recollections, firsthand sources, and upon return to Vienna to complete so vehement, particularly towards the end documents lent him by Constanze, Die Zauberflote and fulfill the Requiem of his life and after his death, that some of

•*-*- , k . . . L _ , jTTWJrrr-i»»rTT>*T SrtJI/ ,*? K rf. 3 W.- n. H. .P .

'4. -j - * r _ r

the rumors even reached the emperor's Salieri, pious composer, Kapellmeister sight and solo sounds of fortepianos ears. These stories and lies were so shame­ to the emperor, and musical rival of and harpsichords in several scenes, less, so scandalous, that the monarch, not Mozart—and on the injustice of a God but the orchestral soundtrack—the being informed to the contrary, was quite who bestows genius and immortality excerpts we hear are intermittently indignant. In addition to disgraceful upon a silly and irresponsible buffoon. from the operas, symphonies, sere­ inventions and exaggerations of excesses Shaffer's conceit makes a dramatic nades, and piano concertos—comes which they said Mozart had committed, it necessity of Mozart's comic-book char­ by way of an orchestra (The Academy was maintained that he had left debts to acterization. In transferring Amadeus of St. Martin in the Fields) playing the value of no less than thirty thousand to the screen, Shaffer, who wrote the modern instruments. florins— at which the monarch was abso­ screenplay, gutted his creation of its In his play, Shaffer might be forgiven lutely astounded. dramatic skeleton, replacing abstrac­ the exploitation (in this case, a dramat­ tion and monologue with action, fabri­ ically essential one) of the "mysterious Niemetschek leaves it to the reader cating an ending in which Salieri forces stranger" commissioning the Requiem. "to judge for himself the causes of the Mozart to dictate the unfinished Requiem The riddle has been a constant in long neglect of such a great artist"; to him until he expires of exhaustion, Mozart biographies since Niemetschek's he goes on, however, to observe that and elaborating the plot and character­ time. Its solution—via an account dis­ "the fault certainly did not rest with ization by means of gross musicologi- covered by Deutsch and corroborated him; one must therefore blame his cal falsifications. In his defense, Shaffer elsewhere, identifying the messenger unworldly nature.. .." wrote that his treatment, "obviously as a representative of the eccentric Despite corrective accounts incor­ indefensible on factual grounds," was Count Franz Walsegg-Stuppach—has porating new discoveries and research, "just as obviously defensible on those come only recently, in 1964. the hints and allegations planted by theatrical and cinematic ones which In its favor, the movie presents Niemetschek have stayed with us. must always take precedence in a work Mozart's music in a benign, even (some They have sprouted most recently, and of dramatic fiction." would argue) inspired manner. It most invidiously, in the immensely pop­ The rub, of course, is that the movie effectively and truthfully evokes cer­ ular movie Amadeus, based on Peter does not distinguish between fact and tain aspects of eighteenth-century musi­ Shaffer's 1979 play. Produced in 1984 fiction. To the serious amateur with cal life. Many of the operatic scenes and directed by Milos Forman, Amadeus even a passing biographical knowl­ were filmed in the Tyl Theater in won eight Academy Awards. It earned edge of Mozart, the contradictions and Prague, where Don Giovanni was first a great deal of money—as well as the incongruities are comical. Salieri was performed on October 29,1787. But enmity of music critics and scholars. not present to receive Mozart's death­ the staging and choreography bear no Shaffer's play is largely a theologi­ bed musical dictation, and the com­ resemblance to what scholars now cal meditation on mediocrity—as poser's death did not come in daylight. believe may actually have transpired, embodied in the protagonist Antonio We are treated (appropriately) to the and Tom Hulce's caricature of Mozart

Vienna, ca. 1760, by Bernardo Bellotto. Mozart first came to Vienna as a child prodigy in 1762, to play before the Empress Maria Theresa.

Kunsthistorisches Museum the conductor belies both the The Magic Flute, which pre­ historical evidence (Mozart miered at the end of Septem­ would in all likelihood have ber, was a resounding suc­ been seated at a keyboard) cess in Vienna and soon to and the art of conducting. In become one all over Europe. the preface to his impressive As for distinguishing Mozart Mozart in Vienna, 1781-1791 from his embellishments, it (1986), the German historian is not easily done. The myths Volmar Braunbehrens repudi­ are too magnetic, and cloaked ates even the name Amadeus: as we are even today in late romantic sensibilities, the Mozart never called himself attraction is too enjoyable. Amadeus but always used simply This is not altogether a bad Amade (or Amadeo), in an attempt thing. Our appetites have to translate his baptismal name been whetted, and among Theophilus (Gottlieb, or "love of this year's countless offerings God"). It is therefore quite appropriate illustrated Mozart: The Golden Years —from symposia and concerts to choc­ that the theater and cinema associate them­ (1989), Landon observes: "Possibly, olates and other ephemera—much of selves with the name "Amadeus," thereby with the great popularity that Mozart lasting value should emerge. announcing that they want nothing to now enjoys worldwide, we need more After all is said and done, we will do with Mozart's actual life. "Amadeus" books that try to explain complicated continue to make of Mozart what we stands for the embellishments, legends, events and complex music to the gen­ will. Writing in October of 1955, English and fantasies about Mozart. eral reader in terms he or she can scholar Donald Mitchell observed: Who was the "real" Mozart? How, understand." This would be a wel­ No century has seen him alike; each age in 1991, do we separate him from those come turn of events; at least in small has found in Mozart what it needed of him, "embellishments, legends, and fanta­ part, it is a response to the easy cur­ because he can fulfill the most contrasted, sies"? If there is any current direction rency our mass culture now grants the most opposite of requirements. His in biographical Mozart scholarship, it skewed readings such as Amadeus. artistic personality allows of many stresses is toward studies that strive to place Thanks to these biographical efforts, and emphases, some doubtless of greater him within the context of his times. we now know that Mozart was thin; significance than others, but all of them These attempts sometimes call forth that his left ear was deformed; that he true. Perhaps our own time, with its information either overlooked or dis­ smoked a pipe, enjoyed roast capon realization that one truth does not exclude counted in previous accounts. Exam­ and sauerkraut, black coffee, and alco­ its opposite, or, perhaps more accurately, ples might include any of several hol in moderation. He loved billiards. that one truth implies its opposite, has the recent essays reconsidering Mozart's In an appendix to yet another volume, best chance of seeing him in the round. late works in light of Viennese free­ 1791: Mozart's Last Year (1988), Landon masonry (Mozart was an active mason), presents a study combining the ground The setting for Mitchell's remarks or Peter Davies' clinical but fascinat­ plan of the Mozarts' apartment with was a book of essays in observance ing Mozart in Person: His Character and the inventory of his possessions con­ of the Mozart birthday bicentennial. Health (1989). Tracing Mozart's medi­ tained in the Suspense Order of Decem­ Today, thirty-five years later, and two cal history in great detail, Davies' ber 1791: A bilhard table, with five balls hundred years after the event Landon research affords new insights into and twelve cues, was situated in the called "surely the greatest tragedy in the composer's mental and physical room in which he died, adjacent to his the history of music," Mitchell's words health. It is directed as much to the study. We know, too, there is ample ring truer than ever. □ general reader as to the specialist— reason to believe that Mozart's star a trait shared by Braunbehrens' work was in the ascendant at the time of his To support the symposium "Mozart's and by a new undertaking edited by death. Though impoverished and in Nature, Mozart's World" this spring, the H. C. Robbins Landon, The Mozart poor health through much of his last Westfield Center in Easthampton, Massa­ Compendium: A Guide to Mozart's Life year, Mozart's fortunes had taken a chusetts, received $173,300 in outright and Music (1990). In the introduction turn for the better by the fall of 1791. funds from the Public Humanities Projects to a second recent book, the lavishly He received several commissions, and program of the Division of Public Programs.

24 MARCH/APRIL 1991 The Debate Over Mozart's Music

BY NEAL ZASLAW

OZART THE MAN, Mozart the myth, and Mozart's music remain powerfully important to Western cultural life and thought. Yet, as theM two-hundredth anniversary of his death approaches, the persons entrusted with preserving and interpreting the composer's works and with conveying this knowl­ edge to students and to the public are in disagreement. On the one side are the historians, theoreticians, and critics of music, who are largely university trained, and on the other are the performers and composers, who are largely conservatory trained— a rift harking back to the establishment of musicology as a humanistic discipline (Musikwissenschaft) in German universities in the nineteenth century. This pattern was duplicated in American insti­ tutions of higher learning and then reinforced Mozart Museum in the 1930s and 1940s with the arrival in the Salzburg United States of large numbers of gifted and influ­ ential German and other European performers, com­ posers, and musical academics, who immediately gravitated, attitudes intact, to the institutions that paralleled those to which they had been accustomed in the Old World. Many of the academics are proponents of the early music movement, which is devoted to the study and per­ Mozart's fortepiano, built in 1780 formance of music composed before the early nineteenth by the leading fortepiano craftsman in Vienna, Anton Walter. Mozart century, while the so-called mainstream, traditional acquired the instrument in 1784.

Neal Zaslazo is a professor of music at Cornell University and the organizer of "Performing Mozart's Music."

HUMANITIES 25 aon Gley Prague Gallery, Narodni

The National Theater, Prague, the only major theater still extant that has direct associations with Mozart. Le nozze di Figaro was performed there in 1786, and Don Giovanni (1787) and La clemenza di Tito (1791) premiered there.

performers are largely concerned Telemann and Johann Sebastian Bach Alongside the collegia musica, with performing music from the late- ran the Leipzig collegium musicum, German musicologists developed a eighteenth century onward. Mozart's they performed their own and other historical subdiscipline called Auf- music overlaps the domains of these modem music. In the German univer­ fiihrungspraxis, generally translated as two groups, and both the academic sities of the early twentieth century, "performance practice." Performance musicians and the performers lay claim however, the reconstituted collegium practice, the study of how long-dead to the priority of their understanding musicum became a group devoted to styles of music had been performed, of how to interpret Mozart's music. performing music from the centuries included the deciphering of obsolete With the sponsorship of the National before the beginning of the "standard musical notation and its transcription Endowment for the Humanities, a repertory," by which was understood into modem notation, the study of obso­ conference to be held at the Juilliard music from before the time of Bach lete instmments, and—most important, School, May 20-24,1991, as part of the and Handel. These collegia therefore because all musical notation is incom­ Lincoln Center's program commemo­ devoted themselves to the study and plete—the reestablishment of lost oral rating the Mozart bicentennial, should performance of music of the Middle traditions associated with those for­ enable the debate to move closer to a Ages, Renaissance, and early baroque, gotten repertories. The cutoff date for resolution. Titled "Performing Mozart's sometimes using modern instmments, this study was understood to be around Music," the conference will bring more often attempting to revive instm­ 1750, the year of Bach's death. The rea­ together performers, theoreticians, and ments fallen into disuse. The student son for this demarcation was that the performer-theoreticians of different and amateur productions of "ancient" music of Bach, Handel, Telemann, and persuasions to discuss and demon­ music by these collegia were usually their contemporaries did call for obso­ strate their ideas. regarded by professional musicians lete instmments and voices (for instance, The origin of the attempt to distin­ engaged in chamber music, symphony violas de gamba, recorders, comettos, guish early from modern music and orchestra, and opera performances harpsichords, countertenors, and cas- to establish the canons of performance with amused condescension and by tratos) and unnotated performing tra­ practice for each lies in the eighteenth the public as a marginal, esoteric pur­ ditions (for instance, the spontaneous century itself. At that time, musicians suit. And the condescension was often realization of vocal and instrumental interested in old or esoteric music had reciprocated: Many musical academ­ melodic ornamentation as well as their own kind of performing organi­ ics thought the professional perform­ chordal accompaniments of the so- zation, often known in Germany by ers instinctual creatures of little intel­ called basso continuo). Furthermore, the name "collegium musicum" and lect, while plenty of performers viewed with the exception of a few of Handel's in England as "the society for antient the academics as unmusical eggheads oratorios and a handful of other works, musick." In the first half of the eight­ lacking normal emotional response late baroque music had ceased to be eenth century, when Georg Philipp to music. performed for nearly a century, with

