Bingham Center News
The Rubenstein Library’s three research center annually award travel grants to undergraduate and graduate students, faculty, and independent scholars through a competitive application process. Congratulations to this year’s recipients, we look forward to working with all of you!
Sallie Bingham Center for Women’s History and Culture
Jason Ezell, Ph.D. candidate, American Studies, University of Maryland, “Queer Shoulders: The Poetics of Radical Faerie Cultural Formation in Appalachia.”
Margaret Galvan, Ph.D. candidate, English, The Graduate Center, CUNY, “Burgeoning zine aesthetics in the 1980s through the censored Conference Diary from the controversial Barnard Sex Conference (1982).”
Kirsten Leng, assistant professor, Women, Gender, Sexuality Studies, University of Massachusetts Amherst, Breaking Up the Truth with Laughter: A Critical History of Feminism, Comedy, and Humor.
Linda Lumsden, associate professor, School of Journalism, University of Arizona, The Ms. Makeover: The survival, evolution, and cultural significance of the venerable feminist magazine.
Mary-Margaret Mahoney and Danielle Dumaine, Ph.D. candidates, history, University of Connecticut, for a documentary film, Hunting W.I.T.C.H.: Feminist Archives and the Politics of Representation (1968-1979, and present).
Jason McBride, independent scholar, for the first, comprehensive and authorized biography of Kathy Acker.
Kristen Proehl, assistant professor, English, SUNY-Brockport, Queer Friendship in Young Adult Literature, 1850-Present.
Yung-Hsing Wu, associate professor, English, University of Louisiana at Lafayette, Closely, Consciously Reading Feminism.
History of Medicine Collections –
Cecilio Cooper, PhD candidate in African American Studies, Northwestern University, for dissertation research on “Phantom Limbs, Fugitive Flesh: Slavery + Colonial Dissection.”
Sara Kern, PhD candidate in History & Women’s, Gender, and Sexuality Studies, Penn State University, for dissertation work on “Measuring Bodies, Defining Health: Medicine, Statistics, and Civil War Legacy in the Nineteenth-Century America.”
Professor Kim Nielsen, Disability Studies & History, University of Toledo, for research on her book, The Doctress and the Horsewhip, a biography of Dr. Anna B. Ott (1819-1893).
John Hope Franklin Research Center –
Beatrice Adams, Rutgers University – Why African Americans remained in the American South during the Second Great Migration.
Gretchen Henderson, Georgetown University – A narrative and libretto for an opera rooted in African American slavery and history entitled CRAFTING THE BONDS
Maria Montalvo, Rice University – All Could Be Sold: Making and Selling Enslaved People in the Antebellum South (1813-1865)
Nick Witham, University College London, Institute of the Americas – “The Popular Historians: American Historical Writing and the Politics of the Past, 1945-present”
John W. Hartman Center for Sales, Advertising and Marketing History –
FOARE Fellowship for Outdoor Advertising Research:
Dr. Francisco Mesquita, Fernando Pessoa University, Portugal, “Billboard Graphic Production and Design Analysis”
John Furr Fellowship for JWT Research:
Jeremiah Favara, University of Oregon, “An Army of Some: Recruiting for Difference and Diversity in the U.S. Military”
Alvin Achenbaum Travel Grants:
Megan Elias, Borough of Manhattan Community College, “Be His Guest: Conrad Hilton and the Birth of the Hospitality Industry”
Sarah Elvins, Department of History, University of Manitoba, “Advertising, Processed Foods, and the Changing Notions of Skill in American Home Baking, 1940-1990”
Alison Feser, Anthropology, University of Chicago, “After Analog: Photochemical Life in Rochester, New York”
Spring Greeney, Environmental History, University of Wisconsin-Madison, “Line Dry: And Environmental History of Doing the Wash, 1841-1992”
Elizabeth Castaldo Lunden, Media Studies – Center for Fashion Studies, Stockholm University, “Oscar’s Red Carpet: Celebrity Endorsements from Local to Global (A Media History)”
Eric Martell, History, State University of New York – Albany, “Kodak Advertising in the U.S. and Latin America, 1920-1960”
The post Rubenstein Library 2016-2017 Travel Grant Award Winners appeared first on The Devil's Tale.
