Library of Congress Magazine January/February 2018
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THE LIBRARY of CONGRESS: a DOCUMENTARY HISTORY Guide to the Microfiche Collection
CIS Academic Editions THE LIBRARY OF CONGRESS: A DOCUMENTARY HISTORY Guide to the Microfiche Collection Edited by John Y. Cole With a Foreword by Daniel J. Boorstin The Library of Congress The Library of Congress: A Documentary History Guide to the Microfiche Collection Edited by John Y. Cole CIS Academic Editions Congressional Information Service, Inc. Bethesda, Maryland CIS Staff Editor-in-Chief, Special Collections August A. Imholtz, Jr. Staff Assistant Monette Barreiro Vice President, Manufacturing William Smith Director of Communications Richard K. Johnson Designer Alix Stock Production Coordinator Dorothy Rogers Printing Services Manager Lee Mayer Library of Congress Cataloging-in-Publication Data Library of Congress The Library of Congress. "CIS academic editions." Bibliography: p. Includes indexes. 1. Library of Congress--History--Sources. 2. Libraries, National--United States--History--Sources. I. Cole, John Young, 1940- . II. Title. III. Series. Z733.U6L45 1987 027.573 87-15580 ISBN 0-88692-122-8 International Standard Book Number: 0-88692-122-8 CIS Academic Editions, Congressional Information Service, Inc. 4520 East-West Highway, Bethesda, Maryland 20814 USA ©1987 by Congressional Information Service, Inc. All rights reserved. Printed in the United States of America Contents FOREWORD by Daniel J. Boorstin, Librarian of Congress vii PREFACE by John Y. Cole ix INTRODUCTION: The Library of Congress and Its Multiple Missions by John Y. Cole 1 I. RESOURCES FOR THE STUDY OF THE LIBRARY Studying the Library of Congress: Resources and Research Opportunities, by John Y. Cole 17 A. Guides to Archival and Manuscript Collections 21 B. General Histories 22 C. Annual Reports 27 D. Early Book Lists and Printed Catalogs (General Collections) 43 E. -
Oversight of the Smithsonian Institution
OVERSIGHT OF THE SMITHSONIAN INSTITUTION HEARING BEFORE THE COMMITTEE ON HOUSE ADMINISTRATION HOUSE OF REPRESENTATIVES ONE HUNDRED SIXTEENTH CONGRESS FIRST SESSION SEPTEMBER 18, 2019 Printed for the use of the Committee on House Administration ( Available on the Internet: https://govinfo.gov/committee/house-administration U.S. GOVERNMENT PUBLISHING OFFICE 38–520 WASHINGTON : 2019 VerDate Sep 11 2014 21:08 Dec 30, 2019 Jkt 038520 PO 00000 Frm 00001 Fmt 5011 Sfmt 5011 E:\HR\OC\A520.XXX A520 lotter on DSKBCFDHB2PROD with HEARING VerDate Sep 11 2014 21:08 Dec 30, 2019 Jkt 038520 PO 00000 Frm 00002 Fmt 5011 Sfmt 5011 E:\HR\OC\A520.XXX A520 lotter on DSKBCFDHB2PROD with HEARING C O N T E N T S SEPTEMBER 18, 2019 Page Oversight of the Smithsonian Institution .............................................................. 1 OPENING STATEMENTS Chairperson Zoe Lofgren ......................................................................................... 1 Prepared statement of Chairperson Lofgren .................................................. 3 Hon. Rodney Davis, Ranking Member ................................................................... 5 Prepared statement of Ranking Member Davis ............................................. 7 WITNESSES Mr. Lonnie G. Bunch, III, Secretary, Smithsonian Institution ............................ 10 Prepared statement of Secretary Bunch ......................................................... 13 Ms. Cathy L. Helm, Inspector General, Smithsonian Institution ....................... 17 Prepared statement -
The End of Uncle Tom
1 THE END OF UNCLE TOM A woman, her body ripped vertically in half, introduces The End of Uncle Tom and the Grand Allegorical Tableau of Eva in Heaven from 1995 (figs.3 and 4), while a visual narra- tive with both life and death at stake undulates beyond the accusatory gesture of her pointed finger. An adult man raises his hands to the sky, begging for deliverance, and delivers a baby. A second man, obese and legless, stabs one child with his sword while joined at the pelvis with another. A trio of children play a dangerous game that involves a hatchet, a chopping block, a sharp stick, and a bucket. One child has left the group and is making her way, with rhythmic defecation, toward three adult women who are naked to the waist and nursing each other. A baby girl falls from the lap of one woman while reaching for her breast. With its references to scatology, infanticide, sodomy, pedophilia, and child neglect, this tableau is a troubling tribute to Harriet Beecher Stowe’s Uncle Tom’s Cabin—the sentimental, antislavery novel written in 1852. It is clearly not a straightfor- ward illustration, yet the title and explicit references to racialized and sexualized violence on an antebellum plantation leave little doubt that there is a significant relationship between the two works. Cut from black paper and adhered to white gallery walls, this scene is composed of figures set within a landscape and depicted in silhouette. The medium is particularly apt for this work, and for Walker’s project more broadly, for a number of reasons. -
The National Museum of African American History and Culture