26 MARCH/APRIL 1991 A contemporary production of Don Giovanni has an inner-city setting. Stage direction is by Peter Sellars and the musical direction by Craig Smith.

the result that the orally transmitted performance mysteries to solve for much liked the light, galant style of performing traditions associated with music after 1750 as in earlier reperto­ that period anyway. it were forgotten. ries. The second was that as more But when the music of Haydn, In contrast, the notation in the music and more young singers and instru­ Mozart, and Beethoven began to be of Haydn and Mozart from the second mentalists became attracted to early encroached upon by the early musi­ half of the eighteenth century was more music, and as many of them gradu­ cians, the angry cries from the main­ complete than in the earlier styles and ated from student and amateur status stream could be heard on five conti­ the instruments seemed familiar, so no to become fully professional, the tech­ nents. Why? Because the music of the "special" knowledge appeared neces­ nical level of early music performances Viennese classics had always been part sary. And the music of Haydn and took a giant leap upward. And the of the musical mainstream, had never Mozart, having never ceased to be per­ third was that the professional early had to be revived or rediscovered, and formed, had maintained some kind of music groups, building on the first was considered the very foundation oral tradition of performance practice. two developments, began gradually of the classical repertory. The differ­ During the first half of the twenti­ to expand their repertories to include ences between the two camps extended eth century, when early musicians later music. beyond the already fascinating ques­ limited themselves primarily to music The first music to be incorporated tions of which instruments to use and before 1700 out of deference to the by the newly invigorated early music how (or whether) to ornament, to the mainstream performers, who contin­ movement was that of the generation much more critical matter of style of ued to include Bach and Handel in of Bach and Handel. Although a few delivery: Was it to be the smooth legato, their repertories, the two groups voices were raised in protest, the main­ continuous vibrato, and powerful tone avoided serious conflict, however lit­ stream response was surprisingly of the mainstream, or the more rhetori­ tle sympathy each may have had for muted, perhaps because there were cal, quirky, discontinuous delivery of the other's approaches. Beginning those obsolete instruments, those the early music movement? At the around 1960, however, three new impossibly high trumpet parts, those heart of their disagreement is the issue developments changed everything. hard-to-sing coloraturas, and those of whether historical knowledge about The first was that scholars studying unwritten ornaments, all of which had performing traditions is a prerequisite performance practice had discovered posed real problems for the tradition­ for proper interpretation of the music, that the living oral traditions asso­ ally trained performers. Then the or whether it merely creates an obsta­ ciated with the Viennese classics— early musicians incorporated the cle to inspired musical interpretation. the music of Haydn, Mozart, and music of the midcentury generation With their increased public visibil­ Beethoven—frequently could not be of Gluck, Bach's sons, and Mozart's ity and some measure of critical and traced back to the eighteenth century, father with scarcely a murmur from financial success, the early musicians and that there were nearly as many the mainstream, which had never have in the last couple of years begun

HUMANITIES 27 ht b Crl oegMrh Soe soits ht b Gl Melamed Gili by Photo Associates Swope Rosegg/Martha Carol by Photo

OTHER NEH-SUPPORTED PROJECTS ON MOZART

• TJns summer, a four-week insti­ tute on Mozart's operas for thirty secondary school teachers, librari­ ans, and administrators will be held in Vienna, Austria. The institute succeeds last year’s summer semi­ nar for secondary school teachers on “Mozart: The Man, His Music, and His Vienna," also held in Vienna. • Fellowships have been awarded for research on "Expression and Form in the Chamber Music of Mozart and Haydn" ami on “Mozart and the Opera Buffa in Vienna" and a summer stipend for research on "The Endings of Mozart's Don Giovanni." • The University of Georgia Press published the monograph Mozart and Jane Austen: Classical Equil­ ibrium in Music and Fiction, by Robert Wallace, with a publication subvention grant.

Top right: Joseph Gayer, John Calvin West, Dean Peterson, and Maureen O 'Flynn in the New York City Opera production of Le nozze di Figaro. Below right: The Juilliard Orchestra will perform Mozart's orchestral works and concert arias at Lincoln Center throughout the bicentennial.

to edge forward chronologically once sincerely believed that they had im­ while others lament the general inade­ again, tackling the music of Schubert, bibed the Viennese classical tradition quacy of most Mozart performances Rossini, Schumann, Berlioz, Mendels­ from a pure source. Recent research by artists of all ages and stations. sohn, and—to the shock of many— has demonstrated otherwise. What is wanted is a dialogic bridge even such entrenched romantics as In a recent issue of the New York between theory and practice, between Wagner, Verdi, and Brahms. Where Review of Books, the distinguished the early musicians and the main- will it end? writer and pianist Charles Rosen has streamers, between critics and histor­ No matter which group of perform­ suggested that the early musicians are ians, to seek out possibilities for creat­ ers one scrutinizes—the early musi­ doing the wrong thing for the right ing not a monolithic "official" approach cians or the traditional performers— reasons, the traditionalists the right to Mozart research and performance all is not well. Performers of the early thing for the wrong reasons. By this, but some new avenues for understand­ music movement grab at a few tech­ Rosen probably means that early musi­ ing that may begin to relieve the cur­ nical tricks and, often with inadequate cians have too often been satisfied with rent chaos and disagreements. thought and experimentation, create getting the historical parameters of By welcoming a multiplicity of a new orthodoxy, which they pre­ their performances right without suf­ approaches, the forthcoming Mozart sumptuously call "authentic." Mean­ ficient attention to interpretive artistry; conference may foster an overriding while, performers of more traditional conversely, the mainstream perform­ recognition that performers and intel­ backgrounds are all too often content ers have too often relied on such intan­ lectuals alike must be willing to become with the dubious traditions and preju­ gibles as taste, instinct, and talent, less doctrinaire in order for musical dices, such as the lengthening of short without doing their homework in mat­ culture to flourish. □ slurs, that their teachers passed on to ters of style and performance practice. them. It is perfectly understandable, Nor is all well with the intellectuals. In 1990, the Juilliard School in New York then, that the many famous pianists Historians delve into the minutiae of received $20,000 in outright funds and and piano teachers who studied with ever more rarefied dating and editions. $15,000 in matching funds from the Theodor Leschetizky (who studied Theorists create ever more elegant and Conferences program of the Division of with Carl Czerny who studied with abstruse analyses. Some critics claim Research Programs for the symposium Beethoven who studied with Haydn) that most of what scholars do is trivial, "Performing Mozart's Music."

28 MARCH/APRIL FROM AUTOGRAPH TO "URTEXT": The Changing F ace of M ozart E ditions

BY GEORGE BARTH

All of this can be HE JOURNEY seen in a single work, from a Mozart the piano sonata in T autograph to B-flat major, K. 333. a twentieth-century The autograph of the "instructive edition" sonata (Figure 1), is a long and curious which currently resides one, following a path in Berlin, was long that reveals at every thought to date from turn the tastes and Mozart's sojourn in ideals of publishers, Paris in the late sum­ amateurs, scholars, mer of 1778. Not long and performers who ago, however, Alan came to know Mozart's Tyson's remarkable music. For Mozart detective work on himself—as for any Figure 1. Mozart's original handwritten score, or "autograph, paper types and water­ composer or author of the Sonata in B-flat Major (1783). marks and Wolfgang of his time—the pub­ Plath's studies in lication route could be as treacherous continuous and inevitable changes— handwriting chronology revealed a as it was profitable. The more popu­ changes in fashion and profound very different scenario. The sonata is lar or marketable a work, the more changes in attitudes toward a musical a much later work, composed mainly likely it would be pirated by unscru­ text—through which his music would in Linz not long before the appearance pulous copyists and publishers. In endure? To a present-day audience, of its first edition in 1784 and around 1786 Mozart wrote to his father that newly excited and challenged by issues the time Mozart completed his "Linz" "the Salzburg copyists are as little to of performance practice and the sound Symphony. Mozart's neat hand copy be trusted as the Viennese," and went of "early" instruments, the printed page displays detailed but not entirely con­ on to explain how carefully he was may at first glance appear to be a less sistent articulation and a very few keeping track of manuscript copies lively and contentious arena. Yet, for essential dynamic indications. Just how of his latest piano concertos. the greater part of two hundred years, few is made apparent by the absence Accustomed as he was to straitened performing editions have vividly of dynamic marks at the openings of circumstances by 1786, Mozart prob­ reflected the changing face of Mozart- both the first and second movements. ably never imagined a publication ean performance; they have, in effect, Furthermore, Mozart penned no route that we now measure in centuries. mirrored our own habits in listening Italian tempo designations at the What would he have thought of the to and performing Mozart's music. heads of the movements. Tempos

George Barth is an associate professor in the Department of Music at Stanford University. He is an active soloist and chamber musi­ cian who has presented recitals and masterclasses on both modern and period instruments throughout the United States.