Date: Saturday, April 16, 2016
Time: 11:00 AM-7:00 PM
Location: Durham Armory, 220 Foster Street, Durham, NC 27701
On Saturday, April 16, librarians from the Sallie Bingham Center for Women’s History and Culture will be joining over 150 zine-makers, artists, print-makers, independent authors and booksellers at the Durham Armory for the 2nd Zine Machine printed matter festival.
We’ll be setting up a pop-up zine library and teaching people how to make mini-zines. (If you can’t make the festival, you can still download and make your own copy of the Bingham Center’s minizine! Instructions on how to fold it are included.)
The Bingham Center holds over 6,000 zines dating from the early-1990’s through the present, by women, girls, queer and trans identified people. Our collections are always open to the public, but this is a fun way to browse a few highlights while getting a chance to start your own collection with creative zines from local, national, and international writers and artists.
The festival is organized by local artists and Duke faculty Bill Fick and Bill Brown, along with Everett Rand of Mineshaft Magazine to celebrate autonomous, alternative printed media and create a venue for our vibrant regional self-publishing community.
This year, the festival will also be host such luminaries of the printed matter universe as Pat Moriarity, Mary Fleener, and Keith Knight, as well as returning guests Girls Rock NC, Internationalist Books, and the the Bingham Center.
Post contributed by Kelly Wooten, Research Services and Collection Development Librarian for the Sallie Bingham Center for Women’s History and Culture.
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Please join us for an opportunity to learn how to edit Wikipedia articles for a global audience, and to help record the hidden history of women in science and philosophy. This event will help document women’s achievements in the fields of science and philosophy, drawing on the Lisa Unger Baskin Collection and Project Vox.
From labor, science and activism, to art and philosophy, the Lisa Unger Baskin Collection and Project Vox document the many ways women have been productive, creative, and socially engaged over more than five hundred years. A wealth of rare documentary materials in the Lisa Unger Baskin Collection sheds light on the long history of women’s involvement in a variety of scientific disciplines. Project Vox is an online platform developed by scholars at Duke for discovering and discussing the forgotten contributions made by women to philosophy and science during the early modern period. The goal of this Edit-a-thon is to raise awareness about the key intellectual figures whose works are featured in the collections by creating and contributing to entries on Wikipedia.
Put your knowledge and intellectual curiosity into action by creating, editing, or translating Wikipedia entries that document the lives and contributions of women in philosophy and science. By collaborating together we can disseminate this important information to the broader public. This event is part of a worldwide movement to increase the percentage of women editors and woman-focused articles within Wikipedia. Bring your laptop if you have one, or use one of ours. You can also participate from anywhere in the world!
Jane S. Richardson, a James B. Duke Professor of Biochemistry, who developed the ribbon-diagram as the first 3-D representation of protein structures, and a noted Wikipedia contributor, will inaugurate the Edit-a-thon. Refreshments will be provided.
Sponsored by Duke University Libraries, the Sallie Bingham Center for Women’s History and Culture, University Archives, the Italian Program at Duke, and the Duke Medical Center Archives.
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There are many “firsts” in the Lisa Unger Baskin collection, and this early work is one of my favorites. It is one of the first books we know to be typeset by women.
Incominciano Le uite de Pontefici et imperadori Romani [Lives of the Popes and Roman Emperors] was published by the press at the Convent of San Jacopo Di Ripoli in Florence in 1478. The Baskin Collection includes two copies. They are incunabula [cradle books], a term traditionally used to indicate works that were printed before 1501, when printing technology was still in its infancy.
Over the course of nine years (1476-1484), the Ripoli press issued around one hundred different titles, half of which were secular. The convent’s diario (daybook) notes that the Dominican sisters received modest wages for their labor, which were contributed to a common fund to support the convent.