The National Museum of African American History and Culture: A Museum 100 Years in the Making Sarah J. Beer History 489: Research Seminar December 9, 2016 Contents Abstract…………………………………………………………………………………………………...iii Introduction………………………………………………………………………………………………..1 Congressional History of the NMAAHC: 1916-1930……………………………………………………2 Early Reviews of NMAAHC……………………………………………………………………………...6 Contents of the Museum…………………………………………………………………………………10 History Gallery: Slavery and Freedom, 1400-1877………………………………………………12 History Gallery: Defending freedom, Defining Freedom: The Era of Segregation, 1876-1968…15 History Gallery: A Changing America: 1968 and Beyond……………………………………….18 Culture Galleries, Community Galleries, and More……………………………………………...21 Personal Review and Critique of NMAAHC…………………………………………………………...22 Conclusion………………………………………………………………………………………………...25 Works Cited………………………………………………………………………………………………27 Works Consulted…………………………………………………………………………………………28 ii Abstract: The Smithsonian Institution has been making headlines in recent news for one momentous reason: the opening of a new museum commemorating African American history. Beginning in 1916, several bills, resolutions, and hearings have taken place in Congress to introduce legislation that would create a museum, but none would be successful. John Lewis picked up the fight by introducing legislation immediately after becoming a Georgia congressman in 1986. It took Lewis almost twenty years, but in 2003 President George W. Bush finally signed the law to create the National Museum of African American History and Culture. My capstone paper studies the congressional history, early reviews, and content of the museum while also including my personal review: as a public history student, I pay close attention to how the museum presents the content and narrative, as well as the content and narrative themselves. I am able to do this because a research grant through the Office of Research and Sponsored Programs gave me the opportunity to visit the museum in early November. -
Women and the Presidency
Women and the Presidency By Cynthia Richie Terrell* I. Introduction As six women entered the field of Democratic presidential candidates in 2019, the political media rushed to declare 2020 a new “year of the woman.” In the Washington Post, one political commentator proclaimed that “2020 may be historic for women in more ways than one”1 given that four of these woman presidential candidates were already holding a U.S. Senate seat. A writer for Vox similarly hailed the “unprecedented range of solid women” seeking the nomination and urged Democrats to nominate one of them.2 Politico ran a piece definitively declaring that “2020 will be the year of the woman” and went on to suggest that the “Democratic primary landscape looks to be tilted to another woman presidential nominee.”3 The excited tone projected by the media carried an air of inevitability: after Hillary Clinton lost in 2016, despite receiving 2.8 million more popular votes than her opponent, ever more women were running for the presidency. There is a reason, however, why historical inevitably has not yet been realized. Although Americans have selected a president 58 times, a man has won every one of these contests. Before 2019, a major party’s presidential debates had never featured more than one woman. Progress toward gender balance in politics has moved at a glacial pace. In 1937, seventeen years after passage of the Nineteenth Amendment, Gallup conducted a poll in which Americans were asked whether they would support a woman for president “if she were qualified in every other respect?”4 * Cynthia Richie Terrell is the founder and executive director of RepresentWomen, an organization dedicated to advancing women’s representation and leadership in the United States. -
Solomon Northup and 12 Years a Slave
Solomon Northup and 12 Years a Slave How to analyze slave narratives. Who Was Solomon Northup? 1808: Born in Minerva, NewYork Son of former slave, Mintus Northup; Northup's mother is unknown. 1829: Married Anne Hampton, a free black woman. They had three children. Solomon was a farmer, a rafter on the Lake Champlain Canal, and a popular local fiddler. What Happened to Solomon Northup? Met two circus performers who said they needed a fiddler for engagements inWashington, D.C. Traveled south with the two men. Didn't tell his wife where he was going (she was out of town); he expected to be back by the time his family returned. Poisoned by the two men during an evening of social drinking inWashington, D.C. Became ill; he was taken to his room where the two men robbed him and took his free papers; he vaguely remembered the transfer from the hotel but passed out. What Happened…? • Awoke in chains in a "slave pen" in Washington, D.C., owned by infamous slave dealer, James Birch. (Note: A slave pen were where (Note:a slave pen was where slaves were warehoused before being transported to market) • Transported by sea with other slaves to the New Orleans slave market. • Sold first toWilliam Prince Ford, a cotton plantation owner. • Ford treated Northup with respect due to Northup's many skills, business acumen and initiative. • After six months Ford, needing money, sold Northup to Edwin Epps. Life on the Plantation Edwin Epps was Northup’s master for eight of his 12 years a slave. -