HUMANITIES 29 were later added to the manuscript in pencil (whether or not the hand is Mozart's is disputed) and appear unaltered in the first edition by Christoph Torricella of Vienna (1784). The first edition (Figure 2) differs in many details from the autograph. Although it is difficult to know for certain whether Mozart authored these revisions, it seems very likely that he did. Figure 2. First page of the B-flat Sonata as it appears in Christoph Torricella's first edition (Vienna, 1784). Not only are dynamics worked out in more detail, but articulation is more consis­ engraver apparently felt that Mozart's ing that was in no way suited to the tent, departing from the autograph in unmarked sixteenths in measures eigh­ fortepiano," a style that was "delicate sophisticated ways. Indeed, the logic teen and twenty of the first movement but choppy, with no legato"— this, and evident care displayed in Torri­ called for further clarification, so he despite Mozart's obvious delight in cella's edition have proven so convinc­ added some detailed slurs there and the legato touch. Often in his letters ing that most recent editors have strad­ just before the recapitulation, where he speaks of passages that must "flow dled the fence between manuscript Mozart's autograph shows simple long like oil." But for Mozart, legato was a and first edition. Even in the opening slurs. Although they may contradict special effect, while for Beethoven and bars the first edition suggests alter­ Mozart's intent, these variations and his followers, it was the norm. And ations: shorter slurs for the accompa­ "clarifications" of touch do follow so, what had seemed to eighteenth- niment that may affect the performer's stock eighteenth-century patterns. On century ears to be clear and deeply sense of tempo. the other hand, Simrock's edition took affecting seemed to the nineteenth cen­ One indication that Mozart's works a more nineteenth-century approach tury merely "choppy." Czerny, while never fell into the obscurity suffered to dynamics: Compared to Mozart's admitting that earlier music deserved by Sebastian Bach's was the appear­ autograph, the dynamics in the first to be realized in its own style, never­ ance between 1798 and 1804 of Breit- movement of the 1803 text seem pro­ theless began to modernize eighteenth- kopf & Hartel's handsomely engraved, fuse and even exaggerated, with hair­ century texts in the many quotations seventeen-volume Oeuvres completes pins, crescendos, and sudden pianos and recollections in his teaching man­ de Wolfgang Amadeus Mozart. Despite attached to musical gestures that uals as well as in his editions of the its title, the edition was not in fact com­ seemed to Mozart to need neither baroque and classic works. In addition plete, as it consisted mostly of piano explanation nor amplification. to altering dynamic markings (even in music. Furthermore, like most edi­ The keyboard style of the nineteenth Beethoven!), he began to replace short tions of its time, it was not "critical," century began to appear in earnest slurs with longer "phrasing slurs." since the normal procedure was to pre­ with the editions of Carl Czerny and By the time Breitkopf came forth pare each work from a single source Ignaz Moscheles, two of the most with a much more complete edition of (not necessarily the best) without iden­ famous pianists and pedagogues Mozart's oeuvre in the Samtliche Werke tifying editorial revisions. trained in the revolutionary legato of 1876-1905, nineteenth-century In general, the earliest editions, those style of Beethoven, Cramer, and the phrasing was in full flower, its iambic closest to Mozart, were more likely to pianists of the English school. For this tendencies replacing the basically tro­ emend the score in ways he would generation, Mozart's style seemed chaic character of Mozart's musical have understood. In Breitkopf's Oeuvres simply out of date. Czerny, who had speech. Slurs grew ever longer in the completes, the articulation of the third heard some of Mozart's students play, effort to "cover the breaks," as is evi­ movement rondo tune is varied when believed what Beethoven had told him: dent in the surprising alterations to the it returns, a practice common in Mozart's that Mozart, having played the harp­ sonata's opening measures (Figure 3). day. In another edition prepared for sichord from his youth, had accus­ Yet there were those of nineteenth- the Simrock firm in 1803, the editor or tomed himself to "a manner of play­ century sensibilities who felt that this

30 MARCH/APRIL 1991 features double stem­ ming for legato effects that are too subtle to be relegated to the pedal (Figure 4). His edition of Mozart's sonatas, while by no means authentic by present-day standards, is one of the most artistic and sensitive of the teaching edi­ tions, with his own added dynamic mark­ ings appearing in smaller type. As with his other editions of Austro-German music, its dynamic inflec­ tions betray his taste for unmitigated legato falsified best known was Hans von Biilow Hungarian accent and his closeness the character of Mozart's music. French (1830-1894), whose editions reflected to speech rhythms in music, a valu­ composer Camille Saint-Saens (1835- Franz Liszt's teaching. In the Billow able though oblique connection with 1921) remarked in the preface of his publications, Mozart's name still the old rhetorical style of the classi­ 1915 edition of the Mozart sonatas for appears, but often in very small print, cists. The slurring is, however, largely Parisian publisher Durand that "one almost an accessory by this time. The nineteenth century in style. is accustomed in modern editions to player was to become first and fore­ Instructive editions continue to be be prodigal with slurs, to indicate con­ most the student of Biilow and only published today, with well-known stantly legato, molto legato, sempre legato. secondarily a student of Mozart. All performer-scholars preparing editions There is nothing of this in the manu­ of Mozart's ornament signs were now featuring illuminating prefaces and scripts and the old editions. Every­ written out, harmonies were filled out, detailed notes. Some editions, like thing leads us to believe that this and every nuance of expression was those of Paul Badura-Skoda, benefit music should be performed lightly. . .. indicated, so that, as Nicholas Cook from unusual techniques such as multi­ When Mozart wished the legato, he has so aptly put it, editions like Billow's colored printing: Recommendations indicated it." On the other hand, it functioned "like a piano roll, turning for performance appear in colored ink, must be said that Saint-Saens was no the piano player into a player piano." while an "Urtext" (from the German purist; he felt free to rewrite Mozart No less important than original for "original text") appears in black. in other ways, for example, by lower­ publication in the nineteenth century In this modern effort to reconstruct ing many of Mozart's left hand parts was the production of arrangements original texts, two traditions have by an octave. whereby group music making could emerged. The first is typified by the From the 1860s on, the editor's name be carried off by a single soloist (as work of Heinrich Schenker (1868-1935), took an ever more prominent place, in piano reductions), or solo music who was concerned mainly with pre­ especially if that editor were a famous could be redesigned for group per­ senting a text that would most effec­ performer or teacher. "Instructive formance. Among the more peculiar tively communicate its own meaning. editions" proliferated, one of the best- editions of Mozart's sonatas are those He objected to Billow's work in partic­ known and most widely used being by Edvard Grieg (1843-1907) that fea­ ular and would never write out embel­ that of Sigmund Lebert, who was asso­ ture an accompaniment in his tonal lishments in the text because the result­ ciated with the Berlin conservatory. language for a second piano, which ing thicket of little notes obscured the His Mozart edition, widely viewed post is apparently to be held by the main story line of the music. His editions as scholarly in his day, included a teacher while the student plays the in some ways look rather like the edi­ lengthy introduction and caption anal­ solo part. Once again Mozart's artic­ tions of Mozart's time: One "true" yses of each sonata, representing the ulation was "appropriately" revised, reading appears on the page, deter­ parts of sonata form as it was under­ this time to suit Grieg's taste. mined by the principles of harmony stood in the nineteenth century. A fascinating instructive edition and counterpoint. The counterpart to the scholar was from the beginning of the century is The second kind of edition is more the teacher-performer. Among the that of Bela Bartok (1881-1945), which concerned with authenticity of text:

HUMANITIES 31 whether autograph or first edition should be privi­ leged, what variants and ambiguities can be pre­ sented for the reader's con­ sideration, and so forth. Text-centered editions like the Neue Mozart Ausgabe tend to present surface fea­ tures that would never have been found in Mozart's day. The page is full of uncer­ tainties, and the reader must proceed among real slurs, possible slurs, and variant readings with footnoted Figure 4. The opening of the B-flat Sonata in the early 20th-century "instructive edition" by Bela Bartok. references to critical reports. Oddly, some so-called Urtexts are replete with editorial fingerings. Though perhaps a welcome or even indispensable aid to the struggling modern-day pianist, such indications invite us to adopt unques- tioningly attitudes toward articulation that may bear little resemblance to Mozart's own. Of the Urtexts in Figure 5, no two present the same picture of even the first four measures of Mozart's sonata. The differences, though sometimes subtle, suggest the myriad deci­ sions faced by performer and editor alike, today as in the past. With the present- day availability of auto­ graph copies, early editions, and scholarly editions full of information on their histories, the enterprising reader has more resources than ever before and can in a sense "take back the page" from some of its past interpreters. That effort Figure 5. The first four bars of the B-flat Sonata in five "Urtext" editions: (a) Ernst Rudorff, editor, Kalmus, will continue to enliven 1945; (b) Nathan Broder, editor, Presser, 1960; (c) Karl Heinz Fiissl and Heinz Scholz, editors, Universal Edition Mozart performances for (Vienna), 1973; (d) Stanley Sadie and Denis Matthews, editors, Associated Board of the Royal Schools of Music years to come. □ (London), 1974; and (e) Wolfgang Plath and Wolfgang Rehm, editors, Barenreiter, 1986.

32 MARCH/APRIL 1991 orey evr r Museum Art Denver Courtesy IN FOCUS Patterson B. Williams Master Teaching in Art Museums

HINK OF THE teachers you background in the liberal arts, particu­ had who really made a dif­ larly art history or anthropology, and ference in your life. They are is honed by many years of teaching in master teachers, and that's what I want museum galleries. In addition to being in art museums/' says Patterson B. skilled communicators, master teachers Williams, since 1979 the director of are committed to broadening the audi­ education at Colorado's Denver Art ence for art museums. Museum. Williams derives the idea of the mas­ Williams for the past decade has ter teacher from the general practice been advocating a stronger emphasis of education in art museums during on the educational mission of art muse­ the early years of her career in the ums. In the art museum world, she 1960s. Then, art museums focused says, concerns about acquisitions their educational efforts on teachers have traditionally driven the agenda. who took adult or school groups into To redress the balance, she has sought the galleries to look closely at works ways to engage public audiences in of art. To revitalize this practice with thinking about art. Works of art, she an added emphasis on expert teaching, points out, are a "record of what has Williams first needed to identify objec­ ing at artists or periods of history. The been and could be." They are "forms tives based on how members of the experience of art is really quite per­ of human experience" that can give public experience and learn from art. sonal. We've discovered that people people "a framework for thinking To gain insight into levels of sophis­ want background information in the about their own value systems." tication in art appreciation, she and hope of seeing something in the object "Museum educators desperately Melora McDermott-Lewis, assistant they hadn't seen before. need curators, who do the primary director of education, have with other "If we can teach people some visual- research, publish that research, and colleagues gathered and reviewed data perceptual skills that will enable them select high-quality objects," she says. on what art novices, advanced ama­ to engage works of art on their own, "But then we want to take those objects teurs, and art experts do when they maybe we can get them back into the to the public because they're rich aes­ contemplate art. "Most of my work museum more often," she adds. Given thetically and culturally." and all of my instincts from years of the importance of what museum So well has Williams made her points teaching tell me that museum teachers, teachers do, Williams wants them to at professional meetings, through arti­ in order to engage people directly be more involved in structuring exhi­ cles in various museum journals, and with art, must know what art experts bit installations. through her workshops for museum ask themselves when they look at a "When I first started as a gallery volunteers around the country that work of art," she says. "Experts teacher fresh out of graduate school her work is influencing public educa­ respond at a very high level, but there in 1966," Williams recalls, "I genu­ tion programs in art museums. For are patterns that can be used to help inely believed that if you studied art her efforts, she has received national people see new things." These patterns history, you studied everything— acclaim among her peers, having been typically range from personal aesthe­ culture, history, religion, human per­ awarded the 1990 Museum Educator's tic reactions to interpretive responses sonality, human creativity—and that Award for Excellence from the Amer­ based on knowledge of the object in the mission of the art museum was to ican Association of Museums' Educa­ its historical and social context. teach a universal, worldwide human­ tion Committee. She recently spent In addition to knowing how experts ism that could actually make for a bet­ three months as a guest scholar at the look at art, master teachers need to ter world." Now, after twenty-five Getty Center for the History of Art know how to vary their teaching years in the field, she has become more and the Humanities in Santa Monica, methods from lecturing, to coaching, realistic without loss of conviction: California. to Socratic questioning in order to "I'm the first person to say that many For Williams, master teachers, intensify the experience of art for indi­ people have led extraordinarily fruit­ whether volunteers or paid staff, are viduals on a tour. ful lives and have lent a great deal to conversant not only with the contexts, "A common approach of art muse­ civilization without being attuned to philosophies, and techniques of art, um people who give tours, both staff art. But I think art can enrich people's but also with the psychology of aes­ and volunteers, is to talk about the lives if they want it to, and I'd like thetic response by art viewers at dif­ background of the object or about the to have master teachers there to help ferent levels. In her view, this exper­ artist's life," Williams says. "But the them." □ tise is based ideally on an academic object is not simply an excuse for look­ —James S. Turner