The nuns work as typesetters was in keeping with the order’s rules. The Dominican constitutions directed the nuns to copy manuscripts for religious use, and the new technology of typesetting accomplished the same end. I have to wonder what it was like for them to literally retool with this new technology.Handwritten section header
The first copy in the Baskin Collection is complete and is decorated with hand-colored initials called rubrication. Copy two lacks the first six leaves and has not yet had the decorative initials added. It is untrimmed, and over the years comments have been added in several hands and inks. Most interesting is the extensive marginalia around the entry for the (most likely) fictional Pope Joan with its long manicule and notation “papa femina.”colophon
I look forward to sharing these volumes with students and visitors. If you run your fingers gently over the pages, you can feel the impressions made by the thousands of pieces of moveable type the nuns of Ripoli carefully set by hand.
To learn more about the work of the Convent of San Jacopo Di Ripoli consult:
- Melissa Conway, The Diario of the printing press of San Jacopo di Ripoli : 1476-1484 : commentary and transcription, Firenze : L.S. Olschki, 1999.
- Helen M. Latham, Dominican Nuns and the Book Arts in Renaissance Florence: the Convent of San Jacopo di Ripoli, 1224-1633 (Italy), dissertation, Texas Woman’s University (1986).
Post contributed by Naomi Nelso, Ph.D., Associate University Librarian and Director, Rubenstein Library.
If the E. coli outbreak at Chipotle has you looking for a new way to satisfy your cravings or if you are simply hoping to make a step up from those late night Taco Bell runs, then this post is for you. If you have a hankering for warm cheese and fried foods (and who doesn’t?), Josefina Velazquez de Leon and her Mexican Cook Book Devoted to American Homes are here to help.
Before I introduce you to the wonders of Mexican Ravioli, the woman behind this delicious (yet messy) dish deserves a brief shout-out. A famous figure in mid-20th century Mexico, Josefina Velazquez de Leon has been called the “apostle of the enchilada” by one food historian. A widow who began teaching cooking classes in the 1920s, Velazquez de Leon was popular with Mexico City’s middle and upper class women. These women came to class hoping to learn how to cook Mexican favorites as well as the secrets to European cuisine. She was a particularly sought after cake decorator and wowed her students with sugar sculptures of such Hollywood icons as Popeye the Sailor Man and Snow White & the Seven Dwarves.“Apostle of the Enchilada” Josefina Velazquez de Leon
In addition to classes at her Mexico City cooking school, Velazquez de Leon took to preaching the word of the enchilada in magazines and books in the 1930s and 1940s. Initially submitting recipes and helpful culinary hints to women’s magazines, Velazquez de Leon published her first cookbook in the late 1930s with the release of Practical Manual of Cooking and Pastry. Velazquez de Leon would eventually publish 150 cookbooks and establish her own press. Quick to adopt new technologies, Velazquez de Leon worked to reach a larger audience through radio and television programming in the 1940s. Her first of many daily radio programs was called “Laziness in the Kitchen.” The show was intended to teach women to prepare appetizing meals with the modern appliances and packaged foods making their way into Mexican homes at the time. In the early 1950s, Velazquez de Leon made the jump to television with the launching of her show “The Menu of the Week.”
Through print, radio, and television, Velazquez de Leon worked to promote Mexican foods at a time when many of her contemporaries concentrated on international cuisine and traditional Mexican dishes were associated with lower social classes. Her work highlighted the diversity of Mexican cuisine as well as the culinary contributions made by each of the country’s regions to a national food landscape. Velazquez de Leon’s devotion to her nation’s cuisine did not preclude experimentation. She frequently fused culinary elements from other nations with traditional Mexican dishes. The recipe tested here is just one example of this. Another recipe, “Italian Enchiladas,” uses sardines, potatoes, and Parmesan cheese as enchilada filling.