Shirley Chisholm Had Guts Marilyn L
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Journal of Women in Educational Leadership Educational Administration, Department of 1-2005 Shirley Chisholm Had Guts Marilyn L. Grady University of Nebraska-Linoln, [email protected] Barbara LaCost University of Nebraska–Lincoln, [email protected] Follow this and additional works at: http://digitalcommons.unl.edu/jwel Part of the Educational Administration and Supervision Commons, and the Women's Studies Commons Grady, Marilyn L. and LaCost, Barbara, "Shirley Chisholm Had Guts" (2005). Journal of Women in Educational Leadership. 138. http://digitalcommons.unl.edu/jwel/138 This Article is brought to you for free and open access by the Educational Administration, Department of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Journal of Women in Educational Leadership by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Shirley Chisholm Had Guts Marilyn L. Grady Barbara Y. LaCost We note the passing of Shirley Chisholm (1924-2005), a 1993 inductee to the National Women's Hall of Fame. Bom in New York, she was the oldest of four daughters. Her father was from British Guiana and her mother was from Barbados. In 1927, she was sent to Barbados to live with her maternal grandmother. She was educated in the British school system until she returned to New York in 1934. She attended Girls High School in Brooklyn, graduated cum laude from Brooklyn College in 1946, and received a masters degree in elementary education from Columbia University. She worked at Mt. Calvary Childcare Center in Harlem, was the director of the Hamilton Madison Child Care Center (1953-1959), and was an educational consultant for the Division of Day Care (1959-1964). -
March Is WOMEN’S HISTORY MONTH
March is WOMEN’S HISTORY MONTH New York State Senator ROXANNE J. PERSAUD About Women’s History Month Women’s History Month was first They have helped to shape laws, names we recognize, there are recognized nationally in 1981 when changed the course of history, made numerous others we may not, but Congress passed Pub. L. 97-28, which great strides in science, politics, they continue to make life better for authorized and requested the President sports, literature, art and many other everyone. to proclaim the week beginning March 7, areas. They have fought for the right 1982 as “Women’s History Week.” Every to vote, go to school, earn wages, One of the key events for the March, New York State joins the nation serve on juries and in the military, advancement of women’s issues was in celebrating Women’s History Month. fought discrimination and continue to the Women’s Suffrage Movement This time is used to acknowledge the effect change. which was born in New York State. The accomplishments and contributions of Movement held its first convention in There are countless women from women in the United States. Seneca Falls on July 19 and 20, 1848. New York State whose efforts are This important event became the key to Women have played an essential part in noteworthy. While there are some empowerment and change. New York and United States history. A few New York women of note... Susan B. Anthony (1820-1906) Susan B. Ruth Bader Ginsburg (1933- ) The second Anthony was a civil rights activist and suffrag- female justice to be confirmed to the ist who campaigned against slavery and for Supreme Court of the United States, Ruth women to be given the right to vote. -
Transatlantica, 2 | 2012 Discourse of Slavery: Freedom and the Negotiation of Power and Identity in Co
Transatlantica Revue d’études américaines. American Studies Journal 2 | 2012 Cartographies de l'Amérique / Histoires d'esclaves Discourse of Slavery: Freedom and the Negotiation of Power and Identity in Context Lori Lee Édition électronique URL : http://journals.openedition.org/transatlantica/6237 DOI : 10.4000/transatlantica.6237 ISSN : 1765-2766 Éditeur AFEA Référence électronique Lori Lee, « Discourse of Slavery: Freedom and the Negotiation of Power and Identity in Context », Transatlantica [En ligne], 2 | 2012, mis en ligne le 21 mai 2013, consulté le 29 avril 2021. URL : http:// journals.openedition.org/transatlantica/6237 ; DOI : https://doi.org/10.4000/transatlantica.6237 Ce document a été généré automatiquement le 29 avril 2021. Transatlantica – Revue d'études américaines est mis à disposition selon les termes de la licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International. Discourse of Slavery: Freedom and the Negotiation of Power and Identity in Co... 1 Discourse of Slavery: Freedom and the Negotiation of Power and Identity in Context Lori Lee 1 Consider the following quote from a former slave: “The Master says we are all free, but it don’t mean we is white. And it don’t mean we is equal (George King, 1930, quoted in Baker and Baker, 1996, 238).” This insightful observation eloquently captures the essence of this essay. What people say is not always what they mean, and what they mean is mediated through both their context and the identity of those engaged in conversation. The institution of slavery in the Americas constructed a legacy of racism and inequality, which was exacerbated in the process of emancipation and reconstruction. -