HUMANITIES 33 A Race Against Time PRESERVING THE PAST BY ANN RUSSELL orey f otes Dcmn Cnevto Center Conservation Document Northeast ofCourtesy THE AIRING ON national tele­ vision of the documentary Slow Fires has helped make Americans aware that millions of books and doc­ uments in our library and archival col­ lections are crumbling into fragments. A campaign by the American Library Association warns that novels such as Evelyn Waugh's A Handful of Dust may soon become just that, and that Gone With the Wind is going, going, gone. A poster from the University of California shows a crate of eggs labeled with the titles of Shakespeare plays and warns that "Books are fra­ gile, too." These efforts have a com­ mon goal: to make the American peo­ ple aware that the effects of acid paper can be as detrimental to national well­ being as acid rain is perceived to be. In response to the growing alarm about the paper deterioration prob­ lem, the Northeast Document Conser­ vation Center (NEDCC) was founded in 1973. It was created to provide high-quality conservation services to institutions that did not have in-house facilities or that required specialized expertise. The center was formed by the state librarians of the six New England states, who decided that a cooperative facility would be the most effective way to make conservation resources broadly available, given the acute shortage of paper conserva­ Book and paper conservators work in a large, light-filled laboratory in the Northeast Document tors and the high cost of equipping Conservation Center's new facility in Andover, Massachusetts. a laboratory. The problems were serious and to handle. Some entire collections In recent years Congress has focused wide-ranging, a situation that per­ are not open to scholars because the on the deterioration of library and sists to this day. Surveys by research materials are in poor condition. Many archival collections. Testimony by libraries have confirmed that approx­ objects cannot be exhibited without the National Endowment for the imately 35 percent of their books are extensive conservation treatment. The Humanities in 1988 congressional hear­ already too brittle to withstand nor­ monographs, manuscripts, archives, ings put the number of acidic books mal use. Requests for interlibrary photographs, graphic materials, schol­ in American libraries at 76 million; loans often must be denied because arly journals, and newspapers that that number is expected to double the books requested are too fragile support research in our library and over the next twenty years. The Com­ archival institutions are becoming mission on Preservation and Access Ann Russell is executive director of the increasingly fragile, and some are in proposed that some 3 million titles be Northeast Document Conservation Center. danger of disappearing forever. preserved on microfilm; in response,

34 MARCH/APRIL 1991 orey f otes Dcmn Cnevto Center Conservation Document Northeast ofCourtesy Congress appropriated additional funds to NEH's Office of Preservation to support a large-scale reformatting program and other preservation activ­ ities. This past year, Congress passed a resolution calling for the use of per­ manent paper for the production of all publications and records of enduring value, including those of the federal government and of private publishers. As research libraries have become more aware of the deterioration prob­ lem, they have made preservation a priority. According to the most recent statistics compiled by the Association of Research Libraries (ARL, a member­ ship organization representing 120 of the largest libraries in this country and Canada), forty-four of the ARL mem­ ber libraries have now hired full-time preservation officers to plan and administer preservation programs. Thirty-eight percent have preservation departments with an average staff of six full-time employees. A national preservation effort is gaining headway to identify needs, develop model projects, and secure funds. The key participants include the Commission on Preservation and Access, the National Endowment for the Humanities, the Library of Con­ gress, the National Archives, and a number of professional organizations representing libraries and archives, such as the American Library Asso­ ciation and the Society of American Archivists. They share agendas that, while not identical, are complementary. Among their goals:

• to strengthen regional preservation Before/After: The Walker Portrait centers and information services where The portrait above had been in the Walker family of Massachusetts for three generations and they exist and encourage the develop­ zvas a family treasure. The work is what is called a crayon enlargement, a photographic ment of new ones in underserved areas. portrait reworked with crayons or chalk to give the appearance of a drawing. It was taken to • to support training opportunities the Northeast Document Conservation Center in Andover in November of 1987 after being for preservation administrators who mutilated by vandals who broke into the family's home in Reading. The portrait was will manage institutional preservation extensively torn with large areas of loss. programs and for conservators of To repair the work, a paper conservator on the center’s staff first had to remove it from its cloth backing and from the wooden strainer to which it was attached. The conservator library and archival collections. removed surface dirt with crumbled vinyl eraser. After testing all of the media used in the • to encourage the use of permanent portrait to ensure no single element was sensitive to treatment with water, the conservator paper for the production of books and washed the portrait in a bath of filtered tap water. It was then bleached under carefully records of lasting significance. controlled conditions, using a bank of fluorescent lights. The washing and bleaching removed stains and darkening of the paper caused by long-term exposure to light, conditions that • to support research and develop­ existed apart from the vandalism. The torn parts were aligned and mended on the reverse side ment on new technologies that will pro­ with Japanese paper and wheat starch paste; lost sections were filled with paper pulp. The vide more cost-effective methods for photograph was backed with Japanese kozo paper to add strength. Then it was dried and stabilization of original materials and flattened, and the areas of new paper pulp were inpainted with dry pigments and watercolor. more sophisticated methods for refor­ Finally, the portrait was mounted on a four-ply ragboard window mat. The center recom­ matting and retrieval of information. mended that the portrait be framed with ultraviolet filtering plexiglas and displayed under lozv light levels to prevent further light damage. • to promote bibliographic control of With that, the portrait was returned to the care of future generations of Walkers. the records of what is being preserved; —Gay Tracy to encourage coordination between

HUMANITIES 35 institutions to avoid duplication and to assure that gaps are filled. • to accelerate the output of micro­ filming programs, especially those that preserve collections of importance to national audiences and that catalogue the records of what is being filmed on one of two national data bases. • to increase public awareness of preservation issues.

S AVING THE NATION'S library and archival collections is a daunting proposition because of the magnitude of the problem and because the needs of individual insti­ tutions are heavily duplicative. Lines are being drawn between preserva­ tion projects that serve a national audi­ ence of scholars (such as NEH's U.S. Newspaper Program, which deals with one central coordinating body in every state) and projects that serve local needs. How can federal funds be jus­ tified to preserve the same nineteenth- century edition of Vergil at twelve different academic libraries? Yet, if this title is heavily used, all twelve schools might view it as a priority. NEDCC, a nonprofit regional con­ servation center, plays a role in the national preservation effort through its NEH-funded field service office, established in 1980. This office serves as the consulting arm of NEDCC and channels consultation and advice on preservation to hundreds of small and medium-sized institutions in its region. Its intention is to have a cumu­ lative impact on improving preserva­ tion practices in the entire region and to enable individual institutions to develop preservation programs through planning and the setting of The Emancipation Proclamation priorities. The services include sur­ Af a time when lamination was widely considered to be the best method to preserve veys, workshops, reference liaison, important historical documents, the Emancipation Proclamation icas sealed in cellulose and disaster assistance. NEDCC has acetate. Some years later, in 1984, with the laminate yellowed and cracked and in a few also served as a model for other regions. places separated from the paper, the document was brought to the paper conservation The Southeastern Library Network laboratory at the Northeast Document Conservation Center. The National Archives and (SOLINET) in Atlanta and the Conser­ Records Service asked conservators at NEDCC to remove the laminate. vation Center for Art and Historic Arti­ The historic document was given two five-minute baths in a solution of acetone— facts in Philadelphia have initiated the first immersion to remove the laminate, the second to remove residual adhesive. Breaks and splits in the paper were mended with Japanese paper and wheat-starch paste. preservation information services based The readings on acidity taken on the four leaves of the document were found to vary; onNEDCC's example. two received alkalizing treatment. Many of the smaller institutions As a final step, the pages were encapsulated in polyester film to protect them from dirt, served by NEDCC hold collections of handling, and atmospheric pollution. The film does not react with the paper of the docu­ enormous significance for humanities ment and can be easily removed by cutting the ultrasonic weld that holds the sheets of research, but they have limited staff film together. expertise and budgets to preserve these The idea of freedom expressed in the Emancipation Proclamation will last forever. materials. The NEDCC representa­ Now the actual document will survive as well. tive who performs an on-site survey of —Gay Tracy the preservation needs of an institu­ tion often participates in a "moment of

36 MARCH/APRIL 1991 discovery" as collections are unearthed. In its eighteen-year history, NEDCC conservation facility which provides At a New England historical soci­ has served more than 1,800 nonprofit increased space and up-to-date cli­ ety, the surveyor discovered a collec­ institutions through its laboratory ser­ mate controls and security systems. tion of original architectural draw­ vices; it has reached many thousands The new facility includes a library ings by Samuel McIntyre in a pile of more through its consulting and edu­ and a large conference room, a secure uncatalogued materials on the floor. cational programs. Clients range from storage room, and special areas for An underfunded public library in New large institutions, such as the Library documentary photography and work York state was found to have three of Congress, New York Public Library, with solvents. An NEH Challenge drawers full of uncatalogued Revolu­ and Brown University, to small public Grant to NEDCC enabled the center tionary War manuscript material. A libraries, town clerk's offices, and to launch a successful fundraising cam­ history scholar in the area said that local historical societies. In addition paign to renovate the facility and create this was one of the best untapped to serving institutions whose major an endowment to support the increased sources on the Revolutionary War in the purpose is as repositories, NEDCC operating costs of an expanded plant region. Unfortunately, the "moment serves a wide variety of other organi­ and program. of discovery" often includes the dis­ zations such as performing arts insti­ A 1984 report by the Council on covery of appalling storage condi­ tutions, religious organizations, hos­ Library Resources, entitled "Preserv­ tions, with valuable materials crammed pitals, social service agencies, labor ing Our Intellectual Heritage: General into drawers or held in humid, mold- unions, zoos, and botanical gardens. Directions and Next Steps," observed infested areas. Examples of projects recently under­ that NEDCC is "a very useful model. taken at the center include the micro­ Its experience will be important to the EDCC was established with filming of first edition sheet music by development of additional regional start-up funds from the Coun­ Franz Liszt for the Juilliard School centers, particularly as it suggests Ncil on Library Resources, the library; the preparation for exhibition guidelines for establishing a viable New England Library Board, and other of architectural drawings by Frank balance among programs for format donors. For seven years the center Lloyd Wright; and the delamination conversion, individual treatment of functioned as an arm of the New of the Emancipation Proclamation for rare materials, 'mass' procedures for England Library Board. In 1980, it the National Archives. physical care of materials of lesser incorporated as a private, non-profit In 1979, NEDCC initiated a preser­ intrinsic value, and field services organization. Since then, the center's vation microfilming service. It spe­ (chiefly consultation and disaster region of service has been extended to cializes in the filming of brittle, deterio­ assistance)." include New York, New Jersey, Mary­ rated materials. The services include As of 1991, NEDCC remains the land, and Delaware. Today its board the conversion of nitrate photographic one regional conservation center with of directors includes state librarians, negatives to safety film and the pro­ such a range and scale of preservation business leaders, and distinguished duction of photographic prints from and conservation services available to colleagues. historic negatives. A recent grant from libraries, archives, and historical organ­ NEDCC performs paper conserva­ NEH's Office of Preservation has en­ izations. Those interested in develop­ tion, bookbinding, preservation micro­ abled NEDCC to expand and reequip ing facilities to serve other parts of filming, and copying of photographs its photographic darkroom in order the country might look carefully at on a fee-for-service basis. The center to automate the duplication process. NEDCC's multistate model and begin has a total staff of forty-nine and an In August 1990, NEDCC moved its to build structures to cooperate across annual budget of nearly $2 million. headquarters to a state-of-the-art state lines in creating new centers. □