Mexican Cook Book Devoted to American Homes offers a particularly interesting look at Velazquez de Leon’s promotion of Mexican cuisine. The book is tailored to the needs of cooks in the United States. In addition to providing text in both Spanish and English, the book explains the main ingredients and cooking equipment used in Mexican cooking. Instructions for preparing the essentials (such as tortillas and beans) in the mid-20th century American kitchen are also provided. Most of the recipes included are recognizable to the 2016 chef. However, for the more adventurous American cook, Velazquez de Leon offers a chance to test your skills or possibly cause your dinner guests to flee. “Exquisite eggs,” “huevo rancheros,” and the tantalizingly named “Mexican Macaroni” are sure to delight. The somewhat oddly named “Horse Back Riders with Leather Overalls” seems like more of a gamble. But if you’ve got a radish, a ½ pound of lard, a pork loin, 12 eggs, and a laurel leaf cluttering the pantry it might be worth considering. Sadly, I lacked most of those. Nor did I have the 5 birds required to make “Old Fashioned Pigeon” or the “kid” necessary to cook “A Kid in its Blood.” I assume that this is a reference to a young goat. I also doubted that I possessed the technical abilities or the amount of bleach that would ultimately be needed to create the undoubtedly appetizing “Gut Stuffed with Blood.”
I was a bit less daring and went with the more sedate “Mexican Ravioles.” Despite the delectable end result, the teacher in Velazquez de Leon would probably have been horrified at the mess I made as well as the purple plastic spatula that I melted in a pot of hot lard. This was C plus work at best. However, not all of the blame should go to the student.The cooking instructions, for instance, require the use of 2 eggs and tomato puree, neither of which made it into the ingredients list. Broth is listed as an ingredient, but fails to make an appearance in the recipe. The appropriate oven temperature is also omitted. I picked 375 degrees for no particular reason.
The ingredients (or, at least, the ones that you actually need) are basic and easy to find. I’ll take this opportunity to point out that lard is a key ingredient. The recipe lists nearly a ½ pound of this, but I used significantly more (a fact which would likely make my Southern grandmother immensely proud).
The dough, a combination of flour, cornmeal, lard, salt, egg, and baking powder, was rolled out and then cut into medium-sized circles. Following the dough instructions provided in the recipe produced an extremely dry mixture. Upon reflection, I assume that this must have been what the broth was for, but hindsight is 20/20 and I simply added hot water at the time.
The dough circles are then filled with cheese, folded closed, and sealed along the edges with egg white.
And now onto the frying! My experience creating fried foods is minimal so I was surprised at how easy this step was. (My experience eating fried foods, on the other hand, is not as I make a yearly pilgrimage to the North Carolina State Fair). I simply tossed a hunk of lard in a pot, waited until it seemed hot enough, and then dropped in the ravioli. I waited until the dough took on an attractive golden brown color and then removed the ravioli from the pot. While this was not the final step, I’ll admit that I “tested” 1 or more of these post-frying. It was a good decision. Warm, fried cornbread-like nuggets filled with melted cheese could never be a bad decision.
Making the sauce was the next step. Onions and green chiles are (that’s right, you guessed it!) fried in lard. Tomato puree is added and the mixture is boiled until thickened. While it thickens, you get to put away the lard and bring out the butter. Layers of ravioli, sauce, cheese, and chunks of butter are created in a baking dish and then put in the oven until golden brown.Going into the Oven And coming out of the oven
The end result was unsurprisingly delicious. The sauce was slightly spicy. The ravioli were flaky, warm, and topped with melted butter and cheese. It was similar to an empanada, but with a thicker, more cornbread-like dough. Would I make it again? Maybe. It was messy and took an unexpectedly long time to cook. That being said, the fresh-from-the-fryer ravioli were worth the effort.
A lovely little biography of Josefina Velazquez de Leon was used for this post and can be found in Jeffrey M. Pilcher’s The Human Tradition in Mexico.
Post Contributed by Brooke Guthrie, Research Services Coordinator
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What: Virginia Woolf: Writing Surfaces and Writing Depths, with Dr. Leslie Kathleen Hankins
Date: Thursday, March 3 Time: 4:00-5:00 p.m.