Programs & Exhibitions
PROGRAMS & EXHIBITIONS Winter/Spring 2020 To purchase tickets by phone call (212) 485-9268 letter | exhibitions | calendar | programs | family | membership | general information Dear Friends, Until recently, American democracy wasn’t up for debate—it was simply fundamental to our way of life. But things have changed, don’t you agree? According to a recent survey, less than a third of Americans born after 1980 consider it essential to live in a democracy. Here at New-York Historical, our outlook is nonpartisan Buck Ennis, Crain’s New York Business and our audiences represent the entire political spectrum. But there is one thing we all agree on: living in a democracy is essential indeed. The exhibitions and public programs you find in the following pages bear witness to this view, speaking to the importance of our democratic principles and the American institutions that carry them out. A spectacular new exhibition on the history of women’s suffrage in our Joyce B. Cowin Women’s History Gallery this spring sheds new light on the movements that led to the ratification of the 19th Amendment to the Constitution 100 years ago; a major exhibition on Bill Graham, a refugee from Nazi Germany who brought us the Grateful Dead, Jefferson Airplane, Jimi Hendrix, and many other staples of rock & roll, stresses our proud democratic tradition of welcoming immigrants and refugees; and, as part of a unique New-York Historical–Asia Society collaboration during Asia Society’s inaugural Triennial, an exhibition of extraordinary works from both institutions will be accompanied by a new site-specific performance by drummer/composer Susie Ibarra in our Patricia D. -
Uncle Tom's Cabin: Its History, Its Issues, and Its Consequences
Uncle Tom’s Cabin: Its History, Its Issues, and Its Consequences Abstract: This research paper analyzes Harriet Beecher Stowe’s most influential and successful work, Uncle Tom’s Cabin. Although Uncle Tom’s Cabin began as a simple novel written by a woman who was both a wife and mother, it grew to be one of the strongest antislavery books and was even credited with giving the impetus to initiate the Civil War. Stowe incorporated several strongly debated issues of her time in the novel, including slavery, alcohol temperance, and gender roles. However, she was careful to work within the accepted social boundaries and was thus able to appeal to many groups through her novel. Nevertheless, Uncle Tom’s Cabin was highly controversial and sparked a storm of discussion and action from the entire world. This paper explores Stowe’s life, the issues contained within the novel and their presentation, and the reactions of the American public and the world. Course: American Literature I, ENGL 2310 Semester/Year: FA/2012 Instructor: Deborah S. Koelling 1 Uncle Tom’s Cabin: Its History, Its Issues, and Its Consequences When she wrote Uncle Tom’s Cabin, Harriet Beecher Stowe had no idea that she was unleashing a literary giant on the world. Stowe herself was a good wife and mother, and her accomplishment is astonishing for both its near-radical ideas and for its traditional presentation,. Some of the strength of the novel is drawn from Stowe’s own life experiences and struggles, further intensifying the message of Uncle Tom’s Cabin. In fact, Abraham Lincoln is quoted as saying, “so this is little woman who caused the great war!” (in reference to the Civil War, qtd. -
Toni Morrison's Beloved
Toni Morrison’s Beloved: A New Stylistic Narrative Form [PP: 120-125] Sayed Mohammad Anoosheh Hossein Jahantigh Department of English Literature, Faculty of Foreign Languages Yazd University, Iran ABSTRACT Toni Morrison faces a great challenge in representing the Atlantic slave trade. In contemporary narrative form, the novel, Beloved, portrays the devastating effects of forced transnational migration. She confronts conventional silences surrounding the aspect of slavery by presenting displaced Africans on their way to America. Her text defines both black literature of the late twentieth century and troubles the status quo as an experiment in aesthetic expression which demonstrates the legacy of trauma fabricated in American culture. She stylizes her narrative form of language for particular effect by using direct references and subtle allusions to the aspect of slavery. Drawing on the coded discourse of oral history and slave narrative as fashion of writerly texts, Morrison takes her readers as participants in the construction of cultural memory. The present article takes up the formalistic and cultural approach to critique the aesthetic means by which Morrison’s verbal style signifies the content of her story, Beloved, which results in a new genre as African-American literature that establishes itself in the late twentieth and the present century world literature. Keywords: Toni Morrison, Beloved, Stylistic Narrative, African-American Literature, Slavery ARTICLE The paper received on: 21/11/2016 Reviewed on: 25/12/2016 Accepted after revisions on: 31/12/2016 INFO Suggested citation: Anoosheh, S. M. & Jahantigh, H. (2016). Toni Morrison’s Beloved: A New Stylistic Narrative Form. International Journal of English Language & Translation Studies.