Since 1980, the Northeast Document Conservation Center in Andover, Massa­ chusetts, has received $947,820 in outright funds and $380,000 in matching funds from the Office of Preservation to strengthen the center's regional preserva­ tion services. In 1990, the center received a $270,000 challenge grant from the Office of Challenge Grants for relocation and endowment of expanded programs. Since 1981, the Conservation Center for Art and Historic Artifacts in Phila­ delphia, Pennsylvania, has received $69,110 in outright funds and $3,000 in matching funds from the Office of Pres­ ervation to provide preservation services in the mid-Atlantic region. Since 1984, Southeastern Library Network, Inc., in Atlanta, Georgia, has received $968,400 in outright funds from Before treatment in the paper conservation laboratory at the Northeast Document Conservation the Office of Preservation to provide pres­ Center, this drawing of the old Providence City Hall was obscured by stains. ervation services to regional institutions.

HUMANITIES ing wagon trains, surveying roads, building forts, and protecting settlers. Native American tribes that the reg­ iments encountered were impressed by their bravery in battle, naming them "Buffalo Soldiers" after the ani­ NOTEWORTHY mal the tribes revered for its strength and courage. The soldiers rode with Teddy Roosevelt and his Rough Riders to fight in the Spanish American War in 1898. Records show that several distinguished officers, including General John Pershing, served with the regiments at various times. Both regiments saw service during the Second World War, and elements of the Ninth fought in Korea. The units were integrated in 1952, and today the regimental descendants of the Ninth and Tenth serve in aero- There's No Place Like Home provided by the National Endowment scout and armor units at Fort Lewis, for the Arts, Reader's Digest, and Washington, and Fort Knox, Kentucky. Last fall several New York museums

other private sources. Dedicated to Amsterdam History, Social for Institute International joined with the New School for Social the Ninth and the Tenth regiments Research in New York to present who helped settle the West and South­ "Home: A Place in the World/' an west in the late 1800s, the monument Endowment-funded program explor­ will consist of a bronze statue of a ing the resonant concepts of home, mounted soldier, rifle in hand, and homeland, and homelessness. The will be located near Smith Lake at diverse events included viewings of Fort Leavenworth, Kansas, where the the film I Remember Harlem, directed soldiers camped during their stay. by Bill Miles, and an exhibition at the Although African-Americans served Bronx Museum of the Arts of winning in state militias dating back to colon­ proposals from a national architec­ ial times, they were not authorized to tural competition to design afford­ serve in the peacetime military until able housing for an area of the South Congress reorganized the army in 1866. Bronx devastated by fire and poverty. After that, they were encouraged to One exhibition in the program will enlist and were mainly detailed to be around through October 1992. help settlers opening up the Ameri­ "Night Journeys, Home is Where I can West and Southwest. Sleep" at the Brooklyn Children's Emma Goldman in the early 1900s. After one year of training, the sol­ Museum looks at children's experi­ diers were immediately given the dan­ ences of home through the rituals of Red Emma gerous duties of escorting and guard­ bedtime and sleep in American and J. Edgar Hoover called her the "most other cultures. Among the interactive S3 dangerous woman in the country." elements of the exhibition is a sleep Emma Goldman, who along with her laboratory in which children can see radical ideas was deported to Russia firsthand what happens in the brain in 1919, is a major figure in the his­ while the body sleeps. tory of the American left. Throughout Also still to come, the spring 1991 her life as activist, lecturer, and pub­ issue of Social Research, the journal of lisher, she wrote extensively about the graduate school of the New School, feminism and politics. Goldman cor­ will contain the papers on home de­ responded with a wide spectrum of livered at the program's conference prominent thinkers including John last October. Dewey, Bertrand Russell, H. L. Men­ cken, George Bernard Shaw, and Buffalo Soldiers Albert Einstein. This spring, with a The historical interpretation for a mon­ grant from the Endowment, the Uni­ ument to two African-American U. S. versity of California at Berkeley will cavalry regiments known as the Buf­ release a microfilm edition of the falo Soldiers is being supported by Emma Goldman papers, which include funds from the National Endowment writings, speeches, and correspon­ for the Humanities. Funds for the con­ This limited-edition print is being used to dence from fifty years of her life. struction of the monument are being raise funds for the Buffalo Soldier Monument. — Audrey M. Greene

38 MARCH/APRIL 1991 THE NUMBERS GAME BY JEFFREY THOMAS

A Survey of Full-time Humanities Faculty in Higher Education

UMANITIES faculty would like to be rewarded for teaching, yet they acknowledge research's grip on the institutional reward structure: This His the clear message from faculty participating in the NEH- supported National Survey of Postsecondary Faculty. This Department of Education survey, conducted in the spring of 1988, found that nearly three-quarters of humanities faculty agreed with the statement, "Teaching effectiveness should be the primary criterion for promo­ tion of college faculty" (Figure 1). Yet more than half of humanities professors reported that "At this institution, research is rewarded more than teaching." At universi­ ties, the contrast was particularly stark: Half of humani­ ties faculty supported the "teaching effectiveness" criter­ ion for promotion; nine in ten, however, believed that their institution rewarded research over teaching. Figure 1: Percentage distribution of full-time faculty in four-year institu­ tions who agree with the statement, "Teaching effectiveness should be the In a related finding, nearly half of humanities faculty primary criterion for promotion of college faculty," by academic discipline said that "No pressure to publish" would be "very im­ and type of institution: Fall, 1987 portant" in deciding to accept another position. History faculty on the tenure track at universities felt a particular aversion to the pressure to publish, with 82 percent responding that this factor would be "very important" in the decision to accept another position.

Actual Teaching Time vs. Research The survey found that, in actual practice, humanities faculty spend roughly 60 percent of their time teaching and 17 percent of their time doing research. Faculty in the fields of history and philosophy each spent more than 20 percent of their time on research, considerably more than their counterparts in English (13 percent) and foreign languages (16 percent) (Figure 2). Humanities faculty at universities devoted almost twice as much time to research (23 percent) as did humanities faculty at liberal arts colleges (12 percent). Full professors in the humanities were somewhat more involved in research than were associate and assistant professors. When academic discipline, type of institution, and faculty rank are factored together, substantial variations often emerge: Full professors in philosophy who teach at universities, for example, spend less than half their time teaching and almost a third on research. Con- Figure 2: Percentage distribution of total working hours for full-time faculty in four-year institutions, by type of professional activity and aca­ Jeffrey Thomas is assistant director for humanities studies in demic discipline: Fall, 1987 the Office of Planning and Budget. Note: Details may not add to 100% due to rounding

HUMANITIES 39 versely, instructors in humanities disciplines at liberal arts colleges spend two-thirds of their time teaching and less than one-tenth on research. At two-year colleges, humanities professors of all ranks spend but 4 percent of their time on research and nearly 75 percent on teaching, a pattern as true of full professors as it is of instructors.

One in Eight in the Humanities Twelve percent of all full-time instruc­ tional faculty in two- and four-year institutions are in the humanities. Of the 58,000 humanities professors com­ prising that 12 percent, 47,000 teach at four-year colleges and universities, and 11,000 teach at two-year colleges. About 40 percent of full-time humani­ ties faculty in four-year institutions work at universities, with the remain­ ing 60 percent at liberal arts colleges. English is the field of the greatest number of humanities faculty (20,000), Figure 3: Number of full-time faculty in four-year institutions, by academic discipline and trailed by faculty in foreign languages type of institution: Fall, 1987 (11,000), history (9,000), and philoso­ phy (4,000) (Figure 3).

Faculty Views of Student Quality Approximately half of humanities faculty in both two- and four-year institutions felt that the quality of undergraduate students in higher edu­ cation has worsened in recent years (Figure 4). Almost 40 percent of fac­ ulty in non-humanities fields held this opinion as well. About graduate students, however, indications are a little better: Some 62 percent of humanities faculty at universities felt that the quality of graduate students had either improved or stayed the same. Roughly the same percentages of research and doctoral faculty in other disciplines felt the same way. □

This article is part of a series deriving from statistical studies supported by NEH. The NEH contribution enabled the Depart­ ment of Education to sample statistically significant numbers of faculty in four humanities fields: English, history, philoso­ phy, and foreign languages. The survey itself was limited to full- and part-time regular faculty (excluding acting, adjunct, or visiting faculty) who had some instruc­ Figure 4: Percentage distribution of full-time faculty in four-year institutions who feel the tional duties in for-credit higher educa­ quality of undergraduate students in higher education has worsened, stayed the same, or tion courses in the fall of 1987. improved in recent years, by academic discipline: Fall, 1987

40 MARCH/APRIL 1991 CALENDAR March ♦ April od uem f r Nw rti Msu o Aeia Art American of Museum Britain New Art of Museum Hood

This 1918 landscape by Lazslo Moholy-Nagy will be on display in an exhibition of Hungarian avant-garde art at the Santa Barbara Museum of Art in California, opening March 16.

"Wisdom and Compassion: The Sacred Art of Tibet" will be on exhibit at the Asian Art Muse­ um of San Francisco from April 17 through August 18.

"The Here and the Hereafter: Images of Paradise in Islamic Art" opens March 26 at the Hood Museum of Art in Hanover, New Hampshire.

A six-hour Hindu epic directed by Peter Brook, "The Mahabharata: The Great Story of Man­ kind," airs nightly on PBS as part of the Great Performances series, March 25-27.