Where: Holsti-Anderson Family Assembly Room, Rubenstein Library
Dr. Leslie Kathleen Hankins is a professor in the department of English and Creative Writing at Cornell College and past president of the International Virginia Woolf Society. She will give a talk on the various writing surfaces used by Woolf throughout her life, including the desk now on display in the Rubenstein Library that was acquired as part of the Lisa Unger Baskin Collection. How did this desk shape the apprenticeship of Virginia Stephen into a writer? What did she write at this desk? How did it launch her career? In addition to the desk at Duke, Hankins will discuss Woolf’s decorated writing table in Cassis, as well as an overstuffed chair and lap board in a storage room at Hogarth Press and in Woolf’s writing shed. Along the way, she will consider how Woolf’s desk selections demonstrate a nuanced negotiation of gender performance and the writing profession as she crafted an innovative writing space through standing/walking/and shabby chic desk strategies.
Free and open to the public. Reception to follow.
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This beautiful copy of Of the Friendship of Amis and Amile, part of the Lisa Unger Baskin Collection, was given by May Morris to her beloved, John Quinn, in 1910. It was printed in 1894 at Kelmscott Press, which May Morris’s father William Morris founded. The green morocco leather binding with delicate gold tooling is the work of May Morris’s friend Katharine Adams.
On its own this would have been an touching gift for any book lover, as Quinn, a patron and collector of art and literature, certainly was. But Morris went beyond that. An accomplished needlework artist, Morris created a detailed hand-stitched silk book pouch to go along with Amis and Amile. The centerpiece of her work features a kneeling couple with angels flying above in a sunbeam lit sky. It is surrounded by foliage and birds, with hearts sewn along the top. The final details are seed pearls and glass beads at the corners. The back of the pouch is signed in stitching by Morris with a small “M” in a circle.
Sadly, I cannot tell you that this is a love story has a happy ending. It was a rather one-sided relationship. Whatever romantic interest Quinn had in Morris quickly cooled, despite a gift like this and the loving letters she wrote him. For more insight into Morris and Quinn’s relationship, see On Poetry, Painting, and Politics: The Letters of May Morris and John Quinn edited by Janis Londraville (1997), or Londraville’s article “No Idle Singers of Empty Days: The Unpublished Correspondence of John Quinn and May Morris” in Journal of Modern Literature (Summer, 1994).
Post Contributed by Kate Collins, Research Services Librarian.
The post Skip the Valentine’s Day Chocolates, I’d Like a Kelmscott Press Book in a Silk Pouch appeared first on The Devil's Tale.
Discovery at the Rubenstein: Italian-Language Version of Edith Wharton’s Short Story, “The Duchess at Prayer”
As a Humanities Writ Large Fellow at Duke this year, one of my goals was to explore the archives in the Rubenstein Rare Book and Manuscript Collection, extending work I had done at the Kislak Center for Special Collections at University of Pennsylvania creating archival research exercises for undergraduate humanities students. My scholarship focuses on late nineteenth- and early-twentieth-century American women’s writing, so I knew that exploring the Lisa Unger Baskin Collection, currently undergoing processing, would be especially exciting. But little did I know that I would uncover a genuine “find”—an Italian-language typescript of a short story by Edith Wharton, translated by the author and featuring corrections in her own hand.