CONFERENCES The function of ceremonies in medieval urban Europe will be examined at the University of Minnesota in Minneapolis, February 28-March 2. African-American life in the Jim Crow This retablo of Saint Thomas South from 1920 to 1960 will be the topic Aquinas is part of the exhibition of a conference at Duke University in "Images of Penance, Images of Durham, North Carolina, March 15-17. Mercy: Santos Ceremonies of the Hispanic Southwest, 1860-1910," which opens March 9 at the Col­ orado Springs Fine Arts Center. — Kristen Hall

HUMANITIES 41 HUMANITIES GUIDE FOR THOSE WHO ARE THINKING OF APPLYING FOR AN NEH GRANT

Travel to Collections Program

BY KATHLEEN MITCHELL

m e r ic a n h u m a n it ie s schol­ received and funded are for research The last page of the proposal consists of ars are travelers. With suitcases in the United States and Western Europe. a brief bibliography that suggests the A and laptop computers in hand, In a recent competition, only 6 percent applicant's familiarity with the scholarly they fly, drive, or take trains and ships of both applications and awards were context of the study being undertaken, in search of manuscripts and artifacts, for research travel outside the West, and a budget form with blanks to be court records and paintings that are with the United States and England filled in demonstrating that the research ripe for analysis and interpretation. attracting the most scholars. The pro­ travel will cost at least $750. This last Since the Travel to Collections Pro­ gram particularly welcomes applica­ is usually the easiest part of the appli­ gram began in 1983, more than 3,000 tions for humanities study in South cation to complete! scholars have received NEH grants to America, Africa, Asia, and the Pacific The Travel to Collections applica­ help pay their research travel expenses. Islands, in addition to North America tion does not request letters of recom­ As well as helping the scholarly com­ and Western Europe. mendation, but it does require that the munity carry out its research, this pro­ There are two application deadlines applicant receive official assurance that gram provides intriguing windows on a year, January 15 and July 15. The the research materials discussed in the the interests of that community. awards from the January competition grant proposal will be available for use. Great national libraries such as the are announced in late May, and the Reports from the program's fellows British Library in London, the Biblio- yearlong tenure can begin as early as include tales of discovery and, occa­ theque Nationale in Paris, and the June 1. The announcement of the results sionally, of frustration; of enthusiastic Library of Congress in Washington, D. C, from the July competition is made in librarians; of archival treasures sadly are natural magnets for researchers. late November, with the tenure year rotting away. Michael Hinden of the However, the program verifies another beginning December 1. One can carry University of Wisconsin-Madison, work­ side of American scholarship: Most out the research travel any time within ing at the Beinecke Rare Book and Man­ humanities scholars choose the un­ the tenure year and can receive a uscript Library at Yale University, com­ usual path, working with materials in Travel to Collections grant every third pared Eugene O'Neill's manuscript out-of-the-way places where few others year. The amount of the award is $750. revisionsof Long Day's Journey Into do research. The program receives Those eligible to apply are humanities Night with the printed text and dis­ hundreds of applications for research scholars who are not students in aca­ covered that three significant lines had travel to hundreds of different destina­ demic degree programs. been inadvertently left out of the final tions throughout the United States and The application itself has been de­ typescript from which the play was the world. For instance, Travel to Col­ signed to match the amount of the award printed. Glenn W . Olsen of the Uni­ lections fellows have worked with as well as possible: It is short and sim­ versity of Utah experienced another materials at the St. Michael's Franciscan ple. The resume has a fiIl-in-the-blank sort of research serendipity. While Mission in Arizona and with the col­ format, and the proposal narrative con­ working with early medieval manu­ lections in the Gurudev Siddha Peeth sists of only two one-page abstracts. The scripts in the Biblioteca de Catalunya Library in Ganeshpuri, India. first describes the overall research proj­ in Barcelona, Spain, he met a Soviet The program also reveals that the ect, providing information about the scholar who asked if he could translate orientation of applicants remains Ameri­ applicant's research methodology, audi­ one of Olsen's articles for publication can and European despite the increas­ ence, and goals for the professional pre­ in a journal he edits. The discovery of ing academic concern with global sentation of the conclusions. The other new colleagues can be as valuable as studies. Almost all of the applications covers the specific part of the project to the uncovering of hidden documents. be carried out during the grant tenure. For guidelines and application Kathleen Mitchell is the program offi­ This abstract should also include infor­ materials, write or call the Division of cer of the Travel to Collections pro­ mation about the research collection to Fellowships and Seminars, Room 316, gram in the Division of Fellowships be used and indicate why it is of crucial 1100 Pennsylvania Avenue, N.W., and Seminars. importance for the progress of the study. Washington, D.C. 20506 (202/786-0463).

42 MARCH/APRIL 1991 RECENT NEH GRANTS

9

K >

Some of the items in this list are offers, not final on the religious, cultural, historical, and aes­ 40 New Jersey teachers and school administra­ awards. Grant amounts in each listing are thetic dimensions of Tibetan art and culture. GM tors on the Age of Enlightenment, using the char­ designated as FM (Federal Match) and OR Austin College, Sherman, TX; David W . Jordan: acter Figaro in the play and opera as the focus (Outright Funds). Division and program are $285,000. An endowed professorship in art for interdisciplinary study. ES designated by the two letter code at the end of history. CG National History Day, Cleveland, OH; Lois each listing. Center for African Art, NYC; Susan M. Vogel: Scharf: $100,000. Four regional institutes on the $49,651. Planning for an exhibition, catalogue, encounter between the Old and New Worlds for t Division of Education Programs and programs on the relationships between art 140 high school teachers and librarians. ES 0 EH Higher Education in the Humanities and the individual among the Baule of Cote Portuguese Cultural Foundation, Providence, Rl; ES Elementary and Secondary Education d'Ivoire, West Africa. GM Peter Calvet: $61,250. A summer institute for in the Humanities Dartmouth College, Hanover, NH; Timothy F. middle and high school teachers from southern ft Division of Public Programs Rub: $38,790. Planning for a traveling exhibi­ New England on the beginnings of Portuguese GN Humanities Projects in Media tion on the Panathenaic Festival, the major civic exploration. ES ! GM Humanities Projects in Museums and and religious event of classical Athens. GM Yale U., New Haven, CT; C. Gay Walker: Historical Organizations Denver Art Museum, CO; Ronald Y. Otsuka: $204,508. Preservation of 4,000 brittle volumes GP Public Humanities Projects $300,000 OR; $50,000 FM. Reinstallation of the from Yale's French history collection. PS GL Humanities Programs in Libraries and Asian art collections and a series of educational Archives programs. GM Duke U., Durham, NC; Dorie J. Reents-Budet: History—U.S. Division of Research Programs $49,988. Planning for an exhibition, catalogue, RO Interpretive Research Projects and public programs on pre-Columbian Maya Abigail Adams Smith Museum, NYC; Ralph D. RX Conferences painted pottery. GM Sessions: $250,000. Restoration of the building RH Humanities, Science and Technology Founders Society, Detroit Institute of Arts, Ml; and creation of three endowed positions: curator RP Publication Subvention David W . Penney: $300,000. A traveling exhi­ of education, curator of research, and develop­ RA Centers for Advanced Study bition, catalogue, and educational programs on ment director. CG Rl International Research the native American art from the Chandler-Pohrt Afro-American Historical and Cultural Museum, 1 RT Tools collection. GM Philadelphia, PA; Nannette Clark: $25,000. Doc­ RE Editions Museum of Fine Arts, Boston, MA; Theodore E. umentation of 300,000 photographs and nega­ RL Translations Stebbins, Jr.: $200,000 OR; $150,000 FM. tives that record forty years of black social, cul­ RC Access Implementation of an exhibition, catalogue, and tural, and political history in Philadelphia. GM Office of Preservation programs on the influence of Italy on American Amana Heritage Society, IA; Lanny R. Haldy: PS Preservation artists from 1760 to 1914. GM $37,500. Endowment for acquisitions, supplies, PS U.S. Newspaper Program Museum of Fine Arts, Boston, MA; Tung Wu: and part-time staff for enhanced humanities $250,000 OR; $150,000 FM. Implementation of programming. CG Office of Challenge Grants a traveling exhibition on the temple sculptures Arizona Department of Libraries, Phoenix, AZ; CG Challenge Grants of North India, A.D. 700-1200, a catalogue, and Ray Tevis: $22,234. Surveying, cataloguing, and related public programs. GM microfilming newspapers in Arizona repositories Museum of Modern Art, NYC; John Elderfield: as part of Arizona's participation in the U.S. $285,000. Endowment of publication subsidies Newspaper Program. PS Archaeology and for works prepared in the research program and Arizona Historical Society, Tucson; Michael F. of visits by outside humanities scholars. CG Weber: $50,000. Planning for an exhibition on Anthropology Oakland Museum, CA; Kenneth R. Trapp: four cultural communities in the Phoenix area.GM Atlanta Historical Society, GA; John H. Ott: Crow Canyon Center for Southwestern Archae­ $50,000. Planning for an exhibition, publication, $467,850. Construction of a new museum, fur­ ology, Cortez, CO; Ian M. Thompson: $285,000. and programs on the artistic and social history of nishings for the new facility, and endowment of Endowment of new staff positions to expand edu­ the arts and crafts movement in California from a curatorial position. CG cational activities. CG the mid-1890s to the 1930s. GM Balch Institute for Ethnic Studies, Philadelphia, Solomon Schechter Day School, Bala Cynwyd, Rutgers U., New Brunswick, NJ; Jeffrey Wechsler: PA; Gail F. Stern: $200,000 OR; $100,000 FM. PA; Shelli Glass: $25,415. A masterwork study $50,000. Computerized documentation of the An exhibition, publications, and public programs project on myths, legends, and fables in the West­ museum's recently acquired collection of Rus­ on the ethnic history of Pennsylvania. GM ern and Jewish traditions for 15 Philadelphia sian art from the 15th to the 20th century. GM California State Univ., Los Angeles; Donald O. humanities teachers in the elementary grades. ES Dewey: $95,583. A summer institute on the U. of California, Berkeley; Burton Benedict: American Bill of Rights for 40 Los Angeles eighth- $49,558. Documentation of the Whittaker- Classics grade social studies teachers. ES Tellefsen Guatemalan textile collection. GM Huntington Theatre Company, Boston, MA; Chicago Historical Society, IL; Russell L. Lewis: U. of California, Los Angeles; Doran H. Ross: Pamela Hill: $25,850. A masterwork study proj­ $50,000. Planning for a temporary exhibition, $50,000. Planning for a traveling exhibition and ect on the works of Aeschylus, Sophocles, and catalogue, and public programs on the history publication and educational programs on the Euripides as illuminated by Aristotle's Poetics, of Chicago during World War II. GM art of the Kuna Indians of the San Bias Islands, for 15 teachers from the Boston area. ES Chippewa Valley Museum, Eau Claire, W l; Panama. GM Susan M. McLeod: $130,000 OR; $20,000 FM. History—Non-U.S._____ An exhibition on the history of the Chippewa Arts— History and Valley from the beginning of the lumber boom African Studies Association, Atlanta, GA; Edna in 1850 through the period of economic rede­ Criticism G. Bay: $125,000. Creation of an endowment to velopment in the 1920s. GM expand outreach programs, international con­ Dubuque County Historical Society, IA; Jerome Asian Art Museum of San Francisco, CA; Terese tacts among Africanists, and publications. CG A. Enzler: $525,000. Doubling the space at T. Bartholomew: $150,000 OR; $100,000 FM. Arts Foundation of New Jersey, New Brunswick; the Woodward River Museum, making capital A traveling exhibition and educational programs Dale Hirsch: $196,000. A summer institute for improvements at the Mathias Ham House His­

HUMANITIES 43 toric Site, and increasing endowment for edu­ American Council of Learned Societies, NYC; Jewish Museum, NYC; Emily D. Bilski: $48,200. cation and exhibitions. CG Stanley N. Katz: $250,000. Further endowment Planning for a core exhibition on four millennia Fraunces Tavern Museum, NYC; William S. of the three core programs in humanities schol­ of Jewish art and culture. GM Ayres: $73,710 OR; $10,000 FM. Planning for arship: fellowships, grants for recent Ph.D. recip­ Johnson C. Smith U., Charlotte, NC; Anthony an exhibition, catalogue, and educational pro­ ients, and grants-in-aid. CG M. Camele: $285,000. Construction of a Center grams on the material culture of American sol­ American Museum of Natural History, NYC; for Integrated Humanities Studies and endow­ diers in the Revolutionary War. GM Aldona Jonaitis: $49,406. Planning for an exhi­ ment of new programs. CG Hermitage, TN; George M. Anderjack:$375,000. bition on the 19th-century Whaler's Washing Lovett School, Atlanta, GA; Jean B. Graham: Interior restoration of the Hermitage, home of House and its role in the whaling ritualism of $ 15,800. A masterwork study project for 12 Andrew Jackson, as part of a new interpretation the Northwest Coast. GM Atlanta secondary school teachers on the his­ of his life and character. CG Bostonian Society, MA; Joan C. Hull: $285,000. tory, intellectual life, and culture of modern Library Company of Philadelphia, PA; John C. Computerization of the collections, improve­ Czechoslovakia. ES Van Hornerr: $375,000. Expansion and modifi­ ment of storage conditions, endowment of the Maine State Archives, Augusta; Janet E. Roberts: cation of the building and endowment of two position of director of public programs, and $50,000. Development of a coordinated state­ curatorial positions. CG endowment to begin and maintain public wide preservation plan for libraries, archives, Modern Language Association of America, NYC; programs. CG historical societies, and museums in Maine. PS Deborah S. Gardner: $50,000. Planning of an Brooklyn Historical Society, NY; David M. Kahn: Memphis State U., TN; Kay P. Easson: $150,000. exhibition for young people on the history of $40,000. Planning for an exhibition, catalogue, Endowment of the programs of the Center for the linguistic diversity in the United States. GM and public programs on fire fighting in 1 9th- Humanities: faculty fellowships, visiting scholars, National Trust for Historic Preservation, Wash­ century Brooklyn. GM collaboration with local schools, and public ington, DC; Patricia L. Kahle: $21,324. Study of Chicago Architecture Foundation, IL; Carol J. programs. CG the early 19th-century Louisiana plantation Callahan: $40,859. Documentation of the Morris Arboretum of the U. of Pennsylvania, home, Shadows-on-the-Teche. GM Glessner House collections that reflect 1 9th- Philadelphia; Timothy R. Tomlinson: $412,500. Octagon Museum, Washington, DC; Nancy E. century social history. GM Restoration of the fernery and endowment of Davis: $230,000. Renovation of classroom space Children's Museum of Boston, MA; Leslie Bed­ educational programs, humanities consultants, and development of materials for humanities ford: $275,000. Implementation of an exhibition research assistants, and an expanded lecture programs. CG and educational programs on adolescence and series. CG Old Salem, Inc., Winston-Salem, NC; William T. cultural borrowing in Japan. GM Museum of American Textile History, North Alderson: $675,000. Construction of a visitor's Columbia U., NYC; Ehsan O. Yarshater: $40,684. Andover, MA; Thomas W . Leavitt: $1 8,146. center, renovation of other buildings, and endow­ Work on the Encyclopaedia Iranica, covering all Microfilming of two sets of textile industry direc­ ment of research, exhibitions, and publications. CG aspects of the history and culture of the Iranian tories covering the period 1 866 to 1989. PS Old Sturbridge Village, MA; John O. Curtis: peoples, ancient and modern, including their Museum of Fine Arts, Houston, TX; Peter C. $175,000. Implementation of an exhibition, cata­ interaction with their neighbors. RT Marzio: $50,000. Planning of interpretive pro­ logue, and public programs on the age of mass Computer Museum, Boston, MA; Oliver B. R. grams for the Bayou Bend Collection of Ameri­ portraiture in early 19th-century New England.GM Strimpel: $275,000. Implementation of an exhi­ can paintings and decorative arts. GM Pennsylvania Historical and Museum Commis­ bition, catalogue, brochure, and educational pro­ National Museum of American Jewish History, sion, Harrisburg; Robert M. Weible: $20,000. grams on the history of the computer in America Philadelphia, PA; Karen S. Mittelman: $39,000. Evaluation of activities in the museums and at from the 1930s through the 1980s. GM Planning for an exhibition and public programs the historical sites throughout the state to Cornell U., Ithaca, NY; Don M. Randel: $750,000. on the social history of the Jewish camping move­ improve coordination and develop new themes Endowment of faculty positions in premodern ment from 1900 to 1950. GM and initiatives. GM Chinese and Japanese literature, construction of Natrona County School District One, Casper, Public Museum of Grand Rapids, Ml; Timothy J. the Asian periodical room, integration of the W Y; Ann T. Tollefson: $1 38,321. Study of the Chester: $750,000. Construction of a new Asian collections, and conversion of the records history, literature, art, and language of China and building. CG to machine-readable format. CG Japan for 44 public school teachers and admin­ Rochester Museum and Science Center, NY; Dana College, Blair, NE; James T. Olsen: $150,000. istrators and creation of programs and materials Richard C. Shultz: $675,000. Endowment of Construction of a new classroom building and for use throughout the state. ES operating costs for the newly expanded muse­ endowment of faculty and curricular develop­ New England Foundation for the Humanities, um, renovation, installation of climate-control ment in relation to the new general education Boston, MA; Nan Y. Stalnaker: $50,000. Endow­ systems, and improvement of collections storage requirements. CG ment of a coordinator's position and costs of and access. CG Department of State Library Services, Providence, revising the catalogue of program resources and South Dakota Heritage Fund, Pierre; David B. Rl; Beth I. Perry: $50,000. Assessment of the pres­ the newsletter. CG Hartley: $200,000. Implementation of an ervation needs in Rhode Island repositories and North Carolina Department of Cultural exhibition on the history of South Dakota. GM preparation of a statewide preservation plan. PS Resources, Raleigh; John T. Welch: $642,394. South Street Seaport Museum, NYC; Peter Neill: Drexel U. Museum, Philadelphia, PA; Jean Cataloguing of 7,100 newspaper titles held in $750,000. Restoration of Schermerhorn Row to Henry: $49,782. Planning for an exhibition and 299 North Carolina institutions and microfilm­ house an exhibition on New York history. CG catalogue on the museum's collection of fine, ing of 850,000 newsprint pages as part of the South Street Seaport Museum, NYC; Sally decorative, and industrial arts. GM U.S. Newspaper Program. PS Yerkovich: $50,000. Planning of an exhibition, Edison Institute, Dearborn, Ml; Katarina Cerny: North Carolina State U., Raleigh; William B. catalogue, and educational programs on the Toole III: $301,625. Endowment of undergradu­ history of the Port of New York. GM $1 50,000. Implementation of programs on African-American history through three historic ate teaching, faculty research, and outreach Strawbery Banke Museum, Portsmouth, NH; buildings. GM activities in the humanities to general audiences Gerald W . R. Ward: $35,000. Planning of an Eugene School District 4J, OR; Martha J. Harris: and public school students and teachers. CG exhibition, video, and public programs on the $200,976. Establishment of a Japanese language Reynolda House, Winston-Salem, NC; Nicholas Sherburne House, a 17th-century home in Ports­ and cultural center for teacher training and B. Braggs: $250,000. Installation of an environ­ mouth, New Hampshire. GM development of materials and a model curricu­ mental control system and the endowment for U. of Alabama, Tuscaloosa; Robert J. Norrell: lum for grades kindergarten through eight. ES maintenance costs and for continuation of the $147,000. A collaborative project on Alabama American Foundation courses. CG history for 40 Alabama elementary and second­ Fairbanks Museum and Planetarium, St. Johns- Rhode Island Historical Society, Providence; ary school history teachers. ES bury, VT; Charles C. Browne: $250,000. Endow­ Madeleine B. Telfeyan: $102,751. Creation and Valentine Museum, Richmond, VA; B. Frank ment of educational programs in the humanities Jewell: $750,000. Construction of a new facility and some renovation costs. CG entering of records for 950 newspaper titles into at the historic Tredegar Iron Works. CG Hampshire College, Amherst, MA; Penina M. a national library network as part of the U.S. Newspaper Program. PS Virginia Historical Society, Richmond; Charles Glazer: $285,000. Endowment of faculty Roberson Center for the Arts and Sciences, F. Bryan, Jr.: $750,000. Creation of an endow­ development and library acquisitions in the Binghamton, NY; Gary R. Noce: $5,000. Plan­ ment to sustain humanities programs and exhi­ humanities. CG bitions and two positions. CG Harvard College, Center for Conservation, Cam­ ning for computerized documentation of the bridge, MA; Cherrie A. Corey: $300,000. Reno­ museum's art, regional history, and anthropol­ vation of facilities and purchase of equipment. CG ogy collections. GM Hope College, Holland, Ml; Jacob E. Nyenhuis: Rochester Institute of Technology, NY; James Interdisciplinary $600,000. Endowment of a position for a M. Reilly: $229,012 OR; $50,000 FM. Scientific humanities librarian and of increased acquisi­ research on the degradation of cellulose acetate Alaska State Library and Archives, Juneau; tions in the humanities. CG safety films, in order to develop improved archi­ Kathryn H. Shelton: $40,313. Surveying, cata­ Illinois State Museum Society, Springfield; Janice val storage techniques and new methods for loguing, and microfilming holdings in Alaskan T. Wass: $375,000. Implementation of an exhibi­ early detection of film base deterioration. PS repositories as part of Alaska's participation in tion and public programs on the history of domes­ Shimer College, Waukegan, IL; David Shiner: the U.S. Newspaper Program. PS tic life in Illinois over the last three centuries. GM $246,000. Retirement of debt, faculty develop-