The typescript, the only piece in the collection by Wharton, is a translation from English into Italian of Wharton’s story “The Duchess at Prayer” (“La Duchessa in Preghiera”). The textual history of this story is complicated: Wharton first published the story in Scribner’s in August 1900, where it featured illustrations by Maxfield Parrish (full text at hathitrust.org) and then republished it in the short story volume, Crucial Instances (1901). The translation in the Rubenstein appears to have been made after the 1900 publication. Drawing on Honoré de Balzac’s “La Grande Bretèche” (1831) and likely Robert Browning’s “My Last Duchess” (1842), Wharton’s tale recounts the story of a seventeenth-century Italian Duchess whose cruel husband discovers her adulterous affair. To taunt and threaten his wife, the Duke gives her a Bernini statue crafted in her image, and, as Emily Orlando has argued in Edith Wharton and the Visual Arts, in the conclusion of the tale, the woman “becomes a statue chiseled in marble at her husband’s command” (45). The typescript in the Rubenstein appears to be a word-for-word Italian translation of the Scribner’s version, though that will have to be confirmed against the version of the short story in Crucial Instances.Figure 1
“La Duchessa in Preghiera” attests to Wharton’s linguistic expertise. The author, who spent much of her childhood in Italy and adulthood in France, was fluent in multiple languages. There’s no evidence that the story was published in Italian periodicals of the day; rather, it seems most likely that Wharton translated the story as a language exercise. In this translation, Wharton’s sophisticated Italian reveals her careful self-education; for example, she uses the passato remoto to refer to events in the distant historical past, where a less experienced Italian writer might use the passato prossimo. On the typescript pages, we see how Wharton added accent marks that were not available on English-language typewriters at the time (figure 1; no Microsoft Word symbols here!). Wharton used her own work as a source of language practice several times during her career: she first conceived the novella Ethan Frome as a French exercise and translated some of her stories from English to French for publication in French periodicals. The typescript in the Lisa Unger Baskin Collection reveals her immersion in Italian culture as well her mastery of two languages. Just a year after the publication of Crucial Instances, she would publish her first novel, The Valley of Decision (1902), set in eighteenth-century Italy.
While “La Duchessa in Preghiera” deepens our appreciation of Wharton’s multilingualism, it also advances the scholarly record in another way. I am one of a number of volume editors contributing to The Complete Works of Edith Wharton, to be published by Oxford University Press. To date, there is no authoritative scholarly edition of Wharton’s complete works. In the process of editing Wharton’s extensive corpus, volume editors must locate extant manuscripts and typescripts for all the works in their purview. “La Duchessa in Preghiera” suggests that Whartonites should expect to find her work in unexpected places.
For example, after finding the typescript in the Rubenstein, I learned that an additional copy of “La Duchessa in Preghiera” has been located in the Matilda Gay papers at the Frick Museum in New York. Matilda Gay was a friend and neighbor of Wharton’s in Paris and two women came from a similar social class in New York. The next step would be to compare the Rubenstein typescript with the version in the Frick. The existence of these translations elicits multiple questions: did Wharton share a translation with her friend, and for what purpose? Do the two versions differ in any way? What do these translations tell us not simply about the author, but about the sharing of texts between friends, two female expatriates, at a particular historical moment, grappling with life and literature in another language? As with many forays into the archives, this initial exploration of the Lisa Unger Baskin Collection reminds us of how much we still have to learn.
Post Contributed by Meredith Goldsmith, Humanities Writ Large Fellow 2015-2016 (Associate Professor of English, Ursinus College)
Maria Sibylla Merian. De europische insecten. Tot
Amsterdam: by J.F. Bernard, .Join the staff of the Bingham Center as Duke History Professor Thomas Robisheaux gives a lecture on the Lisa Unger Baskin Collection, highlighting his use of works by naturalist and artist Maria Sibylla Merian. The lecture is free and open to the public; light refreshments will be served.
In celebration of:
Heralding the Way to a New World: Exploring Women in Science and Medicine through the Lisa Unger Baskin Collection
On display in the Michael and Karen Stone Family Gallery from January 20th to April 1st, 2016
From the first entomologist to capture the stages of metamorphosis of the butterfly (1705) to the author who published the first comprehensive volume on contraception (1923), the women in this exhibit were pioneers in science and medicine. Whether self-trained or classically educated, they not only made groundbreaking contributions to their fields, but also helped open the way for future generations to follow in their footsteps. Despite their accomplishments, most of these women remain overlooked or under-recognized.
This exhibition highlights the stories of seven revolutionary women in science and medicine and celebrates the arrival of the Lisa Unger Baskin Collection, from which these materials were selected.
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