44 MARCH/APRIL 1991 ment, purchase of buildings, and some fund­ three-year project with three summer institutes U. of Chicago, IL; Ralph A. Austen: $13,000. raising costs. CG for precollegiate professionals on the teaching A masterwork study project on African oral tra­ SUNY Research Foundation/Binghamton, NY; of Arabic, Chinese, French, German, Italian, dition for 15 Chicago elementary and secondary Marilyn C. Rose: $1 8,788. A conference on the Japanese, Russian, and Spanish. EF / humanities teachers. ES problems of translating scholarly works in the Ohio State U. Research Foundation, Columbus; U. of Houston Downtown Campus, TX; James humanities and the social sciences. RX Frederic Cadora: $595,000. A three-year project W . Pipkin: $256,326 OR; $67,000 FM. A col­ Sweet Briar College, VA; Alix Z. Ingber: $300,000. with three summer institutes on Arabic language laborative project for 240 literature teachers Endowment of the humanities-based honors and cultures for 50 secondary school teachers of from Houston area schools on classic and con­ program and of costs of library materials and social studies and foreign languages. EF temporary works in American literature. ES renovation of the honors center. CG U. of California, Berkeley; Joseph A. Rosenthal: Trustees of Boston U., MA; Kevin Ryan: $275,822. $396,132. Preservation of 5,150 endangered A collaborative project on ethics education for volumes in the European language and literature Philosophy 200 New Hampshire elementary and secondary collections of the UCB library. PS school teachers and administrators. ES U. of Maryland, College Park; Kathleen James: Northridge Preparatory School, Des Plaines, IL; U. of Alabama, Tuscaloosa; Ralph Bogardus: $425,459. A three-year project with four summer Joseph W . Lechner: $10,445. A masterwork $186,155. A collaborative project on 20th- institutes on Chinese language and culture for study project on the philosophies of education century African-American literature for 48 40 kindergarten through 12th-grade teachers of in Aristotle's Politics and Plato's Republic for 13 Alabama high school English teachers. ES Chinese. EF secondary school teachers. ES U. of North Carolina, Chapel Hill; James F. Covan: Pacific Lutheran U., Tacoma, W A; Paul T. $750,000. Endowment of library acquisitions in Menzel: $15,868. A masterwork study project Latin American, Soviet, Eastern European and Literature for 15 elementary and secondary school teach­ ers from Washington state on liberty and respon­ African studies, African-American and women's Folger Shakespeare Library, Washington, DC; sibility in a democratic society. ES studies, and Southern literature and history. CG Margaret H. O'Brien: $176,400. A national sum­ U. of South Carolina, Columbia; Walter B. Edgar: mer institute for 35 middle and high school $221,000 OR; $110,000 FM. A three-year proj­ English teachers on Hamlet, King Lear, As You Religion ect with three summer institutes on the history Like It, and The Winter's Tale from the perspec­ and literature of South Carolina and the Ameri­ tives of text and performance. ES American Theological Library Association, can South for 30 secondary school teachers. ES Public Library of Selma-Dallas County, AL; Jean Evanston, IL; Karl J. Frantz: $315,000 OR; U. of Virginia, Charlottesville; Harold H. Kolb, Jr.: S. Gamble: $21,019. A masterwork study project $285,000 FM. Microfilming of 1 5,000 mono­ $398,618. A three-year project in the schools, on the literature of Alabama's history and racial graphs in theology, United States denomina­ including summer institutes, a lecture and semi­ heritage and a related project on Selma's oral tional histories, and the history of religions. PS nar series, and workshops for 1,355 Virginia history for 20 English and history teachers in the Judah L. Magnes Memorial Museum, Berkeley, teachers of the arts, the classics, English, history, city schools. ES CA; Seymour Fromer: $150,000. Endowment of and languages. ES Teachers College, Columbia U., NYC; Marietta the position of curator of Judaica. CA Washington State U., Pullman; Barbara R. Cod- Saravia-Shore: $380,000. A three-year project Mt. Greylock Regional School District, Williams- dington: $50,000. Planning for a traveling exhi­ with two summer institutes on the Spanish cul­ town, MA; John E. Stovel: $9,000. A masterwork bition, catalogue, and public programs on the tures of the Dominican Republic and Puerto Rico study project on Asian religious texts and tradi­ traditional arts of native American women in the for 50 elementary school teachers from Con­ tions for 10 Massachusetts high school history tribes on the plateau between the Rockies and necticut, New Jersey, and New York. EF and humanities teachers. ES the Cascades. GM Wheaton College, Norton, MA; Sherrie S. Berg­ man: $450,000. Support of the library's human­ ities collections through immediate acquisitions and endowment of further acquisitions and of a half-time staff position. CG Yale U., New Haven, CT; James R. Vivian: $483,582. A three-year collaborative project involving five seminars for 50 New Haven ele­ mentary and secondary school humanities teachers each year. ES Jurisprudence Columbia U v NYC; Kent McKeever: $175,572. Microfilming of 2,500 volumes of Argentine legal serials dating from 1870 to 1985. PS Language and Linguistics College Board, NYC; Gretchen W . Rigol: $395,725. Development of curricular guidelines for the teaching of Japanese in U.S. secondary schools and, subsequently, of a College Board Achievement Test in Japanese. EF Connecticut College, New London; Doris Meyer: $827,909 OR; $112,500 FM. Fellowships for three summers for 100 foreign language teachers of kindergarten through 12th grades, who will spend six weeks in the countries of their lan­ guage specialty. ES Macon College, GA; Lynne B. Bryan: $107,471.

A summer institute on language instruction for □ Check payable to the Superintendent of Documents 30 Georgia elementary and secondary school Company or personal name teachers, after which the French teachers will □ C P O Deposit Account ------spend three weeks in Canada, and the Spanish Additional address/Attention line □ VISA or MasterCard Account teachers three weeks in Costa Rica. EF Middlebury College, VT; Mahmoud Al-Batal: Street address $131,043. Development of materials to use in teaching Arabic in cultural context that will inte­ City, State, ZIP Code Credit card expiration date ■ grate formal written Arabic with the most widely spoken form.EF Daytime phone, including area code Signature 3/91 Modern Language Association of America, NYC; MAIL TO: Superintendent of Documents, Government Printing Office • Washington, D.C. 20402-9371 Richard Brod: $103,255 OR; $51,628 FM. A

HUMANITIES 45 Area code for all telephone numbers is 202. Deadline For projects beginning

DlVISIOn of Education Programs — James C. Herbert, Director 786-0373

Higher Education in the Humanities - Lyn Maxwell White 786-0380 April 1, 1991 October 1991

Institutes for College and and University Faculty - Barbara A. Ashbrook 786-0380 April 1, 1991 October 1991

CoreCurriculum Projects- Frank Frankfort 786-0380 April 1, 1991 October 1991

Two-Year Col leges-Judith Jeffrey Howard 786-0380 April 1, 1991 October 1991

Elementary and Secondary Education in the Humanities - F. Bruce Robinson 786-0377 December 15,1991 July 1992

Special Opportunity in Foreign Language Education March 15,1992 October 1992 Higher Education - Elizabeth Welles 786-0380 Elementary and Secondary Education - F. Bruce Robinson 786-0377

Teacher-Scholar Program -Angela lovino 786-0377 M ay 1, 1991 September 1992

Division of Fellowships and Seminars — Guinevere L. Griest, Director 786-0458

Fellowships for University Teachers - Maben D. Herring 786-0466 June 1, 1991 January 1, 1992

Fellowships for College Teachers and Independent Scholars - Joseph B. Neville 786-0466 June 1, 1991 January 1, 1992

Fellowships on the Foundations of American Society - Maben D. Herring 786-0466 June 1,1991 January 1, 1992

Summer Stipends - Joseph B. Neville 786-0466 October 1, 1991 May 1, 1992

Travel to Collections - Kathleen Mitchell 786-0463 July 15, 1991 December 1, 1991

Faculty Graduate Study Program for Historically Black Colleges and Universities M arch 15, 1992 September 1, 1993 Catherine B. Tkacz 786-0466

Younger Scholars - Leon Bramson 786-0463 November 1,1991 May 1, 1992

Summer Seminars for College Teachers - Stephen Ross 786-0463

Participants March 1,1992 Summer 1992

Directors March 1, 1992 Summer 1993

Summer Seminars for School Teachers - M ichael H all 786-0463

Participants M arch 1,1992 Summer 1992

Directors April 1,1991 Summer 1992

Office Of Challenge Grants -Harold Cannon, Director 786-0361 M ay 1,1991 December 1, 1990

OfflCe Of Preservation — George F. Farr, Jr., Director 786-0570

National Heritage Preservation Program - Vanessa Piala 786-0570 November 1,1991 July 1992

Preservation - George F. Farr, Jr. 786-0570 June 1,1991 January 1992

U.S. Newspaper Program - Jeffrey Field 786-0570 June 1, 1991 January 1992

46 MARCH/APRIL 1991 Area code for all telephone numbers is 202. Deadline For projects beginning

Division of Public Programs - Donald abson, Director 786-0267

Humanities Projects in Media-7ames Dougherty 786-0278 September 13,1991 April 1, 1992

Humanities Projects in Museums and Historical Organizations-Marsha Semmel 786-0284 June 7,1991 January 1, 1992

Public Humanities in Libraries- W ilsonia Cherry 786-0271 September 13,1991 April 1, 1992

Humanities Projects in Libraries- Thomas Phelps 786-0271

Planning M ay 3,1991 October 1, 1991

Implementation September 13,1991 April 1, 1992

Division of Research Programs - Richard Ekman, Director 786-0200

Texts- Margot Backas 786-0207

Editions-Douglas Arnold 786-0207 June 1,1991 April 1, 1992

Translations - Martha Chomiak 786-0207 June 1,1991 April 1, 1992

Publ ication Subvention - Gordon McKinney 786-0207 April 1,1991 October 1, 1991

Reference Materials-Jane Rosenberg 786-0358

Tools - Helen Aguera 786-0358 September 1,1991 July 1, 1992

Access-Barbara Paulson 786-0358 September 1,1991 July 1, 1992

Interpretive Research - George Lucas 786-0210

Collaborative Projects - David Wise 786-0210 October 15,1991 July 1, 1992

Archaeology Projects - David Wise 786-0210 October 15,1991 July 1, 1992

Humanities, Science and Technology - Daniel Jones 786-0210 October 15,1991 July 1, 1992

Conferences -Christine Kalke 786-0204 January 15,1992 October 1, 1992

Centers for Advanced Study - D avid Coder 786-0204 December 1,1991 July 1, 1992

International Research - David Coder 786-0204 April 1,1991 January 1, 1992

Division of State Programs — Marjorie A. Berlincourt, Director 786-0254 Each state humanities council establishes its own grant guidelines and application deadlines. Addresses and telephone numbers of these state programs may be obtained from the division.

To receive guidelines for any NEH program, contact the Office of Publications and Public Affairs at202/786-0438. Guidelines are available at least two months in advance of application deadlines.

Telecommunications device for the deaf: 202/786-0282.

HUMANITIES 47 SECOND CLASS MAIL NATIONAL ENDOWMENT POSTAGE & FEES PAID FOR THE HUMANITIES NATIONAL ENDOWMENT 1100 Pennsylvania Avenue, NW FOR THE HUMANITIES PUB. NO. 187526 Washington, D.C. 20506

Official Business Penalty for Private Use, $300.00 ISSN 0018-7526